Kraftwerk - Pocket Calculator Live 1981

YouTube via technik. via mini
"Kraftwerk - Pocket Calculator
Live Utrecht 1981"

Nintendo DS plays Access Virus and Korg Radias

Nintendo DS plays Access Virus and Korg Radias from Toumal Rakesh on Vimeo.
"I was fooling around with DSMIDI via WiFi (http://dsmidiwifi.tobw.net) and used the DS to control both my Virus TI and my Korg Radias - over WiFi of course! I used the Korg KP3 to sample several passes until I had what you hear there, to which I played a few notes in the end. It's a bit like painting a room through the keyhole of a closed door ;)"

Flower Electronics Noise Generator for Bent Fest 2008

YouTube via drwolfer

"Jessica Rylan demos a noise generator circuit for her workshop at Bent Festival 2008"
I did a quick search on Jessica Rylan and found these posts. One of the early flickr shots from Dec, 2005.
And... she runs Flower Electronics. Off to go update the older posts.

BJ modular demo

YouTube via synthmonger
"gotta love a good BJ...modular ;D mix of CGS kits a fonik resonator and my own designs. Long live DIY!"

JSH Pro-Rhythm Drum Synthesizer

via this auction
"'The Drum synth experience...a new dimension in sound'

That's what it says on the front of the owners manual (photocopy version you will get with this) and that's what they said when this came out (I believe late 70's early 80's).

It is powered by 2 x 9V battery this one has actually been beautifully modified to accept a mains supply. It comes with an original single braced stand which has seen better days but works perfectly (included in the sale). You can mix this through your electronic drum module, or simply plug into a PA or Hi Fi system. You will love the crazy sounds such as 'Disco', Helicopter', Patrol Car', 'Surf', 'Match of the day' or 'funky toad' or simply create your own....all you need is a guitar type lead and an amp, These are extremely rare, and this one is in extremely good condition."

Waldorf Nano CME

images via this auction
"The Waldorf Nano SynCard is a plug-in sound expansion module designed for use with CME UF MIDI keyboard controllers. The Nano SynCard provides 24-note polyphony and contains over 1,000 classic Waldorf MicroQ synth sounds. It easily installs into the back panel of CME's UF Series keyboards. It is unique in that it is the only product on the market that allows a controller keyboard to be turned into a full-on synthesizer, complete with real-time control.

Up to two Nano SynCards can be installed in each keyboard and independently controlled via the CME's front panel knobs and sliders. When two cards are present, splits and layers can also be created. The cards feature left, right, and stereo (headphone) audio outputs; power is supplied by the CME controller. The 1,000 sounds include a wide assortment of trademark Waldorf basses, solo tones, pads, percussion, and effects."

Multivox MX-3000 Polyphonic Synthesizer

images via this auction

"From Sonic State: 'Screaming monophonic leads are possible, but this synth produces also the coolest and heaviest bass sounds, and also has that famous JMJ-strings. Killer synth.'

From Sound On Sound magazine: 'The MX3000 was Multivox's finest hour. With bass, poly, and lead sections, an ensemble effect, and a phaser, it falls into the same 'multi-keyboard' camp as the ARP Quadra…

'The bass section offered three basic sounds, with three contour types, each with variable release. The lead synth consisted of a traditional VCO/VCF/VCA signal path plus an LFO and, despite its apparent limitations, it produced some interesting sounds. Nevertheless, the polyphonic section held the most promise. This offered eight editable voices, of which three (piano, harpsichord and honky-tonk) were velocity-sensitive.

'Given the similarities to the Quadra, it makes you wonder how much of the MX3000 was copied from ARP's ideas or designs. Keep an eye out for the MX3000. If you find one and don't want it, I'll buy it…'"

Roland TB-303 Bass Line

images via this auction

"Here's its story:
A friend of mine made commercials back in the early 80's. He bought this Bass Line new for some sound experiments, tried it once, and then off it went into his closet. 25 years later he sold it to me, and I never used it, not even once. It stayed in my clean, dry closet until now.

It has its original case, which is partly responsible for the unit's pristine condition. The manual is an original Roland Bass Line manual, but is not original to this unit. The power supply is New Old Stock (I found it in a small music store). All in all this is a rare occasion to buy an almost-new Bass Line with all the extras."

Polivoks Vintage Soviet Analog Synth

images via this auction
"Synth has two oscillators with triangle, saw, and three square waveforms with different pulse width. You can choose from 32’ to 2’ register for every oscillator. You can modulate the first oscillator by the second (crossmodulation). There is portamento effect for the first oscillator. Polivoks is duo-phonic synth it means that you can play two notes at the same time. The heart of the Polivoks is originally designed 24db dualmode filter, well known by its killer resonanse, unique and unstable sound. Filter can be switched in LP or BP mode. There is LFO with 4 waveforms, it can modulate every VCO, VCF and VCA. Mixer section consists of 1osc, 2osc, noise and external signal.There are dedicated ADSR envelopes for VCF and VCA.Envelopes has autotrigger mode when signal repeats from attack to decay stage."
Demos at the auction while it's up.

Analogue Solutions TBX-303 TransBass Xpress (tb-303 clone)

You might remember this video from this prior post.
It's currently up for auction via bigcitymusic.
You can find bigcitymusic's other auctions here.

Access Virus Desktop

via this auction

"This is the first version of the Access Virus."

So... can the latest Access Virus TI cover the original 100%?

Waldorf Micro Q

images via this auction

1981 AES Journal Featuring E-Mu

via this auction
"rare 26+ year old ENTIRE issue of the great AES Journal, the leading audio engineering and recording studio magazine in the world.

Each issue, like this one, is filled with great articles and great ads in the area of sound, audio and sound recording.

This is a complete, entire issue, and in EXCELLENT condition.

This issue is particularly good for this article or articles:

1. "A Computer-Controlled Polyphonic Synthesizer" by E-mu Systems honcho David P. Rossum, who describes how his new keyboard works with an early computer from the time of it's inception in 1975 to the time of the correct computer and program being found in about 1980. Some very useful info for all E-mu folks!

2. "Digital Additive Synthesis for Computer Music" is by Brown University profs, and you'll enjoy that too...

Many other great articles and gear adverts in this complete issue!"

kraftwerk live 4-19-8

YouTube via 9knivesout. Anyone know what software they use?
"kraftwerk - man-machine
live @ myth - st paul 08"

BugCrushing BugBrand Update

via Tom Bugs:
"Hiya,
It is (finally) time to get back to BugCrushing - this time with two versions - in the shop now!
Plus:::: announcing a few shows and workshops:::::

*The re-emergence of the BugCrusher08, but now in stomp format* The BugCrusher08 is the daddy of the crusher-range with VoltageControlled Crushing and Filtering.
Quite a complex box with many areas of versatility, this new stomp version is basically the same as the desktop version released back in January - there are some sound examples online from this.

Released in a batch of 8 at £170 plus shipping (inc AC power pack, instructions and 3 year guarantee) (I will be releasing more in the next months too)

*The Micro enters production*
Following an initial short-run back in December, the BugCrusherMicro has been redesigned and improved for a regular production version.
This is the most compact crushing option with just one dial and measuring just 120 x 65 x 40mm!

Released in a batch of 12 at £70 plus shipping (inc battery, instruction sheet and 3 year guarantee) (There'll be a follow-up batch of these pretty soon)

*Weevils*
...all the Weevil08s are gone for now, but I'll be getting back to them shortly.
Still no moves on the AudioWeevil front (darn-it)

*Initial announcement of shows & workshops* The BugBrand Modular has been updating its wardrobe for some summertime shows....
There will be a one-off collaboration with drummer Roger Skerman in support of The Necks - 17th May at the Cube Cinema, Bristol And then a week in Berlin with two shows and a workshop building some new noisy on-board-synths (like souped up PostcardWeevils!) More details on such things in the next few weeks.
http://bugbrand.co.uk/pages/bugbrandhome.htm

****
That's all for now - but, as I say, there should be a secondary round of both BugCrushers following shortly..
All best & cheers,
Tom"

Flame Clockwork Tips and Tricks

via Floppy on the AH list, posted here with permission:

"i got the clockwork for a while now and finally discovered its great features.
first i was disapointed because the manual doesnt mention all of its functions, and its not really selfexplaining. i mailed the guy who made it and he helped me with some advice that can now be read on his homepage
**
i use the clockwork mainly for triggering percussive sounds as this machine takes me to completely new patterns! you might know the point where you feel like hacking the same old beat into your tr 6/7/8/9 over and over again wondering if theres still undiscovered patterns hiding under this 16 steps... the easy access to the 3 different rhythm scales (normal 4th, triplets and dotted) and the possibilty to combine them with each other makes it the perfect solution against boring drumloops.

im using an akai mpc as master clock and the clockwork is slave so i can record every drumloop seperately on the mpcs audio input. this method is as tight as possible i think. for some loops i just record single instruments on the combined output of the clockwork, when maximum flexibilty is needed, but its also possible to play a full drumset (4 tracks) and record it at once.

when using analog drumbrains that accept velocity sensitive trigger inputs, i realized that there is another hidden shuffle possibility :
the lenghts of the gate signal can be either very short -that results in a single hit. with a bit of lenght -that gives something like a flame / roll medium lenghts - that results in the exact middle of a beat (offbeat bass) longest gate - this grooves in the opposite of nr. 2 it seems that the end of the gate signal does trigger again but with only half of the velocity. when i discovered this i was already dancing to my clockworks beats, its definately the most groovy unit i ever played with. im thinking of getting a second clockwork soon."

If you have any tips, feel free to comment.

108 magical Needles at TB Hall

YouTube via kaizokuhousou
"This is the Live on "Synthesizer Greatest Performance Contest the 2nd" in Japan."

Moog & Clavia Demo

YouTube via kaizokuhousou. via Nusonica
"2008 15th June. I demonstrate Moog & Clavia Synthesizer in Osaka Japan. Wanna you to visit to Umeda Nakai Gakki"

JayB's Yamaha S80 Performances

YouTube via Hanni13579
"Playing a few of the performances I created using the sounds form my soundbank. Unfortunately these Performance patches aren't available for download, but feel free to create your own ones.

The rhythms are all created using the internal arpeggiator. The kicks are available as single voices without tune and so I could use them here.

P.S.: I'm sorry for the video perspective and my left hand not always visible. It din't have much to do anyway."

Building a Blacet Dual Filter

Kwotemusic has a post up on his experience building a Blacet Dual Filter module.

"I built the Blacet Dual Filter module the other day and it was quite the learning experience. I had built the Dual Linear VCA before but had a helping hand so this time around I was really forced to learn things more fully."

PLAN B ANNOUNCES 15 NEW PRODUCTS

If you'd like to see what Plan B has been up to, click here for previews, descriptions and photos of the 15 new Plan B products which will be released over the Summer and Fall of 2008, including the ELF series modules and Model 30.

La Fleur

images via ScillonS

"Here are some pics of the latest kit I built. Called 'La Fleur', it's a simple noisebox with 3 osc controlled by 3 lfo. Demos one of these days."

Compurhythm + Modular

YouTube via ZonkOut. "Modular specs here"

1974 moog minimoog with new bushings

flicrk by Yotsuba&!
(click for more)

Fairlight CMI

YouTube via psvbluemts
"Except from TV documentary about Australian venture capital industry in 1984 showing rare footage inside the Fairlight factory. Features Peter Vogel, Kim Ryrie, Mars Lazar."
Update: you might recognize the Fairlight in the last video from this post.

Electronics for Music Synthesis Lectures Online

click here
Prof. Aaron Lanterman
Some examples of what's listed:
# Session 1: 40 Years of Music Synthesis, Day 1 (Moog/Buchla up to DX7) (video)
# Session 2: 40 Years of Music Synthesis, Day 2 (DX7 and after) (video)
# Session 3: Op-Amp Review, Day 1 (video)
# Session 4: Op-Amp Review, Day 2 (video)
# Session 5: Meet the Korg MS-20, a typical semimodular analog monosynth (video)

"I've finally got videos of all the lectures from the Spring 2008 version of my class on "Electronics for Music Synthesis" posted to blip.tv. Previous versions of the class were called "Theory and Design of Music Synthesizers" - I retitled the class to more clearly indicated the increased analog focus and decreased digital focus of this version of the class (but there's some random bits of DSP-ish stuff in there, like discussions of aliasing).

There were 22 lectures this semester. Alas only 21 are posted, since I had technical issues with the camera one day."

Carbon111's Pro-One Restoration Project - Finished!

Details here

via SYNTHWIRE

BeatEd - a simple drum machine for S60

YouTube via suckho. via Failed Muso.
"BeatEd homepage:
http://www.byterapers.com/BeatEd/

BeatEd is a simple drum machine application for Symbian S60 mobile phones. It was originally developed in couple of nights to get a drum machine and metronome application for personal guitar playing purposes. After getting a lot of new ideas and positive feedback, I decided to improve it a bit and make a decent public release of it. So here it is, have fun!

Feature highlights:
- Easy to use beat editor, even easier beat player.
- Change tempo and volume while playing.
- Edit beat on-the-fly while playing.
- 16 bit 16 channel audio mixer.
- Extremely accurate beat timing (1-999 BPM).
- Real-time VU meters.
- 16 different drum tracks.
- Supports S60 v3.x mobile phones.
- Adjusts to different screen layouts.
- Random volume variance.
- and much more..

Supported devices:
- All S60 3rd edition devices (Forum Nokia list)

Tested devices:
- Nokia 6120 Classic, N82, N91, N93i, N95, E51, E60, E65, E70, E90 Communicator

Sorry about the crappy sound quality in the video! It's due to the camera I used, not the software :)"

maison vague - change

YouTube via maisonvague. via celiar structures

"This music video documents the production of the song "change" by maison vague. The footage is drawn entirely from the actual sessions, along with images of some of the equipment used in the production. The song is built on a relentless Jupiter-4 arpeggiated bass line, triggered by a CR-8000 drum machine, modified with individual mono outputs, synced to Pro Tools via an MSQ-100 MIDI sequencer. As the Jupiter-4 has no MIDI, this was the only way to keep things *somewhat* in sync during overdubs. Although the OB-Xa features prominently in the video, the majority of the synth sounds in this song come from the Jupiter-4." Lyrics here - check out the video description.

MS-20 + MS-20 = MS-40?

YouTube via Newueel
"Triple fun with two Korg MS-20 analog synthesizers and a Korg SQ-10 analog sequencer! The SQ-10 is basically used for controlling the filters for both MS-20s.

The first MS-20 (middle) is triggered by the SQ-10 and plays some rythm and bass. Both filters are controlled by different SQ-10 patterns (Channel A+C), the bass (pitch) is controlled by the keyboard. Both VCO's are used for bass sound colour, VCO-2 is a little detuned.

The other MS-20 (below) is triggered by its own keyboard and is used for melodic adds. The highpass filter is controlled by the modulation generator and the SQ-10 pattern (Channel B). Also some portamento is added to this pattern. The control wheel controls the clock speed of the SQ-10 and doubles it up a couple of times (used at end).

=- -=- -=- -=- -=- -=- -=- -=- -=- -=- -=
These synths are also part of a much bigger lineup used by our musical explorer team (Cosmic Spring). You also might want to check out the following site: http://www.cosmicspring.com (includes free music downloads)!"

Roland Jupiter-8

images via this auction

MOOG Rogue Modded

via this auction
"blue LED power light
Buffered 1/4 inch audio outputs for Oscillator 1, Oscillator 2, and Noise.
1/8 inch modulation outputs for Triangle, Square, and Random waveforms.
1/8 inch VCF modulation/CV input.
Blend controls to fine tune the amount of modulation to VCF and VCOs.
When none of the added jacks are used and the blen controls are set all the way up, this Rogue will preform 100% stock."

KORG Polysix

images via this auction

Alesis Bitrman Control Voltage Mod

YouTube via therealretrosynth
"An Alesis Bitrman with control voltage input modification mangles audio from a Technosaurus Microcon driven by a Blacet Hex Zone."

RIP Bebe Barron

via darthmouth (click for the full article)

"Hollywood, however, had already been utilizing instruments such as the theremin in movie scores for many years, and the first widespread American public exposure to the possibilities of the electronic medium occurred with the 1956 release of MGM's feature film Forbidden Planet. In addition to its elaborate space sets and advanced visual effects, Forbidden Planet featured an exclusively electronic musical score composed by Bebe Barron (b. 1927) and her husband Louis (1920-1989)....

Once they decided on the characters' moods and situations, the couple completed a series of electrical circuits which functioned electronically in ways analogous to the human nervous system. Decisions about the circuitry were strongly influenced by their studies of the science of cybernetics which proposes that certain natural laws of behavior are applicable to both animals and more complex modern machinary. The composers employed their noise-producing circuits to emulate such needed characterizations as serenity, anger, and love....


Bebe and Louis' success signaled the beginning of the effective use of electroacoustic music by the modern movie industry."

You can also find more on wikipedia.
And of course Google Image search where I found the images for this post.



via Peter Grenader of Plan b:
"We have lost a bright little little light and a dear friend. Bebe Barron has passed. She has captivated us with her charm, her modesty and her enchanting smile and her memory will remain in our hearts, our art and our spiritforever."

Update: some nice words from Barry Schrader:

"Bebe Barron (1925 - 2008)

It is with great sadness that I report the death of Bebe Barron on April 20, 2008 at the age of 82, of natural causes. Bebe was the last of the pioneering composers of classical studio electronic music. She was a close friend, an enthusiastic colleague, and a most gracious lady.


Bebe Barron was born Charlotte Wind in Minneapolis, on June 16, 1925. She received an MA in political science from the University of Minnesota, where she studied composition with Roque Cordero, and she also spent a year studying composition and ethnomusicology at the University of Mexico. In 1947 she moved to New York and, while working as a researcher for Time-Life, studied composition with Wallingford Reigger and Henry Cowell. That same year, she met and married Louis Barron (1920 - 1989). Shortly thereafter, the Barrons began their experiments with the recording and manipulation of sound material by means of a tape recorder that they received as a wedding gift. They created a private studio in New York and, in 1955, composed the first electronic music score for a commercial film, Forbidden Planet. In 1962 the Barrons moved to Los Angeles; they divorced in 1970. In 1973, Bebe married Leonard Neubauer, a screen writer. Bebe became the first Secretary of the Society for Electro-Acoustic Music in the United States (SEAMUS) in 1985, and also served on the Board of Directors. In 1997 Bebe was presented the SEAMUS Award for the Barrons life work in the field of electro-acoustic music. She is survived by her husband, Leonard, and her son, Adam.

Bebe’s last public appearance was on January 12, 2008, at an event held at the Hammer Museum in Los Angeles, celebrating the work of her good friend, Anais Nin. Bebe was too ill to speak in public at this point, but she agreed to be interviewed for a video piece that was shown at the event. This is her final interview, and you can see it on YouTube.

Bebe’s final composition, Mixed Emotions (2000) was composed in the CREATE studios of the University of California at Santa Barbara. I'll be putting this work up on the Downloads 2 page of my website, along with some photos of Bebe and myself taken in 2005 at her home on the Photos page within the next week.

I first met Bebe Barron in the middle 1970s; I don't remember exactly when, but I think it was around 1975. I had asked Bebe and her former husband and composing partner Louis to attend a showing of Forbidden Planet that I had arranged as part of a class at CalArts. They agreed to do it, and I quickly became good friends with Bebe and we remained close over the years.

In writing about Bebe Barron, it's impossible not to focus on the pioneering work that she and Louis did in electronic music. They began their experiments in 1948, shortly after they were married. This early work was done using a tape recorder, preceding the work of Luening and Ussachevsky and the switch from disks to tape by Pierre Schaeffer and the GRM. But, to my knowledge, the Barrons' early experiments did not result in any completed works, a state of affairs not uncommon with early pioneers in the field. In 1949 they set up one of the earliest private electro-acoustic music studios and began their experiments with electronically generated sounds. They built their own circuits which they viewed as cybernetic organisms, having been influenced by Norbert Weiner's work on cybernetics. The circuits, built with vacuum tubes, would exhibit characteristic qualities of pitch, timbre, and rhythm, and had a sort of life cycle from their beginnings until they burned out.

The Barrons recorded the sounds from the amplification of these circuits and this formed the basis of their working library. They also employed tape manipulation techniques as part of their compositional procedures. The sound qualities of these various amplified tube circuits and the tape manipulations that they underwent formed the musical language that the Barrons created in their studio. Unlike some of the work being done elsewhere, the Barrons' music reveals long phrases, often stated in tape-delayed rhythms, with the stark finesse of the tube circuit timbres. They created a style that was uniquely their own yet married to the technology they were using.

The Barrons earliest finished work, Heavenly Menagerie (1951) does not seem to have survived in a complete form. But their score for Ian Hugo's film Bells of Atlantis (1952), based on a poem by Anais Nin, who appears on screen, does exist on the film sound track. This may be the earliest extant work of the Barrons and presages what was to come with Forbidden Planet, the music for which was composed in 1955, the film being released the
next year.

The music for Forbidden Planet is truly a landmark in electro-acoustic music. This was the first commercial film to use only electronic music, and the score for the movie displays an attitude towards film scoring that was different from anything that had happened before. In Forbidden Planet, while there are themes for characters and events in the film, as was traditional in the scoring of that day, the themes are composed and perceived as gestalts, rather than as melodies in traditional movie music. Even more important is the fact that the scoring of Forbidden Planet breaks down the traditional line between music and sound effects since the Barrons' electronic material is used for both. This not only creates a new type of unity in the film sound world, but also allows for a continuum between these two areas that the Barrons exploit in various ways. At some points it's actually impossible to say whether or not what you're hearing is music, sound effect, or both. In doing this, they foreshadowed by decades the now common role of the sound designer in modern film and video.

The Barrons composed many other works for tape, film, and the theater in the 1950s. Their studio became the home for John Cage's Project of Music for Magnetic Tape, and they assisted in the creation of Cage's first chance piece Williams Mix (1951-52), as well as works by other members of the group such as Earle Brown and Morton Feldman. As a studio for the creation of their own and other composers' works, the Barrons' studio served as a functioning center for electro-acoustic music at a time when there was no institutional support of the medium in the United States. It's curious, then, that, for many years, the Barrons, their studio, and their works were largely overlooked by composers and historians in the field. Fortunately, that injustice has since been corrected, and, in 1997, it was my great honor to present to Bebe and, posthumously, to Louis, the SEAMUS Lifetime Achievement Award. Bebe was involved with SEAMUS from the very beginning of the organization. She was one of the ten original members who responded to my organizational call and met at CalArts in November of 1984 to form the group, and she was SEAMUS's first secretary. There may have been a little strong-arming on my part to get her to be involved so actively, but Bebe was always ready to support the cause of electro-acoustic music in whatever way she could.

Bebe created a firm legacy in her music. If the importance of one's work is to be judged in any regard by it's influence, acceptance, longevity, and innovative qualities, then the score for Forbidden Planet is an enormous success. It remains the most widely known electro-acoustic music work on this planet. For me, Bebe Barron will always be the First Lady of electronic music."

Update: BTW, if you have Netflix, you can watch Forbidden Planet online in IE here.


Bebe Barron on Anais Nin Uploaded on Mar 5, 2008

RIP Ed Rudnick

via the Santa Clara Vanguard:
"Ed worked for E-MU and was a key contributor to their growth into America's premier producer of innovative electronic musical instruments. Ed was personally involved in the conceptualization and development of technologies and instruments that literally revolutionized the way that music is created by both professionals and amateurs around the world. The legacy of those accomplishments lives on today and will do so for years to come."

via the E-Mu Corporate History page:
"It was April of 1973 when the first E-MU modular synthesizer was sold to future Director of Manufacturing Ed Rudnick, who had started hanging around E-MU looking for a job so he could learn how to design and build synthesizers. E-MU spent most of the 1970's designing ultrastable VCOs, lab-quality filters, digital/analog sequencers, dedicated music ICs, and polyphonic voltage control keyboards."

Waldorf at the Waldorf

dasz at the Waldorf Hotel, Vancouver BC. more info at electro-music.com

Programmer via Cyndustries Modular Synthesizers

Click here and mouse over the buttons.

Doepfer A-100 MS20 Bass - Live Sampler patch

click here for the patch. You can find the audio under the the following list of modules when you get there:
# A-111 High End VC Oscillator
# A-138 Mixer
# A-140 ADSR
# A-106-1 Xtreme Filter
# A-131 Exp. VC Amplifier

New song/beat on the Triton Extreme. "Something different"

YouTube via dazzelya

Future Retro Revolution as an Audio Processor

YouTube via bigcitymusic
"With an analog resonant filter, envelope, overdrive, and DSP effects, the Revolution makes a powerful effects processor. The Elektron is slaved to the Revolution's MIDI.
http://www.bigcitymusic.com
http://www.myspace.com/bigcitymusicdo...
http://www.bigcitymusicblog.blogspot.com"

Sherman Use to abuse

YouTube via lasercicalone
"What can make Sherman filterbank 2 with 5 note and one simple sound"

Roland SH-2

images via this auction


YouTube via polishbroadcast. "Roland SH-2 runthrough"

MacBeth M5N Red

More images here.

via Ken MacBeth

"There are two of these available, and private enquiries are welcome for the pair!"

Be sure to check these shots out full size.

studio setup | apr. 2008

via Hielo Patagonia Sounds

"Here are some new pictures of my studio setup (new Doepfer suitcases and Plan B/Bananalogue modules). Here is a small ambient tune made with these new modules"

Look for the audio player just above this shot when you get there.

Alesis PerformancePad

"Performance Pad features eight velocity-sensitive drum pads and a built-in electronic drum machine with professional sounds and features. You can create and record your own beats from scratch or play along with the built-in patterns. With Performance Pad, you can practice quietly with headphones, or plug into an amplifier.

Performance Pad includes foot-switch inputs for a bass drum pedal, HiHat pedal, and a Line-level input to connect a CD Player, iPod, computer, or other audio device so that percussionists can play along with nearly any recorded mix. Built-in rhythm patterns are also included to compliment playing.

Dynamic Articulation™ technology is included to add nuance to the feel of every drum hit. In addition, there are industry-standard mounting holes on the bottom for easy attachment to an existing drum kit rack.

The 24-bit, high-quality headphone output on the Performance Pad insures a no-compromise playback experience without disturbing others. Connection to keyboards and sound modules is made simple thanks to the integrated MIDI output.

Performance Pad brings together quality feel and and legendary drum sounds for the perfect all-in-one percussion station.

iPod is a trademark of Apple, Inc., registered in the U.S. and other countries."

You can find more info including video on Alesis.com.

Update via Adrian in the comments:
"The ION IED04 Digital Drum station, is the EXACT same as the Alesis Performance pad, in everyway, its just painted a different colour with a different logo.

I got mine for only $100 dollars new from www.thinkgeek.com

It even comes with an alesis AC adaptor! It also comes with free Headphones, Drum Sticks, and stereo RCA Cable.

Save yourself about 200 dollars, and get the ion while you still can."

New Toys

YouTube via a2sidedcoin
"Just a quick show-off of my new toys: a Zoom RT-123 Drum machine, Peavey Mixer, and a Korg MS2000 Synthesizer (I LOVE this synth!!)"

Brand New Synthesizer Beat by Hollywoodbeats

YouTube via hollywoodbeats
Rob Papen's Albino 3
Rob Papen's Blue
Rob Papen's Predator

ASM-2 (Part 3)

"A little update on the progress on the ASM-2. I nearly finished mounting the components on the PCB that I got so far. I got some wrong components from the local electronics shop though, so this morning I went there to trade some stuff. I turns out that they couldn't deliver all the parts and they supplied me with some replacements for some parts. But not all off them meet the desired types and tolerances. Some they say they just can't get. So I will have to see if I can get them from somewhere else or maybe from Elby Designs."

See the full post on Synth.nl.

Dan McPharlin on the cover of Wallpaper

via Music Thing where you can find a few links.