DSI Pro 2 patch Evolution Noodle

video upload by Senti mental

"Last sunday noodle for this year, this time one patch evolving. i have used the patch idea with the LFOs from Christopher White for the P12 - see his very nice video here: [below]
and started from there adding more subtle modulation for filter, envelopes and pitch wheel, ribbon controllers, velocity, aftertouch and oscillator shapes. Four sessions mixed for better audio experience into on. First sound in paraphonic sequencer mode, second paraphonic keys, next with apreggiator in random, last again paraphonic keys. Snow footage from feb. this year.
Only added 25% of reverb in DAW to mush everything together, otherwise no effects except onboard delays. Head phones or decent gear recommend."

Ambient groove using the LFOs on the Prophet 12, some Microcosm haze, and the Digitakt.

video upload by Christopher White

"I love the LFOs in the @Sequential Prophet 12! This is a simple chord progression, triggering the LFOs in the Prophet with 4 note chords. The LFOs do the rest.

LFO1 is. Rev Saw controlling the LPF Cutoff as 16th notes
LFO2 is Rev Saw controlling the HPF Cutoff as 1 quarter notes
LFO3 is triangle controlling the Osc 2 Shape Mod as dotted quarter notes.
LFO4 is Rev Saw controlling the Delay 4 time as quarter triplets. I wanted this to give slight pitch fluctuations.

Osc1 is Tines with 70 glide and 10 slop.
Osc2 is Tri
Osc3 is Sine
Osc4 is off.

The @Hologram Electronics ​Microcosm is set to HazeA. The @ElektronDigitakt is set to all sorts...

Hope you enjoy."

Some ambient groove using the LFOs on the Prophet 12, some Microcosm and the Digitakt

video by Christopher White

"I love the LFOs in the @Sequential​ Prophet 12! This is a simple chord progression, triggering the LFOs in the Prophet with 4 note chords. The LFOs do the rest.

LFO1 is. Rev Saw controlling the LPF Cutoff as 16th notes
LFO2 is Rev Saw controlling the HPF Cutoff as 1 quarter notes
LFO3 is triangle controlling the Osc 2 Shape Mod as dotted quarter notes.
LFO4 is Rev Saw controlling the Delay 4 time as quarter triplets. I wanted this to give slight pitch fluctuations.

Osc1 is Tines with 70 glide and 10 slop.
Osc2 is Tri
Osc3 is Sine
Osc4 is off.

The @Hologram Electronics​ Microcosm is set to HazeA. The @Elektron Digitakt is set to all sorts..."

Experiments with the Sequential​ Prophet12 and the Hologram Electronics​ Microcosm

videos by Christopher White

Playlist:
An experiment with the @Sequential​ Prophet12 and the @Hologram Electronics​ Microcosm. part 1

"Finally combined my trusty Sequential​ Prophet 12 module with the Hologram Electronics​ Microcosm and really happy with the results. This was the first take. I had quickly composed a chord sequence for the Prophet12's arpeggiator then what you hear is what happened next."

Prophet 12 and Microcosm outtake...

Just wanted to upload this too. Some interesting things happened in this take... Changing the 'spread' in the amp section of the @Sequential​ Prophet12 created a nice groove so I wanted to show you!

A Prophet 12, a Microcosm, and a Human Arpeggiator Non-stop Device (H.A.N.D.).

A live ambient track using the @Sequential​ Prophet 12 and the @Hologram Electronics​ Microcosm. Plus a bit of my felt piano.

Rock Excerpts on the Atari Hotz - Either End of August, Soul Crusher and The Unforgiven -Roland 2080

Published on Jan 12, 2020 Clint Thompson

"It’s time to finally start playing the instrument of the future, in the future! #2020 Here are a few rock excerpts played by myself on an Atari Hotz Wing II MIDI Controller through the Roland 2080 synth. As you can hear, the Roland 2080 (circa 1996) is quite capable of playing some heavy guitar tunes and really nice sounding bass for the Bruford cover!

1. Either End of August by Bill Bruford
2. Soul Crusher by White Zombie
3. The Unforgiven by Metallica"

Lightwave with Paul Haslinger / Atari Hotz

Published on Dec 28, 2019 Clint Thompson

"Paul Haslinger playing the Atari Hotz Box with Lightwave at The Astoria in U.K. in 1992. This is a small clip near the end of an hour-long promo VHS from Lightwave - Christopher Harbonnier and Christian Whitman."

Additional posts featuring the Atari Hotz

More DrumBrute!

Published on Sep 7, 2017 Christopher White

"I was fooling around with my new Moog Mother-32 and this track kind of just happened. I put some flute, bass and rhodes down, and finished with some live Drumbrute. Hope you like!

If you do, it's available for download here: https://chriswhitestore.bandcamp.com/...

All drum sounds come from the DrumBrute as seen in this video. Other instruments include flute, electric bass, Fender Rhodes, Moog Mother-32, various sample instruments."

Turning the Drumbrute Series into A New Album.

Published on Jun 29, 2017 Christopher White

"It's been a great experience recording my explorations of the DrumBrute and the Prophet12 on film, and as a byproduct, I've ended up with a few new tunes. If you're interested they're available for download now. Watch this film to get a taste and if you want to listen to the album, see the link below. Thanks!

NEW ALBUM: https://chriswhitestore.bandcamp.com/..."

Possibly the Final Session with the Arturia Drumbrute

Published on Jun 18, 2017 Christopher White

"Still feeling the love for the DrumBrute but it's time for delving into something new. Stay tuned!

Trumpet by Hutch Demouilpied https://www.youtube.com/channel/UCYnI...

Shot on Canon 700D + Sigma 30mm 1.4 DC A"

New MOOG SUB 37 Paraphonic Polyphonic Synth Coming to NAMM?

Click the pic for the full size shot.

Some discussion on The MATRIXSYNTH Lounge and MATRIXSYNTH Facebook.

Update: [see Update4 below] for those not familiar with Paraphonic synths, a definition via wikipedia followed by a couple of notes:

CLICK FOR MORE »

Bass Clef 'Stenaline Metranil Solar Flare' (Original mix) Punch Drunk Records

Published on Sep 12, 2013 stmcinerney·22 videos

Roland SN-09, TR-606 & eurorack synth spotting in via Mark.

"Video directed by Steven McInerney

Artist : Bass Clef
Title : 'Stenaline Metranil Solar Flare' EP
Label : Punch Drunk
Release date : 7th October 2013
Cat : DRUNK032
Format : 12" / Digital
Digital only Bonus tracks : Coseph Jonrad remix / Original mix

PRE-ORDER ONLINE HERE : http://bit.ly/1dlw35L

CLICK FOR MORE »

Richard Lainhart - Performances and Releases Featuring Buchla & Kyma

Posting this here vs. C as this is an opportunity for people to see a Buchla or Kyma in a live setting. Search for Richard Lainhart in the Google search box on the right for what you can expect. Note performances are different than lectures and of course the venue (setting) will have an impact.

See http://www.otownmedia.com/he/he.html for links and additional info.

"Performances:

Monday, July 18: I'll be performing my Electronic Music Foundation-commissioned work Threshold for electric guitar, Kyma, and New York environmental sounds as part of the World Listening Day celebrations at New York University, Steinhardt Education Building, 35 West 4th Street, 6th Floor, NY, NY 10012. In collaboration with the Electronic Music Foundation and the New York Society of Acoustic Ecology, NYU's Music Technology Program will present a program of compositions and field recordings based on the sounds of New York City, in honor of world renowned composer and acoustic ecologist R. Murray Shafer's 78th birthday. The NYU events will take place from 4:15PM to 9PM. For more information, go here: http://steinhardt.nyu.edu/events/2011/7/18/268503/world_listening_day

CLICK FOR MORE »

EML Electrocomp 100

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


via this auction

There's a cat in the bunch. As always, if you are going to bid on this stuff, be careful. This one is Money Order only.

Update1 via cornutt in the comments:
"Info on the EML 100 is surprisingly hard to find, compared to its better-known cousin, the 101. Here's a link to an email chain that discusses some of the differences. The 100 is actually a lot more rare than the 101."

Update2 via Laurie Spiegel in the comments; "Hi Matrix. The guy running that auction is in error. I've sent him messages saying the 200 was before the 100 but he doesn't believe me and won't change it. I want to correct the choronology before this misinfo spreads any further because once something's all over the net it's forever.

According to the 1st edition of Mark Vaile's book (the edition I happen to have here) the 200 dates from 1969, and the 100 came out in 1971. Mark gives 2 dates for the 200: 1969 on p. 128 and 1972 on p. 129. The p. 129 date was a typo.

I am just about certain from my own experience that the 100, with its black and white keyboard, was released after the 200 purely modular model and its Model 300 Controller. I visited EML in CT a couple of times and their eariler products were meant to be marketed for educational use, not live performance. Also I've owned a 100, a 200 and a 300 since the early 1970s and IMHO the 200 has a just plain older feel and style and concept.

Though my memory for specific dates may be a bit fuzzy 4 decades later, my paper records show I was hired in fall 1970 to teach at a college that had an Electrocomp studio based on the 200 modular synth its 300 controller.

If anyone has any info that differs from what I've written here, please post it. It was a long time ago.

Thanks again for a great site Matrix,

- Laurie Spiegel"

Peter Forrest's A-Z of Analogue Synthesizers confirms the order as well, although he has the 100 starting in 1970 vs. 1971. According to that book, the 200 came out in 1969 (1969 - 1980) and the 100 in 1970 (1970 - 1972). Regardless, the order is 200 followed by 100. Both books are listed in the Synth Books section.

Update3 via Sasha. The verdict is still out:

"I ran across some background info on the Electrocomp 100 from Christopher Landers who was a famous newscaster back in the day. Thought you might be interested as it seems to suggest that the EML100 was the first synth in the line and that the separate modules came later (as opposed to what Laurie Spiegel is saying here: http://matrixsynth.blogspot.com/2006/11/eml-electrocomp-100.html ). He said it would be ok to post this info and quote him.

I got mine directly from Walter Sear when I was in high school (I worked at his studio in NYC and was in the room when Keith Emerson was being taught how to work his new Moog C3). Sear had been working with Moog in a business deal until Moog brought in Musonics and Sear split. At that point, Sear found the EML guys in nearby CT and had them create a box that could take on Mini-Moog ...but with the two note deal. The Electrocomp thus became the first "polyphonic" synth--using the top and bottom notes played on the keyboard so the oscillators knew what command to carry out--and also the first device to use IC's. I believe it was later that EML came up with a "box" without a keyboard. I should mention here that Bob Moog, while being the exceptional engineer that he was ...with the higher invention of "voltage control" that permeated many more electronics systems than simply synths (such as medical devices). It was Sear who suggested using a keyboard controller (Moog was set on a resistance strip, which also showed up sitting on top of keyboards for a while). Controllers, back in those days, were the holy grail. It was Sear who experimenting early with the guitar controller. As he related to me: "We can control an oscillator with almost any instrument because we can determine what frequency the controller is making and send that information to the oscillator; the problem with the guitar and other stringed instruments is multiple strings. A guitar has six strings and you can have six oscillators but, which oscillator plays in reponse to which string?" Is that great or what?

Best, Sasha"

Update4 via mr.scappy in the comments: "I have a 100 and a blue-face 200, and each has a different address for EML screen-printed on the control panel. Both list P.O. Box H, but the 100 has the city address as Talcottville, CT, 06080, and the blue-face 200 has the address at Vernon, CT 06066. (Today the 06080 zip is specific only to MacDougall-Walker Correctional Institution. Interesting.)

All of my literature for EML synths shows the Vernon address, and the EML-100 is not included among the synths shown. Perhaps the 100 was built at the Talcottville location and all others at the Vernon location? This would seem to place the 100 first in line. Just a thought."

Update5: Sasha contacted Jeff Bachiochi who worked for EML. Here is what he had to say:

"If I'm not mistaken the 100 was the first keyboard synthy that EML produced but not the first synthesizer. The first was a studio type that was just oscillators, mixers, filters, sampler, and ring modulator connected by patch cords and manually controlled with knobs. Which blue was the original color of all EML products, the line quickly went into a brush aluminum style with etch black nomenclature. These were originally made for class room use and the blue paint used would chip off, from all the patch cord plugging and unplugging by the students. Ah, those were fun times."

followed by:

"Yes, Sasha, the first was the 200. That's how I got started with EML. My wife (then girl friend) told me that her High School music class had gotten this electronic music box and the address on the front was the local town. I stopped by the factory, which was in basement of one of the three co-owner's house. We began a long time friendship and I started to work for them as their first employee. The 300 came on line soon after using a keypad as the first crude kind of keyboard."

Update (6/29/2011) via Prosper in the comments:

"I now own this synth. It was refurbished and repaired in 2007 with the following mods. A) Filter has been opened up so the Filter Octave Switch goes one higher and one lower than on the synth. Very handy. B) For the Noise pot in the filter mixer, instead of going between white and pink noise it goes from white to OSC 1 output so OSC 1 does not have to patched into the filter mixer. Very handy.

I've pointed out the differences between the 100 and 101 on the VSE page for the 100."

Tangerine Dream's Christopher Franke's Modular

via Nick

"please find in a attachment a picture, which is part of a research I do for the 80's modular rack equipment of Tangerine Dream's Christopher Franke. The most elements about the rack's contents I found in an 1981 article of UK magazine 'Electronics & Music Maker'. Part of it, as you will see in the picture -upper corner, was a compination of two revolutinary drum modules (using EPROM samples, were custom made for Franke) and an sequencer module (the "rhythm robot") This drum amchine can be heard in "Exit" (1981) and mostly in "White eagle"(1982)albums. Would be helpful if readers and viewers could help intentifying the unknown parts of this thing, which is essentially the 1980 hardware equal of "Reason"!
Thank you very much - Nick"

Thank you! If you can help, feel free to post in the comments.

Update: Make sure to check out the comments. Some fascinating stuff coming in.