Drum machine Orgy, May 28/03

flickr by d3c0n5truct
(click for more)

full size

Anyone know where this event was?

Update via Konketsu in the comments: "analogassailant is correct. We had this happen in Vancouver at a community space called "Here on Earth" that was located in the industrial section of East Vancouver, and it was organized by several members of a now defunct electronic music collective called "The Black Hole Club". I found these and other pictures while I was cleaning up one of my hard drives, and I thought that I would upload it so I could share it on http://www.livepa.org/board and I didn't expect it to show up here.

We had somewhere around 30 machines show up and the idea was to get them all synced up to one clock source. Sort of a "hey, can we do this?" exercise more than a musical or recording one. It did work, but as you can imagine the sound was godawful and given the number of machines there obviously was a lot of slop in the timing. The hard part was actually getting a clock that each of the machines could recognize; there were a number of pre-MIDI boxes that had a wide variety of differing clock requirements so it was no small feat getting everything to talk to one another.

Before we did this, we had to define what a "drum machine" was, and we settled on a definition like "a stand alone hardware device that is capable of generating simultaneous and polyphonic sounds that are primarily percussive in nature and is capable of playing back those sounds in a preset or user-defined pattern, and is intended for use as a backing rhythm track source alone", or something to that effect which excluded MPC's, sequenced monosynths/modulars and workstations/grooveboxes.

Like I said before, it was really a try-it-and-see type thing, rather than a musical or recording exercise, as well as a great excuse to get together, geek out on drum machines and drink beer. Good times!

Thanks for posting it."

Gleeman Pentaphonic

Click here for shots via this auction.

Details:
"Only 50 ever made - so this is probably the last time you will see one again - this rare beast sounds like a cross between Moog / Oberheim and the Prophet synths and the has the film soundtrack fx side of the VCS3 so is killer for film soundtracks - the Gleeman is in tip top condition and has been recently serviced by a reputable UK company - it comes with mains 110>240v transformer - the total shipping weight is 26kg so email me your area/postal code / country for shipping quotations - I originally paid £2000.00 for the Gleeman Pentaphonic - remember this is one of the very rarest synths out there - you will definately not see another one and it sounds like no other - here is what has been said of the legendary Gleeman Pentaphonic:

The Gleeman Pentaphonic
by Joey Swails (j.swails@comcast.net)

The Gleeman Pentaphonic was introduced in 1981 by the Gleeman company, a partnership of two brothers, Bob and Al Gleeman. They were based (in the grand old Silicon Valley tradition) in their garage in Mountain View, California.

I met Bob Gleeman at the 1982 AES show in Anaheim, while I worked for Don Wehr's Music City in San Francisco. I was blown away by the Pentaphonic's sound; Bob came around the store a soon after, and we became the first authorized Gleeman dealer.

The story goes that the Pentaphonic came about when Bob decided that he wanted a synthesizer like a Prophet-5, but smaller and more portable. His "smarter brother" Al, a computer hardware designer, basically designed the synth from the ground up, working from his brother's description of what a polyphonic synthesizer should do.

It was in actually a digital/analog hybrid -- the filters and amps were based on the same Curtis chips that were used in the Prophet, ARP and Octave machines. The oscillators were digital, as were the ADSRs. The machine was based on the Intel 80186 microprocessor, which was very advanced for it's time. In fact, it used two 80186's -- one for the keyboard/transpose functions, the other for waveform and amplitude control. One thing led to another and they decided to try to market the machine after everyone who heard it told them how great it sounded. They had wanted to call it the "Gleeman Minstrel", since their family name Gleeman means "minstrel." But there was another machine on the market called Minstrel (the Basyn, by Grey Labs), so they settled on "Pentaphonic".

The oscillator section featured 3 oscillators, each with a selection of 8 waveforms. The waveshapes were fixed, in that there was no pulse-width modulation. Instead it offered 3 choices of pulse widths. There were two "digital" waveforms with lots of high, bell-like overtones which had a distinctive, almost FM-like sound when selected.

There was an octave switch on each oscillator (hi/low) and a "chorus" switch that actually detuned oscillators 2 and 3. Interval tuning of the oscillators was not introduced until the programmable version was made, and the intervals were part of the program, selected by pressing keys on the keyboard. There was also a Transpose control that shifted the entire tuning of the machine in half-steps over a one octave range.

It was a standard Prophet-type control set, with one filter ADSR and one volume ADSR. The filter section had the standard cutoff, contour amount and resonance dials. The layout was basically that of a MiniMoog, including an oscillator mixer that included a pink noise control.

One drawback was a lack of a keyboard tracking filter setting, which was explained to e as being impossible due to the way the keyboard controlled the oscillators. Another as that it also lacked a provision for a sustain pedal.

The keyboard system was unique in that it was not based on the same serial-scanning system developed by Tom Oberhiem used by virtually every polyphonic synth, but was rather a parallel port that had an input point for each of the 37 keys. This made for a very fast, responsive keyboard, but made it difficult to derive an analog voltage
to use for filter tracking.

The first Pentaphonic's joystick was only a pitch bend lever, but later they upgraded it to allow for pitch bending and modulation of either the pitch or filter cutoff. There was also a simple, real time, one-track sequencer built in, but with the unique eature of being able to play back the sequence while playing the keyboard with the joystick and transpose control effecting only the notes played on the keyboard.

The original Gleeman Pentaphonic retailed for US$2795 and featured a 6X9 inch "car speaker" with amplifier built into the back of the cabinet. The price included an injection molded road case (actually a Samsonite suitcase customized with form-fit molding inside to hold the synth and a "Gleeman" nameplate glued over the "Samsonite" label.)

In 1982, the programmable version was introduced. I had told Bob from the beginning how much better (and more marketable) the Pentaphonic would be if it were programmable (as the Prophet-5 was setting the standard for analog synths in these days.) The "Presetter" used a two-digit thumbwheel selector next to the joystick with a toggle switch. The first 50 programs (designed by the Gleemans with help from
myself and Keith Hildebrant, who later worked for Opcode and authored several sound sample disks) were in ROM memory and the second 50 were user programmable. The toggle switch allowed for either instant recall as the thumbwheels were changed, or in the second position the patch remained in performance memory until the wheels were changed and the switch was toggled into the "recall" position. A small recessed red
button was the "write" switch. Unfortunately there was no provision for off-loading of programs. The programmable version retailed for US$3295.

I sold Oscar Petersen his Pentaphonic a few months after we became a dealer. He was playing a concert in town nearby and came into the store just to kill time after the soundcheck. He started playing on the Pentaphonic and didn't stop for two hours, while a small crowd gather to listen. He told his road manager he had to have one, and Bob and I delivered it to him at the venue the next day.

The greatest thing about the Gleeman was the sound -- it was gorgeous! The pads were thick and rich; the string patches made an OBXa sound almost thin by comparison. The three oscillator sound was very similar to a MemoryMoog in some ways, but with a crystal clarity that the Moog couldn't touch. If it had a weak point, it was that the Gleeman was almost TOO "pretty" sounding -- not a very good "down and dirty" synth. It was no good at the kind of bizarre patches that the Moog and the Prophet were capable of. It lacked a sync mode and the limited keyboard range was a hassle, but within that range, it was a truly lovely sounding instrument.

To address these defects, the Gleeman brothers had plans for a 61-note, touch sensitive, 8-voice version of the synth (I even saw the prototype being built while visiting their workshop). MIDI was just becoming available, and the new machine would have MIDI (though by then programmable Pentaphonics could be retrofitted for MIDI by the shop.)

Unfortunately, by 1984 the Japanese synth builders were flooding the market with inexpensive polysynths (like the PolySix and the Juno 6/60) and the market for a 5-voice machine with a 37-note keyboard and a price tag over 3000 bucks was gone. And oon after that the DX7 was introduced and the market was radically changed. The Gleeman "Octophonic" never saw the light of day, and the Gleeman brothers retired from the synthesizer business. (I heard that years later Al Gleeman went on to invent the laser dentist's drill.) Only 50 or so Pentaphonics were ever made but they still pop up in the keyboard rigs of some major recording artists such as Kansas, The Band, R.E.M. and of course, Oscar Petersen.

But the Gleeman didn't disappear until after it had made a bit of a stir in the synth world with the introduction of the world's only see-through synthesizer -- the "Pentaphonic Clear".

Here are gleeman owner's Harmony central reviews:
file:///Users/f/Desktop/GLEEMAN/reviews.harmony-central.com"

circuitbenders.co.uk Circuit Bent Roland R5 with LED Patchbay

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

via this auction

Audio demo at the auction and further below.

"The Roland R5 was a late 80's / early 90's drum machine that was an extremely capable unit, and somewhat ahead of its time, but was overshadowed by its big brother the mighty Roland R8. As a result it was often neglected as a poor mans R8 and was probably never really as popular as it should have been.

The standard machine has 68 sounds, four individual outputs plus a stereo pair, extensive sound shaping capabilities, 16 velocity sensitive pads and a whole host of 'human feel' and groove editing capabilities. One additional feature that takes the R5 into whole new realms of percussion programming is the ability to record parameter changes into patterns in on the fly using the data entry slider. This may not seem like much these days, but other than the R8 and the Yamaha RY30, it was a feature that was pretty much unique at the time.

Theres no room for any decent mods inside the casing of the R5, so as you can see we've bolted an extra case to the side of the unit and mounted a patchbay in it. The case is made from transparent blue plastic and contains several LED's that light up when you power up the machine. This gives you a very cool and unique glowing blue patchbay.

The patchbay mods consist of a 20 way main patching area, 2 x patching multiples, 2 x patchable switches and 1 x patchable momentary button. You can find full details of our drum machine patchbay mods on our website HERE. but essentially each 3.5mm patchbay socket is home to a certain audio process or effect which either combines with the effect from another socket when they are patched together, or sometimes just produces an entirely new effect you've never heard before. Multiple simultaneous connections may also combine in unexpected ways to produce a brand new unexpected effect, giving you a virtually unlimited number of warped alterations and audio mutations.

CLICK FOR MORE »

Simmons SDX

Simmons SDX sample based drum system circa 1988. Title link takes you to shots pulled from this auction. Thanks Matt!



Some details from the auction:

"This is the mother of all drum machines. I purchased this machine 3 years ago and have had a blast with it. Although this machine was released by Simmons in 1988, it still reigns as one of the top drum machines in history. It is also good to note that there were only about 250 of these made EVER. The serial number on this machine is 000074, and I have heard of two other machines, one having a serial below mine, and another right above 200. I have personally conversed with Danny Carey of Tool, who owns two of these machines, and he swears that they are among the best in history.

Simmons SDX console with 4 mb of internal RAM (see picture for buttons and layout of the actual board).

7 white-backed trigger pads (1 HexaBass, 5 Zone-Intelligent Pads, 1 Cymbal pad)

1 hi-hat trigger pedal

71 floppy disks contained tons of samples from drum kits to organs to synths, etc

10 guitar cables (one has the alternate connection in the picture below...the 4 pin cable"

Update via the comments:
"bruce mason said...
I own 3 SDX consoles and a few pads .the pads are not based on normal triggering systems but have a thin layer of plastic film with a 3 way spiral circuit [a little like an electric cooker ring but hexagonal and with three lines running in parallel]..on top of this there is a black film with small raised dots which keep it from contacting the circuit until it is struck.when you hit the pad contact is made and a voltage resistance is created across the spiral circuit.this is how sdx calculates the position of the strike as well as the force.depending on these values it selects from a 3x3 matrix of samples..a central area...an area close to the rim and one in between..the width of these zones is programmable..each zone is 3 deep by velocity.also the pitch/ filter brightness/pan position etc/etc/ of the whole drum [1 to 9 samples] can be defined bey velocity and position creating an amazing warping of sounds if desired.absolutely without peer for the weird stuff.analog filters.digital samples.eats the competition alive.the only other serious choice is the ddrum3.end of opinion."

Pacific State/808 State - (Circuit Tracks Version)

video upload by Guinan

"This week’s track is another favourite Hacienda club track. This time from 1989 by the group 808 State (thanks again to Yves Big City @bigcitymastering for inspiring this series).

The original was actually recorded in January 1988 as a reply to the emerging Chicago House scene ‘Pacific State’ has been released in a number of guises. Sometimes just called ‘Pacific,’ others times being labelled numerically after other Roland machines eg. 707, 202. This version is a bit of an amalgamation of a few versions.

Worth noting too that Gerald Simpson ('A Guy Called Gerald') was originally one of the founding members of 808 State before leaving to start his solo career with 'Voodoo Ray'.

I was inspired to cover this after recently acquiring a copy of the Emulator II library disks (to recreate the Kraftwerk track, 'Tour De France' [posted here].
Among these disks, Disk 22 is entitled ‘Loon Garden’. Cited by many as the original source of the ‘Loon’ bird sample we all know and love, it also features a ‘shakahuchi’ sample familiar to anyone who’s ever heard ‘Sledgehammer’ by Peter Gabriel and is a historic piece of sound design. Once you’ve heard these samples you can’t help but hear them across the whole spectrum of popular music. If anyone knows who originally recorded these original samples (also in the Akai S900 library) please leave a comment?

As I started piecing this together I found this excellent video by @CaptainPikant
• Analyzing PACIFIC STATE - How to make clas... [embedded below]
which elegantly detailed the rhythm patterns used. I simplified these somewhat to fit the drum tracks into just 2 tracks to allow room for Sax and Sound Effects tracks (see below).

There is a small snatch of sampled 'sax' played on Logic sampler to fill in for the original sax solo played by Graham Massey from the band but otherwise everything was programmed and played on the Circuit Tracks. No extra synths or FX were used and the audio is recorded straight out of the stereo outs.

I hope you enjoy this track as much as I did putting it together and check back soon for more.

More details for synth nerds.

The bass patch was programmed into Synth 1 to serve as both bass and melody line. The pad sound on Synth 2 is yet another detuned sawtooth pad with chorus, but rolled off with a 24dB low pass filter to create a sound a bit more like the original Juno (said to have been sampled as a chord into a Casio FZ1 sampler).

The drum sounds are a mixture of various 909,707 and 727 Roland drum machine samples from the Reverb Drum Machines collection (normalised and filtered where required).

The Sax sound was played using the sampler instrument in Logic (and is just a preset). The 3 edited phrases were placed onto Drum pad slots and triggered using Drum 3 when required.

Another sample was a ‘bell’ patch created on the Tracks but sampled as a ‘glissando’ to double up the glissando played on the pad on Synth 2, as a break between sections of the song.

Finally Drum 4 was reserved for water and ‘Loon’ sound effects (plus additional 727 rhythm). Did you know the Loon is actually a Canadian diving aquatic bird somewhat like a duck and not at all exotic!

The tracks were as follows;
125BPM, Swing 59%
Synth 1 – bass and melody
Synth 2 – chorused pad chords
Drum 1 – 707 bass drum
Drum 2 – Hihat, Open Hat, Clap and Ride samples.
Drum 3 – Sampled sax lines (and Tracks synth 'bell' glissando sample in break)
Drum 4 – Sound effects, alternating with 727 percussion sampled bongo and muted conga sounds."

Analyzing PACIFIC STATE - How to make classic 909 Ambient House beats | Drum Patterns Explained

video upload by Captain Pikant

"Join us as we analyze and rebuild the unique rhythm of 808 State's timeless Ambient House classic layer by layer."

0:00 Introduction
0:46 Pattern 1
2:54 Loon
4:27 Pattern 2
5:26 Percussion Layer
6:22 One-Shot Patterns
6:49 End Jam

Peter Zinovieff Electronic Music Dairy Summer 1976

This one in via First Last.

http://members.tripod.com/werdav/vocpzino.htm

Peter Zinovieff was the founder of EMS.

"Electronic Music Studios Ltd (EMS) London, England. Beginning in a backyard bomb shelter, Peter Zinovieff has created the EMS Company devoted solely to the production of electronic music instruments." Quote pulled from this page.

Some excerpts from the diary:

"Today is another grey day ... I wish I was in Raasay. There was a storm last night and the studio roof started to leak. It has leaked every year since it was built and every year it is repaired. Water is dripping onto the computer section. Part of the ceiling looks as if it is going to collapse."

"What an idiosyncratic place they must have found EMS. Chickens in the garden. Computers in the basement. Children rushing around the kitchen. I wisk Sofka to school on the Honda. I meet Robin half way down Putney Hill. 400 yards zoom. "

"We discuss, rather drunkenly, the future of synthesizers and how organs are becoming more like synthesizers and synthesizers more like organs I explain that I have decided that EMS should not try and compete in this market but that we should continue to stick to educational and sophisticated machines."

"I tell Ludwig about the terrible week that has just passed and the exciting constructive week that lies ahead. Ludwig tells me of the bad financial state we are in and how the studio is too expensive for EMS to support and how I'm too extravagant. I can tell he is tired. I suggest that we discuss it at the EMS meeting tomorrow. Already then the meeting is diluted from microprocessors and Bessel functions into one of financial fussing. Another decision.
Later Ludwig quietens down. Nothing better than tea and cake, wine and a peat fire. We really get on very well. It must be a nightmare running EMS' financial affairs. We get to bed at about 1. I am glad Ludwig is back."

"We discuss the Glasgow Hospital project. This is an application that has been submitted to the Wolfson Foundation for a large amount of money to be spent on the computer interrogation of patients and the computer diagnosis of their illnesses. Apparently the right 12 questions could diagnose any known disease. The idea is that the patients will be asked questions in regional accents by the computer. They would then respond by pressing a set of simple keys. Yes, no, sometimes etc. EMS will provide all the hardware and the hospital would provide the doctors. It would be very interesting if it works. Alan will be in charge of the project."

"I must stop the EMS people drinking too much at these lunches. Peter Eastty will be slurred and cantakerous this afternoon if he has any more.
All the EMS team are very high powered. Even though some - like David Cockerell, Richard Monkhouse and Alan Sutcliffe are friends and consultants, they still play an enormously important role in the company. We are extremely lucky. "

"Two pop stars arrive with a roadie at 7. They meet everyone going off from the meeting to play pool at the pub. David and Tim are experts at billiards. In Raasay we found an old bagatelle set. I hope it pulls them back there. David walked in snow for the first time in his life at the new year in Raasay.
It soon turns out that the roadie is the greatest pop-star. He's from Tangerine Dream. One of the others wears a long furry earring. Call me Indie Robin recognises him from Chicago. He says he's travelling incognito. It's a good earring he wears for that.
German pop-stars always seem more workmanlike than Americans. English ones fall into one or other camp but usually are dressed up. The Germans wear scruffy jeans and shave. They have come to look at the Vocoder. We also show them the latest modules that Tim is making.
Robin soon takes them off for who knows what with some friends. Rose, Leo and I go to a newly-opened Russian restaurant in Putney. I become maudlin for the gypsies and the islands of Petersboorg that I never knew."

"I had a terrible dream last night about my neck being cut away leaving my head stuck rigid on my body. I woke rather sick. It must have been too much wine at dinner. Suddenly I realise that it is pouring with rain and that I had removed the polythene sheeting from the roof for Hans' lunch the day before yesterday. That is why I had nightmares and why I feel sick.
My worst fears are justified. Water is once again pouring into the studio. Two panels have fallen off the ceiling Onto the computer racks."

"We open a bottle of Champagne. Ludwig thinks I am extravagant. After lunch Richard comes with the video camera interface. It works as soon as he plugs in the board. My programs have been adapted and we are able to test it straight away.
With this invention I am able to derive patterns from a video image. At the sirnplest these images might be a waveform drawn on a piece of graph paper but at a more complex level I think I will be able to derive very useful musical patterns from more random video images. For instance say I point the camera at a flower and say I apportion density of image to harmonic content and I scan from left to right across the stern of the flower. Then imagine that these sounds are pretty mediocre. Dull. Say then that I turn the camera slightly to the left or choose another flower. Will the sounds be more or less interesting? They certainly won't be the same. What images will give the best sounds. In a way it is getting a video picture to provide a pattern for improvisation.
We try it out. I point the camera into the garden. I run VOCAB and I assign the Video parameters to control DOB.
Suddenly the most marvellously rich, varied and amazing sounds come pouring out of the speakers. They ripple and change. They are the first alssolutely fantastic sounds that the oscillator bank has made. Everyone is moved. At first no-one believes that they are not pr~omposed but as I turn the camera the sounds change. They are convinced. In some ways we are frightened. It's like in the story of tuning in to the death cries of roses as they are cut.
We call over Ludwig. He rings up Germany. I ring David in Paris we hold the telephone to the loudspeakers but there is probably little chance that they can hear what is going on. The children come down. I dare not alter anything. Perhaps the program has got into a random loop. I save it and restart it. Wherever I point the camera there is another set of sounds. Each more rich and varied than the last.
I must keep this a secret. I shall give it to Harry for Orpheus. We must not allow these marvellous things to be heard for a year or two. Apollo's gift to Orpheus was music. I wonder where these sounds come from. Perhaps it's not fluke that we have been working on Orpheus for 3 years. This is our reward.
What a day ! Perhaps all days will now be magical again!
I shall use the last seven days of this journal for my Glasgow Musica Nova talk.
Peter Zinovieff
Summer 1976
source: Bulletin of the Computer Arts Society May 1977 "

Plogue chipcrusher v2.0 : Retro-Digital Multi-FX

Published on Nov 13, 2018 Plogue Art et Technologie, Inc.

"Now available (free for registered users)
New DAC Encodings: -CVSD -MOZER -HAAR TRANSFORM -LPC-SP0256 -VOCODER
SPC Delay effect from forthcoming 'chipsynth SFC'
UI Redesign from http://www.kikencorp.com
NKS FX Support!

Downloads and more info:
https://www.plogue.com/products/chipc..."

"Nostalgic for vintage sound encodings, 80s computer speakers, or the SPC Delay from a famous 16-bit console? chipcrusher's got all that, plus grit (background noise) and filter-impulse responses.

HOW DOES IT SOUND?
There is a wide spectrum of results achievable with chipcrusher. Here are a few use cases:

Uniquely destroy/mangle a beat, a guitar or any other audio track.
Play single hits and emulate the sound of old samplers.
Add ‘accurate dirt’ to chipsounds’s output.
Emulate a classic 16-bit console's "Delay/verb" to a track
There are four main components in chipcrusher: DAC Encoding, SPC Delay, Background Noise and Cabinet. The audio inputs first go to the DAC Encoding. Then gets processed by the SPC Delay, mixed with the Background Noise to finally get sent to the Cabinet stage. Of course, each component can be bypassed on demand without muting the audio.

CLICK FOR MORE »

MOOG MAVIS MONOPHONIC ANALOG SYNTHESIZER - MASSIVE SOUND ! DRONE & TEXTURES #1

video upload by Another Machines

ERICA SYNTHS HEXDRUMS — TWISTING KNOBS: Raw Out-Of-Box Sound Tour 🔊⚙️🎚️

video upload by Another Machines

"ERICA SYNTHS HEXDRUMS — TWISTING KNOBS: Raw Out-Of-Box Sound Tour 🔊⚙️🎚️

No commentary — just the machine. A fast, out-of-the-box sound tour of the Erica Synths × Hexinverter HEXDRUMS.

Listen to each of the 10 voices (two kicks, Mutant Machine, snare, clap, rimshot, open/closed hi-hats and cymbal samples) as I twist knobs and show the raw character of the engine.

Perfect for synth heads who want immediate, honest sounds straight from the unit — no effects, no processing, no talk.

CLICK FOR MORE »

The MummyMoog by Soft Machines

Another Halloween synth poster by Soft Machines. This one is available up on Etsy here, or PM to hudl666@aol.com or via Soft Machines on Facebook here.

Also see the TB-303 poster here.

Boss DR 55 Dr. Rhythm Analog Drum Machine Demo

Published on Oct 19, 2017 Sound Provider

"Another Drum machine we use for the Sound Provider Sound Banks.( http://www.sound-provider.eu/ ), archaic to program but super punchy sound

The Boss Dr55 "Dr. Rhythm" Drum Machine is a early 80s vintage Japan write-step drum machine.

Some words about it from VintageSynth.com:
"The DR-55 Dr. Rhythm was released in 1980 and was one of the first step-write-style drum machines, and it was the first rhythm machine in BOSS' successful Dr. Rhythm Series. It was small, inexpensive and easy to use - perfect for musicians at any level. Incredibly basic controls and sounds made this drum machine an instant hit among guitarists and other musicians looking for drum accompaniment to practice along with and even record into their home recordings.

The DR-55 could store up to six 16-step drum patterns plus an additional two 12-step patterns. The 12-step patterns allowed for 3/4 and 6/8 rhythms. A variation switch allowed you to, on-the-fly, alter the pattern playing. There were only four sounds in the DR-55 which included Snare Drum, Kick Drum, Rim Shot and Hi-Hat. The sounds are comparable to Roland's CR-series of rhythm machines as well as some of Roland's cheaper TR-machines (like the TR-505, TR-606). You can globally adjust the Volume, Tempo, Tone and Accent for the drum sounds.

Step-Mode programming was accomplished in a fairly basic manner: Switch the DR-55 into Write Mode and select a sound from the Sound switch, and use the Start button to place the sound and the Stop button to step through the 16 (or 12) beat pattern. Only Kick, Snare, Rim Shot and Accent could be placed in a pattern in step mode--the Hi-Hats could only be programmed as either Off, 8ths, 12ths or 16ths via the Hi-Hat switch. Primitive programming for sure, but very simple and effective.

Today, where its sounds can easily be sampled, the DR-55 may seem pretty useless. However it does have an authentic sense of nostalgia being BOSS' first DR-machine and also quite a successful early programmable drum machine. You may not find a need for such an instrument today although it does make a great conversation piece! It has been used by New Order, The Cure, Chris Carter, Sisters of Mercy, Chris & Cosey, Xeno & Oaklander, Soft Cell and Thomas Dolby."

Mozart? On Gotharman's Little deFormer 3 synthesizer & groovebox?! #TTNM

video upload by THE TUESDAY NIGHT MACHINES

"Yeah, okay, this was a test how difficult it would be to program actual notes from another music piece into Gotharman's Little deFormer 3 sequencer. Turns out the various sequencer editing modes make this not very hard at all ... it's quite convenient actually, especially with the step recording mode, which I seem to have criminally neglected in the past.

No samples or analog filters in this jam, only the LD3's internal synth sound engines and effects.

Gotharman's website:
https://gotharman.dk"

More Gotharman videos by THE TUESDAY NIGHT MACHINES:



Discover more of THE TUESDAY NIGHT MACHINES here:
https://nightmachines.bandcamp.com
https://nightmachines.tv

ASM HYDRASYNTH EXPLORER Playlist

video uploads by Another Machines

Kenton Pro-4 Analog Synth MIDI > CV Gate Converter

via this auction

"This is the Cadillac and undisputed king of CV/GATE converters. I've used many different CV converters over the years and currently own 4 of these units. I've also owned an Encore Expressionist, Doepfer, and JL Cooper device and this unit blows them all away. The metal knob on the front makes it very easy to access the various parameters.

CLICK FOR MORE »

UVI Program 24

UVI

UVI Program 24 | Overview

"Program 24 - Electronic Disco, Synthwave and Beyond
https://www.uvi.net/program-24

Program 24 brings back the vintage charm of 80’s electronic and disco soul with a suite of 5 instruments and a massive selection of sounds, sequences and arps. It covers numerous styles such as Italo and modern disco, synthwave, electro, experimental and more for a new-generation twist.

Video Credits: Anthony Hak
Music Credits: Emeric Tschambser
______________
About UVI
UVI is a developer of software instruments, effects and soundware. We leverage leading-edge synthesis, DSP research and design to provide unique and expressive tools for musicians and audio professionals.

Our goal is to help you achieve the highest-quality sound possible with innovative and reliable solutions. You can hear our work around the world at live shows, on hit-records, in blockbuster films and AAA games.

We're a small but spirited team with a global footprint, music and sound lovers eager to share our passion. We're honored to be a part of your creative journey and thankful to you for sharing ours.

https://www.uvi.net

©2020 UVI. All rights reserved."

"Program 24 brings you the pure sound of '80s Italo Disco inspired by two wild synths nearly lost to time, the Solton Programmer 24 and SM100. The Programmer 24 is an unassuming 3-octave keyboard released in 1985, it contained everything necessary to produce complete arrangements, and real time performance features perfect for backing up the band. It sported a full 8-bit PCM drum section, analog bass and lead arpeggio with analog filters, violin, cello, and 3 flute voices (8', 4', 2'), a featured arranger, chord and pattern sequencers. To top it off, it had individual outputs for 8 drum parts and bass, full MIDI, and a tape interface for storage.

What really caught our attention with this little beast was the sound. Right out of the box it just sounds good, packed with an '80s character we simply adore. The drums are clean and punchy, the bass and arpeggio pack vintage funk, and all the voices work together to create a full and truly classic sound.

The SM100 is another cool analog synth, with DCOs and a phenomenal chorus/ensemble effect. We multisampled every sound allowing you to engage the chorus effect just like you would on the real thing. All-in-all these two fantastic machines deliver tons of flavor and great sounding voices ready to lay down the groove for a new generation.

Program 24 delivers sounds and arrangements from a special period of time, and new and unique ones inspired by these machines. We captured every drum sound (and some extras from mythical machines like the DMX, Linn, 8o8 and more), along with the full range of each analog voice, MIDI drum patterns, classic and chord follower arpeggiators, and discrete preset recall for each sound. Numerous included multi kits, single sound presets, arpeggiators, drums kits and drums MIDI files deliver both pure vintage and all-new sounds and patterns designed by our team, giving you a huge variety of both classic '80s sounds and contemporary patch designs.

For those looking for the complete package the included multi instrument offers a fully-loaded and fully-programmable workstation allowing you to program complete arrangements with your DAW, using all the hardware voices together. For added convenience and sound sculpting potential we've included 2 reverb sends and 2 delay sends that can be fed by any of the drum or instrument voices, along with per-instrument multimode filters, drive, phasor, and EQ. Finally, 2-bus effects including drive, compressor and EQ help you add punch and polish to the mix without leaving the UI.

As well, we've made each of the instrument sections available separately, allowing you to call up only the drums, bass, strings and organs, or accompaniment voices as you need them. Each individual instrument is identical to its multi counterpart, offering the same effect section, sends and presets. A terrific way to focus on sound design, or simply add one or two layers to your production."

the SPACE CASE tape echo

Playlist:
1. SPACE CASE Tape Echo Demo Series - 3 - SYNTHS - Arpeggiation Character and Oscillation (Roland SH-101)
2. SPACE CASE Tape Echo Demo Series - 2 - DRUM MACHINES - Feedback Rhythms from Spaced Hits (brand new 808 and 909 samples by the venerable Samples from Mars in Brooklyn NY)
3. SPACE CASE Tape Echo Demo Series - 1 - VOCALS - Traditional Use and Explorations (Bob Marley solo vocal)

"The Space Case is a new tape echo for the modern vintage workflow. Each is hand made in limited batches in New York at The Center for Memory and Control. The machine operates at line level, and the sound can be described as being a combination between the original slap machines hooked up to consoles in the 50's (the original echo invention) and the classic Hi-Z devices from the 60's and 70's. It is inherently well suited for things like synthesizers, drum machines, and other unbalanced line level musical instruments and equipment. Hi-Z/Guitar and Balanced Line connectivity can be added (see features).

- Six time ranges
- a line level insert TRS jack for adding external processing of the echo/feedback path (i.e. using a synth or any other device to add resonance, more eq, and any other shaping you want)
- A time adjust knob for a wide sweep within each range
- Powerful feedback with plenty of self oscillation
- Echo tone
- Independent echo and dry output level
- Opamp overdrive at the output stage that can be applied to dry, echo, or any blend of both. (you can use the machine as a distortion unit with no tape/echo involved)
- Classic "playback and record" operation with speed differences. The machine is designed to be able to go down to near dead stop, so one can create extreme changes in analog tape fidelity and timing by recording at one speed and playing back in another. Feedback, tone, and speed/time can be performed live and recorded/played back with further tone and speed changes.
- A small loud speaker that is driven by the same opamp overdrive, effectively giving you a small but saturated and strong sounding "guitar amp" with whatever signal you're using
- A VU meter!
- 1/4" TS in and out
- Optional HI-Z/Guitar/Instr breakout pedal with a Crimson transformer, true bypass footswitch and a bonus DI function
- Optional transformer balanced XLR Line I/O with two Crimson transformers

www.spacecasetapeecho.com"

Friday Fun Thing - Boomstar SE80 and Freeze Machines

Published on Dec 21, 2017 sonicstate

"Another Friday Fun thing (yeah I know, we went early..) - this time featuring the Studio Electronics Boomstar SE-80 - lovely analog desktop synth, and our very own Freeze Machines - a set of frozen reverb instrument racks for Ableton Live 9 Suite or with Live 9 with Operator, Analog and Electric.

Buy Freeze Machines from us: http://bit.ly/freezemachines"

ROLAND JUPITER-XM Playlist

video uploads by Another Machines

Generative Music by Gibran Curtiss

Published on Apr 16, 2017 Gibran Curtiss

Playlist:

1. Generative music - part I

"Still an embryonic project of Generative Music in Arduino plataform and Midi protocol using simple biological algorithms to birth , growth, reproduction and death , together with locomotion and collision . This video was the result of one day of coding, so.... The 4 tempo was reduced to 1 to make a little short video. Long journey yet to come."

2. Generative Music - part II

"Second video of generative music project.
Arduino Uno replaced by Arduino Mega.
Arduino goes to USB MIDI interface, that goes to laptop running ableton driving 3 Midi channels.
The original algorithm was improved a lot and were added some controls to make intentional transitions.

Credits: Adam Kumpf for the core algorithm."

3. Generative music - part III

"Another sample with a generative music Arduino prototype."

4. Generative Music - part IV

"Another great step forward to my generetive music project.
These are the 2 major changes in project:
a)the first 3 videos I've made, the Arduino was connected to a laptop by MIDI. Now 2 full 5V CV OUTs available (3 at the moment I'm writing this) :-) provided by a DAC MCP4725
b)improvement into evolution algorithm allowing to choose to evolute or not each parameter individually. This way we can let the machine evolute by itself and then step in anytime to control the evolution.
Finally the unit is connected to a real modular synth!!! I'm very very really happy!!!!!!!!.
This video is a very simple path:
-one CV to a Qu-Bit Chord
-another CV to 4MS Spectral Multiband Resonator."

5. Generative Music V

"This is the 5th video of an Arduino Generative Music project. Finally a reasonable result. 4 midi channel / 4 CV outputs (0-5V). In this video only 2 channels used."

6. Generative Music Part VI

"This is the Part VI of the Generative Music project. A friend asked me to explore all 4 channels. So here it is. A lot better that last one video. But still a lot to improve on the next. Remember that this project is a SUPPORT tool to provide some melody, not make an entire song. Now the next goal is to attach a solar panel and some sensors : temperature , pressure, light, air humidity, soil humidity, wind velocity. All together and a little math will be able to make music according to weather variations including wake up and go to sleep. It will be an self sufficient being. Like a mini Frankenstein that makes music."

7. Generative Music part VII

"This time the fully functional prototype of the generative music module patched to the 4MS SMR passing thru a custom Spring Reverb.
One square wave oscillator with a fixed frequency feeding the 4MS input.
The final configuration of the module is :
-4 (0V to +5V) CV outs with buffered MCP4725 DACs.
-1 Trigger out with led indicator;
-parameter / value knobs to control the internal variables;

Again, some code improvements to do a better control over the note distribution to CVs.
The evolution of the generative module was locked this time just to play around with 4MS, basically, the same melody all the time but exploring the internal variations of the CVs.
Remember that the whole sound was played ONLY by the 4MS. No drum machines, no other modules."

8. Generative Music part VIII

"This time added a control to interval or cycle a group of 2,4,8,16,32 notes.
Unfortunately this project will be suspended for a while.
The effort now is to develop better melodies but I dont have much time exclusively to it.
Thank you!"

#M4MLive - Crashing iKaossilator dead - Muzik 4 Machines

YouTube Uploaded by muzik4machines on Oct 17, 2011

"the bitch crashed on me, NOT LIVE READY
muzik4machines's webcam video October 17, 2011 01:54 AM
iTunes: http://bit.ly/fB0L9V
Store: http://muzik4machines.com/store
International Booking Agent: Luc De Bouvries luc@slfa.com 514-983-4457 S.L. Feldman & Associates
Home: http://muzik4machines.com
Twitter: http://twitter.com/muzik4machines
Podcast: http://muzik4machines.com/2ztc7w
Youtube: http://youtube.com/muzik4machines
Facebook: https://www.facebook.com/Musik.For.Machines

Info@muzik4machines.com"

KORG iKaossilator - KORG INC.
iPads on eBay
iPod Touch on eBay

#M4MLive - Korg iKaossilator demo 1 electro-ish - Muzik 4 Machines

YouTube Uploaded by muzik4machines on Oct 17, 2011

"muzik4machines's webcam video October 17, 2011 01:24 AM
that's weird i recorded for 15 minutes and it just kept the first 8
first real demonstration(15 minutes) of the iKaossilator app, reallu fun to save on the fly when its good and continue modifying things and just saving again ang going back and forth between the parts with the loop thing(hope they planned for unlimited loops as i already deleted all presets and recorded over 25 (in this clip i saved 3, but in another unrecorded one, i saved 12 times in 30-40 minutes of noodling and just came back and forth between the parts"