EMEAPP SONIC TEST DRIVE: REALISTIC CONCERTMATE MG-1 FEAT. DON SLEPIAN

video upload by EMEAPP

"What do you get when you throw Moog into a blender with Radio Shack? The Realistic Concertmate MG-1, of course! Similar to the Moog Rogue, the MG-1differs in that it adds an organlike polyphonic mode that even routes through the synth filter. Some folks love it, others not so much, but electronic music pioneer Don Slepian will give you the intel so you can decide."

EMEAPP SONIC TEST DRIVE: MOOG OPUS 3 Feat. DON SLEPIAN

video upload by EMEAPP

"Here for your viewing and listening pleasure is this colorful little gem from the later period of the original Moog company.The Opus 3 was their little orchestral monster which is comprised of three sections; strings, organ and brass. The layering and filtering capabilities of this instrument are stunning and it is excellent for some lush pads. Join Don Slepian in this demo of this unique little beast from perhaps the most well known and storied synthesizer manufacturer. It should also be noted that this instrument was designed by the late Herb Deutsch, Bob Moog's original collaborator and catalyst for the creation of the first Moog Modular system.

You can find us at www.emeapp.org where we invite you to join us as a FREE member."

Rare SYNERGY II+ SYNTH w/Kaypro Computer + Software

synergy_demo_divx.avi

YouTube Uploaded by jeanielotsacats on Sep 9, 2011

"This is a demo of the Synergy II+ synthesizer. Based on the Bell Labs Digital Synthesizer created by Hall Alles in 1975, the Synergy II+ remains one of the rarest and most sophisticated digital synthesizers in music history. There are only a few dozen of these left in working condition today."


via this auction

Additional video at the auction and below.

"DKI SYNERGY II+ SYNTHESIZER WITH KAYPRO 2X

VOICE PROGRAMMER, SYNHCS 3.22 SOFTWARE,

COMPLETE SYNERGY VOICE LIBRARY AND MANUALS

In 1975 an engineer at Bell Labs, Hal Alles, created the world's most sophisticated digital synthesizer. A set of cards in a IEEE-696 computer chassis, it used an RS-422 digital instrumentation interface to talk to a minicomputer. There was no preset voice program, no predetermined synthesizer architecture. Each researcher at Bell Labs had to write a custom program on a DEC PDP minicomputer just to produce sounds from the Alles digital synthesizer.

The Alles synthesizer (eventually known as the Bell Labs digital synthesizer) offered the user a pool of digital oscillators with variable waveforms. It had no fixed synthesis architecture. Unlike other synthesizers -- for example, a typical analog Moog synthesizer with 3 oscillators in parallel -- the Bell Labs digital synthesizer let the user arrange the oscillators in any architecture desired. The Bell Labs digital synthesizer could use 2 oscillators per voice or 32 oscillators per voice, or anything in between.

But Alles went further. He designed the Bell Labs digital synthesizer with immensely flexible envelopes and filters. It had two types of digital filters, A filters and B filters. It had 16-point amplitude and frequency envelopes, far more complex than the simple-minded ADSR envelopes used even today, and it used two different 16-point envelopes for each oscillator. The user defined a maximum envelope and a minimum envelope for both frequency and amplitude. Then the Bell Labs digital synthesizer automatically interpolated the shape of the final envelope between those two radically different 16-point envelopes depending on how hard the keys on the synthesizer keyboard were struck.

The Bell Labs digital synthesizer was complex and unwieldy. But it could produce an amazing range of timbres. Most digital synthesizers have a distinctive overall "sound" -- metallic and sharp (the Casio FZ series), or cold and sterile (the K5 additive synthesizer), or fuzzy and hummy (the Emu Morpheus). But the Bell Labs digital synthesizer had no typical "sound" -- it could caress your ears with timbres as organic and velvety as an analog synthesizer, or whack you upside the head with sounds as brash and sharp as a phase distortion digital synthesizer.

The Bell Labs digital synthesizer could produce anything from raunchy timbres as harshly brutal as a Mack truck smashing through a brick wall to delicate evocations as diaphonous and ethereal as a butterfly's wing. It could sound hi-tech and futuristic and digital, or retro and touchy-feelie and analog.

Laurie Spiegel programmed the Bell Labs digital synthesizer using the C programming language, then brand-new, on a DEC PDP-8 minicomputer, to generate many notes from single keys on the synthesizer keyboard. You can hear the Bell Labs digital synthesizer on Laurie's CD Obsolete Syetems on the track called "Improvisations on a Concerto Generator." Don Slepian used the Bell Labs digital synthesizer to general digital soundscapes with arpeggios synchronized to the player's tempo. (You can hear it on Slepian's CD Ocean of Bliss, tracks 1 and 2.) Max Mathews and Larry Fast used the Bell Labs digital synthesizer to make breathtaking music. Fast used it on several tracks on his CD Games.

In 1978, the synthesizer manufacture Crumar licensed the design of the Bell Labs digital synthesizer. They hired another engineer, Stoney Stockell, to turn Alles' collection of IEEE-696 circuit boards in a minicomputer chassis into a commercial digital synthesizer with a built-in keyboard and front knobs. (The original Bell Labs digital synthesizer had 4 joysticks, 10 buttons and 16 sliders, but no other controls. It didn't even have a synthesizer keyboard. Researchers had to wire up an external organ keyboard to the RS-422 lab interface to communicate with it.)

With 32 digital oscillators and 2 sixteen-point frequency and amplitude envelopes for each oscillator, the Synergy digital synthesizer had 128 envelopes total, with 16 points each. No other synthesizer had ever used such a complex architecture. There were too many oscillators and envelope points even to be controlled by the dozens of buttons and knobs on the Synergy's front panel, so an external computer was used. To voice the synthesizer, a Kaypro 2 computer got connected to the Synergy via RS232 serial interface, and Crumar programmers wrote a Z80 assembly language program for the Kaypro 2.

When Crumar licensed the Bell Labs digital synthesizer, they changed their name to DKI (Digital Keyboards Incorporated). The DKI Synergy synthesizer originally sold for $3500, not including the Kaypro 2 computer -- that added another $1795. Attached to the Synergy by an RS232 serial port, the optional Kaypro 2 came with SYNHCS: the Synergy Host Control System. This was the program that let the user program the Synergy's staggeringly sophisticated digital synthesis architecture and create and store user-defined synthesis architectures on Kaypro floppy disk. The SYNHCS program has many different pages that let the user define the number of oscillators and the shape of the max and min envelopes, set the oscillator architecture, set up aperiodic vibrato and envelope loop points, define the A and B digital filters, edit voice banks, set up real-time perofrmance presets for the Synergy II+ synthesizer and store Synergy timbres and real-time performance banks on Kaypro floppy discs.

The Synergy came in two models: the Synergy I, with 24 sounds in ROM and no MIDI and no user programmability, and the Synergy II+, which added a modification board inside the synthesizer to allow MIDI in and out and full programmability and user storage of new timbres by means of the Kaypro 2 computer.

DKI originally hoped that users would buy the Synergy and then keep on buying Synergy ROM cartridges, like customers buying one razor and many razor blades. Wendy Carlos signed on to create timbres for the Synergy, and eventually 22 different banks of 24 voices were created for the Synergy, for a total of 524 Synergy timbres. These timbres ran the full gamut from spacey digital sounds to chimes and gongs, to ethnic instruments like drums and xylophones and membranophones, to plucked and struck sounds, to brass and woodwinds, and rich strings and subtle keyboard timbres like the celesta and the vibraphone and the electric piano.

The Synergy doesn't sound like any other synthesizer. It's warm and vibrant. It sounds alive. This is party due to the unprecedented sophistication of the synthesizer envelopes, which interpolate between 16-point max and min values depending on how hard each synthesizer key gets pressed on the keyboard. In part it's due to the interaction of the A filters and B filters with the digital oscillators, since each digital filter gets defined for each separate oscillator. And in part the unique sound of the Synergy results from the synthesizer's aperiodic vibrato, which add user-controlled unpredictability to the amplitude and frequency envelopes of each oscillators, just like a real acoustic instrument, where each note on a violin or each note on a flute sounds slightly different.

All the timbres on this YouTube video were created using the Synergy with multitrack tape. This video shows SYNHCS running on the Kaypro 2x and sending the Wendy Carlos voice bank number 1 to the Synergy:" [video above]

CLICK FOR MORE »

Doug Slocum's Beautiful "Steampunk" Modular System

You can find more images of this amazingly beautiful system here and on the SSL website here.

via Grant Richter of Wiard on the Wiard list.

Update via ark in the comments: "There is a picture on the front page of donslepian.com of Don Slepian playing this same synth. (I know because I took it)"

Update via dugernaut in the comments: "I'm a bit late to the party, but I thank you for all your comments.

For those that disliked my synth efforts, I can only say that the amount energy that went into creating that SteamPunk look is what TOTALLY inspired me to make this crazy machine in the first place. It was a complete labour of Love.

Since meeting Dr. Moog at his office in the late '60s / early '70s in Trumansburg, I've felt a special something for modular / analog synths.

You can take a Synth out of Modular, but you'll never take "modular" of of synth!

Rest in peace, Bob. I love you. I hope you're having a great time chatting with my father over a couple beers, watching a football game at that pub!"

Keyboardist Don Slepian

http://donslepian.com/

You might recognize the custom DIY modular from this post (comments enabled there).

Fifty Years of ARP: The 2500 in 2020 (a synthposium) Part Three - Composers & Producers + Concert

Alan R. Pearlman Foundation

Moderator:
Brian Kehew

Panelists:
David Baron, Producer and Composer
Pablo Garreton, Composer and Performer
Don Slepian , Composer and Performer
Asha Tamarisa , Composer, Performer and Educator

Live Concert from Pablo Garreton

Last Q & A, closing remarks.

FOR MORE INFORMATION VISIT: https://alanrpearlmanfoundation.org/f...

Fifty Years of ARP: The 2500 in 2020 (a synthposium) posts

OMBIENT: Live!@EMEAPP (4/22/23)

video upload by EMEAPP

"This was a fun night. On April 22, 2023 we held our first video shoot in our live studio space with an audience in attendance with Ombient and Electric Diamond on the bill.

Ombient (Mike Hunter) was the opening performer on the bill and in the space of 30 minutes, he took the entire room on an electronic sonic journey complete with custom projections by PYXL8R. Armed with his custom Synthesizers.com modular system, Koma Elektronik Komplex Sequencer, Rhodes Chroma, Oberheim Matrix-6, ARP 2600 re-issue and a slew of effects, Ombient's performance was ultimately a swirling, constantly evolving set reminiscent of artists such as Tangerine Dream and Ashra.

A big thank you to Ombient (Mike Hunter), PXYL8R (Ken Palmer) Electric Diamon (Stuart Diamond, Don Slepian and Karen Bentley Pollick) and to all of our volunteers for helping to make this night a well-oiled and enjoyable experience for all.

You can find us at www.emeapp.org where we invite you to join us as a member."

The ARP 2600 Synthposium (Trailer)

video upload by Alan R. Pearlman Foundation

"TICKETS: bit.ly/2600-event

Join the Alan R. Pearlman Foundation online Saturday, September 18th, for a virtual Festival and Fundraiser honoring the 50th anniversary of the mighty ARP 2600, hosted by The Record Co. in Boston, MA!

This online celebration will feature live performances, live panel discussions, a 2600 synthesizer clinic, premiered videos of performances and interviews, special guests, a silent auction, and more. All proceeds will benefit the Alan R. Pearlman Foundation and the ARPs For All project. (For schedule please see below.)

Panelists include:
Alsún Ní Chasaide, Alison Stout, Antonio Guitterez (Antonus) BT, Brian Kehew, David Baron, David Friend, David Frederick Jr, David Mash, DJ CherishtheLuv, EMEAPP, Jack Hotop, Jennifer Hruska, Jean-Michel Jarre, Jon Carin, Korg, Lisa Bella Donna, Marie Ann Hedonia, Michael Bierylo, Michael Brigida, Richard Boulanger, Richard Devine, Steve McQuarry, Tom Piggott

New and exclusive content by:
Alex Ball (video performance), Berklee Ensemble (video performance), Bill T. Miller (video performance), David Van Pelt (video performance), DJ CherishtheLuv (video performance + interview), Don Slepian (video performance + demo), EMEAPP (video performance + Live Stream), Ernesto Romeo (video performance + demo),Renzo Torti Forno (video performanc),, Glen Harlock (2600 video patchbook)*, Jennifer Hruska (video performance with ensemble), Jim Mitchmerhuizen (interview excerpt), Lisa Bella Donna (video performance), Marie Ann Hedonia (video performance + interview), Steve McQuarry (video performance + interview)

The ARP 2600 is one of the most influential synthesizers ever created and has been played by artists such as Stevie Wonder, Herbie Hancock, Edgar Winter, Joe Zawinul, and sound designer Ben Burtt (as the voice of R2D2). Recently brought back into production by Korg, the ARP 2600 is once again a beacon of unlimited possibilities for a whole new generation of musicians.

The event will live stream from Boston’s own The Record Co, a community music workspace with professional recording and rehearsal studios. The event will focus on the ARP 2600, the iconic synthesizer that brought semi-modular synthesis to performers and educators around the world. It will feature panel discussions, performances, and interviews with world-renowned artists, technicians, engineers, and more. Participants will be able to interact live with panelists via Zoom.

Proceeds will benefit ARP Foundation initiatives, including The ARPs For All project, a joint effort by The Record Co. and ARPf, enabling anyone who rents studio or rehearsal time to use these incredible instruments at no additional cost.

Come join us!

CREDITS
Video Editing by Margot Bennett
Music by Omer Berger"

Fifty Years of ARP: The 2500 in 2020 Online Event This Saturday, September 26

via The Alan R Pearlman Foundation:

ALAN R. PEARLMAN FOUNDATION ANNOUNCES “FIFTY YEARS OF ARP: THE 2500 in 2020” SYNTHPOSIUM EVENT

Celebrating five decades of the 2500 synthesizer with interviews, panels and more

STONE RIDGE, NY, SEPTEMBER 21, 2020– The Alan R. Pearlman Foundation has announced “Fifty Years of ARP: The 2500 in 2020”, a virtual event to be held on September 26th at 12PM EST on Zoom via Eventbrite. The event will be free for all participants with a suggested donation. Registration and other information can be found here.

The event will focus on the ARP 2500, the groundbreaking synthesizer made famous in Close Encounters of the Third Kind. It will feature panel discussions and interviews with original ARP engineers, software developers, artists, composers, producers, educators, and others. Participants will be able to interact live with panelists via Zoom.

"We are beyond thrilled for this deep dive into the iconic ARP 2500,” said Dina Pearlman, ARP Foundation founder and daughter of Alan R. Pearlman. "We’ve assembled an amazing collection of engineers who made the original 2500s, artists who have used them, and ARP historians and organizations that work to preserve them."

The Foundation continues its work with contributors, collaborators, vendors, manufacturers, venues, and owners of rare original ARP synthesizers. Among their goals is the creation of installations where students can utilize ARP synthesizers as part of their music curriculum, and to explore the endless possibilities of electronic music.

For more information about the Foundation, visit www.alanrpearlmanfoundation.com.

CLICK FOR MORE »

Reminder: THE ARP 2600 SYNTHPOSIUM is Coming Saturday, September 18TH

This is a follow-up to this post. You can purchase tickets at the event page here. For Group rates and free scholorship tickets see the admission section below.

"Join the Alan R. Pearlman Foundation online Saturday, September 18th, for a virtual Festival and Fundraiser honoring the 50th anniversary of the mighty ARP 2600, hosted by The Record Co. in Boston, MA!

This online celebration will feature live performances, live panel discussions, a 2600 synthesizer clinic, premiered videos of performances and interviews, special guests, a silent auction, and more. All proceeds will benefit the Alan R. Pearlman Foundation and the ARPs For All project.
Who
Panelists include:
Alsún Ní Chasaide, Alison Stout, BT, Brian Kehew, David Baron, David Friend, David Frederick Jr, David Mash, DJ Cherish the Luv, EMEAPP, Jack Hotop, Jennifer Hruska, Jean-Michel Jarre, Jon Carin, Korg, Lisa Bella Donna, Marie Ann Hedonia, Phil Cirocco, Richard Boulanger, Richard Devine, Steve McQuarry

New and exclusive content by:
Alex Ball (demo), Berklee Ensemble (video performance), Bill T. Miller (video performance), David Van Pelt (video performance), DJ Cherish the Luv (video performance + interview), Don Slepian (video performance + demo), EMEAPP (video performance + Live Stream), Ernesto Romeo (video performance), Glen Harlock (2600 video patchbook)*, Jennifer Hruska (video performance with ensemble), Jim Mitchmerhuizen (interview excerpt), Lisa Bella Donna (video performance), Marie Ann Hedonia (video performance + interview), Steve McQuarry (video performance + interview)

Why
The ARP 2600 is one of the most influential synthesizers ever created and has been played by artists such as Stevie Wonder, Herbie Hancock, Edgar Winter, Joe Zawinul, and sound designer Ben Burtt (as the voice of R2D2). Recently brought back into production by Korg, the ARP 2600 is once again a beacon of unlimited possibilities for a whole new generation of musicians.

How
The event will live stream from Boston’s own The Record Co, a community music workspace with professional recording and rehearsal studios. The event will focus on the ARP 2600, the iconic synthesizer that brought semi-modular synthesis to performers and educators around the world. It will feature panel discussions, performances, and interviews with world-renowned artists, technicians, engineers, and more. Participants will be able to interact live with panelists via Zoom.

What
Proceeds will benefit ARP Foundation initiatives, including The ARPs For All project, a joint effort by The Record Co. and ARPf, enabling anyone who rents studio or rehearsal time to use these incredible instruments at no additional cost.

Come join us!

When

EVENT SCHEDULE:
There will be an approximate 5-minute break after panels.

11:00am – Berklee Synth Ensemble (opening music)

11:30am – Opening Address

12:00pm – Panel 1 - ARP 2600: The First 50 years

1:00pm – Intermission (videos)

1:30pm – Prerecorded- The Next Fifty Years (remaking, restoring and reimagining)

2:00pm – Panel 2 – Maintaining Vintage 2600s in a Modern World

3:00pm – David’s 2600 Tutorial/Demonstration – A comparison of the original ARP2600, the new Korg ARP2600 FS, and the upcoming Korg ARP2600M Module. Demonstrations of some of the more esoteric capabilities of the 2600.

3:30pm – Intermission (videos)

3:45pm – Lisa Bella Donna

4:15pm – Panel 3- Artists using ARPs

5:15pm – Jennifer Hruska Group

5:45pm – Finding a New Voice

6:15pm – Live Stream from EMEAPP

6:30pm – Results from Silent Auction and Closing Remarks!

ADMISSION:
Students (Only): $10.00

Access to the Synthposium
Price of admission will increase to $12 on Sept 15th
General Public:

$20.00

Access to the Synthposium
Price of admission will increase to $25 on Sept 15th
$50.00

Access to the Synthposium
10% Discount off a t-shirt at our store
Special access to full length interviews & concerts
$100.00

Access to the Synthposium
10% Discount off a t-shirt at our store
1 ARP CD Download
Special access to full length interviews & concerts
Special access to tutorials

Synthposium Scholarship: In light of our challenging times, we can provide access to free scholarship tickets if circumstances dictate. Please send an email to dina@alanrpearlmanfoundation.org

Group Rates: For group rates, please email dina@alanrpearlmanfoundation.org

Interested in being a sponsor: For inquiry please email dina@alanrpearlmanfoundation.org"

POLYPHONY MAGAZINE MAY/JUNE 1982

via this auction
"Contains articles, ads, and DIY features on such topics and gear as, the MG-1, Component profile on SSM2033 and SSM2044, Roland JUNO-6, KORG Trident, Syn-Bow, dod 500 Series Processors, Don Slepian interview, Sequential Circuits ad for the legendary Prophet-10 and music reviews on bands albums, that had just been released."