Magellan for iPad Version 2.1 Update & 64 Presets from Sunsineaudio

Published on Feb 3, 2013 YonacSoftware·42 videos

"Version 2.1 is here! Our song here shows off new 2.1 features including Audiobus's FX slot, new FREE FX (Equalizer & Compressor), ability to rearrange FX flow, and SPAWN - Magellan's artificial intelligence preset creator! All Magellan sounds in this video were created with SPAWN.

Check out our website for more info: http://www.yonac.com
Magellan on iTunes: Magellan - Yonac Inc."


Explorer 3 - 64 Presets for Magellan
Published on Feb 3, 2013 sunsineaudio·12 videos

"Sunsine Audio is proud to announce our third set of 64 new presets for Magellan from Yonac Inc. Explorer 3 utilizes full XY pad and Mod Wheel support for all presets, enabling easy and interesting variation in sound and texture. Contains basses, leads, pads, keys, and arpeggiation sequences.

*Compatible with Magellan for iPad and Magellan Jr for iPhone. Requires iOS 5.1 or later.*

Format:

• 64 presets

• 1 .yban bank file

• Easy Installation Instructions

Price: $2.49

Available at - www.sunsineaudio.com

Download Free Preview Pack - http://www.sendspace.com/pro/dl/n66h0r"

iOS Devices on eBay - Daily Tech Deals

EINKLANG - The most intuitive software synthesizer

EINKLANG - the most intuitive synthesizer. from Eisenberg on Vimeo.

"After nine years of research and over three years of development, we at Eisenberg are very proud to present EINKLANG, our first software synthesizer. At the moment, we are working on its completion so EINKLANG will be available in stores in early December.

Discover what makes EINKLANG so special and pre-order here at a discount of up to 66% of the retail price: http://www.indiegogo.com/einklang

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EINKLANG  (Ein•klang [ˈaɪ̯nklaŋ] noun. German word for unison, equilibrium, a sound)

EINKLANG introduces an all-new paradigm in music production. While existing synthesizers are controlled by many complicated, technical knobs, EINKLANG can be controlled by a few, powerful musical parameters. One of EINKLANG’s key features is the triangle morphing field, which allows users to morph between three different instruments with great ease. With the turn of one knob, a piano, a violin and timpani become a timpianolin. EINKLANG allows the user to focus exclusively on the creative aspects of making music, without being distracted by the complex technical processes.

Instead of synthesizing sounds like traditional synthesizers according to a set of technical parameters (i.e. amplitudes, frequencies, spectra…), EINKLANG re-synthesizes sounds using instrument models. These instrument models can not only be tweaked directly in their musical parameters (i.e. loudness, pitch, timbre…) but also be morphed from one sound to another.

The instrument models are based on Artificial Intelligence Studio Technology (AIST), an award winning, patent-pending technology that allows synthesizers to understand the structures of sounds, and remembers specific nuances of different instruments. So the musician can concentrate on musical aspects, while the synthesizer does all of the underlying technical processing.

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Also find us on
www.eisenberg-audio.de
www.facebook.com/EisenbergAudio"

Benjamin Grosser - Interactive Robotic Painting Machine, Robotic Installation 2011

YouTube Uploaded by MediaArtTube on Nov 7, 2011

"This machine uses artificial intelligence to paint its own body of work and to make its own decisions. While doing so, it listens to its environment and considers what it hears as input into the painting process. In the absence of someone or something else making sound in its presence, the machine, like many artists, listens to itself.
More info: http://bengrosser.com/projects/interactive-robotic-painting-machine/"

Triadex Muse - 1972 Vintage Digital Music Sequencer

via this auction

"History
The Triadex Muse is the first digital musical composition instrument. It is a sequencer based tone synthesizer and it was first produced in 1972. Essentially, the Muse is a deterministic algorithmic event generator that uses early digital integrated logic circuits to generate an audio output that produces a sequence of notes based on the settings of various parameters. In the 1970's when most synthesized music makers were huge and cost thousands, the Triadex Muse was a reasonably sized tabletop model and cost $300. Only a few hundred (we think around 300) were produced and they were never made available in stores. The Muse was designed by two famed MIT professors, Marvin Minsky and Edward Fredkin. At the time, Minsky was moonlighting on the movie set of '2001 A Space Odyssey', teaching Stanley Kubrick about Artificial Intelligence as he created Hal. Isaac Asimov described Minsky as one of only two people he would admit were more intelligent than he was, the other being Carl Sagan. Ed Fredkin was an early pioneer of digital physics. In 1980, Carnegie Mellon U. created the Fredkin Prize, to be awarded to the creators of the first computer to win the World Chess Championship. The Muse was designed to replace a radio - why listen to old music when this neat-o box can make new music?

How it Works
The front panel sliders, which control the melodies that are generated, allow for the possibility of 14 trillion musical note combinations. The four small sliders in the lower-left control Volume, Tempo, Pitch, and Fine Pitch. The switches to either side of the sliders are used to start and stop the sequence, or to step through it note-by-note. Of the eight larger sliders on the right, four control the musical intervals used (labeled A, B, C, and D), and four control the theme (labeled W, X, Y, and Z). There is also a "Rest" toggle switch at the lower right which acts as a "lowest note".

Details
The musical computer is housed in a sleek mid-century modern wedge shaped finished wood and brushed aluminum case. Located at the upper left of the unit panel is the internal speaker.
It measures 10 inches high x 11 inches deep x 13-1/2 inches wide.
The cosmetic condition of this Muse is good, but it has seen some use and it is almost 40 years old. It is missing the on/off switch, however the switch is in the ON position, so when you plug it in, it works. There is a scratch in the brushed aluminum above the tempo slider, and the wood has warped a little bit and has some surface scratching here and there around the case. The electrical cord has also been cut at some point, not all the way through but enough to expose the copper inside. It has been repaired with some electrical tape and hasn't had any issues since.

Muse Model: Muse-1
Serial no.: 00954-216
AC 115-125v 60CPS 40w
ok50Hz"

CLICK FOR MORE »

Triadex Muse Vintage Music Synth 1st Digital Instrument

via this auction

"The Triadex Muse is the first digital musical composition instrument. It's a sequencer based tone synthesizer and it was first produced in 1972. It measures 10 inches high x 11 inches deep x 13-1/2 inches wide Essentially, the Muse is a deterministic algorithmic event generator that uses early digital integrated logic circuits to generate an audio output that produces a sequence of notes based on the settings of various parameters.
The front panel sliders, which control the melodies that are generated, allow for the possibility of 14 trillion musical note combinations. The included manual provides exact instructions. The musical computer is housed in a sleek mid-century modern wedge shaped finished wood and brushed aluminum case. The four small sliders in the lower-left control Volume, Tempo, Pitch, and Fine Pitch. The switches to either side of the sliders are used to start and stop the sequence, or to step through it note-by-note.
Of the eight larger sliders on the right, four control the musical intervals used (labeled A, B, C, and D), and four control the theme (labeled W, X, Y, and Z). There is also a "Rest" toggle switch at the lower right which acts as a "lowest note". Located at the upper left of the unit panel is the internal speaker. Additionally, the Muse can be slaved to that of another Muse, allowing for multi-part compositions.

In the 1970's when most synthesized music makers were huge and cost thousands, the Triadex Muse was a reasonably sized tabletop model and cost $300. Only a few hundred were produced and they were never made available in stores. The Muse was designed by two famed MIT professors, Marvin Minsky and Edward Fredkin. At the time, Minsky was moonlighting on the movie set of '2001 A Space Odyssey', teaching Stanley Kubrick about Artificial Intelligence as he created Hal.
Isaac Asimov described Minsky as one of only two people he would admit were more intelligent than he was, the other being Carl Sagan.
Ed Fredkin was an early pioneer of digital physics. In 1980, Carnegie Mellon U. created the Fredkin Prize, to be awarded to the creators of the first computer to win the World Chess Championship. The prize was paid out to IBM's Deep Blue in 1997 for beating world chess champion Gary Kasparov in the final game of a tied, six-game match. Deep Blue was a parallel supercomputer that processed an average of 200 million chess positions per second, and the first chess machine to draw and beat a world chess champion in a regulation game, and the first chess machine to beat the world champion in a regulation match. The cosmetic condition of this Muse is excellent as it's only been taken out for this demonstration. The original box, instruction manual, papers, & tags are included with the Muse

Muse Model: Muse-1
Serial no.: 00780-114
AC 115-125v 60CPS 40w
ok50Hz"

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Triadex Muse Vintage Music Synth MIT Digital Instrument

via this auction

"The Triadex Muse is a sequencer based synthesizer. It was first produced in 1972. It was a deterministic event generator that used early digital integrated circuits to generate an audio output that could sound very musical. In this auction you will receive both the Triadex muse and the accompanying amplifier. They both have the original boxes. Even though they were ahead of their time and somewhat of a technical marvel, very few were produced. The cosmetic condition of the units are in excellent condition as seen in the pictures. The original instruction manual and tags are included with the Muse. We don't have the patch cords that go from the Muse to the amplifier to test the operation of the amplifier. So the amplifier was not tested and is being sold along with the Muse in “as is” condition. This is a rare opportunity to own both the Muse and the amplifier. The Muse was designed by MIT graduates Edward Fredkin and Marvin Minsky in the late 1960’s. Minsky was on the set of “2001 A Space Odyssey”, and taught Stanley Kubrick about Artificial Intelligence as he created Hal. Years later, Edward Fredkin created the Fredkin Prize, which awarded the creator or creators of the first computer to compete and win the World Chess Championship. The Muse is a music composer machine or digital synthesizer and melody composer, involving early logic modules in a unique circuit that allows the possibility of 14 trillion musical note combinations It's an algorithmic music generator that uses digital logic circuits to produce a sequence of notes based on the settings of various parameters. The four small sliders in the lower-left control Volume, Tempo, Pitch, and Fine Pitch. The switches to either side are used to start and stop the sequence, or to step through it note-by-note. Of the eight larger sliders on the right, four control the musical intervals used (labeled A, B, C, and D), and four control the theme (labeled W, X, Y, and Z). A rest can be substituted for the lowest note by flipping a toggle switch. The exact logic behind the composition engine is rather technical, and not exactly intuitive. The tempo clock can be slaved to that of another Muse, allowing for multi-part compositions. The Muse is the subject of U. S. Patent 3610801, and their patent abstract of this electronic music composer reads as follows: In the apparatus disclosed herein, a note generator is controlled by a long term, quasi-periodic function which is in turn generated by applying digital feedback in preselected combinations around a digital register. The register comprises means for holding a plurality of bits of digital information in a given order, e.g. a shift register or counter, the held information being changeable according to a predetermined pattern in response to input signals applied thereto. Digital feedback is provided by applying to the register at least one input signal which is obtained according to a preselectable or adjustable code from bits of information obtained from various points in the register itself. The apparatus thus, in effect, composes music as distinguished from merely synthesizing sound. It is not known exactly how many Muses were made, [cyberlegend has it that only 280 to 300 were made] but they are very rare, and were never available in stores. The Muse originally had an even rarer accessory, the “Light Show”, which flashed colored lights in time to the music. It was a very simple circuit and was constructed of, believe it or not, G.E. colored Christmas lights.

The specs are as follows:
Model – Muse
Serial no. 00729-113
AC 115-125v 60CPS 40w
ok50Hz
Amplifier model no. AS-1
Serial no. 00072-108 "

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Immacula by Fantadrom

via Fantadrom
Immacula by Fantadrom
"This composition is from a project I'm currently working on that consists of ambient electronica that's more or less in the vein of Warp's early Artificial Intelligence series. The string/ choral pad type sound was produced with a Roland HS-60 (which is just a Juno-106 with built in speakers) with liberal amounts of one of my homemade spring reverbs mixed in. The running melody that begins around the 20 second mark was produced with a Roland JX-10 with some Yamaha R1000 reverb mixed in with one the voices. The bass line was made with a Mono/Poly using a patch in unison mode with only two oscillators, each outputting a triangle wave (the triangle waves output by the Mono/Poly's oscillators are really well suited to deep sub-bass sounds, and the snappy envelopes allow you to make a tight and surprisingly modern bass sound). The percussion in the left channel was produced with an MFB-522 and the right side is from the trusty old TR-606. The kick drum in the center is also from the 522. The percussion sounds are all treated with varying amounts of spring reverb. Everything was sequenced with an Atari 1040STe running Notator (essentially proto-Logic), and was recorded live, mixed, and mastered on a Korg D3200." See Fantadrom for more.

Singing Candle- Weird Science Experiment- Magic Trick

YouTube via OrganicVeggieLoaf | January 30, 2008

"This video, recorded in 1997, demonstrates an early proof of concept prototype I put together for a novelty entertainment product I called the Singing Candle, or CandleSpeaker (please observe copyrights). The candle flame sings the following melodies:
1. Strolling Through the Park One Day
2. Shave and a Haircut
3. Mexican Hat Dance
4. Camptown Races
5. The Star Spangled Banner
6. Jingle Bells

This is basically fire modulated with a high voltage audio signal, similar to the techniques used to create a plasma tweeter or plasma speaker using a tesla coil or CRT flyback transformer. There is no speaker- the sound comes from the rapid air pressure disturbances in the candle flame itself, controlled by a high voltage current modulated with an audio signal and passing through the fire plasma.

The final product was going to sing with a human voice via amplitude modulated ultrasonic carrier, and not with the cheesy squarewave oscillator signal used in this video. You won't see this in stores anytime soon, however, as the project never really got off the ground.

But here I am talking to a candle flame and it's kind of funny and fascinating. Hope you think so too.

BTW, The accent in my voice is fake- I did it just for fun. You know how it is, when you're goofing off at home all alone?

Recorded at Batchelor Pad Heaven in 1997. Davis, CA.

If you enjoy piano music please see my other videos- playing the piano is my other hobby ;)

Keywords: Musical tesla coil. Fire dancing, Fire Performance, Electronics, Electronic hobby, Analog Electronic Music, Oscillations, Modulations, Singing Fire. DIY Household Hacker. Imaginary Candle Friend. Pixilated Plasma. Fire Fairy. Fire Faerie, Faeries. Gothic Music. Nursery Rhyme Music. High Voltage Arc Experiment, ghost, hardware hacker, electronics hacking, EVP, electronic voice phenomena phenomenon, artificial intelligence, A.I., mysterious, mystery, teh hax."

Rare MUSE TRIADEX Sequencer Synthesizer

via this auction

More pics at the auction while up.

"The Muse is a music composer machine or digital synthesizer and melody composer,
involving early logic modules in a unique circuit that allows the possibility of 14 trillion musical note combinations
The Muse is an algorithmic music generator: it uses digital logic circuits to produce a sequence of notes based on the settings of various parameters.
The four small sliders in the lower-left control Volume, Tempo, Pitch, and Fine Pitch.
The switches to either side are used to start and stop the sequence, or to step through it note-by-note.
Of the eight larger sliders on the right, four control the musical intervals used (labeled A, B, C, and D), and four control the theme (labeled W, X, Y, and Z).
A rest can be substituted for the lowest note by flipping a toggle switch.
The exact logic behind the composition engine is rather technical, and not exactly intuitive.
The tempo clock can be slaved to that of another Muse(if you can find one) allowing for multi-part compositions.


The Muse is the subject of U. S. Patent 3610801, and their patent abstract of this electronic music composer reads as follows:
In the apparatus disclosed herein, a note generator is controlled by a long term, quasi-periodic function which is in turn generated by applying digital feedback in preselected combinations around a digital register.
The register comprises means for holding a plurality of bits of digital information in a given order, e.g. a shift register or counter, the held information being changeable according to a predetermined pattern in response to input signals applied thereto.
Digital feedback is provided by applying to the register at least one input signal which is obtained according to a preselectable or adjustable code from bits of information obtained from various points in the register itself.
The apparatus thus, in effect, composes music as distinguished from merely synthesizing sound."

"Rare and extremely collectible! The Triadex Muse is the first digital musical instrument. Very Few of these were produced. Some say it was the first of its kind.

Designed in early 70's by two MIT professors: Marvin Minsky and Edward Fredkin. About that time, Minsky was moonlighting on the set of 2001 A Space Odyssey teaching Stanley Kubrick about Artificial Intelligence as he created Hal.

SPECS:

Model: Muse-1

Serial no. 00883-116
AC 115-125v 60CPS 40w
ok50Hz

Made in USA Triadex, Incorporated Newton, Mass

MEASURES approx 13 1/2" across, 10 3/4" side, 9 3/4" tall.

CONDITION: Appears to be in very good WORKING Condition. The Built in speaker Sound is good. Start ON-OFF, auto hold and step, the tempo, volume, pitch, fine pitch sliders all work for sure. The other 4 "interval" & 4 "theme" program sliders seem to "click" as they should to change the pattern etc. The vertical lights on the right seem to function as designed. I did not test the "rest normal" & "external normal" speaker switchs or any the jacks on the underside.

Cleaning the sliders to sliders more smoothly is up to you, I'm not messing with them as they seem to work ok. (I do not have a manual)

Cool Original circuit-bent type sound manipulator."

Ray Kurzweil - Futurist

YouTube via ComputerHistory
"[Recorded July 13 2009] Ray Kurzweil is a 21st century polymath. He is a scientist, inventor, entrepreneur, author, visionary and futurist. As a scientist and inventor he has pioneered work in optical character recognition (OCR), speech recognition technology, and electronic keyboard instruments. As an entrepreneur, Kurzweil has founded businesses in the fields of OCR, music synthesis, speech recognition, reading technology, virtual reality and financial investment. He is the author of numerous books on health, artificial intelligence (AI), the technological singularity and futurism. The Kurzweilian version of the future is the inevitable merger of humans and intelligent machines.

In this discussion with Computer History Museum Senior Curator Dag Spicer, Kurzweil shares his vision of how technology will re-shape the human body (and culture generally) into one that incorporates advanced technologies into a new type of post-human organism. Kurzweil sees this transformation occurring over the next 20 to 50 years and beginning with the integration of electronic-based systems into the human body. Some decades after that, a further transformation occurs--one based on nanotechnology—which incorporates the manipulation and construction of interfaces and complex systems based on atomic-level structures that merge with and control specific bodily functions and attack its problems (i.e. cancer). Some of the philosophical implications of Kurzweils vision are also discussed."

Emily - KORG Karma on a Whole New Level

via Discover Magazine

"Meet Emily Howell. She’s a composer who is about to have a CD released of sonatas she composed. So what makes her unique? She’s also a computer program.

Emily was created by University of California-Santa Cruz professor David Cope, who claims to be more of a music teacher than a computer scientist (he’s both). Cope has been working on combining artificial intelligence with music for 30 years—thereby challenging the idea that creating music should be limited to the human mind."

via the source article on ars technica: "Instead of feeding Emily a database of works that already exist, he gave her a collection of works that EMI had produced to get it going and, from there, she began working on her own musical style. Cope described Emily's style to be similar to modern composers, a "sort of an amalgam of all styles" and very contemporary. But what makes Emily interesting isn't just that; it's the fact that she can take audible feedback—musically or verbally—from an audience in order to modify her compositions."

JR Hexatone Pro

via Amidio, makers of Noise.io

"The Future Is Now!

We have joined with the world-renowned keyboard wizard Jordan Rudess of Dream Theater to produce a groundbreaking app that simply blows away!

Imagine a 6-directional drum machine/rhythm sequencer where only your imagination is the limit. Every sequence can be totally chaotic, random, or strict and controlled. Hexatone is capable of producing constantly changing, insanely addictive rhythms. You only choose the best and then export them to Intua Beatmaker / desktop DAW via the built-in Wi-Fi server. "

Available on iTunes here:


Update:


JR Hexatone has been released!

YouTube via JCRUDESS
"This is the first Jordan Rudess official app for the iphone and ipod touch.
Imagine a 6-directional drum machine/rhythm sequencer where only your imagination is the limit. Every sequence can be totally chaotic, random, or strict and controlled. Hexatone is capable of producing constantly changing, insanely addictive rhythms."


Introducing Hexatone

YouTube via rlainhart

"Jordan Rudess introduces JR Hexatone Pro for the iPhone, a next-generation 6-directional loop generation tool that uses artificial intelligence and advanced randomization algorithms to produce constantly changing sonic structures. The app is capable of creating many type of drum loops, melodic sequences or rhythm patterns, thanks to its ability to load custom user samples and modify them in realtime. Users can also engage built-in Stutter or Chorus effects and control them with the iPhone's accelerometer."

Basic Hexatone Programming

YouTube via rlainhart
"Jordan Rudess demonstrates some basic techniques for programming Hexatone, a next-generation 6-directional loop generation tool that uses artificial intelligence and advanced randomization algorithms to produce constantly changing sonic structures."

JR Hexatone Pro - Factory presets

AANN - Overview by Phillip Stearns (Pixel Form) 2007

YouTube via pixelform
"http://www.art-rash.com/pixelform

This is a short documentation clip of AANN from the 2008 Juried Exhibition at the Torrance Art Museum (City of Torrance, LA, CA, USA).

Dimensions: 4x2x2 hanging installation
Medium: Electronics

AANN is an interactive, handmade electronic sculpture that responds to changes in ambient light and sound. The sculpture itself is 45 interconnected, electronic neurons that are actively responding to environmental stimuli in a display of light and sound. Constructing the sculpture in such a way that function and form are keenly interconnected, borrows from the sculptural, musical electronics works of Peter Vogel. Great care was taken in the design of the electronics to accurately mimic biological neural behavior. The resulting form of the piece was influenced in part by layering models used in neural computing, and by Fibonacci based branching found in natural systems. AANN explores the notion of interactivity with electronics by making physical the abstract processes being used by modern computer scientists to solve complex problems in pattern recognition.

The science of robotics seeks to study, mimic and recreate life through the creation of automatons which are ultimately are designed to complete tasks that serve our desires. Here with the creation of AANN, the desire is to explore the possibility of making a thinking thing, one that is allowed to have its own desires. However, in the end what AANN becomes is a sign of the industrial military complex, signifying not only the possibility of the pursuit of such idealistic techno-fetishistic dreams of machine intelligence, but also their very negation through the terminal exploitation of the very life which it seeks to replicate (and eventually replace).

Questions which arose during the course of researching and developing the work branched outwards from the decade old debate about machine intelligence and its potential impacts on society and environment. What is interactivity? What are the preconditions necessary for such interactivity? Does intelligence play a role or is interactivity a generic feature of reality. What is it to think? Is it possible for a machine to think as we do? If it is not yet possible to understand what it is to think and how we humans do it, what is it that drives us to make machines think? Are we too lazy to think for ourselves? How much does structure factor into the functioning of a network both biological and artificial? What are the implications of accepting a networked model of understanding? What is the total impact of technology on society and on the biosphere which supports it? Is it possible for a technological work to affect enough positive change to offset the potential social and environmental damage wrought in its history of development and application? Can technology exist without economies of scale, and if not, can those economies of scale be maintained in an ecologically sustainable manner?"

Triadex Muse Digital Synthesizer

via this auction

"This is an incredible opportunity to purchase a rare piece of history.

According to synthmuseum.com, "This unique machine [Triadex Muse] is regarded by some as the first digital musical instrument. Designed by Edward Fredkin and Marvin Minsky at MIT, the Muse is an algorithmic music generator."

Engadget writes "[The Triadex Muse] had impeccable geek credentials. It was designed by two MIT professors, Marvin Minsky and Edward Fredkin. At the time, Minsky was moonlighting on the set of 2001 A Space Odyssey, teaching Stanley Kubrick about Artificial Intelligence as he created Hal."

"The Muse even had an even rarer accessory, the Light Show, which flashed coloured lights in time to the music... Only 280 units were ever manufactured. Unlike vintage analog synths, a Muse won't generate a fat bassline for a hip hop record, but they are very collectable."

This particular Tridex Muse is in good condition. There is a small scuff mark on the stainless steel front near the Muse logo. A control toggle switch is imperfect and loose, and will not stay in the 'down' position. Besides these issues, the wood is in superb condition, as are the stainless steel face and sides. The sound works perfectly as does the light show.

SPECS: Serial number: 00731-113. AC 115-125v. 60 CPS. Model: Muse 01"

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Autogun Synthesizer - Over 4 Billion Presets - Free

"Image Line Software Announces Autogun Synthesizer Plugin Available For Free Download

The new VSTi plugin is based on the Ogun synthesis engine and offers more than four billion presets full of acoustic potential

Sint-Martens-Latem, Belgium, June 3, 2009 -- Image Line Software, the developer of FL Studio (formerly FruityLoops), released its newest synthesizer named Autogun. Available for download free of charge, Autogun offers 4 294 967 296 (Four Billion Two Hundred Ninety Four Million Nine Hundred Sixty Seven Thousand Two Hundred Ninety Six) presets, just waiting to be explored for their acoustic potential.

Autogun is based on the Ogun VSTi synthesizer that can produce exceptionally rich metallic and shimmering timbres, although it's not limited to these sounds as Autogun will demonstrate. Ogun’s distinctive synthesis engine can generate more than 32,000 harmonics, modulated by high-level ‘harmonic mapping’ functions. These synthesis parameters have been put under the control of an artificial intelligence, patch creation algorithm, the reason Autogun can deliver such a huge number of great presets.

Every Autogun is set to start from a unique preset number, so that each Autogun user is assigned a personal starting preset-address, ready to explore. However, users can at any time, jump to a new location in the preset-space by simply entering a preset number.

With so many presets Autogun needs no programming, every sound is already somewhere 'out there' and just needs to be found.

”Autogun is really amazing sounding plugin - once a prized sound is discovered, and it’s preset number logged, it can be shared with other Autogun users or import them into Ogun, for detailed study or further development” commented Didier Dambrin, the developer of Autogun and Chief Software Architect at Image Line Software.

Key features:
* Based on the Ogun synthesis engine
* Enhanced by the Soundgoodizer, (Maximus) engine
* 4 294 967 296 amazing presets to explore
* Preset number copy/paste field
* Preset up/down buttons
* Volume control

System requirements:
* 2Ghz AMD or Intel Pentium 3 compatible CPU with full SSE1 support
* 512 Mb RAM
* 130 Mb disk space
* Windows XP/Vista

A fully functional free copy of Autogun can be downloaded from Image Line’s Download Section."
via sonic state via twitter.com/sonicnick

Also see the rest of Image Line for more soft synths including Sawyer

"Sawer is a vintage modeling synthesizer, that cuts through the mix to deliver precisely articulated and punchy sounds.

Sawer pays homage to the envelopes and filters of a rare 1980's Soviet analog synthesizer, Polivoks. Maxx has devoted meticulous attention to the detail of Sawer's filter and envelope designs, ensuring Sawer delivers a unique sonic character reminiscent of the Polivoks hardware. But Polivoks, like all analog synthesizers, wasn't without its problems. Keeping the oscillators stable and in tune has been likened to 'moving a pile of live frogs, by wheelbarrow', impossible! As Sawer is algorithmic, this solves the problems of tuning and stability, however, in the same way electrical component instability makes analog gear unique (if not cranky), Sawer benefits from the 21st century equivalent, a coding error."

1972 Triadex The Muse– World’s First Digital Instrument

via this auction

"The Triadex Muse is the first digital musical instrument ever made. The Muse is a music composer machine or digital synthesizer and melody composer, involving early logic modules in a unique circuit that allows the
 possibility of 14 trillion musical note combinations.

It was made in 1972 by Triadex Inc., Brookline, Mass. It was designed by Edward Fredkin and Marvin Minsky at MIT. The first Muse was designed by MIT graduates Edward Fredkin and Marvin Minsky in the late 1960’s. Minsky was on the set of “2001 A Space Odyssey”, and taught Stanley Kubrick about Artificial Intelligence as he created Hal.

The Muse is an algorithmic music generator that uses digital logic circuits to produce a sequence of notes (through a 4-inch built-in speaker or external speaker) based on the settings of various controls on the front panel: four small sliders that control Volume, Tempo, Pitch, and Fine Pitch. The switches to either side are used to start and stop the sequence, or to step through it note-by-note. Of the eight larger sliders on the right, four control the musical intervals used (labeled A, B, C, and D), and four control the theme (labeled W, X, Y, and Z). A rest can be substituted for the lowest note by flipping a toggle switch.

The exact logic behind the composition engine is rather technical, and not exactly intuitive. The tempo clock can be slaved to that of another Muse, allowing for multi-part compositions. These connections are on the underside (see photo).

It is not known for certain how many were made, but they are considered extremely rare. Estimate stated by Tom Whitwell, of the now defunct blog spot, Music Thing, was that only 280 were made.

The Muse is the subject of U. S. Patent 3610801. For years, the Muse was a featured exhibit at the Museum of Science, Boston. The signage explained the device's algorithmic (and deterministic) approach to the creation of its seemingly-random music. Far from being random, its preset "song" played continuously -- and was even given a name, "Museum Musings," by the staff."

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Burlap and AANN

Burlap 4 - Phillip Stearns 2006 (pixel form)

YouTube via pixelform.
"http://www.art-rash.com/pixelform

Title: Burlap IV
Artist: Phillip Stearns
Year: 2006
Media: Wood frame, Burlap, Interactive Electronic Components

Notes:

Two tone generators have been programmed to match the pitch of the other. Intervention using various components prevents one from ever quite reaching the other. Shadow falling on the photocells in the middle of the piece will allow the dance of the two pitches to be heard though sometimes they exceed the limit of human hearing in their ascents.

Burlap Series 2006

Burlap is a continuing series of work inspired by Peter Vogel and Marc Nimoy that explores the blurring of the electronic circuit and traditional two-dimensional art forms. Small interactive, physically programmed musical computers have been embedded, woven into a skin of burlap, creating an electronic music composition in the form of a reactive textile. Gallery guests interact with the pieces by casting shadows over embedded sensors. CMOS 4000 series ICs are configured into circuits which produce tones, sequencers, and dynamically behaving oscillators that respond to shadows cast by guests. Each composition explores themes of cyclical and chaotic structures, iterative sequence generation, and dynamical feedback systems. The visual form of the Burlap pieces takes its cues from traditional circuit design and is the result of a dialog between the functions of the different parts of the circuits and the nature of the signals shuttled from one part of the circuit to the next. Weaving the circuits into a canvas of burlap juxtaposes natural construction materials with electronic technologies, and thus presents a challenge to the notion of the circuit as something that is cold, calculated, and non-human. The Burlap itself is used as a semiotically rich signifier indicating, amongst other themes, the historical origins of computing in mechanized weaving, pre-industrial age textiles, and a return to reliance upon renewable natural resources."

AANN (Artificial Analog Neural Network) - Phillip Stearns

"http://www.art-rash.com/pixelform

This is a short documentation clip of AANN from the 2008 Juried Exhibition at the Torrance Art Museum (City of Torrance, LA, CA, USA).

Dimensions: 4x2x2 hanging installation
Medium: Electronics

AANN is an interactive, handmade electronic sculpture that responds to changes in ambient light and sound. The sculpture itself is 45 interconnected, electronic neurons that are actively responding to environmental stimuli in a display of light and sound. Constructing the sculpture in such a way that function and form are keenly interconnected, borrows from the sculptural, musical electronics works of Peter Vogel. Great care was taken in the design of the electronics to accurately mimic biological neural behavior. The resulting form of the piece was influenced in part by layering models used in neural computing, and by Fibonacci based branching found in natural systems. AANN explores the notion of interactivity with electronics by making physical the abstract processes being used by modern computer scientists to solve complex problems in pattern recognition.

The science of robotics seeks to study, mimic and recreate life through the creation of automatons which are ultimately are designed to complete tasks that serve our desires. Here with the creation of AANN, the desire is to explore the possibility of making a thinking thing, one that is allowed to have its own desires. However, in the end what AANN becomes is a sign of the industrial military complex, signifying not only the possibility of the pursuit of such idealistic techno-fetishistic dreams of machine intelligence, but also their very negation through the terminal exploitation of the very life which it seeks to replicate (and eventually replace).

Questions which arose during the course of researching and developing the work branched outwards from the decade old debate about machine intelligence and its potential impacts on society and environment. What is interactivity? What are the preconditions necessary for such interactivity? Does intelligence play a role or is interactivity a generic feature of reality. What is it to think? Is it possible for a machine to think as we do? If it is not yet possible to understand what it is to think and how we humans do it, what is it that drives us to make machines think? Are we too lazy to think for ourselves? How much does structure factor into the functioning of a network both biological and artificial? What are the implications of accepting a networked model of understanding? What is the total impact of technology on society and on the biosphere which supports it? Is it possible for a technological work to affect enough positive change to offset the potential social and environmental damage wrought in its history of development and application? Can technology exist without economies of scale, and if not, can those economies of scale be maintained in an ecologically sustainable manner?"

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Triadex Muse

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Steve Scuilli - Hartmann Neuron Live

"Musician Steve Sciulli will perform on the Hartmann Neuron - a very rare electronic synthesizer on Tuesday, Nov 18th at Your Inner Vagabond. This is part of "Electric Larryville" the monthly series that "showcases the most innovative electronica that Pittsburgh has to offer."

Also performing will be Bureau of Nonstandards and from Black Moth Super Rainbow Power Pill Fist
Start time is 8pm and goes until 11:30. This is an all age show and is FREE. Your Inner Vagabond is located at 4130 Butler Street, Pittsburgh. Phone: 412-6831623

The Hartmann Neuron uses a form of Artificial Intelligence and memory recognition as it develops its binaural soundscapes. It builds internal neuronic networks that offers 3 dimensional sound choices. All in glorious 5.1 surround sound! This blends perfectly with Steve's core philosophy of connecting the sacred with leading edge technologies. "These are all steps in our evolutionary journey". Steve is excited to be premiering his new instrument at Your Inner Vagabond on Nov 18th.

The Neuron was designed and built by the German designer Axel Hartmann. Around 500 of these instruments were build. This just might be the first time that this boundary breaking musical instrument is played in the Pittsburgh region. Steve will also be utilizing the Akai EWI 4000s wind synthesizer for this show.

Steve Sciulli – Musician and ambient music pioneer. Steve built his first synthesizer at the age of 10 and started the flute at 14. Founding member of the early 1980's progressive group "Carsickness" (which Trouser Press compared to Van der Graaf Generator) and the Celtic rock band "Ploughman's Lunch" along with numerous other regional and national touring musical groups. Steve along with his wife Ami make up the trance healing musical duo Life In Balance. Life In Balance has toured from Alaska to Florida and have been featured on NPR. Their CDs are available on Koch Records and The Relaxation Company. Steve's flute playing can be heard in the new Robert DeNiro and Bruce Willis movie "What Just Happened""

Raymond Scott: The First 100 Years on BoingBoing

Cool to see something from our neck of the woods on Boing Boing. The following is just an excerpt. Be sure to check out the full post on Boing Boing for more.

"Since Scott couldn't hire the perfect musicians, he built them. From the 1940s thru the 1970s, Scott, whose recording studios doubled as science labs, worked increasingly with home-built techno sound generators. He's one of the great overlooked pioneers of electronica, with US patents to prove it. His 1963 Soothing Sounds for Baby series of repetitive, high-tech nap-inducers set the template for ambient music. In 1970, Motown founder Berry Gordy was so impressed with Scott's Electronium, an analog console that composed by artificial intelligence, that he commissioned a unit. Two years later, Gordy hired Scott at Motown-L.A., where the mad scientist toiled until 1977."