"This is the 2004 Promo-only pre-release of Kraftwerk's "The Catalogue 12345678." The CD-sized box contains 8 discs: Autobahn, Radio Activity, Trans-Europe Express, The Man-Machine, Computer World, Techno Pop (Electric Cafe), The Mix and Tour de France Soundtracks. You can search the internet for the buzz and people's passionate opinions of this remastering version when it came out in 2004."
"CATALOGUE PRESENT:
The Sequential Circuits Prophet 6 Presets and Sequences
These are all the presets of the fifth sound bank ( 401 - 500 )
The synth have a built in step sequencer that work also in poly mode.
Here you can hear all the programmed sequences for each preset.
Enjoy!"
"Catalogue Present:
Roland TR 707 Rhythms From Scratch
Some rhythmic pattern created from scratch, using the 707 sequencer.
Everything is recorded from the main stereo out, without any effects.
The 2 beats are programmed step by step using the internal clock.
Enjoy ;)"
"chris-carter-interloop Chris Carter Throbbing Gristle Spaces Between Cosey Optimo Music
Originally recorded between 1974 and 1978 at Industrial Records studio in London 'The Space Between' album was first released as a 90 minute cassette in 1980 on Throbbing Gristle's Industrial Records label. It wasn't until 1991 that it was again released by Mute Records on CD. Although tracks from 'The Space Between' have appeared on numerous compilations since its release, the album has never been available on vinyl until now.
This new vinyl edition on Optimo Music, now retitled 'The Spaces Between', doesn't include all the tracks of the original album but has been enhanced and remastered from the original two-track master tapes and has new cover artwork especially for this release. Released by: Optimo Music Release/catalogue number: OM008 Release date: Sep 20, 2010"
I asked Chris Carter if he remembered what he used on this track. The following is what he had to say: "I'm a little fuzzy on specifics for individual tracks from this album as it was recorded over a four year period (1974 - 78) but as far as I can remember 'Interloop' was recorded on a Tascam 4 track - probably a A3340S. I think the synths used were a Roland SH-1 for the sequence and an Roland SH-5 for the synth lead line. A Roland System-100 104 Sequencer was driving the SH-1. I am pretty sure the delay effects were from a Roland RE501 and probably a couple of Boss pedals - a phaser and a chorus most likely - all Roland basically."
"EWI Solo is the new Electronic Wind Instrument from Akai Pro. Featuring 200 sounds, a rechargeable lithium-ion battery and a built-in speaker, your playing never sounded better."
The official press release:
"AKAI PROFESSIONAL® INTRODUCES EWI SOLO – THE FIRST STANDALONE EWI WITH A BUILT-IN SPEAKER
A built-in speaker, an on-board rechargeable battery, multiple playing modes and premium sound content make EWI Solo the most portable EWI to date
Ft Lauderdale, FL USA (August 25, 2020) — Akai Professional, a leading manufacturer of music equipment for performers and producers, today announced the latest addition to their Electronic Wind Instrument family, EWI Solo. This next-generation wind instrument is primed for any setting, fusing all the expressive musical capabilities and control found in traditional acoustic wind instruments with the versatility of an electronic instrument and a go-anywhere specification.
Standalone Performance
Woodwind and Brass instrumentalists will appreciate EWI Solo’s completely untethered performance capability. New to the EWI Series is EWI Solo’s built-in speaker, calibrated for the most natural sound reproduction experience to recreate every subtle nuance of the instrumentalist's performance. When fused with an internal, rechargeable long-life lithium- ion battery for 12+ hours of uninterrupted play time, EWI Solo is perfect for practice and impromptu performances alike.
Hundreds of Sounds Included
Akai Professional’s EWI series has a reputation for sounds that inspire creativity and guarantee multi-genre application right out-the-box. EWI Solo is no exception, primed for any performance with 200 premium onboard tones that react immediately to even the most subtle of inflections. From luscious, evolving synth pads to an authentic, sultry jazz clarinet, every genre is covered with an expertly curated catalogue of exclusive tones. EWI Solo’s ultra-responsive mouthpiece, with an air-pressure level sensor and bite sensor, precisely controls volume and pitch dynamics for uncompromising response. Combine this with dedicated FX controls to add Reverb, Delay and Chorus, plus editing facilities for Pitch, Tuning and Dual LFOs, and EWI Solo provides everything musicians need to shape thier signature sound.
Connect for More Control
Whether it’s practice, live performance or studio recording, EWI Solo’s arsenal of connectivity options provide complete hookup flexibility. Delve into a world of software instruments with EWI Solo’s USB-MIDI connectivity. Connect directly to PA systems with the 1/4-inch output. Practice privately, at any hour, with the 1/8-inch headphone output. Users can even connect a playback device to the EWI via the 1/8” aux input to play along with a backing track. Whatever your needs, EWI Solo delivers.
Building Upon a Legend
EWI mainstays from Akai Professional’s flagship EWI5000 are also thoughtfully included for optimal performance capability. Octave rollers instantly shift the note key’s range, effortlessly changing the playable register. Users can add portamento using the conveniently located glide plate. Get exactly the expression needed with an adjustable pitch bend plate. Musicians can even save any program edits and recall them on the fly with the handy favorites feature.
Familiar Technique
For Woodwind and Brass instrumentalists, no additional fingering technique is needed. EWI Solo adapts to all main fingering styles at the twist of a dial, offering flute, oboe, saxophone and EVI (Electronic Valve Instrument) fingering modes.
EWI Solo Highlights
• Authentic wind-instrument performance and response for the digital era
• 200 onboard premium acoustic and synth sounds
• 12+ hours of play time using the rechargeable lithium-ion battery (charging adapter
included)
• Built-in speaker calibrated for the most natural sound reproduction experience
• OLED display to easily view presets and parameters
• USB port for USB-MIDI connection and battery charging
• 1/4" audio output, 1/8" headphone output
• 1/8" auxiliary input
“EWI Solo represents the true evolution of our EWI line, fusing the response players demand with complete versatility for any performance or practice setting,” says Dan Gill, Senior Product Manager for Akai Professional. “For the seasoned instrumentalist, EWI Solo lets you expand your sonic pallet without compromising the technique you have honed over years of practice. For beginners seeking the perfect blend of versatility and convenience, EWI Solo is the ultimate starting point. No matter your skill level, the EWI Solo is the world’s most versatile, go-anywhere wind instrument.”
EWI Solo is available immediately and ships with a US Retail price of $499 For more information visit akaipro.com.
Update via Qwave in the comments: " have a low-res scan of this Moog catalog in the german version online for 14 years. Amazing how time flies!: http://till-kopper.de/moog.html"
"Recently, Moog had the honor of sitting down with Nine Inch Nails’ Trent Reznor [see the bottom of this post], the genre-defining music innovator, master synthesist and Academy Award winning composer. In the interview, Reznor recounts his intimate relationship with the Minimoog Voyager, which he feels “is the archetype of what a synthesizer is and should be.” Through personal stories, Reznor reveals his decades long history with the instrument and how it has shaped the way he views and creates music.
The video is set to an original score by British electronic music producer, The Haxan Cloak, co-producer of Bjork’s Vulnicura.. Befitting the occasion, the artist used a Minimoog Voyager and a prototype Mother-32, Moog’s newest synthesizer, to create the score.
'I made the track in a unique way that I never have before.
I have had modular synths for a long time, and consistently produced music with them, but purposefully never had a ‘keyboard-based’ setup because of not wanting to treat them in such a ‘traditional’ manner (purely for reasons of self-limitation).
Having the Voyager allowed me to utilize a more responsive approach of seeing the picture and essentially ‘playing’ along to it. I then took those results and used them to modulate other parameters and processed them further. The Mother 32 was used extensively as a sound source alongside also.
The Voyager is a synth I have always been fascinated by, but unfortunately never had the opportunity to own. I knew people that had them, but my first physical encounter was actually on the recent Bjork tour. I used it for a lot for recreating basslines from her back catalogue, which it did effortlessly.
It’s such an incredibly versatile synth and has already become a uniquely indispensable backbone of my studio.' - The Haxan Cloak"
"PX Apollo is based on a rare synthesizer prototype from the early ‘70s of which only 2 are known to exist. [you'll find one here, here, and video here] Part of a larger project that was eventually abandoned, this instrument was the precursor to one of the world’s first and most prolific polyphonic analog synthesizers. With a sound that can be described as rich, warm and surreal, this instrument was extraordinarily playable for the time, sporting velocity sensitivity and a performance interface, while its polyphonic 71-voice architecture signaled the coming paradigm shift in synthesizer design that would soar during the following decade.
The PX Apollo project represents an enormous effort and commitment to quality on many levels. Due to the components available at the time of their design, early polyphonic synthesizers were and remain particularly susceptible to failure and require continued maintenance. The unit used for PX Apollo was no exception, initially inoperable it required a tremendous restoration effort and no expense was spared to ensure complete authenticity and original functionality.
With the restoration complete we set about to document this historic instrument as accurately as possible. We created a huge master sample catalogue with the best hardware available. Each key was sampled in a multitude of configurations and for each 4 round-robins were created per note. The resulting PX Apollo sound bank consists of over 4,000 samples. From this library over 150 patches were made by our sound design team, delivering a fantastic collection of ready-to-play patches.
The UI for PX Apollo was inspired by the aesthetics of the original hardware, while the layout and control schema were designed to provide intuitive and efficient use while maximizing flexibility, allowing for both quick edits to preset sounds and deep customization by way of a full compliment of synthesis tools and effects including 3 oscillators, envelope generators, high-quality filters, pitch and stereo controls and per-oscillator modulation and arpeggiation.
PX Apollo provides a glimpse into a key moment of synthesizer history at one of the industries most important turning points, delivering a rich and detailed sound with a warm and pronounced character."
"Warp Records celebrate their 30th anniversary with three-day NTS Radio takeover, including exclusive mixes and giveaways.
For the past 30 years, UK based label Warp Records have been consistently setting the bar in the electronic music world, always pushing the boundaries of the genre and thrilling music fans worldwide.
Founded by Steve Beckett and Rob Mitchell in the back of a record store in Sheffield in 1989, Warp has become the pioneer of its genre with a unique yet reliable catalogue of electronic music. Responsible for bringing to the world the likes of Aphex Twin, Boards of Canada, Squarepusher and Nightmares on Wax, plus loads more, Warp have also more recently ventured into film, art installations and their own online independent record store, Bleep.com.
This weekend, Warp are set to celebrate their 30th anniversary. Partnering with NTS, they’ll bring together their legendary roster with a packed out 100-hour schedule of music, including exclusive mixes, tributes and giveaways.
As part of the celebrations and in honour of the release of our recent Bass Station AFX update, listeners will have the chance to get their hands on a very limited edition Warp Records x Aphex Twin x Novation Bass Station II, 1 of only 5 made. For a chance to win, simply sign up for the WXAXRXP mailing list following the link below [bottom of page here].
We’ve also compiled a selection of our favourite Warp releases spanning the past thirty years. With so many releases, we could have kept this list going on for ages, but here are ten particular highlights from the past three decades chosen by some of the team over at Novation HQ:
YouTube Published on Jun 23, 2012 by centrebombe KORG Mono/Poly & Chinese Violin. All KORG Mono/Poly track below.
"1.76 of 9th states extract from Mathius Shadow-Sky's 2012 pilot solo performance in the fog live at the Ring Theater, mixing an analogue synthesizer from the 80s with a Chinese violin called jinghu (used in Pekinese opera to double singing voices) gives: 'Music with No Name' as invisible music in lightness. The function of the fog is to play with our conditioned perceptions inside of the uncallable unnamed music (avoiding strong stereotypes): does it?
La suite à : http://centrebombe.org/livre/app.13.html
2010 analogue synthesizer solo performance with no video called ASSEEEEEEEEEZ at: http://soundcloud.com/myster-shadow-sky"
ASSEEEEEEEEEEEEZ (MonoPoly Myster Shadow-Sky's solo performance) by Myster Shadow-Sky "ASSEEEEEEEEEEEEEEEZ is a live act given by Myster Shadow-Sky during his illness in November 2010 with a solo analogue synthesizer (the Korg MonoPoly). The music as "Imperfect Or Infected Life" created in 1999 is to be mixed with other music and sounds. An "incomplete music to mix with whatever for high powered dance". "Assez" in French means enough, illustrated in following published freebooks: http://centrebombe.org/livre/ASSEEEEEEZ.2010.pdf & http://centrebombe.org/livre/ASSEEEEEEZ.2011.pdf [in French]. Released by: centrebombe.org Release/catalogue number: # ObCD 54-10 - 65:15 Release date: Nov 25, 2010 "ASSEEEEEEEEEEEEZ (MonoPoly Myster Shadow-Sky's solo performance)" by Myster Shadow-Sky is licensed under a Creative Commons License"
This new release from synthesist Dave Bessell sees him completing a quartet of albums loosely based on the Greek philosophy of the Four Elements, namely Fire, Water, Earth and Air. There’s certainly no doubting that “Chromatic Lightning Cage” with its vivid cover is referencing Fire. At times the ghost of Amon Tobin and Nils Frahm wander through the album but mostly it has its own distinctive voice which draws on a whole variety of influences. This one will repay repeated listenings. Lovers of Electronica, Downtempo, Ambient and Soundtracks will find much to admire in this new album and the music once again showcases the unique talent of this highly individual musician.
To coincide with the release of Chromatic Lightning Cage there will be 25% off all the other back catalogue Dave Bessell titles on DiN until the end of March. No need for a code, the prices have been adjusted accordingly.
Arvieux, France - June 28 2022. K-Devices, developer of creative music tools, has released TATAT - a MIDI streams generator, as VST3 and Audio Unit plugin.
TATAT is a (unstable) MIDI notes generator plugin: it's a creative tool to assist and help producers and musicians to generate new ideas, becoming a great starting point for writing melodies and beats, and a perfect controller for virtual instruments and hardware gears alike. TATAT has been designed for 3 main purposes: to create always-changing sequences, to quickly sketch and store music ideas, to add unexpected events to fixed patterns.
Notes generation in TATAT is based on a multi-chance concept: user sets up for multiple rhythms, multiple notes, intervals, and other parameters value. Using dedicated multisliders the user can then adjust the chance a note and/or a time resolution are adopted on next trigger, creating complex streams of events. The generated notes are then processed by several operators: Velocity, Less, Delay, and Length.
TATAT produces then a stream of notes based on settings and probabilities: we call these settings “mood”.
Once user got the right mood, he can do different actions: to enjoy the always changing stream of notes to enable “thru” to add the generative stream of notes on the top of a fixed MIDI clip/file or live MIDI input to inject stability by using LIV/MEM horizontal slider, to mix between the live generated stream and a frozen pattern to use the export icon (the triangle) to drag on a timeline, clip slots or folders, different MIDI files, generated by TATAT according to its mood TATAT gives great results both with melodic/harmonic content, and percussive parts and beats!
TATAT is a brand new plugin, but it already exists in our catalogue as a Max For Live device. Since its release, TATAT got a lot of love from our users, and we received multiple requests asking for opening up its use to other DAWs; so we are really thrilled for it to finally become available to everyone! == Requirements == Available as VST3 and Audio Unit plugin any 64bits compatible DAW MacOS (Apple Silicon ready) and Windows == Availability, price, and deals ==
launch price: 19 EUR (until July 30) regular price: 39 EUR (after July 30)
"The early S-samplers from Akai did not have resonant filters, but by hooking them up to Akai synths at the time you could still achieve it. The individual voices from the sampler goes out a special connector at the back called "Voice out". All the 80s Akai samplers features this connector. With the appropriate cable you took the output here and connected it to the "Sampler In" on one of the Akai synths of the time.
The Akai AX60, AX73, VX90 and VX600 has these "Sampler In" ports at the back. The AX80 does not, just so you're aware. The AX80 was Akai's first synth and it preceded their first sampler, the S612 and is in many ways the odd one in their catalogue."
The video is the sequel to http://vimeo.com/48648956" [posted here]
"Weinglas is a strange European noisemaker from Frankfurt/Germany
He always wears black clothes and black glasses and wants to paint the world black with his modular sound collages
In contrast to his appearance and to the sounds he creates he always uses colorful patch cords because they are his lights in the darkness (and they are cheaper, too!)
If it was technically possible he would only use electronic gear with tubes!
Released by: Game of Life
Release/catalogue number: Lif07
Release date: Sep 7, 2012"
YouTube Uploaded by cray56 on May 23, 2011
Warning: lots of flashy lights in this one.
"First track on Digitalis release from Show Fades album"
Buchla 200e, Audiomulch, Omnisphere, Ableton Live, field recordings.
cray - show fades (album preview) by experimedia "Available from Experimedia.net. buchla & voyager collisions from the cosmic outback cooked to perfection. 75 copies.
Released by: digitalis
Release/catalogue number: digiltd207
Release date: Aug 7, 2011"
Update3 8/27/13: We have confirmation from Sorrell Hays herself. It indeed was her that composed Doris Hays - Scared Trip [1971] in the video below and not Delia Derbyshire. It was composed using the Buchla 101 keyboard pictured below. I'll see if I can get the WikiDelia article mentioning Delia updated. As a side note, for those on Facebook there's some conversation going on regarding this post here. Laurie Spiegel chimed in as well.
Start of original post before we had confirmation from Sorrell Hays:
This post can be a little confusing, so I thought I'd try and clear it up front. I spotted this post on It's Full of Stars on Sorell Hays, an electronic artist that used a Buchla keyboard. I clicked through the link in the post and found that the video directly below wasn't actually by Sorrell Hays, but by Delia Derbyshire. Apparently Delia produced the tracks under the pseudonym Doris Hays. The real Doris Hays went by Sorrell Hays and is pictured further below. I have no idea if there was a connection between the two or if it was all just coincidence, but there you have it.
Update1 via eben in the comments: "hi Matrix thanks for reposting. it is quite a confusing situation! did you see the original post over on toys&techniques from a while back? it seems to suggest that the tracks on the Southern LP 'electronic music' might actually be sorrel and NOT delia - see also the comments to the post:
Uploaded on May 21, 2011 TheCoffeeShopShop·2,525 videos
Re-Published on Nov 21, 2014 Doris Hays - Topic
I'm guessing this is a mix of tape and EMS based on the year. Click here for more posts featuring Delia and EMS at the time.
via WikiDelia: "It is claimed that in 1971 Delia produced 14 tracks of electronic music for the British record label Southern Library of Recorded Music, published as Electronic Music with catalogue number MQ/LP 38[1] under the pseudonym Doris Hays.[2] The other four track on the album are credited to John Matthews, claimed to be John Baker[1] and included on the album 'The John Baker Tapes'."
There is a real Doris Hays who is also a electronic and musique concrète composer, also active in 1971, born in Memphis, Tennessee in 1941.[3]"
Pictured here is Doris Hays [not Delia] who went by Sorrel Hays. Via her last.fm site: "Sorrel Hays was born Doris Hays in Memphis, Tennessee, but being a “sound” person she decided that “Sorrel” sings (her maternal grandmother’s family name was Sorrels) so in 1985 she adopted the name Sorrel.
In 1971 Hays won first prize at the Gaudeamus Competition for Interpreters of New Music in Rotterdam, and began her international career as a performer of contemporary music. She performed concerts at broadcasting stations in Germany, Holland, Italy and Yugoslavia, appeared at the Como Festival and Pro Musica Nova Bremen, and was invited to celebrate John Cage’s 60th birthday by performing his Concerto for Prepared Piano and Orchestra with the Orchestra at the Hague. She gave the first performance in Europe of her own music at the Gaudeamus Composers Week in Holland in 1972, a composition called Hands and Lights for piano strings with photocell activated switches and flashlights beamed across the interior of a grand piano, a composition which she later performed for the Chattanooga Debutante Cotton Ball.
During 1989-1990 Sorrel Hays was a resident artist at the Yamaha Communications and Research Center in New York City, commissioned to create music for the Yamaha MIDI Grand Piano. These pieces, 90’s, A Calendar Bracelet , for MIDI Grand and tone generator, are recorded by Loretta Goldberg on the CD “Soundbridge” from Opus One."
Buchla at 1:13: Update2: the Buchla is the 200 101 keyboard as seen in this video.
Southern Voices: A Composer's Exploration - PREVIEW
This documentary traces the development and premiere performance of an avant-garde symphonic work by Southern composer Sorrel Doris Hays. Commissioned by the Chattanooga Symphony Orchestra, Hays' piece is based on the sounds and rhythms of Southern speech and musical traditions. It is a journey into childhood memories via the melodies and rhythms of Southern dialect. Stoney combines analysis of her work with interviews in which Hays discusses her struggle with racism and paternalism of Southern culture.
a film by George Stoney with Sorrel Doris Hays
distributed by Documentary Educational Resources"
I did a quick search on YouTube to see if I could find anything else and found the following:
Invasion of the Love Drones (1977)
Uploaded on Sep 19, 2009
Invasion of the Love Drones, 1977 sci-fi movie from Jerome Hamlin. Soundtrack by Sorrel Hays, Mike Michaels, Richard Lavsky's Music House and Barry Forgie (uncredited). Additional dialogue by Charles Flowers (uncredited).
via this auction
The PX Apollo project represents an enormous effort and commitment to quality on many levels. Due to the components available at the time of their design, early polyphonic synthesizers were and remain particularly susceptible to failure and require continued maintenance. The unit used for PX Apollo was no exception, initially inoperable it required a tremendous restoration effort and no expense was spared to ensure complete authenticity and original functionality.
With the restoration complete we set about to document this historic instrument as accurately as possible. We created a huge master sample catalogue with the best hardware available. Each key was sampled in a multitude of configurations and for each 4 round-robins were created per note. The resulting PX Apollo sound bank consists of over 4,000 samples. From this library over 150 patches were made by our sound design team, delivering a fantastic collection of ready-to-play patches.
For the past 30 years, UK based label Warp Records have been consistently setting the bar in the electronic music world, always pushing the boundaries of the genre and thrilling music fans worldwide.
Founded by Steve Beckett and Rob Mitchell in the back of a record store in Sheffield in 1989, Warp has become the pioneer of its genre with a unique yet reliable catalogue of electronic music. Responsible for bringing to the world the likes of Aphex Twin, Boards of Canada, Squarepusher and Nightmares on Wax, plus loads more, Warp have also more recently ventured into film, art installations and their own online independent record store, Bleep.com.
TATAT is a (unstable) MIDI notes generator plugin: it's a creative tool to assist and help producers and musicians to generate new ideas, becoming a great starting point for writing melodies and beats, and a perfect controller for virtual instruments and hardware gears alike. 
