Hi everyone! As you know Barry Schrader will be giving his farewell concert at CalArts on September 26. The following is the beginning of my interview with him. I opted to post the questions and answers as they come in. New QAs will get a new post so you do not miss them and they will be added to this post so we have one central post for the full interview. This should make it easier for all of us to consume in our busy lives, and it will allow you to send in any questions that may come to mind during the interview process. If you have anything you'd like to ask Barry, feel free to send it in to matrixsynth@gmail.com. This is a rare opportunity for us to get insight on a significant bit of synthesizer history, specifically with early Buchla systems, and I'd like to thank Barry for this opportunity. Thank you Barry!
Playlist:
1. Reflex Liveloop use as a sampler demo.
2. Epoch Twin Peak vs the Klangbau Twin Peak filter. Filter sound comparison.
"From 0 to 3:45 i'm filtering a square wave from the Sputnik Oscillator through the Klangbau then through the Epoch. from 3:45 to 8:40 i'm using only triggers from Mutable Instruments Grids into the audio inputs of the filters (and multing to mod a and b of the Epoch). Here, the Epoch is panned hard left and the Klangbau hard right. from 8:40 untill the end, it's back to the sputnik square and some random wiggling of both filters at onece, still panned hard left and right.
Recording is completely dry, no effects or eq. In this demo, i'm using animodule line amp as a buffered mult to split the signal going into the audio input of the epoch to also go into the peak a and peak b mod inputs of the Epoch. This is because this is similar to how the Klangbau's Tr-F1 adn Tr-F2 controls are internally wired. I am using channel two of the line amp to boost the output of the epoch because it tends to output below standard euro modular level. line amp helps boot it normal euro levels. The Epoch requires more patching for this comparison but it also has more cv inputs for modulation and is a little more flexible under cv control and is easier to fine tune with it's knobs compared to the Klangbau's joystick, which make it hard to dial in two specific filter frequencies to track with other oscillators and v/oct, although the joystick is nice for improv and performance . you might notice that the Klangbau sometimes has a little clipping or distortion. from my experience this is part of the character of the the Klangbau version, which can sound nice! it can be controlled to some extent with the input level knob. The Klangbau will consistently self resonate with the resonance all the way up, so it is capable of longer sustaining rings . the Epoch does not self resonate like this without modulation/pings."
3. Glockenspiel vs Modualr adventures in sound.
"here, i'm experimenting with running acoustic sound (glockenspiel and drum) through my synth for both audio processing and triggering sounds and events. the sound runs through the 4ms spectral multiband resonator to convert the audio into envelopes which are then converted to triggers to fire sounds in the synth and trigger random voltages (wogglebug, ura, a-149 and turing machine) which create the variety of sounds you hear. I'm using the 4ms dual dealy to create the loops. the glockenspiel loop is then going through the reflex liveloop to create the glitchy delay and pitch shifting effects. the drum loops its going the warps parasites dealy and then to clouds for more audio manipulations."
5. First 4ms dual looping delay patch - thumb piano - sound on sound loop and manual delay manipulation
6. Modular evolving random patch in progress
7. modular sketch 4-1-16 improv jam
8. modular drum break chops jam
"jamming in real time, not quantized to a clock so pardon the imperfections.
meng qi voltage memory and intellijel planar controlling the make noise phonogene. other sound sources, mutable instruments rings and sputnik oscillator, and doepfer a 110-4."
9. One module, self patched; 4ms spectral multiband resonator
10. mutable instruments rings with music thing mikrophonie and doepfer ribon controller
"audio quality isnt perfect, just a quick cell phone recording showing how these modules can be used together."
11. modualr synth sketch 2-18-16 v2
12. wave folding comparison WMD & SSF Ultrafold, MI Warps, and ES Disting MK3
"wave folding comparison between WMD & Steady State Fate Ultrafold, Mutable Iinstruments Warps, and Expert Sleepers Disting MK3"
13. wmd ultrafold random voltage krell patch
14. eurorack modular synth drum patch #1
15. Pittsburgh Modular Foundation 3.1 system "west coast" style percussive/bit crushing effect demo
"My first demo video with my Foundation 3.1 modular synth. A 'west coast' percussive patch with some sample and hold bit crushing effects demo."
The Super 8 is a 16-voice polyphonic, bi-timbral analog-hybrid performance synthesizer. Employing superior hands-on controls, an expressive 61-note weighted keyboard with polyphonic aftertouch and all the powerful, flexible and addictive sound of the UDO Audio family.
Overview
Introducing the next evolution in the Super series. At the core of the Super 8 is two independent binaural analog-hybrid synthesizer signal chains using UDO’s proprietary and proven synthesizer technology. With up to 16 voices of polyphony and two unique timbres each with their own independent effect chain, this instrument is analog reimagined. Like its larger sibling the Super Gemini, voices and timbral layers can be split, dualled, sequenced all at the touch of a single control.
Powered by complex FPGA digital oscillators, the Super 8 is decorated with expansive tonal features such as wave morphing, cross & ring modulation, bi-directional sync and an all-analog signal path to the output, inspired by the analog poysynth heavyweights of lore. Equipped with a 61-note semi-weighted keybed with polyphonic aftertouch, left hand performance controls and 256 performance and patch slots, 32 interchangeable waveforms and 16 sequences, the Super 8 balances power, playability and performance.
Sitting in between the Super 6 and the Super Gemini in size and power, the Super 8 puts the player first using high quality tactile control elements with our user-centric intuitive design philosophy that inspires exploration and sonic play. Adopting a similar true-stereo Binaural signal path with dual FPGAs and twin effects processors like the Gemini, and yet retaining the portability and road-friendly personality of the Super 6. The Super 8 will be a long time friend and partner in your adventures in sound.
Super. Evolved.
As the next evolution in the Super family, the 16-voice Super 8 sits confidently between the Super 6 and the Super Gemini. This synth is the distillation of the UDO philosophy of the power of play — with the dual cores and playability features of it’s bigger cousin, all in a more compact and simplified presentation — it’s the best of both worlds.
Duality in Sound
The Super 8 allows you to effortlessly transition between two independent synth layers, inspiring textural, deep and rich soundscapes at a touch. With UDO’s championed powerful, flexible and immediate sound, this synthesizer is designed to take you on a sonic journey.
Respected Tradition Meets Cutting-Edge Innovation
Using the tried and tested UDO framework of state-of-the-art FPGA digital architecture with archetypal voltage-controlled synthesizer technology, the Super 8 is a harmonious meeting of old and new in ideas and techniques. All contained within a no-expense-spared build with the highest quality components, The Super 8 is an instrument for life.
At a Glance
Price (RRP) € 3,749 £ 2,995 $ 3,699
Availability First units shipping July 2024
top-line spec – 16 voices (8 voice in binaural mode) – Bi-timbral – Analog-hybrid – 61 note semi-weighted polyphonic aftertouch keybed – High quality control elements
You might remember YOGGYONE 'PADWRITER'. For the launch of the new digital campaign of the French luxury brand Hermès, Yoggyone and Eklektik records created the soundtrack of the brand film "The Sound of Hermès Silver”.
"For the launch of its new silver jewellery collection, Hermès reveals its first global digital campaign, The sound of Hermès silver.
What if silver had a sound?
It is with this simple idea that Hermès approached three renowned artists and collective to create an immersive, modern and unexpected digital piece.
United Visual Artist, the British design practise, created a unique installation, in a London studio, that could “play” the sound of silver. Pieces of the new Hermès collection were placed on 16 metallic turntables, each propelled by an intricately designed cogs mechanism. Lasers scanned the jewellery and triggered a sound, to finally compose an experimental symphony.
Under the progressive hands of YoggyOne, each sound was created as a unique interpretation of the silver pieces, influenced by its shape, density, volume and weight.
Voices appear sometimes as if trapped in silver, a reminiscence of the artisans that crafted each piece by hand, in the Hermès ateliers in Paris.
The artistic performance was shot and directed by Caswell Coggins, who introduced his music video and documentary background to deliver a dramatic, powerful narrative. Shot in 35mm, the installation gained new emotional heights with deep blacks and vivid whites.
Hermès, for the first time, adventures itself in an emotive mash up of its historic silver craftsmanship with an artistic performance."
And the YouTube description:
"What if silver had a sound?
Chanting...enchanting chains, bracelets, rings; this is the sound of Hermès Silver.
Out of obscurity a series laser strikes a piece of jewellery placed on metallic turntables, then moves over it, caressing its volume, and coaxes from it its own particular voice. Chaîne d'ancre and its variations, Initiale, Parade, Osmose and Etcaetera - each of Pierre Hardy's creations find musical expression. These alien notes then join together to create an experimental symphony.
This interpretation of The Sound of Silver is a performance initiated in collaboration with United Visual Artist (UVA), the British design practise.
Director: Caswell Coggins
Music: YoggyOne
Et si les bijoux d'argent avaient un son ?
Chaînes, bracelets, bagues se mettent à chanter... et à nous enchanter.
Fendant l'obscurité, le faisceau d'un laser sonde la matière d'un bijou tournoyant sur une platine. Il en épouse les contours, en parcourt les formes, et ses caresses résonnent, sonores sur le métal. Chacune des créations de Pierre Hardy -- Chaîne d'ancre et ses variations, Initiale, Parade, Osmose et Etcaetera -- compose sa propre partition.
Ces notes dissonantes s'accordent pour créer une symphonie expérimentale.
"The Sound of Hermès Silver" a été conçu et réalisé en collaboration avec le collectif britannique United Visuel Artist (UVA).
"From The Alan R. Pearlman Foundation: A fantastic visual feast through Bill Miller's ARP Journey! (ALERT: A few strobe lighting effects for those who are sensitive.)
Musician / Recording Engineer - Producer / Filmmaker - Photographer - BILL T MILLER has been on the quest for SOUNDS and FUN ending up on a path to ARP SYNTHESIZERS starting with a TOY PIANO on his second birthday, then a bit of tinkering on his grandfather's grand piano, then scoring MAGNUS CHORD ORGAN and an ACETONE ORGAN in his early teens in the late 1960s with his band THE ELECTRIC ONION where he played guitar/bass and a bit of drums and keyboards.
By late teens (in 1975) he ended up at COLLEGE for RECORDING ARTS in San Francisco (in Golden State Recorders Studio) where he studied recording engineering production and took synthesizer classes. Walking into the first synth class revealed ARP 2600 in person..... luv at first sight.
Shortly after graduating and moving to Hollywood with hopes of buying a 2600.... reality set in and he scored a USED ARP ODYSSEY MK1 1974 model, that was purchased in late 1976. Some of the recordings you hear in this video are part of those BTM Bungalow Bill Sessions 1976-77 (although Bill had been playing music for over a decade at that point, those ARP SYNTH tapes are the earliest surviving BTM recordings in existence.)
Working in California doing recording and live sound from 1975-1980, he ended up back on east coast (where he had spent first two decades of his life.) Eventually ending up in BOSTON (1984) working at Daddy's Junky Music (selling recording and sound gear) while doing freelance sessions at studios (PolyMedia, Newbury Sound) and live sound at venues (The Rat, Bunratty's, The Channel) and starting his own semi private project studio HEADROOM.
Fast forward to early 90s... a band BTM had recorded before called CHEATER SLICKS popped into Headroom and said meet our new bass player DINA... and then pointing to BTM's ARP ODYSSEY (that he had hung onto since LA 76 era) said something like... DINA's father's company created YOUR SYNTH....meet DINA PEARLMAN... daughter of ALAN R PEARLMAN. wow. cool. We chatted a moment about how much I luved my Odyssey and she spoke very briefly of her father and some ARP adventures (mentioning Pete Townshend and more) = but then we jumped right into recording the garage punk band tracks where she nailed solid bass guitar for a raw live session.
So... jump way ahead and BTM continues creating experimental music with his own bands... Out of Band Experience (OBE), Kings Of Feedback, Drum Army, King Of Slack, Orgy Of Noise, Zonkulator and recording and photographing tons of OTHER artists (hardcore, garage, punk, metal, noise genres.) All the time digging further out into weirdo land with circuit bent toys, and custom electro acoustic instruments, and of course synthesizers. Always hanging onto that original icon ARP ODYSSEY and his Roland JX-8P and adding an ARP 2600 and modular eurorack synths and more to the mix. Active in various Boston synthesizer synthfests/meetups playing live synth concerts at the DAVID FRIEND RECITAL HALL at BERKLEE in Boston. Then he attended the "Alan R. Pearlman - Everything ARP Symposium" at Berklee finally saw DINA PEARLMAN again with her father and mother and all the ARP family in a sort of THIS IS YOUR LIFE celebration of all things ARP. A moment in ARP history that is beyond words.
Much respect to DINA PEARLMAN for the Alan R. Pearlman Foundation and ARP ARCHIVES carrying on the ARP family legacy in memory of her mother and father and all the ARP family who created and played and sold and loved ARP Synthesizers over the now 50 years. Dennis Colin and David Friend are two of the people that have contributed so much to the ARP legacy, but there are so many others who were there in essentially what amounts to the golden 70s decade of ARP that made it all happen. Now with the help of Dina's love and devotion ARP lives on and on.
Bill T Miller has always LUVED ARP and his first synth the ARP ODYSSEY is still the centerpiece and heart of his studio HEADROOM in BOSTON. Always exploring the weird sonics and basically ignoring the create a patch on a synth to simulate "real" instruments thinking and going for the outer space blip bloop sample and hold I hear a new universe of unreal electronic music.
"This video is not endorsed or sponsored by SOMA Laboratory.
From the SOMA Website about the ETHER V2:
ETHER is a kind of anti-radio. Instead of being tuned to a specific radio station, it receives all the interference and radiation that a traditional radio tries to eliminate in order to create a clean signal. It captures the radio waves “as is” from hertz to gigahertz because it doesn’t contain the tuned input circuit that filters out all frequencies except the narrow band of a specific station. This allows ETHER to perceive the invisible electromagnetic landscape that humans created unintentionally, making possible live electromagnetic field listening and recording.
"Bill T Miller Synthesizer Performance @ New England Synth Fest @ Museum of Science Boston - 08.11.22. This BTM stereophonic improv performance features a CLASSIC SYNTH array... Buchla Easel Command 208-C, Korg ARP 2600, Moog Mother-32, Make Noise O-Coast and 4MS STS Sampler & Toppobrillo MiniMix.
Video Produced/Directed/Edited by Bill T Miller Cameras: BTM & Sheri Hausey & Beth Moguel
BILL T MILLER, a chameleon of sonic exploration, is a multi-instrumentalist musician, composer, recording engineer, producer, filmmaker, photographer, artist, instrument builder and cat lover. From toy piano at two years old to starting a "band" with tennis racket guitar and trash can drums in the 60s to becoming a professional recording engineer / producer / live sound tech after graduating from College for the Recording Arts in San Francisco in 1976, his paths are always unfolding and looping. At recording college he took synthesizer courses with ARP 2600 and Emu synths and then worked (as live sound and recording engineer) in California until 1980.
Eventually ending up in Boston working as a freelance recording engineer and live sound engineer and then starting his own Headroom Recording Studios. While much of his "professional career" was devoted to recording and photographing OTHER artists, he was always working on his own weirdo music bands in the shadows. Some of these adventures include Out of Band Experience (OBE), Kings Of Feedback, Drum Army, Kings Of Slack, Zonkulator, and Orgy Of Noise with over 25 full album releases on his own DIY labels as an artist.
BTM's quest has looped back around to a nostalgic look forward incorporating ALL of the past adventures while moving sideways in time in to an unknown future think void. Living in Boston for 37 years and giving every moment to this insatiable desire to CREATE and SHARE is focus of his true path.
On the Second Thursday of every month of summer 2022, the Museum of Science teamed up with New England Synth Fest for an incredible fusion of live synthesizer performances that took over the Charles Hayden Planetarium. Experience some of the best synth musicians and visualizers from New England like never before in the immersive full dome environment of the Planetarium.
LOBBY MUSIC 7pm BILL T MILLER = outer space trip out synths 20 minute set - PLEASE LISTEN CAREFULLY.
LOBBY SYNTHFEST VENDORS ARP Foundation (Alan R. Pearman's daughter DINA will be there) & SynthCube & Stompbox Sonic & coolpix and MORE
7:30pm in the DOME three were 20 minute sets back to back for first show...
introduced by the host of MOS SUMMER THURSDAY SERIES... JAMES MONROE ! - Asha Tamirisa - LIMBC with visuals by Solid State Entity - Bob Familiar with visuals by cskonopka
+ following 1st dome show were two 20 minute LOBBY sets... - Vizzie / Oxalis (Ed Guild & Richard Tarantio) - Build (Nick Solarz)
The three lobby sets are hosted by Richard Tarantio in conjunction with Modular On The Spot Boston. Richard provided LIVE SOUND for all three lobby sets and played in a duo for the middle set.
+ 9:30pm in the DOME there was a repeat of the hree 20 minute sets back to back for second show. (see above.)
Boston Museum of Science Polage Art by Austine Wood Comarow !!!!!
Mega Thanx to NEW ENGLAND SYNTH FEST HOST... KENT LUNDBERT ! Super Thanx to MOS SUMMER THURSDAY SERIES HOST... JAMES MONROE !
Ultra Thanx to BUCHLA GURU TODD BARTON for KRELL WISDOM & FLUTE APPEARANCE via morphagene sampler.
Super THANX to BETH MOGUEL for footage. Eternal THANX as always to SHERI HAUSEY & Tippi Cat & Ziggy Cat & Mel the Cat !!!!"
"This video captures a panel discussion on The State Of 21st-Century Synthesis, held at the 2014 NAMM Show.
The panel features:
Panelists:
Gerry Bassermann
A former product specialist, voice programmer, and instrument demonstrator for E-mu Systems, Gerry Bassermann has also been an editorial contributor to Keyboard magazine, a product demonstrator for Opcode Systems and Be Incorporated, and a creative consultant to Antares Audio Technologies, Zoom Corporation, and many others. He is currently the director of North American Markets for Propellerhead Software (www.propellerheads.se). Gerry also taught electronic music composition at the University of California at Santa Cruz for twelve years.
Edmund Eagan
Audio producer, music composer, and sound designer for film and video with over 28 years of professional experience, Edmund Eagan (www.twelfthroot.com) is an award winner for scoring the animated production "The Woman Who Raised a Bear as Her Son" and as a producer for CBC's "The Health Show." Edmund has worked on countless television and radio commercials, animation series, television programs, and live multimedia events. He's been working with Dr. Lippold Haken for the past ten years in the design, development, and evolution of the Haken Audio Continuum Fingerboard (www.hakenaudio.com) and the EaganMatrix synthesizer, both of which he astoundingly demonstrates in performances at www.youtube.com/watch?v=5nq3Q4tHvHY&feature=player_embedded.
Drew Neumann
Composer/synthesist Drew Neumann (www.drewneumann.com) created the captivating music, sound effects, and voices for Peter Chung's Aeon Flux, launched on MTV's critically acclaimed Liquid Television animation series in 1991. Drew also composed music for all 84 episodes of Nickelodeon's The Wild Thornberrys and the Paramount Pictures feature The Wild Thornberrys Movie, 52 episodes of Aaahh!!! Real Monsters, along with episodes of The Grim Adventures of Billy & Mandy and Evil Con Carne on the Cartoon Network. In addition, he created sound effects for Disney's Beauty and the Beast, Rollercoaster Rabbit, and Off His Rockers, and composed music for Disney Television Animation, E! Entertainment Television's Talk Soup, and major advertising agencies worldwide. He has consulted and designed sounds for synthesizer manufacturers/distributors Tom Oberheim of Marion Systems, Studio Electronics, Dave Smith Instruments, Moog Music, GSF Agency, and many more. Drew is currently working on shorts for Renegade Animation and for Frederator's Cartoon Hangover series Bravest Warriors.
Eric Persing
Eric Persing was the chief sound designer for Roland from 1984 to 2005, programming sounds for popular hardware synthesizers including the innovative D-50. An accomplished studio musician and composer, Eric is the founder and creative director of Spectrasonics (www.spectrasonics.net), a leading softsynth company that produces Trilian, Stylus RMX, and the flagship synth Omnisphere.
Dave Smith
Synthesizer pioneer Dave Smith founded Sequential Circuits during the mid '70s and in 1977 designed the world's first fully programmable polyphonic synthesizer, the Prophet-5. He was the spearhead behind the development of MIDI in 1983, for which he received a Technical Grammy Award in 2013. Dave served as a consultant for Yamaha and Korg and was the president of Seer Systems, developer of the first professional software synthesizer, Reality. In 2002 he founded Dave Smith Instruments (www.davesmithinstruments.com), manufacturer of analog and hybrid synthesizers built in San Francisco.
Moderator: Mark Vail
Music journalist, historian, teacher, and performer Mark Vail discovered synthesizers in 1973 and bought his first in 1976. After earning an MFA in electronic music at Mills College in 1983, he served on the editorial staff at Keyboard magazine from 1988 to 2001 and has taught Propellerhead Reason classes since 2003. Mark is the author of Vintage Synthesizers, The Hammond Organ: Beauty in the B, and his latest book The Synthesizer: A Comprehensive Guide to Understanding, Programming, Playing, and Recording the Ultimate Electronic Music Instrument (Oxford University Press USA, 2014, http://global.oup.com/academic/produc...)."
David Vorhaus Analogue Electronic Music 1979 Published on Sep 13, 2009 JeffreyPlaide
Update: Festival info further below. Thought I would start with a couple of videos featuring David Vorhaus.
"In this historical video excerpt, David Vorhaus talks about two of his analogue inventions - the MANIAC analogue sequencer, and the Kaleidophon from 1979.
The MANIAC (Multiphasic Analog Inter-Active Chromataphonic (sequencer)) was an analogue sequencer having variable step lengths, and the ability to split sequences into several smaller groupings giving considerable sonic potentiality. Addition and subtraction of events was possible, as well as the possibility to chromatically correct the output during performance. David could program his MANIAC sequencer to play a background rhythm or combination of musical events, to then improvise over the top with another instrument or synthesizer.
The Kaleidophon was a double-bass-like instrument using four velocity-sensitive ribbon controllers instead of strings. The instrument is played entirely using the left hand, leaving the right hand free to manipulate the sound via a number of controllers and a joystick.
David speaks about the processes of making electronic music, and the developments that such possibilities can provide for the imaginative electronic musician. This excerpt is taken from the BBC 1979 documentary entitled "The New Sound of Music" hosted by Michael Rodd."
WHITE NOISE Electric Storm in Hell [not quite Full Album]
Published on Mar 9, 2013 musick2138
"The Seventh Wave presents
White Noise - a Fifty Years Celebration of An Electric Storm & Other Sonic Adventures
Voyd - live set / White Noise - live set / White Noise - talk and q&a
Friday 14 June 2019 Doors 6.30 pm.
Curfew 10.00 pm.
The Blue Orange Theatre, 118 Great Hampton Street, Jewellery Quarter, Birmingham B18 6AD.
White Noise - An Electric Storm - Review
When White Noise's debut album, An Electric Storm, landed on Island Records in 1969, it must have sounded like nothing else. Packaged in a striking black and white sleeve that pictured a spark of lightning streaking across a black sky, this was an album that - quite rightly as it turned out - resembled as much a scientific experiment as any conventional musical document.
White Noise came into being when David Vorhaus, an American electronics student with a passion for experimental sound and classical music attended a lecture by Delia Derbyshire, a sound scientist at the BBC's Radiophonic Workshop whose claim to fame was writing the original Doctor Who theme tune. With the help of fellow Radiophonic Workshop composer Brian Hodgeson, Vorhaus and Derbyshire hunkered down at Kaleidophon Studios in Camden to pen an album that reconciled pop music with the experimental avant-garde. The result is a set of eerie, delightful songs that, for all their surface simplicity, shimmer with vestigial synthesiser swells, strange echoes, disembodied voices, and distant music-box trills.
Outside of a few equally adventurous '60s releases - the debut album from US psychedelic pioneers The United States Of America, for instance - this is pretty much uncharted territory, particularly for a major label release. On ''My Game Of Loving'', a dozen multi-tracked voices built to a panting orgasm, while the closing ''Black Mass An Electric Storm In Hell'' ushers the record to a freeform close in a clatter of freeform drums, cavernous echo and chilling, animalistic screams. Perhaps unsurprisingly, An Electric Storm would struggle to find an audience on its release, and in the following years, great leaps in synthesiser technology somewhat diminished White Noise's experimental achievements. One thing that would remain timeless, however, were the songs themselves. An Electric Storm would later become a key inspiration on bands like Add (N) To X and Broadcast, synthesiser explorers who picked through these primitive, vestigial sound experiments, took careful notes, and eventually, set out to craft their own futuristic pop lullabies.
Banco de Gaia (Toby Marks) - he will once again be accompanied by Patrick Dunn on visuals (Patrick produces visual content for Tangerine Dream!!!).
The Black Dog is a British electronic music group, founded by Ken Downie along with Ed Handley and Andy Turner. The group are considered pioneers who, along with acts like Autechre, Aphex Twin, LFO et al came to define the UK techno movement in the early 1990's.
For further information email theseventhwave@btinternet.com
This one is making the rounds. The big reveal may be coming tomorrow per the screenshot further below, sent my way via Soviet Space Child. .
Details:
"With Digitakt II, you can weave splinters of sound in stereo, ripped from the moment and brought to your fingertips for marvelous audio manipulation and beat arraying. Enjoy easy to use sample-crafting and spectacular sequencing. Preserve or distort reality as you so desire with 16 tracks ready for stereo or mono samples, or MIDI and all kinds of modular adaptability.
Key Features
• Digital drum computer & stereo sampler • 16 audio tracks all ready for stereo or mono samples, or MIDI • Swappable filters: 1 Base-width filter and then 1 from Multi-mode, Low pass 4, Comb, EQ, or Legacy LP/HP • 3 assignable LFOs per track • Delay, reverb, chorus, bit reduction, sample reduction, and overdrive per track • Updated modular workflow • Euclidean sequence generator • 128-step Elektron sequencer • Expanded memory and power • 4 × Trig modes • Song Mode create, edit & play full compositions with ease"
Here we are at the brink of a new year, the world didn’t end, we’re still thinking, walking and talking... Hmmm, maybe you don’t even remember anymore, what was that all about anyway?
It’s almost impossible to arrive at the end of another year without making a balance of all that happened throughout it’s course.
We look back and see how much we’ve learned, how much was done, how much we grew and how many more user’s trust our solutions.
We can’t express how it feels to have more and more happy users!
We’d like to take this opportunity to give you a peak of who’s at the ADDAC System Core Lab - Division A2, (we blew up A1 a few months ago, oooops, but don’t worry, we already made public that we won’t turn on the black matter device again*), so this is our current trustworthy team and a magnified peak into their personas:
Andre, who’s studying how to become an ermit in night school, works over the clock at both the start and the end of the production line, juggling together concept, circuit & panel design, emails(fewer than he should), programming, testing All modules and obsessively alligning hex nuts as some sort of odd Zen therapy ( you know we like all our nuts alligned in our panels, don’t you? ). It has also been reported that sporadically he can be seen at the local skate park busting his signature trick hardflip to crooked to nose slide switch tre flip out.
Ruben strangely seemed to have grown a third and, more recently, a fourth robotic arm on his collar bone so that, while keeping his “natural” hands free for the soldering iron and solder wire, can now hold the solder fumes extraction hose and a 1200x magnifier lens at the right place and in the perfect alignment, these new, still developing, arms run on a state of the art quantum computer the size of a penny and whose neural network have recently just learned how to roll cigarretes like no other can match.
João by now started to babble in binary code, making haikus in arrays of precisely 64 chars, compressed format. He’s running of a very yin yang diet of freshly grounded cofee and gourmet vegetable oil organic fuel, he flys a brainwave activated late model turbo charged dark green triple-engine jetpack.
Sandra does not type a letter anymore, she developed a molar purpletooth that delivers thunderbolt brain connection with minor side effects like flowing between pink dreams and nightmares at night. Among these, she reported being in a pointillism painting mingling around on the grass of an island where, while some of you and us danced in circles, yet like another later paiting, others made beautifull music from their portable sun powered modular systems enjoying a beautifull Sunday afternoon celebrating sound. Other reports tells us of horror adventures where she chases Andre irated while in it’s turn also irated waiting customers chase both of them through the dark mountains of Mordor under the all seeing eye of laptop users.
But as good or weird as all this might sound like we still have no special powers, we keep our feet on the ground, eyes on the horizon and sanity from your emails, your feedback and love. Thanks for giving us the drive to keep our spirits up, for making us believe that we’re not alone here.
We feel and share your passion towards the Modular World, towards the open Synthesizer, with a big S, the all mighty instrument, one that can give us eternal hours of Sound possibilities, myriads of combinations, structures and compositions. I believe we all just grew to love and got tangled in this never ending world.
And so we took upon us this mission, there’s never enough modules and there’s still so many possibilities to explore, may 2013 bring many more solutions...
And yes we’re not talking about any new module or announcing any release this time, although we’ll be announcing a future module every day during the first 7 days of Janury, so keep tuned to our facebook page and our website, it will start tomorrow!
We also like to note that we’re still offering free shipping on modules and accessories until January 10th.
Have a Happy New Year!
All the very best
*
ADDAC System
Andre Goncalves * Ruben De La Costa * João da Fonseca * Sandra Reit
We also would like to take the opportunity to dedicate a word for all of you waiting for the first units of the 206, 207 & 803 Modules
We know you've been waiting for a while now, we are very aware of that and in our thoughts everyday.
Our sparse reports over time may have sound that we were shipping them earlier but due to Andre’s pickiness and obsession with endless fine tunning we still didn’t. In fact we could have done so already, the modules and physically ready, but we don’t want the easy way out, oh no otherwise how could we sleep restfully with doubts on our minds about what we had just done, if it would fail or brake once they get to their new homes and warm frames... This is how we’re thinking here: these are new modules and we won’t let go of them until the fine tunning process is brought to an obsessive stage of scrutiny, testing them with all the shebang of professional tools and our ears, “in case of doubt always trust your ears”.
The best part of this stage is when we start using them in our own modulars even debutting them live and watching the cycle closing as they start “living” in their natural environment and behaving like they were supposed to and surprising us with what we expected and most times more! There’s no doubt that there is some degree of a very personal process in this, seeing them coming to shape, holding on sitting in some rack half torned apart looking helpless until when, suddenly, like magic, they light up and we put it through all this scrutiny and we start trusting them, more and more until we can look at them as a separate entity that we can say farewell to. At that time they will get up and start walking out the door heading to your house and presenting themselves at your doorstep.
But we can add that we are deeply enjoying developing this new modules and we’re proud of them already, we trully trust you’ll be very happy with them as well. Just bear with us for a bit longer!
And many thanks for your understanding, it’s deeply appreciated.
PS2. If you wish to be removed from this list just reply with Unsubscribe
*we deeply believe that it was an induction spike that made A1 blew up, once this is proved right under the critique of a team of world renowed scientists whose names are kept private for the time being, we, under the light of that decision, feel free to use the black matter device once again, we believe we’re this close to control it."
"AIRA Compact puts Roland’s legendary creative magic in the palm of your hand. Easily play and perform with these highly jammable instruments—anywhere, anytime. Chain them together to catalyze your creativity or connect with MIDI gear, computers, and music apps to expand your setup. Just power on and go with the flow.
About the T-8 Beat Machine
The T-8 Beat Machine is a mini rhythm factory with six tracks of pristine TR drums plus a TB-303 bass track. Embodying decades of modern musical sound, the T-8 gives you the power to create infectious tracks in seconds flat. Craft on-the-fly acid jams or trap bangers with the intuitive 16-step sequencer, shape sounds with onboard controls, and flip and dice beats with simple, yet powerful tools.
About the J-6 Chord Synthesizer
The J-6 is a portable synth toolbox with all the building blocks you'll need to bring harmonic substance to your jams. Pairing a powerfully unique chord sequencer with lavish JUNO-60 synth tones, J-6 packs a versatile feature set into a highly jammable format. Generate soul-stirring song ideas with the turn of a knob and explore 100 chord sets over a variety of genres. Experiment with styles and variations to coax dancing lines and rhythmic patterns from your chords. Add lush chorus, reverb, or delay to frost your sound.
About the E-4 Voice Tweaker
Harmonize, auto-pitch, vocode, loop, and glitch your voice all from the portable E-4 Voice Tweaker. Want hands-on control? Connect a mic or input a feed and easily explore effects using the sliders, function buttons, and scatter knob. From looping live jams to livestreaming or tightening up and expanding performances, the E-4 will transform your voice into your new favorite instrument.
"Roland's birthday party it's not over! A few days ago they sent me these little magic boxes to try them out and in less than an hour of tweaking, I came out with this song!!! The song title "A Big Tiny World" is because they are BIG sounding TINY boxes indeed! :D They are:
Their sound quality is astonishing! It's amazing to have the power of ACB technology in such a small form factor... Everything you hear in this video was played and recorded in real time, no post processing or FX was added. I had so much fun, I hope you like it!"
"Join our pal Dustin for the debut of the AIRA COMPACT line of synthesizers !
These three desktop style devices combine some of Roland's most recognizable and powerful sound palettes into a portable, affordable, and outrageously fun package!
Check out our in-depth Signal article for more details - https://bit.ly/3L08Msr
0:00 - Intro jam
1:07 - Overview of Aira Compact Line
2:54 - T-8 Drum Machine & Bass Synthesizer
5:50 - J-6 Four Voice Polyphonic Synthesizer
9:50 - E-4 Vocal Processor, Looper, & Effects
11:57 - Robot Acid BOPS !"
AIRA Compact- First Look at the new Range
video upload by
Roland T-8 J-6 E-4 Compacts Review: Here's what makes them special // Full Tutorial
Fun, Pocket-Size Instruments with Innovative Creative Features, Authentic Roland Sounds, and Class-Leading Connectivity
Los Angeles, CA, May 10, 2022 — Roland announces AIRA Compact, an all-new series of ultra-portable instruments with free-flowing features for creative exploration and authentic Roland sounds. Fun, affordable, and easy to learn, the T-8 Beat Machine, J-6 Chord Synthesizer, and E-4 Voice Tweaker bring serious musical power to everyone from hobbyists and gadget collectors to tech-savvy pros.
AIRA Compact instruments let anyone jam, perform, and develop ideas on the go with friendly controls, inspiring sounds, and loads of intuitive music tools. Users can realize complete compositions with a single unit or expand their possibilities by connecting and synchronizing with other AIRA Compact models. From one master unit, multiple AIRA Compacts can be mixed and monitored with headphones or an external speaker system. It’s also possible to interface with computer DAWS, mobile music apps, and hardware instruments via USB-C or MIDI.
Driven by Analog Circuit Behavior (ACB) and other advanced technologies found in top-line Roland instruments, AIRA Compact delivers the real-deal sounds behind decades of hit music. Users can create with the genuine voices of Roland icons, including TR rhythms, TB basses, JUNO synths, VT effects, and more.
Driven by Analog Circuit Behavior (ACB) and other advanced technologies found in top-line Roland instruments, AIRA Compact delivers the real-deal sounds behind decades of hit music. Users can create with the genuine voices of Roland icons, including TR rhythms, TB basses, JUNO synths, VT effects, and more.
AIRA Compact strikes the perfect balance between portability and power. Each model is small enough to slip into a pocket and features an inviting panel to jump-start the creative flow for immediate results. Onboard lithium-ion batteries provide hours of continuous use per charge, while Roland’s famous build quality will support musical adventures for years to come.
T-8 Beat Machine
The T-8 Beat Machine combines iconic Roland drum and bass sounds in a go-everywhere rhythm factory. Beatmakers can build tracks with legendary sounds from the TR-808, TR-909, and TR-606 drum machines, paired with the shapeshifting low end of the dynamic TB-303 Bass Line. The six-track drum sequencer features the famous TR-REC workflow, enhanced with deep tools like step loop, pattern shift, probability, and others to generate dynamic performances with constantly evolving grooves. The T-8 also provides an authentic TB-303 bass experience, including the tactile power to squeeze, squelch, and mangle sounds in the moment.
J-6 Chord Synthesizer
The J-6 Chord Synthesizer is an endless well of musical inspiration, pairing a powerful chord sequencer with the lavish tones of the renowned JUNO-60 synth. Creators don’t need to know chords or theory to make music—they can simply call up one of 100 chords sets and build compelling chord progressions with one-touch presses on the built-in keyboard. Styles and variations are also available to coax dancing lines and rhythmic patterns from chords. Users can quickly string progressions together via step input, tweak the sound with dedicated filter and envelope controls, and add polish with customizable delay and reverb effects.
E-4 Voice Tweaker The E-4 Voice Tweaker combines advanced voice transformer tools and standard vocal effects with a hands-on interface that’s meant to be played. Performers can go from traditional vocal enhancements to punchy beatboxed grooves to striking alien soundscapes—all in a single tune. Pitch and formant sliders are available to instantly change the vocal gender, create robot voices, and more. Auto Pitch, automatic harmony, and vocoder processors are included, along with reverb, delay, and other effects. There’s also a built-in 24-second looper for capturing performances on the fly, plus a unique Scatter function for slicing and dicing the sound via a dedicated panel knob.
Availability & Pricing
The Roland AIRA Compact series is now available in the U.S. for $199.99 each."
Be sure to see the notes from Barry on the synths used further below.
"Barry Schrader’s Monkey King CD has been released by Innova Recordings on Innova 703. The CD contains music inspired by the five elements of ancient Chinese tradition in Wu Xing – Cycle of Destruction, and by stories from the great Chinese classic Journey to the West.
Wu Xing - Cycle of Destruction deals with the Chinese concept of Wu Xing, the five elements in ancient Chinese tradition: wood, fire, earth, metal, and water. These are important in Chinese astrology, medicine, and BaGua, a system of trigrams used in Fengshui and other areas of Chinese life and culture. The five elements are often arranged in one of two cycles: the cycle of birth, ending with earth, or, as in this work, the cycle of destruction: metal, wood, earth, water, fire. Wu Xing - Cycle of Destruction explores these elements in transcendent ways. The Metal and Wood sections are aural depictions of the elemental density of the mediums, while Earth considers the metaphysics of planetary rotation and revolution. Water reflects on the conceptual aspects of the world's oceans at various depths, voyaging from the darkest abyss to the light of distant shores. Finally, in Fire, there are the physical and spiritual effects of all-engulfing flames.
Monkey King is based on scenes from the classic Chinese book Journey to the West, written around 1550 by Wu Cheng-en. Considered one of the great classics of Chinese literature, the book chronicles the adventures of the Monkey King, Sun Wukong, one of the most fascinating fictional characters ever created. Barry Schrader has taken some of the most famous scenes from this book and created Monkey King, a new electronic music journey into the imagined past of Chinese legend. In the tradition of Schrader's Lost Atlantis, Monkey King explores an immense imaginary aural landscape.
"Monkey King is a colorful combination of Schrader's recognizably arousing orchestral maneuvers with an immediate melodic appeal, gentle harmonic textures, and electronic echoes of traditional Chinese instruments. While individual elements sound strangely familiar, the resulting entity is without direct reference, a style which is as timeless as it is futuristic and which revels an ancient mythology with the tools of today. Without a single doubt, this piece is the most accessible in Schrader's oeuvre."
Some of the scenes depicted in Schrader's Monkey King are the birth of Monkey, his underwater journey to visit the palace of the Dragon King of the Eastern Sea where Monkey takes possession of the Staff of the Milky Way, Monkey's attempt to jump over Buddha's palm, and Monkey's apotheosis in becoming the Buddha Victorious in Strife.
Barry Schrader has been acclaimed by the Los Angeles Times as "a composer born to the electronic medium," named "a seminal composer of electro-acoustic music" by Journal SEAMUS, and described by Gramophone as a composer of "approachable electronic music with a distinctive individual voice to reward the adventurous." "There's a great sweep to Schrader's work that puts it more in line with ambitious large-scale electronic works by the likes of Stockhausen (Hymnen), Eloy (Shanti) and Henry (take your pick), a line that can be traced backwards to Mahler, Bruckner and Beethoven." writes Dan Warburton of the Paris Transatlantic Magazine. Computer Music Journal states that Schrader’s "music withstands the test of time and stands uniquely in the American electronic music genre." Schrader's compositions for electronics, dance, film, video, mixed media, live/electro-acoustic music combinations, and real-time computer performance have been presented throughout the world. He has been a member of the Composition Faculty of the California Institute of the Arts School of Music since 1971, and has also taught at the University of California at Santa Barbara and the California State University at Los Angeles. His music is recorded on the Innova label. His web site is barryschrader.com."
I asked Barry what he used on the CD:
"As to what I used to compose 'Monkey King' and 'Wu Xing - Cycle of Destruction,' the only hardware I used (other than my Mac) was a Yamaha TX816. Here's a list of the software: Digital Performer, Unisyn, Peak, Rocket Science, and Cycling 74 Pluggo. The last two, of course, are bundles, and have multiple plugins, too many to name. DP also has a lot of plugins.
"As for synthesis techniques, I used additive synthesis, subtractive synthesis (including granular), amplitude modulation, frequency modulation, and transfer functions, which, of course, involve the use of wavetable synthesis. So everything, including all of the sound sources, is digital. I know most of the people who visit your site love analog. I composed with analog equipment for many years, and I still enjoy hearing music created on analog systems. But I'm so used to working with computers now, that I don't think I could go back to analog, and I also don't think I could get the degree of control I need to compose the way I want.
"I work mainly in event lists so that I can specify data. All of the timbres for 'Monkey King' and 'Wu Xing - Cycle of Destruction' were designed specifically for these works. This is a general practice of mine and relates to my compositional point of view. (There's some information on this on Wikipedia http://en.wikipedia.org/wiki/Barry_Schrader.) As a result of these practices, I compose very slowly, and I average about 20 hours of work for 1 minute of music. There were times with 'Monkey King,' particularly Part 2, where the work was so strenuous that I had to quit composing for several weeks in order to maintain my equilibrium. The composition of that movement alone stretched out over 6 months.
"I think these may be the last works that I compose with the TX816. I've bought Native Instruments Complete 5 package and have been porting my timbral designs into FM8, which allows for more possibilities than the Yamaha 6-operator design. I'm also learning other programs in the NI package, mainly those that allow me to create electronic material directly. I remain rather uninterested in dealing with concrete (acoustic) sound files. Everything on the 'Monkey King' CD, by the way, as is true of almost all of my music, is electronic. The only computer concrete piece that I did was 'Beyond,' and that was done on the old WaveFrame workstation at UCSB. I'm also going to get additional software for my next big work, which I'll probably begin in January, as I have a sabbatical from CalArts next year. I have a need to keep pushing myself to create new things in new ways. It may be difficult to top some aspects of the music on the 'Monkey King' CD, which, I think is some of my best, but I'm not going to worry about it. For me, each new work is its own universe."
"Acclaimed Sound Designers Drew Neumann and Kevin Lamb Create Dr. Bob's Modular Sample Library to Benefit the Bob Moog Foundation
December 1, 2010 – Asheville, NC/Los Angeles, CA – California-based sound designers Drew Neumann and Kevin Lamb have joined forces to create a sound library entitled Dr. Bob's Modular as a benefit for the Bob Moog Foundation. Sounds from Dr. Bob's Modular were sampled from a vintage modular Moog System 15 belonging to collector Dr. Howie Shen. The sample library of unique modular synthesizer sounds is available in the Native Instruments Kontakt 3.1 format at http://www.droomusic.com/dn_prodbundles.php.
The complete library of over 120 sounds is available for $50, while smaller bundles of 13 sounds each are available for $10 apiece. Purchase of the entire library offers significant savings. All bundles come with a special BMF electronic drum kit. Two compositions made with sounds from the library, “Bad Monkeys” and “BMF Carol of the Bells,” can be heard at www.droomusic.com and SoundCloud:
[Bad Monkeys get loose in the house. A short demo...
This was done entirely with one analog synth, a vintage Moog System 15 Modular loaned to me by Dr. Howie Shen. All sounds were generated on the synth, sampled using Redmatica software and loaded into Kontakt. Sequence written using Digital Performer. No monkeys were harmed.]
[Another one--this was also done entirely with the vintage Moog System 15 Modular loaned to me by Dr. Howie Shen. All sounds were generated on the synth, sampled using Redmatica software and loaded into Kontakt. Sequence written using Digital Performer. This showcases a sound set that will be sold at www.droomusic.com starting December 1, 2010 as a fundraiser for the Bob Moog Foundation. 50% of all proceeds go directly to the foundation. Happy Holidays!]
Fifty percent of all proceeds from the purchase of the library and bundles go to benefit the Bob Moog Foundation.
Dr. Bob's Modular is a downloadable-only sample library created to honor synthesizer pioneer Bob Moog's memory and to support the Foundation's mission of igniting creativity at the intersection of music, history, science, and innovation. Kontakt was chosen because it is a widely supported platform with powerful synthesis capabilities of its own. Kontakt supports monolithic file formats that make Web downloads and installations easy. There is a free downloadable Kontakt Player available at Native Instruments' website.
The full version of Kontakt is recommended for users who would like to dig deeper and want to edit and create their own new sounds using the raw waveforms.
Droomusic.com is a work of collaboration between award-winning and renowned composers/sound designers Drew Neumann and Kevin Lamb, who have nearly 70 years of combined experience working with analog synthesizers, both as builders and as players. The website offers extremely affordable sounds ready for immediate download.
Neumann and Lamb state, “Both of us became interested in electronic music through Dr. Moog's wonderful instruments—a passionate interest that led to our careers. We feel that this is one way we can give something back, to help a new generation discover music technologies, and to honor Dr. Moog's highly influential work.”
Drew Neumann (www.drewneumann.com) is an L.A.-based musician and composer of film and television scores for Disney, Paramount, MTV, Nickelodeon, and Cartoon Network. He created the soundtrack of the science fiction animated series Æon Flux and has composed music for many other shows including The Wild Thornberrys, The Grim Adventures of Billy & Mandy, and Aaahh!!! Real Monsters. He studied film, animation, and composition at the California Institute of the Arts. In addition, Neumann has contributed sound design and music composition for a variety of synthesizers, sound libraries, and software and computer products.
Kevin Lamb (www.premeditatedmusic.com) has worked as a keyboardist, synthesizer programmer, keyboard tech, and engineer for a number of notable international acts such as the Temptations, Chad Hugo (Neptunes), Guitar Legends, the BBC, John Wetton, Phil Manzanera, Tam White, Boz Burrell, Heitor Pereria, Steve Goodman, Simply Red, Thompson Twins, Icehouse, Vitamin Z, Take 6, The End, The Doors, Al Jarreau, Device, Tavares, and the Four Tops. He is an Ivor Novello-nominated composer for UK/European television. Kevin also creates sounds for synthesizer manufacturers and libraries, including Moog, Arturia, and Native Instruments. He is the designer of v4 firmware for C-Thru Music's AXiS-64 MIDI controller.
The Bob Moog Foundation (www.moogfoundation.org) honors the legacy of synthesizer pioneer Bob Moog through its mission of educating and inspiring people with the intersection of music, history, science, and innovation. Its projects include its MoogLab Student Outreach Program, which brings electronic musical instruments into the schools to teach children science through music; the Archive Preservation Initiative, an effort to preserve and protect the inventor's extensive and historic archive; and the future Moogseum, an innovative educational, historic, and cultural facility to be located in Asheville within the next five years.
The Bob Moog Foundation is an independent, donor-driven 501(c)(3) non-profit organization and is not formally affiliated with Moog Music, Inc."
I've been building a Pure Data - based drum machine / sequencer that runs on iOS using the fantastic MobMuPlat iOS app. Basically it lets you run Pure Data on your device and allows you to build a GUI for it. This is the first patch that uses my new drum machine. It's still a work in progress, but many of the features work.
Why build my own drum machine when there are so many great-sounding iOS apps and other software synths available? Because why not! None of the apps I've tried have the exact features I want, so I'm building my own. In my Pure Data programming I'm keeping to my DIY modular aesthetic: simple modules, analog-style sound, and basic waveforms that can be manipulated and combined.
Here's an early morning jam featuring the CB-100 Sound Sequencer (tentative name) combined with my DIY modular synth.
Patch notes:
The left channel of the iPad audio output is the master output from the drum machine, and the right channel is a very short pulse on every 16th note. This pulse is patched into an amp in the modular and then used to clock the sequencer, clock divider, and various envelopes.
The drum machine goes into a preamp to get it up to modular level, then into a mixer. I'm always amazed at how nice and warm things sound when you run them through even a single analog gain stage! Straight out of the iPad the drum machine sounds pretty digital and cold, but that preamp warms it right up and adds some crunch when turned to 11.
The sequencer is set to open a VCA every 8 16th notes (on 2 and 4); the input of the VCA is the drum machine and the output is patched to the delay. Basically that means the delay only gets signal on 2 and 4, which I think sounds cool. (It's not exactly JUST on 2 and 4, because the VCA is a double vactrol VCA, and when one LED is turned on it has a tendency to bleed through the loads of electrical tape and influence the other VCA. Ah, such is the DIY experience!).
The sequencer modulates the frequency of a single saw oscillator, which goes into the low pass gate before joining the other sounds in the mixer.
The drum machine clock goes into a clock divider, and four of those outputs go into an R/2R ladder to generate CV to modulate the frequency of a square oscillator. That oscillator goes into another VCA, then into the mixer to join the other signals.
I have a few square waves going into a diode-based pseudo-ring modulator which then goes into yet another VCA (you can never have too many VCAs!!). This VCA is opened by me pressing a button on the far left of the modular, which sends 9V to the VCA and lights the vactrol LED. The button also sends a trigger to an A/D envelope generator which controls the pitch of one of the oscillators, which adds some nice pitch variation like some sort of weird drum.
Finally, the output of the whole modular gets split into two paths: one directly into the mixer, and another into an Alesis Microverb II digital reverb unit spitting out 2 channels of delicious lofi digital reverb. These three channels (reverb + modular) are mixed together and head into the computer onto a single stereo track in Bitwig Studio."
No, that's not the actual drum machine, but an image in the Roboterwerke.pdf. Keep reading... via Hajo: "In about 1982, I had contact to Dieter Kolb, the guy behind the drummachine „ROBOTERWERKE“. As an attachment I did scan the original leaflat from this time. As I know, there were only a few machines build:
- Klaus Doldinger had one - Tangerine Dream used one - SUPERSEMPPFT aka Roboterwerke used it intensely
Go for www.WUNDERWERKE.de you will find more informations. I can recommend all the LP, absoluteley perfect EM music, a bit Kraftwerk, a bit Tangerine Dream ans some Samba and Disco influences. At all, perfectly arranged.
Greating from secret Duesseldorf Hajo" Thanks Hajo! You can find the scan here.
Update via Hajo (see image below as well): "to complete the information: - the whole project was called WUNDERWERKE (Wonderworks) - the machine was called ROBOTERWERKE - the main person in the whole story was the frog „SUPERSEMPFFT“ - thei frog was smoking grass all time and made funny thinks o look for SUPERSEMPFFT in the WEB, also YOUTUBE o Dieter Kolb and Franz Aumüller, arranged a 6 Minute movie about the frog ( I have it here) o A short version with totally different music will be found in YOUTUBE
- The www.WUNDERWERKE. DE Webside is off for a while, it was too funny !!!"
Supersempfft - I'm Gonna Make You Big My Friend YouTube via Zrix1000 "Video footage from 1982 with the original track from the 1978 album Roboterwerke"
I did a quick search as suggested by Hajo and found this scan here. Do a search on the web including image search and you will find more.
Update via BirdFLU in the comments: "If you don't want to pay 90 euros for an album before hearing it, you can hear some 30 second samples here"
Update 3/5/2008:
More info via Hajo: ------------------------------------------ "Franz Aumüller from Roboterwerke By: Ryan Chimney
Q: To start, explain Wunderwerke. A website, a record label, a production studio.. or all of the above ?
Wunderwerke is a multimedia company that is producing music,videos,events, and magazines since 1978 when it was founded by Franz Aumüller and Dieter Kolb. FA is managing director. It is also a music publisher,distributor and a website. And since this year a galery.
Franz Aumüller
Q: You were particularly involved in the lyrics, stories and artwork for the band. When did you first begin working on your creations and did you imagine they would be used this way or was that its intention ?
A: Dieter and I have been frieds since kindergarden, when he started playing guitar in a band I was his biggest fan and designed the logo for the drum and the posters.Later, when he chaged to Hammond I helped him carry it on stage and later after the concerts back to the car. His parents had a shop for musical instruments. Dieter practised every day for hours in the basement (the shop provided us wih the latest models, I brought the records) and later we experimented with 2 tape-recorders. Franz Knüttel our classmate joined on drums and built our first sythesizer. later when we found out that his possibilities as a drummer were limited, he developed a drum machine. I came up with the name Roboterwerke and the story. Dieter studied music and had a fellow student Jof who made the first deal with CBS. Then I created the story and the lyrics for the first Lp. Although we sold more than 30 thousand copies we decided to become independent. The second Lp Metaluna was released on our own label Wunderwerke and sold not even 1 thousand copies... So we had to release the third Lp Futurist with RCA but at that time in Germany was the Neue Deutsche Welle and everybody was listening to songs with german lyrics. Therefore Futurist flopped too. Meanwhile I had spent all my money on a 6minute full animated movie, but since there was no music tv at that time it was never shown. We worked for annother year on the 4th Lp Cosmotropics that was not finished.
Q: The artwork and stories ive seen focus on a strange yellow cartoon character who seems to always be getting high or be tempted by others on his adventures. What is the history behind this little guy and does his story continue on after Roboterwerke albums were completed ?
A: The little frog is Supersempfft a caricature of Dieter who has the most amazing adventures through the universe but when he comes back to earth finds his superpowers vanished.
Q: If your characters from the album were animated it could have become an early or the first music video. Did ever you have any interest in this at the time?
We are still intersted,but...
Q: You are credited as producer on some of the albums, were there times when you aided in the music production or was it solely the lyrics and story.
A: Dieter an I developed a way of working together as a team.
Q: You are photographed with the amazing "GUITARET" did you play? Was it used on any Roboterwerke recordings ?
A: Our next project after Roboterwerke was 4D the 4th Dimension which was completely sampled with our Drumcomputer exept for the vocals.The Guitaret that I found on the fleamarket was used on the pr shots, because we didnt use any real instruments. We sold about 3000 tapecassettes when Virgin contacted us to be the first act on their new German label. At the presentation of the record at Virgin they loved it very much, but when I told them that all the instruments were collaged from records they were too afraid to release it. Later I played the tapes to Rusty Egan (I wrote the german lyrics for Visages The Anvil) he took them to New York to Africa Bambaata who used it for his Timezone : the Wildstyle.
Q: Seems you have be apart of so many elements of the art world, from writing to print/design to music videos. are you still involved in all of the above ? Was there an area you enjoy(ed) the most ?
A: What I always enjoyed most was producing experimental music videos.
Q: Dieter Kolb was the first to use a drum machine from his own creation. This seemed to attract a lot of attention from artists ranging from Kraftwerk to Herbie Hancock. Were you there to witness this? how long did it take for him to get noticed for his inventions and what, if any, machines did Dieter produce for them ?
A: The machines we showed to alot of artists were only prototypes we planned to sell them, but when we had them professionally made there were better and cheaper machines on the market...
Q: Considering Roboterwerke was the first or one of the first to play this new type of drum machine electronic music, what was your reaction as it began to become popular ?
We loved it!
Q: Im really curious about the track "Pinhead" seems to be dedicated to your love from playing Pinball. I cant understand all the lyrics but i hear "extra ball" in there and many of the sounds could easily be used as pinball background sound effects. Did you write the lyrics for this? Was pinball a favorite pastime of the band ?
A: Yes
Q: You mentioned Dieter stopped playing live in the early 70s. So Roboterwerke never performed live ?
A: Yes the Roboterwerke equipment was too difficult to take around. We only performed live on the first art electronica in Linz.
Q: I've read briefly that the band would spend time in the Caribbean enjoying the local music etc, were you a part of these trips? At what point did this influence the musical style of the group ?
A: We were big fans of dub music especially Lee Scratch Perry and King Tubby. We went to Tobago + Trinidad because we thought reggae was played everywhere in the Caribbean only to discover Steelband and Soca which we liked even better. We were there 4 times for the carnival season.
Q: Honestly the first id heard of the group was from eBay! I noticed the amazing album cover for "The Lion Sleeps Tonight/High on Tech" and then began tracking down anything i could find about the band. what do you think of the eBay phenomena ?
A: E-bay is great for finding things.
Q: Recently there has been a resurgence in the band's music including a re-released track on the MAGICK KUTS edits label, what do you think of this and are you surprised it took so long ?
A: We love it and would encourage everybody to make remixes. Lately DJ Flowrider has Played me a scratch version of the Roboterwerke Lps on two turntables which I loved because the mix of old school electronics and scratch."
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"here is an article in GERMAN, which I wrote in 2006 for a German EM Magazine SCHALLWENDE. Perhaps somepeople can read German. It is a kind of very funny Hajo Liese from Düsseldorf"
Making the exception on this one as specific gear for the most part isn't discussed. This one is more about sound design, processing and use of plug-ins. Starts with the light cycles and use of filter, resonance and pitch sweeps. Avid's reNOVAtor gets a mention about 20 minutes in for cleaning up audio. Avid of course is the company behind the new M-Audio Venom. Vocal processing and effects come in around 31 minutes but no mention of what was used. De-rezzing and disk audio effects come in around 40 minutes. Light cycle formation sound is revealed right after the one hour mark. See if you can guess what it is.
"Explore the sound and music of "TRON LEGACY", the long awaited sequel continuing the adventures through the world inside your computer.
The sound team behind the film will take you behind-the-scenes of the science fiction epic, presenting special excerpts from the movie. Watch how the sound team approached various elements of the mix and edit while they tell you the stories behind them.
Guiding you through their digital realms will be Supervising Sound Editor Gwen Whittle, Sound Designer Steve Boeddeker, Music Supervisor Jason Bentley, Re-recording mixer Gary Rizzo, and Film Editor James Haygood, ACE.
Filmed on January 12, 2011 at the Walt Disney Studios, Burbank, CA.
