I Dream of Wires: Carl Craig - Modular Pursuits

I Dream of Wires: Carl Craig - Modular Pursuits from MUTEK on Vimeo.

Also on MUTEK
"In April 2012, the I Dream of Wires team met with legendary Detroit techno producer Carl Craig, to discuss his electronic music influences and production experiences, including his recent interest in eurorack modular synthesis. Craig's experiments in modular synthesis are best heard on 2010's "Modular Pursuits" 12-inch, released under his No Boundaries alias.

For more info on Carl Craig: carlcraig.net

Music, used with permission from Planet E (planet-e.net):
"Desire" by 69
"Pursuit 1", "Pursuit 2", "Pursuit 3" by No Boundaries.

I DREAM OF WIRES is a forthcoming documentary film about the history and resurgence of modular synthesizers. The film is currently in production. This is the 4th in a series of extended interviews, which will be produced and released in various formats throughout the production, and following the release, of the film. I DREAM OF WIRES extended interview segments are sponsored by MATRIXSYNTH (m.matrixsynth.com).

Catch I DREAM OF WIRES' showcase at Mutek Montreal 2012: Saturday June 2 @ Satosphere, with live performances, all incorporating modular synthesizers, by Sealey/Greenspan/Lanza (Orphx/Junior Boys), Keith Fullerton Whitman (Kranky/Editions Mego), Solvent (Ghostly International/Suction Records), Clark (Warp Records), and Container (Spectrum Spools).

For info on the film: facebook.com/idreamofwiresdocumentary
--------------

En avril 2012, l’équipe de I DREAM OF WIRES a fait escale au studio du légendaire producteur de Détroit Carl Graig, pour une longue discussion sur ses influences musicales, ses expériences en tant que producteur, et notamment sur son intérêt récent pour les synthétiseurs modulaires Eurorack. On peut retrouver ses expérimentations sur le maxi “Modular Pursuits” paru en 2010, sous son alias No Boundaries.
Plus d’infos sur Carl Craig : carlcraig.net

Musique, utilisée avec la permission de Planet E : planet-e.net
"Desire" by 69
"Pursuit 1", "Pursuit 2", "Pursuit 3" by No Boundaries.

En cours de production, I DREAM OF WIRES est un film documentaire sur l’histoire et le renouveau des synthétiseurs modulaires. Une série de cinq interviews long format seront aussi produites et diffusées pendant et après la réalisation de ce documentaire. Elles sont sponsorisées par MATRIXSYNTH (m.matrixsynth.com).

N’oubliez pas la soirée ‘I DREAM OF WIRES’ à MUTEK Montréal le samedi 2 Juin à la Satosphère ! Ode aux performances live intégrant des synthétiseurs modulaires, elle sera menée par Sealey/Greenspan/Lanza (Orphx/Junior Boys), Keith Fullerton Whitman (Kranky/Editions Mego), Solvent (Ghostly International/Suction Records), Clark (Warp Records), et Container (Spectrum Spools).

Plus d’infos sur le film : facebook.com/idreamofwiresdocumentary"

MATRIXSYNTH-P

Update: it looks like there is enough interest for MATRIXSYNTH-P to launch. If anyone is interested in a post, send email to matrixsynthp@gmail.com. Note anyone is welcome to post including dealers and manufacturers. Remember, P is extra and does not change anything on M, B, or C. They will continue on as usual.

Original post:
Quick question: Is anyone interested in a paid listing site? Currently M is about synth spotting, B is auction overflow, and C is music from readers of the site. P would be a paid listings site for private items for sale, upcoming gigs, or for promoting/posting whatever you want for that matter. It would be very similar in format to M, B and C with some key differences. Aside from being a paid listings site, the right would be dedicated to premium listings, and there would be a header section on top to filter by category. You can see an empty template here: MATRIXSYNTH-P. How much would a post cost? $3 per post and $5 for a premium post which would also get placement on the right of the site and go up on MATRIXSYNTH Twitter and Facebook. All posts will go up in a section on the top right of M, B, and C. This could change to premium posts only depending on how much goes up. Why charge for it? I'm busy enough on M, B and C. P would be extra and I think people could find it useful in selling items, putting up want ads, and promoting gigs and other things. And of course it helps support the time it takes to run all sites. Note, M, B and C would remain the same and posts on P could make it to M, B or C if they meet the criteria. Also posts previously featured on M could be re-posted on P if paid for. If you think you might be interested in using the new site's services please vote.




To post on P you would submit the following for review to matrixsynthp@gmail.com:

1. Title: Title you want for your post.
2. Body: Text you want in the body of the post.
3. Media: images or links to video and/or audio (you will need to host them yourself on SoundCloud, YouTube, Vimeo or other). Images can be hosted on P and videos and audio can be embedded using any of the services mentioned.
4. email contact info if necessary (for items for sale). The email alias (not the full address) can be used as a label for the post. This will allow sellers to build a reputation and allow buyers to filter posts by sellers to review feedback left in comments.

Note listings would be similar to Criagslist in that they are 100% between the buyer and seller. MATRIXSYNTH assumes no responsibility and cannot vouch for either the buyer or seller. The site will be a simple paid listings site. However, you will be able to review and leave comments in posts and you will be able to filter by seller alias labels. Of course any bad seller can just create a new alias and email address, but this would be the same on other sites.

Although you can submit anything for a post, there will be a bar including no hate, discrimination, illegal file sharing and the like. The bar will be pretty open to start though, as it would be interesting to see what sort of things come in. The best way to find out if it meets the bar is to send it in. If you have something you want to go up now, by all means, do send it in. It just takes one post to get it started and you could be the first.

'Milk Milk Lemonade' - ngarjuna

Published on Mar 14, 2017 ngarjuna

A new video from matrixsynth member ngarjuna, featuring some synth spotting - details below.

"Fudge is made!
Modular Jam 69 - 'Milk Milk Lemonade'
Produced by ngarjuna
© 2017 Acid Coast

There's still time to grab a FREE copy of ngarjuna's latest album 'Clickbate'!
ngarjuna.bandcamp.com

Patch Notes (a bit more vague than usual):
Drums
Main drum parts in Arturia Spark & iSpark
Fills in Kymatica Sector (Funky Drummer samples made in Rayzoon Jamstix) filtered by Cytomic The Drop

Acid Voices
Abstrakt Instruments Avalon
The LFOs is my fingers
Occasionally subjected to ProCo Rat treatment

Bass
Rubicon Pulse (PWM modulated by pitch CV) and Sigmoid to Omsonic RNF
RNF modulated by ADSR2, Octocontroller and PEG (OR)
to uVCA enveloped by ADSR1

Chirpy McChirp
Sequencer 1 driving Rubicon into Polaris Bandpass modulated by Octocontroller and Sputnik 2 (TRI)
Into Omsonic RNF Bandpass modulated by PEG and Octocontroller
into uVCA enveloped by ADSR1

Plucky McPluck
Typical ngarjuna west coast patch:
Rene driving STO and Sputnik 2 and striking Optomix
Sputnik gently FM'ing STO modulated by Octocontroller
Wogglebug modulating SHAPE
Optomix enveloped by Maths

Throaty Bridge Sound
Actually just a variation of the 'usual west coast' patch
STO FM'd by Sputnik SUB
Into Optomix enveloped by Maths
Something is modulating the SHAPE...I don't recall...maybe PEG...probably Octocontroller

Delay Hash
Running Chirpy McChirp through the Eko Delay at RATE settings that bug out the chip then modulating the RATE with some Wogglebro

Vocals
Synthvocalator via Uhe Diva and Zynaptiq Morph and Cytomic The Drop"

WEST// - West-coast Style Monophonic Synthesizer for Reaktor

"WEST// is a west-coast style monophonic synthesizer.
Since there aren’t too many of this kind of synths available for Reaktor I decided to try to create something. WEST// was inspired by the sounds of the Buchla modules and the semi-modular workflow from the ARP 2600 synthesizer.
It contains a Complex Oscillator (FM based dual-oscillator), a filter similar to a low-pass gate, 2 ADSRs, 1 Multi-Stage envelope, Noise generator, 3 VCAs, 2 mixers, 1 sequencer, 2 random modules inspired by the Source of Uncertainty, 2 regular LFOs, 1 Self-Influenced Random module, a frequency shifter and a Wave Multiplier.

The workflow on it is a bit particular so here are a few tips to get started:
- The VCA 1 is linked to the Master output and it’s always controlled by the ADSR 1.
- The sliders available on the Complex Oscillator behave as offsets when there’s no Modulation selected. Once you select a modulation source, the sliders turn into attenuators for the incoming modulation signals.
- Shape 1 and 2 are a bipolar slider

I’ve also created some custom sliders with a particular color scheme (inspired by the Buchla Easel):
Gray Sliders - Control Voltage
Blue Sliders - Audio Signals
Yellow Sliders - Time-based controls
Green Sliders - Audio Modifiers
Orange Sliders - Sequencer

The Self-Influenced Random (SIR) module is a special S&H circuity that can take the CV output of the S&H to control the frequency of the clock oscillator used to trigger the S&H. The SIR CV output is available in almost all of the CV inputs spread throughout WEST// however I've also added gate outputs which can be used to trigger the 3 envelopes.

There are still many other feature I wanna add to WEST// however this is a pretty solid 1.0 version.

"If I have seen further than others, it is by standing upon the shoulders of giants."

WEST// uses a couple of previously programmed parts:
- Wave Multiplier by Sandy Small and Kim Boestrom
- Frequency Shifter by Sandy Small, Sean Costello, and Jesse Voccia.
- Spring Reverb by Boscomac
- Source of Uncertainty by ReaktorTips.com
- Low Pass Gate by arachnaut

Presets were created by Ícaro Ferre and Mattheus Chediak.

WEST// was created by Ícaro Ferre
http://icaroferre.com
http://spektroaudio.com/"

http://www.native-instruments.com/en/community/reaktor-user-library/entry/show/8123/

via Icaro Ferre on The MATRIXSYNTH Lounge

Win a Vintage Restored OSCar From Novation! - Timeline of Synths by Designer Chris Huggett

Novation has created a fantastic timeline of synths that were designed by and with Chris Huggett. Not only was he the mastermind behind Novation's line of synths, but also EDP (Electronic Dream Plant) and the Oxford Synthesizer Company OSCar.

"Most people know him as the genius behind Wasp and OSCar, the legendary monosynth from Ultravox's Love's Great Adventure, Stevie Wonder's Skeletons, and Jean-Michel Jarre's Revolutions Overture.

Chris' synths have been used by everybody: Orbital, Ultravox, Tom Yorke, Trent Reznor, Dire Straits, Pink Floyd, Genesis, Stevie Wonder, Jean Michel Jarre, Keith Emerson- the list is endless. His heritage synths are sought across the world, and sell for upwards of £5000.

He is a true synth legend. He is also our synth designer. Every Novation synth has been conceived, shaped and refined by his passion and expertise, which spans five decades. To celebrate that, we're giving away an OSCar!"

Click here for the timeline and how to enter. I captured the timeline of synths below for the MATRIXSYNTH archives. It's not as nice as Novation's timeline so be sure to see it there while it's up!

CLICK FOR MORE »

The Room of Sound

The Room of Sound from musi_arch santacecilia_sapienza on Vimeo.

"From March 5 to 20, 1977, in the Rome National Gallery of Modern Art was held from the 14th Festival of Nuova Consonanza, an association of musicians and composers congregated around Franco Evangelisti, responsible for the practical organisation of the Festival was Vittorio Consoli, engineer, music lover and enthusiastic investigator of the relations between space and sound. For 15 days in the main concourse of the National Gallery, experimental studies were made on the interaction between space and music and between musicians and computer, using compositions by, among others, Mauro Bortolotti, Domenico Guàccero, Aldo Clementi, Franco Evangelisti, Luigi Nono, Alessandro Sbordoni, Edgard Varèse, Leo Küpper and Giorgio Nottoli. The concourse of the Gallery is an exceptionally reflective space, totally non-musical. A huge acoustic dome made up of 100 loudspeakers, fed by the same number of audio channels, was created by Vittorio Consoli, with invaluable assistance from Leo Küpper, and wrapped up in a cloud of coloured aerostatic balloons, which were not fully inflated, and which gave the hall the acoustic properties required and also lent to the event an extraordinary sense of festivity surrounding the musical experimentation; this spirit can perhaps still be seen in the old black and white photos of the event and is still visible in the image we have of the main protagonists – Franco Evangelisti, Leo Küpper and Vittorio Consoli. Given the date, this was no virtual experiment in spatialisation, but a real-time musical event: the sounds, generated by an impressive analog computer, could be transmitted towards each of the loudspeakers and switched from one to another by a hand-made mixer. The most famous precedent for all this was, of course, the Philips Pavilion at the 1958 Brussels Expo, the masterpiece of Le Corbusier and Xenakis, animated by the Poème Electronique of Edgard Varèse. However, the most striking precedent was without a doubt the musical sphere constructed for the 1970 Osaka Expo by Karlheinz Stockhausen. Here the composer established the iconic quality of contemporary absolute music, an icon which subsequently symbolically adorned his grave monument. The project we are presenting here, the Stanza del Suono (Room of Sound) can be seen therefore to follow the path of a great contemporary music tradition; today we can avail ourselves of the innovations of computer technology, which allow us to organise the emissions of sound in space in a genuinely contrapuntal fashion, as Vittorio Consoli would say. The spatial evolution of the sounds thus becomes part of the decisions that the composer arranges within his creative system, to quote Schumann. The musical scores are able to not only specify precisely the limitless paths through space traced by the sounds, but also to envisage the ‘unknowns’ involved in the immediate, real-time interaction between sound and space, and between the musicians and the computer program. In this way, this new project of ours is not merely a place for listening to music, but also a place for creating and processing music in a continuous interplay between, space, music, sound, musicians and audience. The project aims at producing a new, long-term, functional acoustic and spatial device that can be employed by all
those engaged in electro-acoustic music research. It was built upon a body of work consistently carried out at the Conservatory of Santa Cecilia in Rome, in its Department of Electronic Music, up till now directed by Giorgio Nottoli, and is the result of a close collaboration with two Departments of Rome Sapienza University: the Department of Architecture and Design, under Piero Ostilio Rossi, and the Department of Architectural History, Design and Restoration, directed by Paolo Fiore. The idea of setting up a permanent cooperative research area between musicians and architects, on the theme of ‘Music and Architecture’, and of including it in the agenda of Emufest, the International Festival of Electro-acoustic Music, originated in 2011 in the insights and enthusiasms of composer Fabio Cifariello Ciardi and architect Luca Ribichini...[...]"

via Francesco Synth Meeting Mulassano on The MATRIXSYNTH Lounge

The Ciat Lonbarde Peterlin - Peter Blasser Meets Benjolin

Chaos Patterns with the Ciat-Lonbarde Benjolin / Peterlin Synthesizer

video upload by Duskmos

Note the "Peterlin" made it's first appearance with Hainbach on May 7 here on MATRIXSYNTH. This post features a few examples from others, and additional details and pics below.

Above: "In this Signal Colors Palette video, I'm taking a first look at the Ciat-Lonbarde Benjolin / Peterlin, a tiny wooden synth featuring a nod to synthesis history by putting the focus on sound creation with a circuit design inspired by the 'Rungler' by Rob Hordijk.

Hang out while I coax some cool sounds from this wildly experimental sounding synth!"

Quirky little groove machine: Ciat-Lonbarde Peterlin first impressions

video upload by NoctopolisMusic

"Listen to albums, download tracks and support me at https://noctopolis.bandcamp.com/
I was lucky to get a Ciat-Lonbarde Peterlin (why not Blassolin though?) from the first batch at PatchPoint and these are clips from my first don´t-know-what-I-do-sessions with it. First one: solo. Second one: with Lorre Mill Double Knot 3. Third one: with Moog Subharmonicon."

Ciat Lonbarde Peterlin meets Serge VC Resonant Equalizer

video upload by La Synthèse Humaine

This is the first post to feature the Peterlin.

"first patch ring modulates peterlin xor to vcfq with a sine wave - both controlled by rungler. this is mixed with the peterlin audio output in the vc res eq and its bands get modulated by various peterlin outputs

second and third patches have a bit less and a bit more going on... all gets a little confusing and knotted up

check out my newest album Contraluz here: https://critiqueofeverydaylife.bandca..."

"Dressed in their signature banana jack-laden wooden enclosure, the Peterlin is Ciat-Lonbarde's take on the Benjolin: a tribute to the synthesizer designs of Rob Hordijk. Deceptively simple in appearance, the Peterlin is a highly interconnected instrument containing two oscillators, a resonant lowpass filter, and Peter Blasser's take on the infamous Rungler circuit. Clocked by one oscillator, the Rungler is a shift register feeding upon not only its own output, but also listening to the output of the other oscillator to further influence its data with feedback chaos. As the Rungler's CV output is then fed into the oscillators and filter, a range of hefty drones and chaotic noise is possible. Of course, the Ciat-Lonbarde take on this classic experimental instrument is filled with its own mysteries.

CLICK FOR MORE »

Eduard Artemyev, Coil, and the ANS Synthesizer

Mr. Array wrote in after coming across this gem. "I think the original score was written in the 70's, so the photos of the Emulator and such are a bit anachronistic. Cool track. This theme was later remixed in 2001 by the group PPK"

Eduard Artemyev - Siberiade theme

YouTube via gobodrodiont

"Эдуард Артемьев - музыка к фильму Сибириада"
"Eduard Artemiev - music for the film Sibiriada"

After a little digging Mr. Array found an interesting bit of history regarding Eduard Artemyev. He was one of the few composers that used the ANS Synthesizer.

Regarding the ANS via Wikipedia [per GNU Free Documentation License]: "The ANS synthesizer is a photoelectronic musical instrument created by Russian engineer Evgeny Murzin from 1937 to 1957. The technological basis of his invention was the method of photo-optic sound recording used in cinematography (developed in Russia concurrently with America), which made it possible to obtain a visible image of a sound wave, as well as to realize the opposite goal - synthesizing a sound from an artificially drawn sound wave.

In this case the sine waves generated by the ANS are printed onto five glass discs using a process which Murzin (an optical engineer) had to develop himself. Each disc has 144 individual tracks printed onto it, producing a total of 720 microtones (discrete pitches) available to the user. These are arranged vertically from low frequencies at the bottom to high frequencies at the top. The convolved light is then projected onto the back of the synthesizer's interface.

This consists of a glass plate covered in opaque black "mastic" which constitutes a drawing surface upon which the user makes marks by scratching through the mastic, and therefore allowing light to pass through at that point. In front of the glass plate sits a vertical bank of photocells which send signals to band-pass amplifiers, each with dB trim switches.

The glass plate can then be scanned left or right in front of the photocell bank in order to transcribe the drawing directly into pitches. In other words, it plays what you draw. This process can be aided with a step geared motor drive (strangely similar to an engineering lathe) or can be performed manually. The speed at which the score scans has no relation to pitch, but serves only as a means of controlling duration. The ANS is completely polyphonic and will generate up to all 720 of its pitches simultaneously if required.

CLICK FOR MORE »

GillesParenteau Virtual Symphony (Bach Cello Suite #1 and Ave Maria)

YouTube Uploaded by MrGillesParenteau on Oct 21, 2011
Two additional videos below.
"Thanks to my son Michael Parenteau for the filming,to my wife Carmen and my son Christopher for their help, to Kasper Naef for the mechanical engineering, to John Tucker for the sound mixing and producing and to Roland Canada for their continuous support.

Gilles Parenteau new YouTube video on a quest to reintroduce the art of playing the organ.
For more info go to: gillesparenteau.com

"A 2000 year-old tradition worth saving."

Mozart called the pipe organ: "the king of all instruments."
Gilles Parenteau may use electronics instead of pipes but keeps the tradition of playing the organ alive by playing with both feet and hands and not using any pre-recordings so that his performance remains 100% live.

CLICK FOR MORE »

Zn'shñ : Butoh sweets (video of electronic soundtrack studio recording)

Don't miss znshn's new release "Butoh sweets" posted on MATRIXSYNTH-C.
YouTube via znshn | June 30, 2010 | 4:03

"Electronic soundtrack recording by Zn'shñ for its "Butoh sweets" work.

A full electronic soundtrack accompanying the eponymous silent movie inspired by Butoh performances & iconography — realized by Elvire Bastendorff & Franck Smith. The disc "Butoh sweets" (adventures in dance, flour & colours), interlaces subltle noise machinery, refined glitchy pulses & sophisticated bitcrushing, to create an inedit composition full of passion for darkness. A work dedicated to Butoh founder Hijikata Tatsumi (1928-1986).

*CD available on ‪‪http://www.odiolorgnette.com‬‬ & audio extracts on http://soundcloud.com/francksmith‬‬ 
IF POSSIBLE USE HEADPHONES OR CONNECT YOUR COMPUTER TO A QUITE DECENT SOUND-SYSTEM.



Material in this video: • Biscuit (by Oto Machines) • 2x Sleepdrone 5 (by King Capitol) • Kaossilator Pro (by Korg) • Restyler (by Sherman/Rodec) • Kaoss Pad KP3 (by Korg) •Space Echo (Boss RE-20) / The disc also include Sherman Filterbank 2 & Moog Bass Murf (MF-105b) -- both not shown in this video.

http://www.odiolorgnette.com
http://znshn.blogspot.com
http://elvirebastendorff.net
http://twitter.com/franck_smith

Complete video selection on http://www.youtube.com/znshn

Discographic works by Zn'shñ: http://www.odiolorgnette.com
* Zn'shñ, "Butoh sweets" (July 2010)
* Zn'shñ, "II" (September 2009)
* Zn'shñ, "++" (April 2009)

Operating as a dual noise-manufacturing unit, specialized in electronics, Zn'shñ is designed for soundtrack production, live performances and audiovisual works. Created by Elvire Bastendorff & Franck Smith.

........................................
Zn'shñ, "Franck Smith", "Elvire Bastendorff", double electronic music, Sleepdrone, Odiolorgnette, Kaoss Pad, Kaossilator Pro, Korg, Sherman, Rodec, Restyler, Biscuit, Oto Machines, 8-bit, Analog Filters, king capitol, space echo, noise manufacturing, Hijikata Tatsumi , Butoh dance"

What is Krell? Louis & Bebe Barron - Ancient Krell Music (Forbidden Planet) & More

video upload by SoundtracksForLiving

You'll often see videos with references to "Krell" patches. Where did the reference come from? The 1956 film Forbidden Planet and specifically the sounds created for it by Bebe and Louis Barron. The Krell was the intelligent alien race in the film. The above is a playlist I found of various Krell style compositions starting with "Louis & Bebe Barron - Ancient Krell Music." The actual style of composition is considered Musique Concrete which began in the 1940s, much earlier than the film.

"Musique concrète (French pronunciation: ​[myzik kɔ̃.kʁɛt], meaning 'concrete music') is a genre of electroacoustic music that is made in part from acousmatic sound, or sound without an apparent originating cause. It can feature sounds derived from recordings of musical instruments, the human voice, and the natural environment as well as those created using synthesizers and computer-based digital signal processing. Compositions in this idiom are not restricted to the normal musical rules of melody, harmony, rhythm, metre, and so on. Originally contrasted with 'pure' elektronische Musik (based solely on the production and manipulation of electronically produced sounds rather than recorded sounds), the theoretical basis of musique concrète as a compositional practice was developed by Pierre Schaeffer, beginning in the early 1940s."

And on the soundtrack for Forbidden Planet via Wikipedia:

"Forbidden Planet‍ '​s innovative electronic music score, credited as 'electronic tonalities,' partly to avoid having to pay any of the film industry music guild fees,[citation needed] was composed by Bebe and Louis Barron. MGM producer Dore Schary discovered the couple quite by chance at a beatnik nightclub in Greenwich Village while on a family Christmas visit to New York City; Schary hired them on the spot to compose his film's musical score. While the theremin (which was not used in Forbidden Planet) had been used on the soundtrack of Alfred Hitchcock's Spellbound (1945), the Barrons' electronic composition is credited with being the first completely electronic film score; their soundtrack preceded the invention of the Moog synthesizer by eight years (1964).

Using ideas and procedures from the book, Cybernetics: Or, Control and Communication in the Animal and the Machine (1948) by the mathematician and electrical engineer Norbert Wiener, Louis Barron constructed his own electronic circuits that he used to generate the score's 'bleeps, blurps, whirs, whines, throbs, hums, and screeches'.[12] Most of these sounds were generated using an electronic circuit called a 'ring modulator'. After recording the basic sounds, the Barrons further manipulated the sounds by adding other effects, such as reverberation and delay, and reversing or changing the speeds of certain sounds.[21]

Since Bebe and Louis Barron did not belong to the Musicians Union, their work could not be considered for an Academy Award, in either the 'soundtrack' or the 'sound effects' categories. MGM declined to publish a soundtrack album at the same time that Forbidden Planet was released. However, film composer and conductor David Rose later published a 7" (18 cm) single of his original main title theme that he had recorded at the MGM Studios in Culver City during March 1956. His main title theme had been discarded when Rose, who had originally been hired to compose the musical score in 1955, was discharged from the project by Dore Schary sometime between Christmas 1955 and New Year’s Day. The film's original theatrical trailer contains snippets of Rose's score, the tapes of which Rose reportedly later destroyed.[22]

The Barrons finally released their soundtrack in 1976 as an LP album for the film's 20th anniversary; it was on their very own Planet Records label (later changed to Small Planet Records and distributed by GNP Crescendo Records). The LP was premiered at MidAmeriCon, the 34th World Science Fiction Convention, held in Kansas City, MO over the 1976 Labor Day weekend, as part of a 20th Anniversary celebration of Forbidden Planet held at that Worldcon; the Barrons were there promoting their album's first release, signing all the copies sold at the convention. They also introduced the first of three packed-house screenings that showed an MGM 35mm fine grain vault print in original CinemaScope and stereophonic sound. A decade later, in 1986, their soundtrack was released on a music CD for the film's 30th Anniversary, with a six-page color booklet containing images from Forbidden Planet, plus liner notes from the composers, Bebe and Louis Barron, and Bill Malone.[21]"

So now when you see a Krell patch posted here on MATRIXSYNTH, you'll know exactly where the reference came from; Bebe & Louis Barron, in 1956, for the film Forbidden Planet.

MATRIXSYNTH by fischek

flickr by fischek
(click for more gear)

full size

Waldorf Blofeld

MATRIXSYNTH By...

thanks fischek!

Beteo Pod by MilesCosmo

Posting here on M for the synth art.  Enjoy the music!

via Bandcamp (some gear notes below):
"Venture through an analog wonderland of organic flesh landscapes with bleeding horizons and waves of skin. Plug in your nerve jack and melt into the bioelectrical pulse.
credits
released 03 July 2013
Music composed, produced and mixed by MilesCosmo
Cover Art by Gemma Flack
Mastered by Liam Deluchi
CD Mastering by MilesCosmo"

via Miles Philip on The MATRIXSYNTH Lounge:

"I'm new to The Lounge but I've been a reader of MATRIXSYNTH for years. I just finished working on my latest album, Beteo Pod, and thought the MATRIXSYNTH community might be interested. The album was recorded using a Virus TI2, Moog Minitaur, DSI Tetra, Ensoniq VFX-SD, Yamaha CS-10, and a Roland MKS-70 Super JX. I also used U-he's Zebra 2 and Stylus RMX for beats. I hope you enjoy what you hear."

The synth art reminds me of a root creature with patch cords for extended roots!

Matrixsynth by fischek

click on the image and look at the patch name.

flickr by fischek (click for more shots of the JD-800)

Roland JD-800

Previous Matrixsynth by posts

Reon Driftboxes SE, J, and W

REON drift boxパフォーマンス Published on Mar 9, 2016

Note the video above is from March in 2016, so these are not technically new. Reon gear tends to be promoted via Japanese channels. As you can see their website is primarily in Japanese only.  They also do a bit of one off and customized gear. Check out the pink one!

Previously featured Reon driftboxes included the driftbox S, S ver II, R, Q, V, E, C, T, and G announced here, back in 2013. There were also modular versions and a Roland branded DriftBox R model announced in 2015. You can find demos and pics via the Reon label here.

BTW, the different spellings and capitalizations I'm using for Driftbox is on purpose. Roland branded it DriftBox with a capital D and B, and Reon interchanges between driftbox, all lowercase, and Driftbox with the capital D. I have also seen it as Drift Box.

That said, not featured here on MATRIXSYNTH before now, are the driftbox SE, J, and W. The following are some details Google translated from Reon.

driftbox SE 4 Voice-8 Paraphonic Synthesizer

CLICK FOR MORE »

NYZ - DSP TRX / PPLZ SYNF

Two new releases from NYZ, aka Noyzelab, who's work has been featured here on MATRIXSYNTH numerous times (see the previous two posts). Noyzelab is both a musician and a maker of some pretty esoteric gear. He has worked with Richard D James of Aphex Twin, Chris Watson, Oren Ambarchi, amongst others.

"David Burraston returns for his third release at P / Psi / P, the mindmelting 4-hour DSP TRX. His second 4xCD-R set in our catalog, after the equally monolithic PPLZ SYNF.

DSP TRX is sometimes manic, turning itself into shapes that seem impossible or unfathomable, and at other times it becomes more stable, barely moving like a deep pool beneath an occasional wind gust. As is Burraston's custom, DSP TRX delivers its most potent and stimulating moments after the sounds themselves have sustained long enough to remove your awareness of time as a reference point. Not quite drone, not only synthesizer music, but wholly a displacing other. The shuddering tone fields stretch out for miles, expanding forever, and then contract again into more observable sections, like a muscle. We're never certain if we're hearing feedback with mathematically-divided holes poked in it, or a radio custom-built by Burraston that tunes into millions of digital bubbles, following traced lines toward a central frequency of his own devising. DSP TRX is both bright and dark, a dramatic rapid tremolo of silence and noise, infinitely revolving, inverting and slowing down - or is it speeding up? Once again, Burraston delivers proof that he is not operating on our plane of reality, or the neighboring ones, but above them all, in an undefined place outside time, space and everything in between.

DSP TRX is available as an edited digital edition (2 tracks) or as a full four-disc/16 track excursion. An unabridged digital release will follow later at Boomkat.

released March 27, 2018

W/P by David Burraston. Recorded March & September 2017 onto 2 tracks / edited December 2017 at Noyzelab. Custom programmed in Spin FV-1 Assembler using the Tiptop Audio Z-DSP Eurorack module and Numberz programmer. All recordings were made direct from the Z-DSP outputs, with minimal post processing other than a slight bit of EQ and stereo placement.

Instruments: 2x Braids Macro Oscillators, ALM Akemie's Castle, Tiptop Z-DSP & Numberz, SpinAsm FV-1 DSP Assembler, MOTU UltraLite-mk3 Hybrid, Apple iMac 2.93GHz Intel Core 2 Duo 4GB RAM / Logic Pro 9.

Thanks to Tiptop Audio for the Z-DSP and Numberz programmer (www.tiptopaudio.com/z-dsp/ ) Matthew at ALM for the Akemie's Castle (www.busycircuits.com/alm011/ ) Braids custom dark face build by Finlay Shakespeare (www.twitter.com/FinShakespeare )"

"David Burraston returns to Psøma Psi Phi with possibly his most expansive release to date - PPLZ SYNF. A gigantic 3.5 hour work consisting of seven pieces created using an ongoing self-build (as Burraston notes) of the Serge/CGS Paperface analog synthesizer, in conjunction with a custom built modular rig. Laid to digital disk space at Burraston's Noyzelab studio in August, PPLZ SYNF is a monolith of drone synthesis that absorbs the listener into some kind of greater collective metaconsciousness. It is both an impressive exercise in longform drone music, and an immersive and hypnotic atmosphere that confounds the mind, transfiguring your surroundings from its unique and singular perspective. A monument, literally and figuratively, in the sound field, etched and erected by a master of the craft.

Given the scope and size of such a release, PPLZ SYNF has been committed to a very special, and very limited, triple-cassette set, housed in a dustproof binder. These are extremely finite and assembled by hand in every possible way, making no two copies exactly alike. The digital version available at Bandcamp consists of cuts from the first of the three tapes, while the full release is spread across two 60-minute tapes and one 90-minute tape.

UPDATE 2018.03.04: The 4xCD-R reissue is now stocked at Norman Records in the UK www.normanrecords.com/records/169774-nyz-pplz-synf
credits
released November 14, 2017

W/P by David Burraston. Field recorded in MONO 96kHz/24bit on Zoom F8, August 2017 at Noyzelab (www.noyzelab.com). Created with Serge/CGS Paperface ongoing self build and Mutable Instruments Braids x2 custom dark face build by Finlay Shakespeare. David Burraston and the NYZ logo appear courtesy of Noyzelab. This is Psøma Psi Phi number NYZ-II, and 2nd in Burraston's private NYZ catalog. Cover design by The Analog Botanist."

Grayscale Algorhythm-Binary-Reticulating Rhythms Patch

Grayscale Algorhythm-Binary-Reticulating Rhythms Patch from Richard Devine on Vimeo.

"This patch was derived from the 'Endless Random patch' from the 'Algorhythm' manual. The main clock source was the Delptronics 'Trigger' man, taking output 1 and sending into the clock input on the first Algorhythm (left side). I then set the mode for each of the 'Algorhythm' modules to 'RAND', patching out from the clock output then into the next Algorhythm's clock input so that all three where synced to the same master clock.

The idea was to take the 8 pulse outputs and send them to other sequencers and dividers/multipliers to create morphing ever changing rhythms. The 'TriggerMan' sequencer has 8 different stored kick drum/gate patterns that would set the pulse times for all three Algorhythm modules. I wanted the clock time to always shift around, so I set one output from the Modcan Quad LFO in random stepped output into the CV control input on Trigger man (LFO 3). The Output 1 from Trigger man was split and sent to the 4ms Quad Clock Distributor input 'CLK IN' set as the master for all 4 other outputs. Second output was sent to the trigger input on Braids running in 'CLKN' mode for the synthetic hi-hats. CV output LFO 4 from the Modcan Quad LFO sent to the Division/Multi CV input on the QCD. The third output from the 4ms QCD was sent to the first LFO gate input and I then set the Quad LFO into 'Phase lock' mode which synchronizes the phase of all 4 LFOs waveforms but allows the frequency to be a division of the master LFO 1. LFO output 1 was sent to the Intellijel Shapeshifter pitch input. Output 2 was sent to the 1/volt input on the Qu-Bit Nebulæ. Output 4 was sent to the MakeNoise ErbVerb Decay control input. Output 3 stackable cable sent to the addac systems 101 .wave play into the CV loop size control input.

Output 1 from the first Algorhythm sent to the clock input on the Macro Machines storage strip, which is changing the preset snapshots of the Mungo d0 dual delay module. The 7th switch output Algorhythm number two (center) is pulsing the trigger input on the Snazzy Effects Ardcore, running custom 'Frac Drums' sketch. Dac output is being processed by the Mungo d0. The 7th switch output from Algorhythm number 1, (left side) clock input into the MakeNoise WoggleBug. Second output was sent to the trigger input on Braids running in 'CLKN' mode for the synthetic hi-hats. Kick drum was triggered by the second output on Trigger man to the Tiptop BD 808. Second switched output from Algorhythm number 2 (middle position), sent to the strike input on the MakeNoise Mysteron, creating the sporadic metallic delay percussion sounds. Output switch 3 from the first Algorhythm sent to the 'Next' sample file on the Qu-Bit Nebulæ. Switching through 8 different sample loops of processed fragments of sounds created in Reaktor. The switch output 2 from the third Algorhythm sent to the strike input on the MakeNoise Optomix, signal fed in from the output of the Shapeshifter then sent to the Audio Damage Freq Shifter, slow slight modulation from one Intellijel Dixie into the Shift input. Then finally sent to input 4 on the Submix7 mixer. Stepped output into right side 'exp' input on the MakeNoise DPO then sent to bottom input on the Optomix from the final output, being striked by the random clock burst out. This output is then being sent through the MakeNoise Phonogene, where the 'Rec' input is being triggered by output 4 from the QCD, and the Gene Size input control modulated by the stepped output from the WoggleBug.

The main sound source for broken drums coming from the addac systems 101.wave player. For this I saved 10 versions of the same loop, and did slightly different processing to each loop. I then went into each loop and inserted silence in different sections to create more broken patterns and playback. Drum loops 3, 6, and 8 had heavy delay feedback processing to breakup the repetitions with bursts of delay feedback effects throughout the rhythmic sequences. The output was split into two sources. One output was sent to a Intellijel HexVCA being erratically controlled by the envelope follower output on the .wav player. The VCA on the ADDAC player was also being controlled by the stepped random out on the Wogglebug. The output was then sent into the Eventide Space reverb pedal for the random throws into reverb. The other output was sent into the second input on the SubMix7 mixer as the clean unprocessed channel. The white noise coming from the SSF Quantum Rainbow running into channel number 2 on the Intellijel HexVCA then being modulated by a intellijel Dixie, ZigZag output, running at slow rates, and then re-synced by the 8th switched output on the Algorhythm. The left side Binary module was clocked by the output one stackable cable from the 4ms QCD. Logic output was then sent to the Chaos input on the Wogglebug interjecting random in time clusters of pulses.

http://grayscale.info/modules/"

via Richard Devine on The MATRIXSYNTH Lounge

SSF Propagate Micro Beats

SSF Propagate Micro Beats from joseph fraioli on Vimeo.

"patch exploring micro percussion possibilites of the steady state fate propagate module.

micro beats - achieved by running four separate clock signals into the SSF propagate (chaos computer binary outs x2 clocked by the 4MS SCM and 2 channels of the 4MS PEG clocked by the SCM and divided) . Propagate delay and space times were adjusted then the SUM output fed into a vca. one sound source (cyclebox) was used for all of the micro percussion. the vca out then went into the tiptop z-dsp with dragonfly delay card. the program changes are happening by way of wogglebug stepped output to the program change in on the z-dsp. additional modulation of the parameters of the z-dsp are coming from the synth tech e355.

kick drum - hertz donut mark 2 through the make noise optomix with a bit of an openess on the control att to create the sustained drone.

hi hat like thing - SSF quantum rainbow purple noise out into the SSF PTG with additional level adjustment by the SSF ground control. this is then fed into the grendel formant filter then the mungo d0 for timbre variance. clock source for this is the pamelas workout into the PTG which is being clocked by the 4MS SCM.

reversed maths bouncing ball - one channel of maths being clocked again by the 4ms SCM with the fall time modulated by the synth tech e355. sound source here is braids being FMed by a dixie.

main clock source for the patch was an intellijel dixie.

verb from the h8000fw :)"

via Joseph Fraioli on The MATRIXSYNTH Lounge

DCOs vs VCOs

A recent poll went up on The MATRIXSYNTH Lounge asking whether DCOs are analog or digital. DCO stands for Digitally Controlled Oscillator and in many cases they are actually analog. They are just digitally controlled. I remember the debate coming up frequently on the Analogue Heaven mailing list so I did a quick search and found the following from the late Jürgen Haible. He was an extremely respected synth DIY designer who's work is frequently featured on the site to this day.  I thought I'd share it here on the site as well.  Note the bits preceded with  > are from someone else.  JH is the rest.

">
>>There are different types of DCOs.
>>An analog oscillator, whose frequency is synced to a digital clock. Thus
>>the tuning is perfectly, but the waveform is smooth.
>>Example: Oberheim Matrix 1000, Matrix 6/6R
>
>My M-6 can really get out of tune sometimes (not often though). Perhaps it
>only syncs when you use the "tune" function?

I always thought it's the (resonating) *filter* that is tuned on request.
The DCOs are locked to clocks as said in the original mail.

>>A digital circuit, which aproximates analog waveforms as step functions in
>>hardware, the bit resolution gets worse the older the gear is.
>>Example: Korg Poly-800, Bit-99
>
>The DCO's in these should rather have been labled DO's by the manufacturers
>then, as the sound is digitally generated.

IMO, there are quite a lot of nuances of VCO-DCO. Let me try and make the whole chain from "analogue" to "digital" (Though I wouldn't say strictly from "good" to "bad" ;->)

(1) free running analogue oscillator, controlled by analogue voltage divider keyboard. (Minimoog, ...)

(2) free running analogue oscillator, controlled by digital via a D/A converter without correction, and analogue modulation (Oberheim n-voice (?) )

(3) free running analogue oscillator, controlled by digital via a D/A converter, with autotune, scale correction and stuff, but still analogue modulation (Sequencial Circuits Prophet5 rev. 3)

(4) free running analogue oscillator, controlled by digital via a D/A converter, with autotune, scale correction and digital LFO / Sample&Hold / Glide modulation, but with analogue ADSR->VCO modulation (Oberheim OB-8).

(5) free running analogue oscillator, controlled by digital via a D/A converter, with autotune, scale correction, and all modulations including ADSR via DAC (Sequential Prophet 600).

(6) free running analogue oscillator, controlled by digital via a D/A converter, with autotune, scale correction, and all modulations including ADSR via DAC, plus automatic autotune in the background from time to time (Oberheim Matrix12 (?)).

(7) Simple Ramp-Oscillator that is synced by a counter every cycle, but with different clock/divider tree for both DCO's in a voice (Oberheim Matrix 6, EDP Wasp)

(8) Simple Ramp-Oscillator, that is synced by a counter every cycle, but with one single clock/divider tree for both DCO's in a voice (Oberheim Matrix 1000)

(9) Staircase Waveform stuff (as described in different recent mails)

(10) Wavetable stuff (also as described in recent mails)

These are the different types I know of. Maybe there are still others in between. Speaking in the word's original sense, (2) - (6) would be something like "DCVCOs" ("digital controlled VCOs") in the sense of a digital word forms an analogue voltage that controls an oscillator. (7) and (8) would be real "DCOs", cause they are still oscillators, only under the iron grip of digital clock, which makes them sound thin and lifeless. (9) and (10) shouldn't be called "controlled oscillators" anymore, perhaps just call them "DOs" ("digital oscillators") or even closer to the point, "DDs" (digital dividers) or "DS's" (digital scanners). Well, but that would go too far then.

Oh, I forgot another interesting variation:

Analogue oscillators with digital dividers / waveforms:

(11) analogue VCO with dividers (some ARP-synths - thank You Joachim, for the schematics! - and of course the Suboscillators in various VCO- based synths)

(12) 12 analogue VCOs for the 12 top-octave-semitones and digital dividers (Farfisa VIP 245, Korg PS-3x00 series)

JH."

Happy Birthday Suzanne Ciani!

Today is Suzanne Ciani's Birthday! Thought I'd put up a playlist of some of her work and appearances. Those of you that have been coming to MATRIXSYNTH over the years, will recognize some of these.  There's a Sequential Circuits Prophet-5 in the first Letterman clip, however she is primarily known for her work with Buchla.  Be sure to see the 8th video of her live at Lincoln Center, previously posted here.  That was from this April!  Needless to say Suzanne Ciani is a HUGE inspiration to all of us that are diehard about synths.

Happy Birthday Suzanne Ciani!

Playlist:
1. Ciani on Letterman Show
2. 3-2-1 Contact "Noisy/Quiet: Music" (1980)
3. Omni-Suzanne Ciani
4. GE Dishwasher Production Session
5 - 7. Fifth Wave Recording Session Parts 1 - 3
8. Suzanne Ciani Live at Lincoln Center
9. 1980 Xenon pinball by Bally - gameplay multicamera edit - "Xenon pinball was manufactured by Bally in 1980 and 11,000 units were produced. The voices and music used in the game were created by electronic music composer Suzanne Ciani. Game design by Greg Kmiec and art by Paul Faris."

Pic to the left via Suzanne Ciani's official website.

The following is her current bio via Wikipedia:

"In 1974 she formed her own company, Ciani/Musica, and, using a Buchla Analog Modular Synthesizer, composed scores for television commercials for corporations such as Coca-Cola, Merrill Lynch, AT&T and General Electric. Besides music, her specialty was reproducing sound effects on the synthesizer, that recording engineers had found difficult to record properly; the sound of a bottle of Coca-Cola being opened and poured was one of Ciani's most widely recognized works, and was used in a series of radio and television commercials in the late 1970s. She is also responsible for "logo" sounds pertaining to Energizer and ABC.[2] Such was the demand for her services, that at one point she was doing up to 50 sessions a week. Her sound effects also appeared in video games (the pinball game Xenon featured her voice[3]). Such audio logos as the Coca-Cola pop and pour along with video game sound effects and more appear on the 2012 album Lixiviation (Finders Keepers) along with the only currently available excerpts from her 1975 Buchla Concert.[4]

In 1977, Ciani provided the sound effects for Meco's disco version of the Star Wars soundtrack, which was certified platinum. She added the signature electronic "swoosh" to Afternoon Delight by the Starland Vocal Band. At the time, Ciani thought the work was just a "song about spaceships".[5] Ciani scored the Lily Tomlin movie The Incredible Shrinking Woman, distinguishing her as the first solo female composer of a major Hollywood film; Lloyd Williams's 1975 experimental film Rainbow's Children; and a 1986 documentary about Mother Teresa, as well the TV daytime serial ("soap opera") One Life to Live. She also composed and perhaps best known for the 1976 Columbia Pictures and Columbia Pictures Television theme jingles. She has toured throughout the United States, Italy, Spain, and Asia.

In 1982 Ciani began to record albums in the new-age genre, characterized by a mix of electronic and traditional instruments. Her first album, Seven Waves was first released in 1982 in Japan, and was later released in her native US in 1984 through Atlantic Records. Her 1986 album The Velocity of Love, released by RCA Records, featured Ciani's best known song, the title track. In 1987 she signed to the Private Music label, which released a number of albums from 1988 to 1992, including re-issues of her first two albums. Although emphasizing electronic music in her recordings, her solo piano album Pianissimo, from 1990, became her best-selling album. Ciani ended her contract with Private Music with the compilation The Private Music of Suzanne Ciani, in 1992.

In the 1990s Ciani founded her own music label, Seventh Wave, from which she has released all her subsequent albums, which have been more classically oriented than her previous recordings. 1994's Dream Suite was recorded in Moscow with the Young Russia Orchestra, and was Grammy-nominated. 1999's Turning featured her first composition with lyrics, in the title track, sung by Taiwanese artist Chyi Yu.

In early 2006, Ciani's Silver Ship won in The 5th Annual Independent Music Awards for Best New Age Album.[6] Ciani was also an inaugural member of the Independent Music Awards' judging panel to support independent artists.[7]

Five of Ciani's albums have been nominated for Grammy awards."