"Playing around with a four part sequence on the modular."
Update: Pic of the modular and a note on what's in it.
"There is a EMU voice card ( ssm chips ) being fixed . Everything else is moog and moon." Update via ed buller in the comments: "opps I forgot i have 2 921's from club of the knobs in there. Very nice modules"
node in the studio video added below.
projektmelodik | April 12, 2009
"Node recording "olivine" at Masterock studios in the summer of 94. The video was shot buy Simon Gilbert of Suede whom Ed Buller was working with at the time. The track was recorded straight to stereo. Edited from three separate performances."
Details: "Principles and Practice of Electronic Music" "A Fundamental Approach to Understanding the New Sound Sources Covering Both the Technical and the Creative Aspects of Sound Synthesis" by Gilbert Trythall 214 pages, softcover - includes 7" 45rpm vinyl record in pocket on inside back page with sound samples"
"You can understand the cosmos, but not yourself; the distance between a person and his inner self is sometimes greater than the distance to the stars.
- Gilbert K. Chesterton"
"New England Synth Fest, Saturday, April 22, 12pm to 6pm, in Burlington, Mass (at the Microsoft Technology Center, 5 Wayside Road). SIX HOURS of live music, video art, vendors, exhibitors, lectures, a jam room, and a synthesizer petting zoo. FREE admission.
Live music from Christina Shivers, Deftly Demolition, Jade Rose, Metal Tiger, Michael William Gilbert, Repairer of Reputations, Sean Stover, Sherisa Sterling, SHERMVN, s0ak, and Tom Eaton. Live visualization art from Allison Tanenhaus, Anagram, coolpics.biz, Jame Coyne, SunJessie, Vidumami, and more!
Lectures and talks from Piotr Rotkiewicz, Robyn Alman, Alex Bernhardt, Michael Bierylo, Collin Russell, Peter Raffensperger, Luke Stark, Gerry Bassermann, Joe Paradiso, and Randel Osborne (see the website for topics and schedule). There will be a "Jam Room" brought to you by Circuit Happy, using shared CV/MIDI clock on their Missing Link hardware. Exhibitors include Circuit Happy, Cyran Makes Music, Sequential, Source Audio, Superlative, and Tall Dog Electronics, AND MORE.
"New Order 'The Perfect Kiss' cover, as featured on the official video version.
Gear used:
Left: Roland JP8000 (triggered live from Pro Tools).
Right: Emu Emax (upper). Roland JX-8P (lower)
Backtrack previously recorded on Pro Tools, track by track, by me using the Kurzweil PC1x massively for Hook's bass sounds and a DX7 for the first "metallic" sequence that goes along the whole song. There is also an unknown frog sampled for the middle section (05:35).
* Composed by Gillian Gilbert, Peter Hook, Stephen Morris, Bernard Sumner.
Performed here by DX5 Jose Maria Bara."
Anyone know what he's playing?
"This was video-taped MANY years ago. I was performing along to one of the dance pieces on my tropical dance album - "Bora Bora 2000". Great fun! Enjoy! Iasos website = iasos..."
No synths in the following but it does sound synthetic. And of course the title...
YouTube via organfairy. More synthesized sounding voices come in at 1:25. "In this the final organ demo I play the Technics SX-C600. It is an analogue digital hybrid with digital solo voices, bass, reverb, and rhytm. The other voices are analogue. I have played this instrument many times before here on YT. But in this case I try to use some of the rhytms and voices that I haven't used before. Finally I would like to dedicate the first song in this medley to my friend mr. Sten Demant who happens to "lurve" the sound of the organ banjo :-)
The songs I play are:
Funky Feet (Björn Ulveaus, Benny Anderson) Maria Magdalena (Michael Cretu, Hubert Kemmler, Markus Löhr, Richard Palmer-James) Matrimony (Gilbert O'Sullivan) Did you have to love me like you did (Stony Browder jr, August Darnell) In the summertime (Ray Dorset) Jitterbach (Kai Ewans) Bobblesex (Tommy Seebach)"
"KAWAI DX900 organ from the early 80s and it cost was thousands back then. If your in to analogue sounds this is the organ for you, every sound is pure analogue, with digital affecting the next generation of kawai organs (sr range)
It has 3 manuals and the top is based around the tesico 100p synth, its got many features like hold, portamento, brilliance, its got aftertouch on the topmanual, which allows note bending, growl, vibrato,
For the main manuals, theres a full set of drawbars for the top including percussion , for the bottom full set minus 16, 5.13, and 2 drawbars for the pedals, this organ has a real leslie and vibrato built in too with its own internal amp and speakers.
The string sounds are totaly unique just pure kawai, they can be mixed with all drawbar sounds, and theres also a bank of sounds with piano, they really dont sound like pianos etc but are totaly unique to this instrument, it also has vocal sounds too which are amazing
The drum machine is preset witll four drumbreaks totally analogue (sounds really great) with full tempo control, its got an arpegiater and auto bass features too.
Heres a link from the organist andrew gilbert playing it back then as a real organ, (scroll down to see clips)"
"could never bring myself to touch "we almost lost detroit" as it is, in my humble opinion, one of the greatest songs ever penned. but since i can't take my mind off scott-heron's passing today, i've played around and made a very straightforward soul beat.
rest in peace."
via Wikipedia:
"Gilbert "Gil" Scott-Heron (April 1, 1949 – May 27, 2011)[2] was an American poet, musician, and author known primarily for his work as a spoken word performer in the 1970s and 80s, and for his collaborative soul works with musician Brian Jackson. His collaborative efforts with Jackson featured a musical fusion of jazz, blues and soul music, as well as lyrical content concerning social and political issues of the time, delivered in both rapping and melismatic vocal styles by Scott-Heron..."
"Here we have a fully functioning and serviced Voyetra Eight rev 3.5 (a rev 3 with rev 4 software) It has everything I personally want in a Voyetra. It has the green internal boards, the less buggy rev 4 os, and has been fully serviced by an expert.
This Voyetra has the rev 3 digimod board. So it responds to midi note off/on and velocity from any midi keyboard. It can of course also be controlled from the Voyetra VPK controller or slaved to another Voyetra for a monster sound. The Voyetra rev 3 is fully programmable from the knobs and program pages of the front panel. A copy of the rev 3 teaching manual and rev 4 reference guide is included. The rev 4 reference guide explains each programming page in a way that is easy to absorb. I'd start with this section of the manual. You'll be programming and making your own sounds within ten minutes. The manual is printed on heavy card stock so it will stand up to years of page turning without ripping or wrinkling. The reason the rev 4 seems to be more popular is it allows you to program with external software as opposed to programming from the front panel but what no one ever mentions is there is a very noticeable amount of latency when using modern third party software to program your Voyetra. It's nothing you would be able to use for real time performances. The multi page layout from the front panel becomes second nature after time. If it's good enough for Gillian Gilbert, it's good enough for me. This package includes a third 5 foot midi cable for connecting to the midi in of the Voyetra (not pictured) so you can attach this to your favourite controller.
Cosmetically this unit is in excellent condition. Over the years the filter for the CPU fan will breakdown and allow dust to enter the machine. A new filter has been installed that is thin enough to allow the air to flow freely but thick enough to catch household dust. The housing of these units are made of heavy gauge metal that is then sprayed with a durable textured industrial paint. Voyetra was a small company and the metal housings do have small inconsistencies and spots where they "missed a spot" or left a rough metal edge. This particular unit is in excellent condition with just a few small indentations or scratches in the original paint. The heat sink is in excellent condition WITH NO BENT FINS ETC. The face of the unit looks gorgeous with very little detectable wear. It has the original tear drop knobs that I find aesthetically more appealing. When my tech had this completely disassembled I had him blow out any dust that had accumulated over the years so the inside looks great. Everything functions exactly as it should and all oscillators tune. This will be a very stable and enjoyable unit to create music on for the new owner. The only way to improve upon this unit is to add the rev 4 digimod board, but that's not a feature I personally miss but I'm old, I like hardware. It has the most desirable green boards and it would be easy to mistake this for a rev 4 because it has the rev 4 software. (Six midi pages) A picture of the rev 3 digimod board is included. You certainly won't be able to find a better sounding Voyetra 8 than this one in my opinion. Some argue it is the best sounding of all the 80s analog polysynths."
"Today I have the newest PATH VCO module from North Coast Synthesis and a small demo with 10 examples.
There are about 10 examples in a patch and some waves This is a really interesting oscillator on which you will bring out various amazing sounds.🔥😀
North Coast's complex VCO is comfortable on a journey to the East or the West, while providing a stable foundation at home in any Eurorack. The module contains two triangle-core VCOs, each with four waveforms and standard V/octave control. As basic VCOs running independently these can be the heart of a traditional subtractive East Coast synthesizer. But the Middle Path's oscillators can also be used together, with or without sync, to drive its unique multi-output Gilbert-style sine shaper. The shaper, which can also take external input, offers wave shaping, distortion, folding, phase modulation including through-zero, and imitation stereo. These effects take the sound into West Coast territory.
The design emphasis is on harmonious combination of simple principles. The exponential converter uses premium analog multipliers and a transistor array to ensure temperature stability without fiddly adjustments or hard-to-control "tempco" resistors; it should provide consistent tracking, and especially between the two oscillators, without needing to warm up. The triangle cores are intrinsically frequency-accurate without needing extra circuitry to compensate for reset time. The sine shaper includes our own novel quadrature modification which can be used to generate a stereo signal or in combination with other modules to create frequency shift effects. The sync circuit joins the oscillator cores in another way with a selection of soft and firm modes.
You can now find this assembled module or DIY KIT directly here on the official North Coast Synthesis website :
https://northcoastsynthesis.com/"
"** At 03:50 starts the movie OST arrangement **.
I was up to revisite this instrumental cover I've already made twice in the past. As I liked the arrangements for the upcoming Wonder Woman 84 movie OST (Hans Zimmer me thinks?), I decided to play New Order's 'Blue Monday' again, building a backtrack more faithful to the studio version in combination with some of the OST arrangements. [previous versions here]
Gear used:
Roland MRS-2 Promars
Emu Emax II (massively)
Kurzweil PC1x (With its mighty strings)
Roland JP8000.
No sample from the original song were used. (Just Kraftwerk's 'Uranium' choir).
Backtrack previously recorded on Pro Tools. Lead sound: Roland JP8000.
Original song composed by Gillian Gilbert, Peter Hook, Stephen Morris, Bernard Sumner.
Wonder Woman 84 arrangements: Hans Zimmer
Performed here by DX5 Jose Maria Bara."
"All sounds are dry and straight from the vco, except for the Delta-V VCA."
"A new 100% analog complex oscillator, featuring two independent VCO's. Both voices have a unique signal path and flavour. Complex cross modulations entangle them together, opening up completely new timbral territories.
Features inlude the Thru Zero trinity; Frequency, Phase and Amplitude modulation. Each oscillator also has its own Low Pass Filter, which works great to mellow the harsher tones from complex intermodulations.
Each VCO has great tracking and temperature stability, there is no distinction between a carrier and modulator.
The FM bus modulates the index of each individual voice, with linear and exponential inputs for external sources. There are also inputs for Sync in, with both soft and hard sync.
VCO 1 The left VCO signal chain starts with a shape function, that lets you morph between triangle and saw. This waveform is also available as a separate output.
Next is a sinusoidal wavefolder, which changes its response dramaticaly based on shape of the waveform. The circuit is based on a modified version of a design by Barrie Gilbert from 1977, popularized by Open-Music-Labs (used with permission) This circuit also creates the possibility of Thru Zero Phase Modulation, here the depth is controlled with the third slider. The source is normaled to VCO 2, but external modulation sources can be patched in, and the depth can also be modulated with CV.
Lastly there's a 2-pole Low Pass Filter, before going out the MAIN output. All parameters can be CV controlled, and feature handy attenuators at the inputs.
VCO 2
The first slider is a continuous waveform shaper, that morphs from sine to tri to saw.
This waveform then enters the Thru Zero Amplitude Modulation (Ringmod) section. The slider sets the depth of modulation, with the source normalized to VCO 1. The depth can be CV controlled, and an external source can be patched as well. The result is also available on a separate output, pre wavefolder/filter (VCO 2 sine).
The third slider is a wavefolder, it's based around a novel wavefolding topology, with a unique and more aggressive sound compared to the sinusoidal folder of VCO 1.
The wavefolded signal goes into a 2 pole Low Pass Filter, and out of the MAIN output."
"Old Nik says: "The MonoWave(X) is a early GEM from Paula Maddox... The unknown (to many) ancestor of the Modal Electronics 001/002! It's super! Think PPG Wave and Moog Model D had a baby, and that is the MonoWave(X)..."
Manufacturer Description:
The Monowave was the brainchild of UK electronics designer, Paula Maddox. Paula has been designing and building synths for many years as well as releasing her own unique music realized on her impressive modular creations.
Paula wanted to build a synth the roots of which lay in the PPG. Originally intended as a monophonic bass synth, the Monowave has uses beyond that.
The Monowave is a wavetable synthesiser with 256 waves available for each of the two oscillators. Each oscillator also has a sub-oscillator. The filter is a copy of the Moog filter, there are separate envelope generators for the filter and amplifier, and a simple LFO. The panel is very 'retro' and 'traditional' with knobs for every function and a simple display. Internally, the circuitry is all analogue (except for the digital circuitry used in the oscillators)... no wimpy DSP thank you very much - this is a 'real' synth!!
Paula has now released the MonoWave as GPL and has given me permission to release the PCB and a Component Kit for those that unfortunately missed the first, limited run.
The new MonoWave (X) is a rebuild of Paula's popular MonoWave I and is being re-released with her permission. The new design reduces the original multi-pcb design down to 2 pcbs.
In addition, the front panel design incorporates a 2x16 LCD Module (the original MonoWave only had a 1x16 Module) allowing software developers to extend the user-interface.
"New cover (after near five months). Sound design, backingtrack recording from scratch, etc made in an afternoon. (A DX5 was used on the original song, though there is no DX5 in my cover: it's just my nick).
Gear used:
Yamaha DX7 - Bass
Roland JX8P- Filtered Sawtooth pad
Emu Emax 1 - Chords (8P samples)
Emu Emax II - "Hook guitar" (Kurzweil PC1x post processed sound and the Emu Chorus heavily on :-).
Original song composed by Gillian Gilbert, Stephen Hague, Peter Hook, Stephen Morris, Bernard Sumner.
Performed here live by DX5 Jose Maria Bara."
"PRINCIPLES AND PRACTICE OF ELECTRONIC MUSIC BY GILBERT TRYHALL. A VERY COOL BOOK OF OVER 200 PAGES OF PHOTOS AND DIAGRAMS, THERE ARE EVEN A FEW OF SOME VINTAGE SYNTHS. IT COMES WITH A 45 RECORD THAT GIVES EXAMPLES THAT IS IN GREAT SHAPE. c1973, SECOND PRINTING."
"Everyone should check out this link for info about Boston School Of Electronic Music, founded by Jim Michmerhuizen, who also wrote the original Manual for the ARP 2600. Somewhere at the site is a pdf with a graet patch for the 2600 by Jim in 1972. A SAMPLE/HOLD PATCH THAT SWINGS. http://2little2late.org/BSEM/"
via the website:
"The Boston School of Electronic Music was "founded in Boston, Massachusetts, in May of 1972 by Jim Michmerhuizen, BSEM was the first independent school of electronic music in the United States.
Closing in 1978 as the result of a catastrophic fire, BSEM was a focal point for those interested in electronic music synthesis. This site is an attempt to preserve some of the history and culture, and to document that unique moment in the late 20th century..."
An interesting side note according to this post, "a former ARP engineer told me that this was a side project of a ARP/Aries engineer for the Boston School of Electronic Music."
I'm curious if this was Jim Michmerhuizen's or Dennis Colin's, the engineer behind the ARP 2600 and Aries modular. If anyone knows, feel free to leave a comment below. A search for Jim Michmerhuizen on the site brings up a couple of previous posts but no mention of Aries.
Updates via the comments:
Fletcher Ingram:
"The person in question is Ron Rivera. I can't find where I saw that he was evolved in the ARP techy stuff department, but the following link: "http://www.gentleelectric.com/AriesMusic.html" indicates his having done work for Aries Music and that he did fix, clean, restore all things synthesizers. In his dining room was either a Moog 55 or 35 continuously being worked on, or it was the dining room table. You also had to be aware of the rabbit droppings throughout his apartment. He help with the Aries analog Sequencer & Sequential Switch. He offered modified ARP2600 & Minimoogs, adding Sync and other enhancements. I work with him several times doing menial work. I attended & resided at BSEM for several years before it closed as a student, house keeper, office boy, and Lab assistant. I may have embellished a few things here, but I was indeed involved with most things going on at BSEM in the middle to late 1970s. BSEM was a hell of an experience that I will remember till I go to be with Lord. If further info and corrections are needed:
Fletcher Ingram
626.768.8784
fletcher_ingram@yahoo.com
YesTalesRSOG74@yahoo.com"
Michael Wm. Gilbert
"According to Jim M. this synth predated Aries. Per Jim:
'This is a picture of the big synthesizer BSEM built for Wesleyan University around 1974. This was basically Bob Snowdale's initiative; he came to us from W.U. having studied with Alvin Lucier there. Later, of course, Snowdale went on to found Aries.'
Somewhere there was also a big customized Moog synthesizer that we (BSEM) installed at UMass Boston in the mid 70's. Bob Moog himself came, and after it was set I enjoyed driving him back to the airport and hanging out with him while waiting for his flight.
For Fletcher - Ron Rivera's bunny was named Pummel :)"
"I recently got a couple new modules from Bard Synthesizers. The VTG low pass gate is available as part of his normal product lineup, but the ring modulator is a custom build. I'm guessing if you like it you could talk him into building you one as well, but note that it takes a bit longer, what with it being a custom build and all.
Here's a little sampler to get an idea how they sound. Plus some extra from the Erica Synths Fusion Ring Modulator at the end for comparison.
Source VCOs are an Acid Rain Chainsaw and a Befaco Pony VCO.
Envelope from Zadar.
Update: Pic of the modular and a note on what's in it. 
Q1!~~_12.JPG)
