MATRIXSYNTH

I Eat Beats

I Eat Beats from Kyle McDonald on Vimeo.
"Skittle-based beat sequencer, a tangible and edible music interface. This is a prototype developed over the course of two evenings, with a webcam and Processing.

The webcam is mounted using cardboard/wood above the screen, and Skittles are placed on the screen -- a cheap responsive surface (when a circle is active, it turns green).

Future directions may include: more sensor types (e.g., a slider for tempo control), note-sequencing mode, and assigning the different colors to different rhythms or instruments (purple as bassline, or yellow as "every other measure").

There is a cut in the middle where it transitions from solo improvisation to three people interacting simultaneously. Any out-of-sync audio/video is due to my frazzled camera.

One of the other big problems: people like to eat Skittles." via AnalogSuicide

Orchestral song

Orchestral song from Mike Conway on Vimeo.
"Playing OASYS sounds with a breath controller."

Tassman

via brian c:
"Tasssman is a sound construction set where you model sounds and then compile the instrument - its quite fun. Version 4 is latest rev. It can be standalone or a VST or Mac plugin. I got roped into it via an Ableton users discount of 45% - good thru July 31. I'm an easy mark for Abeton marketing I guess

The intriguing part to me was the physical modeling part, kind of like my old Technics WSA1 only better cause it is more expandable

Attached is a simple demo of one simple preset for a bass , it starts out with an ultra simple SCI TOM loop, then Tassman bass line and then joined by the old trusty DSI evolver - quick and fun

for more info on Tassman check out
http://www.applied-acoustics.com/tassman.htm
Plenty of better samples than mine there too.

'The Tassman is a tightly integrated environment comprising three interfaces: the Player, the Builder and the Browser. With the Tassman Player you are ready to play any of the synths included in the library. The automatically generated Player interface is inspired by classic analog hardware making it easy to tweak any of the existing factory presets to create and save your own custom sounds.'"

Synthorama - Entrance Room

This is the next post in a series featuring the Synthorama synthesizer museum in Luterbach Switzerland. See the Synthorama label below for prior posts.

The museum is organized into different themed rooms organized by manufacturer and/or region such as Russian synths. This will become more apparent as I begin to put up the themed flickr sets followed by the walk through videos of the museum.

For now you, click here to see a flickr set of what awaits you when you walk through the entrance of the museum.

As you enter, the Airböurne Synthesizer is directly across from you and to the right. Throughout the room are some synths waiting to be repaired and or on display. In one section of the room are a number of theremins. This is actually the theremin section of the museum.

There is an EMS Spectre Colour Video Synthesizer [pictured], a PPG Commander, PPG 380 Event Generator, Digilab [pictured], and more.

Through a window you can see the ARP room, all just a glimpse of what's about to follow.

CLICK FOR MORE »

Korg MS-20 Duophony

YouTube via deused
"It has been a while!
But now i'm back to show you how to make your korg ms-20 'duophonic'.
With the patching setup :) (sorry i havent responed to all your setup requests, i hope this wil help!!)
-------
As you may also know, I am planning to create a Korg MS-20 website.
www.korg-ms20.com!
Its not yet finished but i can tell you that it will be a community site for the ms-20 (and related synths). It will be full with tips and tricks.
Please rate and comment! Thanks!"

EDP WASP

via this auction

Garfield Electronics Clock Delay

via this auction
"Description: The Clock Delay compensates rhythmic offsets caused by clock response time differences between various makers of sequencers, drum machines, arpeggiators and synthesizers. Each channel´s ROTARY control sets delay time in 2 milliseconds steps which are continuously variable with the FINE control.

To adjust the “feel” between two instruments of differing response times, clocks to the instrument with faster response are delayed to rhythmically align the audio output with that of the instrument with slower response time. In this way, the feel between the instruments can be made to “push”, “lay back” or be “on top of the beat” as desired.

CLICK, CLOCK and TRIGGER output types are produced with rising or falling edge polarity to meet the clocking requirements of all instruments. Use CLOCK output type when delaying sequencer or drum machine clocks, CLICK output type for delaying audio click tracks and TRIGGER output type for arpeggiators , individual drum trigger inputs or the synclavier.

Both channels produce 2 millisecond CLOCK output type when a plug is fully inserted to the input jack. When inserted half way, Channel A produces 10 millisecond TRIGGER output type, and Channel B produces 650 microsecond CLICK output type. Both channels produce rising edge output when a plug is inserted fully into the OUTPUT jack, or falling edge output if the plug is inserted half way. Most instrument clock inputs are rising edge. When in doubt, experiment.

To obtain longer delay times, the channels may be cascaded by connecting the output of either delay to the input of the other. This device will operate on AC power sources ranging from 100 to 250 Volts."