The Seventh Wave Festival of Electronic Music #7 w/ Delia Derbyshire Collaborator David Vorhaus

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.

http://www.bbc.co.uk/music/reviews/pq9x/

The other two dates of the festival feature:

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

Tickets available at https://www.skiddle.com/groups/theseventhwave/"

The Deluxe Chipshop by midierror

"Welcome to midi error’s Deluxe ChipShop! A unique collection of over 1000 samples recorded from the Commodore 64, Atari ST, Original Gameboy and Pocket Operator Arcade!

Get it here

Re-released and remastered, this expanded deluxe version features the all original content, plus loads more from the archives and some brand new additions!

The Deluxe Chipshop comes with 590MB of sounds, recorded, prepared and organised for instant deep-fried retro goodness. Feast upon a huge number of One Shots, Loops and Multi Samples, created using original chiptune hardware running CynthCart, MESSIAH, Retroskoi, Nanoloop, LSDJ and the Atari Sound Effects Generator and more!

Step inside the ChipShop to see midierror cooking up over 700 one hit samples including Synths, Leads, Chords, Basses and Arps to fry-up some solid melodies, including 308 Drum Hits, with Cymbals, Snares, Rides, Kicks, Hats, Percussion and Toms neatly organised to bring big beats to the street. In excess of 190 sound effects are included with 31 white noise samples and 16 digital vocal samples to mix things up.

There are over 130 Loops to shake up the plaice, with Drum Loops, Synth Loops, Combo Loops, Percussion Loops and FX Loops to start throwing in the deep fat fryer. Each one has been key-labelled and comes at 120, 140 and 175 BPM.

You’ll hear why the Commodore 64 SID chip is so legendary, with its warm and punchy sound - alongside the Atari ST YM2149 Chip, delivering a cleaner, more digital tone and the DMG Gameboy sound chip pumping out warm lows and ASMR inducing highs! This Deluxe Chipshop now features the Teenage Engineering Pocket Operator Arcade, a faithful modern-day Chiptune machine, which delivers a frantic pace to the proceedings!

This gigantic collection has been organised for ease of use, with all files categorised, named and optimised to aid your workflow - ensuring you’ll find chiptune magic to inspire Electro, Synthwave, House, Techno, Drum & Bass, Electronica, Cinematic productions.

There are more freebies on the horizon, follow midierror on twitter for the latest announcements - and check out his youtube and soundcloud channels for other musical adventures!"

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ROLAND ELECTRONIC MUSIC SEMINAR 1980s MIDI Synthesizer Course Materials & Cassettes

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

"In the mid-1980s, Roland sponsored the Electronic Music Seminar, an instructional course on MIDI, synthesizers and the use of computers in music.

The seminar featured professional musicians then at the forefront of the new technology, including:

Gary Wright - Singer / Songwriter ("Dream Weaver," "Love is Alive")
Suzanne Ciani - Electronic Music Pioneer / Sound Designer (and "Diva of the Diode")
Michael Boddicker - Film Composer ("Adventures of Buckaroo Banzai")

The seminar traveled on a multi-city tour at various venues across the country, and had a major impact on many young synthesists who attended.

This is the original seminar binder and materials that were distributed to attendees, including a 3-ring binder of printed course materials and the accompanying 4 audio cassettes of electronic music demonstrations (all tested and working.)

The binder consists of nine sections, corresponding to the topics presented at the all-day seminar:

1) Basic Performance System Design
2) Advanced System Design
3) Recording Applications
4) Advanced MIDI Techniques
5) Introduction to Computers and Music Software
6) Advanced Music Software
7) Audio / Visual Synchronization
8) MIDI Reference Materials
9) Glossaries

Aside from a little wear, the binder and materials are in excellent condition."

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ROLAND TR-8S Demos

Published on Mar 17, 2018 Sunshine Jones

Playlist:

1. ROLAND TR-8S BASIC KIT DEMOS

/////////////////////////////////////////////////
First let me say that there is a lot going on under the hood here on the Roland AIRA TR-8S. There are many kits, and many ways to include sounds, add effects, samples and more.

My general approach is to answer my most fundamental questions - how does it sound, how does it work, can I make use of it, and does it delight me? - before I dig down too deep.
This is a set of clips featuring the most basic kits and effects to let you see and hear what the @rolandaira TR-8S sounds like fundamentally.

1. TR-909
2. TR-808
3. TR-707
4. TR-727
5. TR-606

There is also a TR-626 kit which is great 80's fun, and many more sounds.

Next I'm going to explore adding my own samples and try to apply a sample loop as well.

2. Roland TR-8S Sampling Experiments

////////////////////////////////////////////////////////////
Late into the night last night I explored the idea of importing my own collection of samples into the Roland AIRA TR-8S. Much of the exploration was in headphones and I couldn't wait for the sun to come up so I could listen and document the experiments for us to dig together.

1. A loop of my darling Geraldine Hunt with a -12db filter, accompanied by internal 909 sounds.

2. 100% Roger Linn samples taken by me from my old Linn Drum, sequenced and tuned to make your Camero go faster and match your tri-level nylon jacked.

3. The SP-1200 Congas translated from floppy to WAV files, and loaded into the TR-8S with reverb and a kick added.

I still have some functional questions (like how to assign things like kick attack to the CTRL knob, can one step edit the motion recordings, and other basic stuff...) as well as a real desire for some kind of time/pitch compression and expansion.

Perhaps that could be solved with using slices of a loop, or perhaps the inclusion of a particular file format with beat markers - I don't know - but tempo based samples will not automatically sync. They must be either worked out to a tempo ahead of time, or pitched to be in sync on the TR-8S. However you work it out, one is then working at a fixed tempo (provided pitch is essential) and that can be tricky live. In any given performance I may play at 110 if the audience is forward thinking and with me, but in more ordinary and adverse circumstances I will be forced to play the same material at 122-125 depending on how hostile they are. That's a huge leap in tempo, and getting that perfect on the fly can be tough.

But I'm undaunted, deeply inspired, and I'm going to dig in deeper still and answer my questions and come up with workarounds.

It's only been about a day, but I already just LOVE this thing and can barely remember not having it around.

3. ROLAND TR-8S LOOP SYNCOPATION EXAMPLES

ROLAND TR-8S LOOP SYNCOPATION EXAMPLES
/////////////////////////////////////////////////////////////////////
I talked about the fact that the Roland AIRA TR-8S doesn't have any time compression/expansion for loops, and here are three examples of ways to work with time based loops:

1. PITCH
The whole loop is imported into one instrument and pitch is adjusted to accommodate timing between 105 bpm and 125 bpm
This technique works great as the old school use of loops. Sometimes a loop gets really interesting when you slow it way down, or speed it way up. But for pitch crucial loops this isn't practical at all. For example in a live performance if you really must play faster or slower, this means your looped material will end up being pitched higher or lower, and if it's meant to play with other instruments the whole composition will be out of whack and potentially sound a tonal, or just wrong (or wonderful!)

2. FOUR SLICES (the one-and technique)
The same loop is chopped into 4 parts. Every beat is trimmed (import the sample loop 4 times and edit each one) and then placed on 4 instruments and the beats are programmed in sequence across the grid.
This allows for tempo adjustment between 125 bpm and 117 bpm without adjusting the pitch.

NOTE: It sounds better as you go faster, than it does as you go slower, so it would be best to begin with a slower loop than you need, so that as you increase tempo the timing feels better, and it sounds tighter than if you had to slow way down.

3. EIGHT SLICES
The same loop is cut into 8 parts and placed into 8 instruments. The decay of each slice is cut in half, and the tempo may be adjusted between 105 bpm and 140 bpm without adjusting the pitch one bit.
NOTE: There's no reason we have to use a unique kick and snare for this size of slice, so this could be done with fewer slices, and using up fewer instruments.

TIP:
When using a uniform grid solution, you can do some pretty interesting things. For example - chop up 4 different loops at the same grid (8) and then use program changes to switch between kits for crazy, far out glitch beats, or dynamic pattern changes at random. It's pretty sick.

Conclusion:
It seems there are many ways to accomplish timing without feeling that the device truly needs to import ReCycle files, or contain a time compression/expansion feature. But it does take us away from the device, and ask us to think it through before we get to it.

I grabbed this loop for fun and explored it on the device itself, without going back to the computer or another device for additional editing. It all happened right here in the TR-8S with a single loop. Naturally this would have gone faster, and possibly been a better result if I'd done the editing on the computer, but I am really not taking my inspiration from computers anymore, and want to work with the device I'm working with when I'm working with it. So taking the slow road, and doing it "stupid" style is all right with me, and seems to produce worthy results I can get behind.

Hope this helps with your adventures.

Arturia announces Analog Lab 3

Published on Dec 22, 2017 Arturia

"Analog Lab 3 gives you streamlined access to 6500+ of the hottest presets from our award-winning V Collection. Featuring sounds from all 21 faithfully modeled vintage keyboards, combining awe-inspiring sound with exceptional ease of use and awesome features.

In addition to studying the feedback from the music community, our developers worked hand-in-hand with professional ergonomists to optimize each aspect of this music production & performance dream instrument. It resulted in an intuitive interface, a beautifully organized category based browsing experience, and natural mapping of the sonic parameters, creating a self-contained sonic encyclopedia of legendary sounds."

"All of your favorite go-to sounds at your fingertips

Analog Lab gives you the best of 21 instruments that made music history, all in one convenient place.
Analog synthesizers. Digital synthesizers. Acoustic pianos. Electric pianos. Organs. Strings machines. With the best of 21 vintage instrument reproductions on tap, Analog Lab lets you transcend time and style by arming you with everything from the most iconic sounds of the past to modern sound designs that are cutting edge today. Whether you’re composing, recording or performing, over 5000 sounds cover every song, genre, mood and ambience you can think of—no programming required. Use it standalone or with your favorite DAW.

Unleash the sonic power of keyboard history’s greatest hits for your musical adventures."

Roland GO:KEYS: Have Fun With Music - No Experience Necessary

Published on May 1, 2017 RolandChannel

"If you’re looking for a fun and inspiring way to start playing music, Roland’s GO:KEYS is the answer! With its innovative Loop Mix function, anyone can build fully produced songs right away, even with no previous music experience. There’s also a diverse range of pro sounds to explore, plus an easy-to-use recorder to capture and share your creations. Compact and battery powered, GO:KEYS lets you enjoy the magic of musical creativity everywhere you go."

Guessing this is a preset piece of kit only. Curious if you will be able to edit the synth engine remotely.

Fun and inspiring keyboard for beginning musicians
Loop Mix allows you to build songs by simply playing notes on the keyboard
Manipulate the sounds of your loops with intuitive one-touch control
Bluetooth audio/MIDI support for connecting with your smartphone or tablet
Over 500 pro-quality sounds: pianos, synths, strings, bass, brass, and more
Built-in song recorder with USB backup
Play anytime with built-in speakers or headphones
Lightweight, travel-ready, and runs on batteries

Create Music Instantly with Loop Mix

No musical experience? No problem! Anyone can start creating cool music right away with the Loop Mix function in GO:KEYS. Unlike accompaniment features in other keyboards that require knowledge of chords, Loop Mix offers a completely new approach that even beginners can enjoy. By triggering loop phrases from the keyboard, you can intuitively construct professionally produced songs in real time with drums, bass, and various instruments. And with a simple touch of the performance pads, you’re able to manipulate your songs like a DJ, adjusting pitch, filtering, and more.

Pro-Quality Sounds Make Your Music Shine

GO:KEYS also functions as a normal keyboard instrument with over 500 ready-to-play sounds derived from Roland’s acclaimed pro synthesizers. With the category buttons, it’s easy to call up pianos, synths, strings, brass, and many other sound types. You can play the sounds over your Loop Mix jams, and use GO:KEYS as a high-quality portable synth as your playing skills improve.

Expand Your Musical Fun with Bluetooth

With the Bluetooth functionality of GO:KEYS, it’s simple to use your smartphone or tablet with the keyboard. Just call up favorite songs from your music library, and then jam along as they stream wirelessly through the keyboard’s built-in speakers or connected headphones. And when you’re ready to step up to more music advanced production, GO:KEYS is a perfect partner for MIDI recording in popular apps like GarageBand and many others.

Make Music Anytime and Anywhere

Thanks to its compact, lightweight design and built-in speakers, you can enjoy music nearly anywhere with GO:KEYS. Play in your bedroom, around the house, or at the office with the included AC adapter, or pop in six AA batteries to use GO:KEYS during camping trips, backyard parties, and other outdoor adventures. Plugging in headphones automatically mutes the speakers, allowing you to get lost in music without disturbing others nearby.

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Blinksonic // VOZ° // Virtual Vocalist Generator For Reaktor 6

Published on Apr 26, 2017 BLINKSONIC°

via Blinksonic:

VOZ° is a new sampling concept based on vocal formants.
This ensemble for Reaktor 6 resynthesizes a real singer voice from a list of vocal articulation samples that can be sketched into multi layer singing parts and played chromatically trough a powerfull 4 voice sampler and a suit of 10 effects.

From mutant choirs, backing vocals, rising screams, funky hits, experimental sound fx, to playable vocal parts...
VOZ° explores various aspects on how vocal sound material can be operated in a virtual instrument and allows to inject a dose of human soul in modern electronic composition.


VOZ° comes with a collection of 1520 basic waveforms including elements of speaking, screaming, whispering, breathing, yelling, laughing, growling, throating... All kind of vowels, phonetics, accents and onomatopoeias… Even whole words and piece of phrases ready to be used as sources of oscillation that can be launched with in predefined random order.

With 100 presets ready to go, a smart modulation system, NKS compatible, and many other features, VOZ° promises noisy, punky and unconventional experiences, for both lyrical and epic sonic adventures.
Probably the vocal sound object, the wildest one of its kind actually.



PRICE & AVAILABILITY

89€
Direct download from www.blinksonic.com/voz.html

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GForce Intros RE STRINGS for Reason w/ Billy Currie Interview & Freeman String Symphonizer Overview

Published on Apr 11, 2017 GForce Software

"RE-STRINGS is our Rack Extension version of the award winning VSM and contains a selection of its most popular and iconic String Ensembles including: ARP Quadra, Crumar Multiman, Elka Rhapsody, Eminent 310, Freeman String Symphonizer, Godwin String Orchestra, Hohner K4, Junost 21, Korg Lambda, Korg PE2000, Logan String Melody II, Mellotron Violins, Moog Opus III, Roland VP330, ARP Solina, Technics KN200, Yamaha CE-25 & Yamaha SS-30.

With it's dual layer capability, it's possible to load the classic string ensemble sounds from years gone by or create your own hybrid ensembles.

Legal Notice
All musical instrument manufacturer and product names are trademarks of their respective owners and in no way associated or affiliated with GForce Software Ltd. The trademarks of other manufacturers are used solely to identify the products of those manufacturers whose sounds and technical data were studied for this instrument. All names of instrument inventors have been included for illustrative and educational purposes only and do not suggest any affiliation or endorsement of GForce Software Ltd."

Billy Currie talks String Synths, VSM & RE-STRINGS

Published on Apr 11, 2017 GForce Software

"During the process of creating patches for RE-STRINGS Rack Extension, we talked with Billy Currie about his use of String Ensemble keyboards over the years and how the Elka Rhapsody and Yamaha SS-30 contributed to some of Ultravox's classic tracks.

Billy also talks about how valuable the VSM and RE-STRINGS libraries are to him and how they've been used in his latest album, Doppel."

Freeman String Symphonizer

Published on Apr 11, 2017 GForce Software

"A brief walkthrough of the Freeman String Symphonizer, invented by Ken Freeman, sounds from which are in both VSM and RE-STRINGS.

The Further Adventures of K.FREEMAN and his Incredible Machine of a Thousand Strings courtesy of I Monster - BRIGHT SPARKS album. www.imonstermusic.com

Ken Freeman footage courtesy of BRIGHT SPARKS Documentary
http://brightsparks.movie"

via Propellerhead

"50% OFF Release Offer! 2 weeks.

The modern, polyphonic string synthesiser was invented in 1970 by Ken Freeman, a British keyboard player and engineer who discovered that if you layered two notes then detuned and slightly modulated one a pleasant ‘chorused’ sound resulted. Over the next 10+ years Ken’s initial discovery spawned an industry that saw the manufacture of more than one hundred ‘string machines’ and multi-keyboards.

Although viewed by some as a one-trick-pony or a poor man’s polysynth, string machines had so much character they’ve graced tracks by artists as diverse as; Lonnie Liston Smith, Air, Pink Floyd, The Cure, Parliament, Herbie Hancock, Camel, Joy Division, Jean-Michel Jarre, Thomas Dolby, Tonto’s Expanding Head Band, Genesis, Toni Tone Tony and countless others.

Product details
Based on our award winning Virtual String Machine (VSM), RE-STRINGS comprises 67 individual sample sets from a plethora of classic analogue string ensembles including the ultra rare (and first) Freeman String Symphonizer, the highly coveted Solina, the eminently desirable Eminent 310, the highly-lauded Logan String Ensemble, plus several other classic (and not so classic) string machines.

Each sample set spans 49 notes (4 octaves), each individually sampled and looped, plus RE-STRINGS contains a 700+ patch library created by respected patch designers including legendary string machine user and keyboard maestro, Billy Currie.

With Dual Layer capabilities - each layer comprising of a Lowpass, Bandpass & Highpass Resonant Filter Section, Two Envelope Generators, Pitch or Filter LFO, Dynamic control including filter aftertouch - if you want to create your own hitherto unrealised hybrid combinations of classic and evocative string ensembles, it’s a cinch. Finally, global vintage style Ensemble & Phaser effects are provided, allowing you to hone your sound to evocative, retro, string ensemble perfection.

RE-STRINGS includes string tones from the following classic instruments ARP Quadra (1978) Crumar Multiman (1975) Elka Rhapsody (1975) Eminent 310 (1972) Freeman String Symphonizer (1973) Godwin Model 749 String Concert (1980) Hohner K4 (1977) Junost 21 (c 1986) Korg Lambda (1979) Korg PE2000 (1976) Logan String Melody II (1977) Mellotron (1963) Moog Opus III (1980) Roland VP330 (1979) Solina String Ensemble (1974) Technics KN200 (1982) Yamaha CE-25 (1983) Yamaha SS30 (1977)"

Halloween Drone : Red Sound Dark Star

Published on Oct 29, 2016 100 Things I Do

"An amazingly cheap and fun desktop synth. Fantastic drone machine that can play up to 8 notes or 5 dual oscillator tones at the same time.

The Dark Star has had a hard time in the synth world, with a mix of RCA jacks for outputs, an almost obtuse 'go your own way' interface for sound design and some rather basic presets it emerged and faded from the EDM / DJ scene in the early 2000's.

I hope to do a series of videos using this synth in the coming weeks. It really has some awesome sound potential and you can spend hours just tweaking away into very interesting sonic adventures. I tend to use it very much like the VCS3 and you can get some very similar / modular textures from it without too much effort. For the Average price of around $200usd at the moment your synth world might just need one

A stereo delay and some slight saturation effects and the Free TAL Chorus-LX were used in this clip.

I hope you enjoy the drone!"

Adventures in Synthesis: Patching on the Deck

Published on Oct 20, 2016 Chris Beckstrom


"An extended video: Usually I patch before hitting "record," but I thought it might be interesting to some folks to see the process of actually creating a patch, then playing it.

The groove gets going around 10:28

I'm no modular virtuoso by any means, but just as with any instrument the key is practice... so here I am!

I've been practicing and preparing for my very first live performance on my modular this Saturday. A part of that practice is transporting it, setting it up, patching it, then tearing it down. I used to play gigs every week on saxophone and keyboards and I know setting up unfamiliar gear in a dark room can be difficult! To practice, I've been moving my synth throughout the house, patching it in all sorts of different locations.

We're just about at peak color here in West Michigan; what better time to take the synth outside and do some patching.

No super detailed patch notes for this one, partially because I forgot what I did, and since I've already moved the modular I can't refer to the patch (it no longer exists!).

Basically, a drum machine I built in Pure Data is running on the fantastic MobMuPlat iOS app, which is sending drum sounds out one side and 16th note clock out the other. The clock goes through an amp and runs the sequencers and a shift register, which is sporadically causing some VCAs to open up. Later on I play with a saw wave being modulated by a few different things, those things routed through my matrix mixer.

I also make use of my arduino digital oscillator, which now has CV control of frequency, wave type, and wave tone (crossfades between different waves). It's a bit quieter because it's only 5 volts but I think it sounds pretty cool... I'm using small wavetables to get a lot of that delicious aliasing, which I happen to think sounds fantastic going through analog circuitry.

The drum sounds from the iPhone are built in a very similar way to the hardware analog circuits on the rest of the synth: basic waves are being generated (in numbers instead of voltage), then used to modulate each other in the software. I also find myself inspired by the stark limitations of an analog-style workflow, so that's how I code as well. That said, I also have a few samples from a TR-909 in there... cause they sound so good!

You can grab the drum machine here (FREE! iPad only for now):
https://github.com/chrisbeckstrom/pur...

The output of the modular goes into an Alesis Microverb for that 90's digital reverb goodness, then right into a recorder."

Eurorack Modular Demos by Brandon Logic

Published on Oct 2, 2016 brandon logic

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."

4. modular sketch 6-30-16 4ms dld dual looping delay and mutable instruments rings patch

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."

Adventures in Synthesis: Backyard Fall Afternoon Modular

Published on Sep 27, 2016 Chris Beckstrom

"I'm on a mission to challenge some ideas about modular synthesis:

That is has to be expensive, or that you can't build it yourself, or that it has to look pretty, that it's too complicated, that you need an electrical engineering degree to play it, or that you can't take it outside.

After all, it's a musical instrument not totally unlike a guitar. Now that I've reconfigured it a bit, why not bring it out to the back yard and play a bit?

This simple patch was inspired by the work of Kaitlyn Aurelia Smith. If you haven't heard her magnificent music, check it out!

Patch Notes

There are 4 voices in this patch: The bassline, a 3-note repeated figure by saw waves, the delay of that figure, and another saw oscillator.

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Adventures in Synthesis: Spring Reverb Feedback, Sequential Switch, and Wild Modulations

Published on Sep 24, 2016 Chris Beckstrom

"The other day I was experimenting with a sequential switch, using it to cycle through various waveforms coming from a single oscillator. It's a bit like the classic dubstep wobble bass, where the divisions of the wobbling change every bit. Of course since this is a modular synth, things can- and do- get much crazier.

Patch Notes

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Believotron at Knobcon

via @believotron5000

"Showing off our @axoloti_be synthesizers."

Some info on what they have to offer via the Believotron website:

"21ST CENTURY INTERFACE

Everyone is different, pick the workflow that works best for you. Use the existing settings and customize to your heart's content, or you can design a brand new way of working with the machine and share it with the community.

INSTRUMENT / PATCH MANAGEMENT

System ships with an SD Card preloaded with an ever evolving range of instruments
Download an up-to-date set of core instruments
Extensive community instruments
Develop your own
Sync files with github / gdrive / dropbox / icloud and more
Modern private version control for musicians that want to protect their work

EVER EVOLVING FEATURES

Zero Programming: New Adventures in community instruments
Zero internet? Use an SD card. DIY or buy from literally anyone with a good idea and a charming experience
Sync directly over USB
Easy Graphical Modification: You will love how easy it is to find and understand the synth logic, and make the changes you need to improve your workflow. Making a mistake is harmless and experimentation is encouraged.

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Adventures in Synthesis: Pure Data drum machine + DIY modular

Published on Mar 2, 2016 Chris Beckstrom

"More about this project:
http://www.chrisbeckstrom.com/portfol...

Get the drum machine code here:
https://github.com/chrisbeckstrom/pur...

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."

Adventures in Synthesis: "I IV V" drone

Published on Feb 19, 2016 Chris Beckstrom

"More about this project:
www.chrisbeckstrom.com/portfolio/diy-mod­ular-synthesizer/

An exercise/improvisation with a drone. Some of the biggest and most epic sounds I've created with the modular yet. At times it sounds like a distorted guitar through a stack of amps, but it's just a bunch of square wave oscillators.

Patch notes:
The main sound is a square oscillator into a clock divider (generating multiple octaves) and then four of those octaves go into the four inputs of a sequential switch. The sequential switch is clocked by another oscillator that can go from audio rates all the way down to clicks (very slow).

When the sequential switch is clocked at audio rates it sounds sort of like frequency modulation, and depending on the clock speed you get various intervals and timbres. I don't really understand why this happens, but I discovered I could create various chord-type sounds by changing the clock speed.

The output of the sequential switch is mixed with one of the other divider outputs (very low suboctave) and a couple higher octave sounds going through semi-randomly-opened VCAs.

All that stuff gets a splash of delay, two channels into the mixer for some spring reverb, then into Bitwig running on Linux. I'd love to hear this on some really big speakers– on my little monitors it shakes the whole basement!"

Adventures in Synthesis: Modular techno patch 2/18/16

Published on Feb 18, 2016 Chris Beckstrom

"More about this project:
www.chrisbeckstrom.com/portfolio/diy-mod­ular-synthesizer/

The modular makes beeps and bloops very easily, but creating rhythmic sequences is a lot more challenging. It's also a nice contrast! That's the amazing thing about this kind of musical instrument: it's capable of so many different sounds and responds to so many different approaches. I built the thing and still barely know what it can do.

Patch notes:
Although I have one "drum" module- a twin-T bass drum (and bandpass filter) circuit- it decided to stop working. This patch uses other sound sources for the sounds, specifically noise (from the delay module with feedback turned up, nothing on the input), saw wave through a comparator (which turns out to be a pulse-width-modulated pulse wave), and a low sine wave from the Arduino providing a "kick."

The patch makes use of the 10 step sequencer set to 8 steps, the CV modulating the frequency of the saw/pulse wave and a few gates opening a VCA with the kick. The "hihat" sound is clocked by the master clock and manipulated by hand because I couldn't get voltage control to work in my circuit. Everything comes out mono, goes through an outboard mixer and some spring reverb, recorded into Bitwig on Linux."

Macro Machines Omnimod Eurorack Module

Published on Nov 14, 2015 Macro Machines

via Macro Machines

"limited edition preorder ships early 2016
Macro Machines presents an incredibly versatile new addition in the world of eurorack modules. The Omnimod will make a powerful new ally in your adventures through the universe of sound. Omni means all, and mod stands for modulation of control voltage.

Create unique new combinations of envelopes, LFOs and step sequences quickly and easily with the simple and intuitive waveform design interface. Centered around a crisp, high contrast OLED screen, the Omnimod provides vivid visual feedback for precise editing, as well as a scope mode to aid in configuring the inputs. This allows for deep, yet intuitive control over complex modulation sequencing. Endless possibilities become child’s play.

Once you have sculpted the perfect waveforms, you can store them for later, and recall them at any time in the future. You can also use the Macro Machines Storage Strip to allow multiple modules on the same power bus line to store and recall their settings at the same time, creating something never before possible in eurorack, instantaneous system wide storage and recall of entirely different configurations.

The Omnimod features:

– 4 powerful channels of LFOs, Step Sequencing, Envelope Generation and Envelope Following, in limitless combinations.
– user friendly interface with intuitive visual feedback.
– an oscilloscope mode to visualize input signals: fine tune the extraction of triggers, select different modes, and smooth or scale envelope following.
– full storage and recall of all parameters automagically before power cycling,
– user definable waves for reusing complex individual channel settings.
– 64 storable, recallable, sequence-able, and randomize-able presets
– only 14HP wide, packs loads of useful possibilities in a small space.
Located atop the beautiful OLED screen, there are four (4) inputs and four (4) outputs using the highest quality 1/8th inch jacks and four (4) eye catching white LED buttons that continually fade to show the output of each of the 4 channels. Below the screen are two encoders, the left encoder is stepped for parameter and point selection and the right encoder allows smooth parameter editing. This simple and quick to grasp control scheme will have you mastering this module quickly, manipulating and sculpting your own unique waveforms.

Settings are automatically saved between power cycles to easily resume where you left off. If used on the same power bus board as a Macro Machines “Storage Strip” module, several banks of settings can be stored, recalled and sequenced to allow even more possibilities from studio to stage.

The Concept:

Macro Machines first product, the Storage Strip realizes an entirely new method for complete patch storage and recall using the standard eurorack power bus board. When used in tandem with their second product, the Dynamic Destiny dual 4 to 1 switch router, entirely different patch cable routings can be saved and sequenced. You can, for example, create one setting with a deep analogue sub oscillator routed through a lowpass filter, and instantly switch this to be a complex high pitch FM oscillator through a spring reverb. This gives owners a new possibility to refine and explore vastly different sounds and come back to them in an instant.

Adding the Macro Machines Omnimod to the Storage Strip and Dynamic Destiny, the user could design an entire group of different settings using any modules they currenty have, and come back to them, refine, record different takes, perform and jam with quickly accessible, reliable start points."

Macbeth Studio Systems M5

Note: Auction links are affiliate links for which the site may be compensated.

via this auction
"This is the original M5 with the black & orange colour scheme, as used for the ARP2600.

Note that whilst it ‘looks’ like an ARP2600, the M5's 'sound' is more Moog and Oberheim. (The original ARP2600 stole the Moog filter design of course, hence epoxy sealed units, lawsuit, etc...)

IMO it is sonically much more powerful and versatile than the 2600, based on the dual filter design alone, as outlined below.

It has both a Moog 'based' (and classic) transistor ladder 24dB/Oct filter for VCF1, PLUS an Oberheim 'based' State Variable 12dB/Oct filter for VCF2.

As well as dual VCF's, I often used the CV controlled Stereo Pan Amp + Spring Reverb for Stereo FX of one or other, or even a VCF MIX, such that I had 4 audio ‘stems’ per patch for mixing.

A glimpse of the huge flexibility on offer here and that's only on the output... There are more modulation & audio paths possible than I care to mention... 1000's basically!

It has a total of 70 sliders which makes it easier to see the settings at distance for many of the functions, as well as allowing for easier ‘patch mixing’ as one might do or have done on a classic analogue mixing desk. It could be a great educational tool in that regard, or else any synth fan could simply get lost in the possibilities and enjoy the sonic adventures... There is no manual for this synth, so it is assumed you are not a beginner to analogue synthesis & CV control...

As well as using as 2 separate mono synths, the M5 has ‘per Oscillator CV’, allowing you to play 3 note polyphonic chords with the right CV/Gate set-up and opens up another whole area that analogue monosynths can’t access... In Mono mode you can of course easily detune to play ‘fixed’ chords shapes from one note in any case and is great fun to experiment with this alone.

As pictures shows this is a huge synth. As well as the sliders it has 23 rotary/switchable pots and over 100 ¼ jack sockets- not 3.5mm mini-jacks as on the 2600.

I planned to buy as a synth 'for life' but a new venture now requires serious funds. I have had 9 years of sonic fun on this amazing synth and now it can be yours..."

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An Interview with Barry Schrader

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!

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