MATRIXSYNTH: Search results for Gary Chang


Showing posts sorted by date for query Gary Chang. Sort by relevance Show all posts
Showing posts sorted by date for query Gary Chang. Sort by relevance Show all posts

Monday, November 22, 2021

Tom Oberheim Two Voice Pro Excerpt by Gary Chang


video upload by GSF AGENCY

"Directed by Chris Morgan ... http://www.darkenergymedia.com
Produced by Geoff Farr / GSF Agency ... http://www.gsfagency.com

While the New TVS Pro is a 'reissue' of the TVS with the classic SEM sound of the '70s, a few details have transformed this instrument. Once destined to sit atop a Hammond B-3 or in a multi-keyboard setup, the new TVS is at home in any modular system, providing handy pitch and timing reference, and shining as an excellent compact master keyboard for playing polyphonic synths without having to fire up the DAW.

In this video, the Tom Oberheim TVS Pro plays sequence #1, while supplying clock to the modular systems' sequencers. External sounds include a Karp hi hat; Wiard kick, Mayhem and Pedal tone; a Tonestar grand casa; MiniMod Bass; Elements chunk; Serge funk; Serge and Nebulae suspense and 2 Roland MKS 80 Super Jupiters pads, played from TVS Pro Keyboard with Local OFF.

The music in the video is performed live, without overdubbing or editing. Special thanks to Anthony Baldino for sprucing up the mix before the shoot.

-Gary Chang"

Friday, September 03, 2021

The SynthSummitShow Ep. 34 Gary Chang


video upload by Ken Flux Pierce Fluxwithit

Beautiful Wiard system in the backgroud.

"about Todays guest : Gary Chang is an American composer of scores for film and television. Working primarily in the action and thriller genres, he has composed the scores to over seventy films, including Under Siege, Sniper, and The Island of Dr. Moreau. He is also a long-time collaborator of directors John Frankenheimer and Craig R. Baxley. For his work on Under Siege, he won a BMI Award.[1]"

You can find additional posts mentioning Gary Chang here.

Monday, October 10, 2016

Tom Oberheim Two Voice Pro: Excerpt from Yesterday Afternoon


Published on Oct 10, 2016 darkenergymedia

"While the New TVS Pro is a 'reissue' of the TVS of the classic SEM sound of the 70's, there are a few details that have transformed this instrument - once destined to sit atop a Hammond B-3 or in a multi-keyboard rack, the new TVS feels really at home playing with my modular systems, providing handy pitch and timing reference, and it makes a nice compact master keyboard for playing polyphonic synths without having to fire up the DAW.

ABOUT THE VIDEO:

The Tom Oberheim TVS Pro plays sequence #1, while supplying clock to the modular systems' sequencers.

- a Karp hi hat
- a Wiard kick
- a Tonestar grand casa
- MiniMod Bass
- Elements chunk
- Serge funk
- 2 Roland MKS 80 Super Jupiters pad, played from TVS Pro Keyboard Local OFF.

- a Wiard Pedal tone
- Wiard mayhem

- Serge and Nebulae suspense

The music in the video is performed live, without overdubbing or editing - special thanks to Anthony Baldino for sprucing up the mix before the shoot.


Thanks, Tom!

- Gary Chang

----

uploaded in 4K

directed by Chris Morgan
http://www.darkenergymedia.com

produced by Geoff Farr / GSF Agency
http://www.gsfagency.com

Tom Oberheim:
http://www.tomoberheim.com"

Tuesday, June 28, 2016

A Collection of Fairlight History via Peter Vogel's YouTube Channel

The following is a collection of Fairlight videos from Peter Vogel's YouTube channel. The first two are on the original Fairlight. The third is a playlist of the Fairlight CMI30A reissue, and the final is a playlist of the Peter Vogel CMI App which featured a CMI30A splash screen. Note Fairlight and Peter Vogel Instruments are two separate companies. Via Wikipedia:

"After rebirthing Fairlight Instruments in August 2009[7] and releasing the CMI-30A, the 30th anniversary model of the Fairlight CMI,[8] and Fairlight iOS apps for the Apple iPhone and iPad,[9] Vogel renamed Fairlight Peter Vogel Instruments in July 2012. When announcing the name change, the company foreshadowed a new range of synthesisers was being developed.[10]"

And the videos:

Computers Are People, Too! 1982 Fairlight bit

Published on Dec 30, 2013 Peter Vogel

"This is a segment from a 1982 documentary about the use of computers in art and music. The Fairlight CMI is demonstrated in this clip by Gary Chang -- American film composer, synthesiser player and producer. Gary was Fairlight USA support in the early 1980s and moved on to film scoring, including films such as The Breakfast Club, 52 Pick Up, and Under Siege."

Fairlight1984 extract from doco about MICs

Published on Apr 17, 2014

"Fairlight1984 extract from doco about Management and Investment Companies"

A Peek at the Fairlight CMI30A


Playlist:

A Peek at the Fairlight CMI30A
UNDERCONSTRUCTION 4
CMI30A-sampling
cmi30aFX11

Introducing the Peter Vogel CMI App

Playlist:

Introducing the Peter Vogel CMI app [note Stevie Wonder was the first Fairlight customer]
Video Guide #1
Video #2 -- Player vs Pro
Video #3 -- Voice sampling

iTunes:
Peter Vogel CMI Pro - Peter Vogel Instruments Pty Ltd
Peter Vogel CMI - Peter Vogel Instruments Pty Ltd

Sunday, June 26, 2016

An Interview with Peter Grenader on The ZZYZX Society


The following is an interview with Peter Grenader of Electro-Acoustic Research (formally Plan b). The focus of the interview is mainly on his involvement with The ZZYZX Society, however you will find plenty of insight into gear, including some of what Peter is working on next. I want to give Peter a huge thanks for taking the time out for this.

1. To start, what is the ZZYZX Society?

"The zZyzx Society is a group of like-minded half-crazy avant-garde musicians/composers who at one time or another fell down the same sonic rabbit hole.

Discussions about this began in 2011. Jill Fraser and I tried to get something together, and the circle of people then included Richard Lainhart. Unfortunately, he passed away when we were right in the middle of talking about possibilities. This is actually when I sketched out one of my two pieces that we are currently performing: Organasm. It settled down until Jill and I ran into one another at Mort Subotnick's live performance at Redcat a couple of years ago. We saw a fire in each other's eyes - a need to return to something that we had both evolved from.

Jill and I are ancient friends. We met at CalArts in - God.... 1977. We actually performed together once with composer Gordon Mumma at CalArts and worked extensively together on Mort Subotnick's NEA project, The Game Room, in 1978. Matter of fact, the photo Mort used for the Electronic Works Vol. 1 was taken when we were doing The Game Room - Jill is the blonde and I'm the guy holding the patchord in the foreground.

What really set the wheels in motion though was a recent dinner we had for Thighpaulsandra when he visited Los Angeles a few months ago. Thigh had been speaking about wanting to do another series of performances together since we both did the AnalogLive gig at Redcat in 2007. Jill was already well into the planning stages, although it wasn't clear who would be involved at that time though oddly enough - everyone who will be was there - Jill, Chas Smith, Thighpaulsandra and myself. When Thigh left for his return trip home - the last thing he said to me was a suggestion to get some gigs going - that it will never start unless there's a date, and when you guys get a set under your belt and are comfortable with what it evolves into, that he would come out and gig with us - and that's exactly what we are doing. Well, we'e actually focusing on tracking a CD, but I'll get into that more in a bit."

2. Can you give us a little background on each member? When the world of electronic music started for each and what they've done over the years?

That's where humility sets in - with the notion that musicians of this caliber would consider me a contributor. Why? Let's start with Jill: after earning her masters in composition at CalArts studying with Mort Subotnick and Mel Powell - her first stop was where I landed: Serge's infamous Hollywood synth production facility on Western Ave. She didn't stay there long, however, because she was hired to compose electronic music by Jack Nitzsche for Paul Schrader's film, Hardcore. This began a 25 year career composing both electronic and acoustic scores for hundreds of TV commercials for huge national campaigns: BMW, Honda, Porsche, Nissan, Mitsubishi, HP, NBC, KFC, Carl's Jr., and Apple among others, and in the process won 3 Clios. She also toured with Buffy St. Marie and auditioned for The Sex Pistols - no joke.


Chas will be the only one among us who people will be speaking about in 100 years. He's also from the CalArts electronic music composition master's program and spent his early days with modulars. Until recently he owned a 12 panel serge system he had had for 30+. His legacy will be the remarkable Harry Partch-esque tuned percussion instruments he crafts. He's shifted to metals exclusively which forge these amazing soundscapes, which would take immense work to generate electronically, yet just pour out of these sculptures. Along with collaborations with Harold Budd he's been released many times as a solo artist on Cold Blue Records, MCA, and others, music for Zimmer's Man of Steal score (they actually did a special feature on Chas for that film), as well as the first two Saw films with Charlie Clouser, for Shawshank Redemption, The Horse Whispser... the list goes on.


Man Of Steel Soundtrack - Sculptural Percussion - Hans Zimmer Published on Aug 27, 2013 WaterTower Music

[Behind the Scenes creating the unique sculptural percussion sounds for the MOS Soundtrack
i-Tunes: http://smarturl.it/mos.i
Amazon: http://smarturl.it/MOSdlx_Amazon]


Not sure what planet you'd need to be on not to know where Thighaulsandra's been. Like the rest of us here, his interest in electronic music is lifelong. Stockhausen and Cage were early influences and while you clearly realize his worth in the rock idiom, his experimental roots are unavoidable. Golden Communion - which has garnered stunning reviews in Europe - gives both Gabriel and NIN a run for their money, but you also hear Stockhausen in there and in the string introduction to the title track - Elliot Carter. He began his music career on the other side of the board - as a studio engineer, and this is where he met Julian Cope, who in time introduced him to John Balance - which led to 10 very productive years as a member of Coil - during which TPS began releasing his own solo work. He is a conservatory trained pianist blessed with the birth defect of incredible ability. After Coil he was off to Spritualized for I think three years?

As for me, I am the underachiever. After CalArts and a few small film scores, and a oddly enough a planetarium show for the Griffith Observatory, I put everything down for 25 years. In the early 2000's I found music again and had really good success in the academic electronic music festival circuit. I won the Periodic Festival in Barcelona and was selected for one of the evening performances at the SEAMUS National Conference, which doesn't sound like much, but I was probably the single first-time applicant to land that right. There were 30 or so festivals in the US after that over the next two years including the AnalogLive emsemble performance at Redcat at the Disney Hall in LA with Thighpaulsandra, Chas, Gary Chang, Richard Devine and Alessandro Cortini. The start of Plan B shifted my center to manufacturing, although I was signed, and did a CD for Coda Recordings in 2013 entitled Secret Life.

What I appreciate, especially working with Jill, but it's true of all these guys... our combined experience is such that we finish each other's musical sentences. It's astonishing. Three guys in a garage band and you expect them to vamp off their combined rock tradition, right? But electronic music, are you kidding me? Jill and I started rehearsing with a piece of mine called Benghazi, which is based entirely on a single diatribe of Glenn Beck whining about the attack in Libya. The first day we did what I would call informed noodling. When we started the second day she said she had worked out some other processed bits, and they were phenomenal. It brought the concept into much higher space and with no direct guidance outside of asking for other samples from the source file so not to loose Beck's context narrative. She just got it, completely.

zZyzx Society live in Joshua Tree: BENGHAZI



3. What sort of gear will each member bring to the project? Is there a preference for any?

I can't say for Thigh, dunno yet but he's got an arsenal at his studio in Wales. Jill is primarily using a Push via Ableton and a single Serge panel designed specifically for live performance made for her by Dmitri Sfc. I can name what Chas uses, but it won't mean much as outside of a rack of loopers everything he plays he's made. So for the record it's the Rite, the Replicant and his incredible steel guitar Guitarzilla. I am primarily using my modular - eight rows of it I crammed into two road cases, and then a Roli keyboard using Equator for now, and plans for a proper sampler as the ROli software wreaks Kickstarter deadline. It's fine as a closed synth, but while they say you can import your own samples - you really can't. I had to contact them, and they wrote the code so I could add one specific sample, but are not wiling to help me do more. The keyboard itself however is incredible.

4. What is the collaboration and recording process like? Do you record together or do you pass compositions back and forth for each person to work with separately?

Recording wasn't in the original plan, but that's changed and with Chas moving to Grass Valley - and Thighpaulsandra in Wales it's just like my FB relationship status: complicated. Jill and I are going to lay basic tracks starting in two weeks. So we'll be sending multitrack to both Chas and Thigh, who will be adding to them, then returning the new stack to whomever wrote the piece to do the final mix. The process is identical for Chas and Thighpaulsandra with their works There is talk of a release deal. So... with only one gig under our belts at FUTUREWURLD in Joshua Tree, which was really well received , but still...now we're shifting to recording the four pieces we performed with small gigs during that process, although, all in much more detail than we could manifest live with our hand count. Jill's got one which is actually four individual pieces, I've got Benghazi and Organasm and Chas has Perimeter. Thighpaulsandra is in the middle of one for us now and we're discussing the possibility of rendering Subotnick's Sidewinder.

5. What do you have in your modular system when playing with ZZYZX Society?

At first I brought almost everything. I could basically empty my main cabinet into the two road cases and on top of that I brought the two side cases, but I knew this wouldn't last. After a couple of days of rehearsal when we worked on the two pieces that were modular extensive I identified what was overkill and I limited my modular system to the two road cases (see image). It's eight rows of 88hp.

In the empty space I've now installed an Animodule Midi Gate, which is a brilliant idea and one I was planning on for EAR - but the best man won on that, more power to them for that. With it in that space will be two custom modules consisting of two Sparkfun Wave Trigger boards and a little unity gain mixer. Each of the Wave Triggers will be driven by the Midi Gate. I can use individual keys on my Roli to fire of independent events. Each of these WAVE modules allow for eight polyphonic samples to be played by either the depression of a momentary switch or a gate signal with each group of eight stored on a microSD card which can be loaded on the fly. I see this as an intelligent way of performing with a modular in a live scenario. It's basically what Mort is doing now - assembling the overall sonic contour by playing prerecorded samples as required with a couple of live voices over everything. Very effective and something Mort has been talking since the days I was working with him. It took 30 years for technology to catch up with him. In my instance, I will be playing events I prerecorded on the modular.

6. Does working on music like the ZZYZX Society influence your designs, or do you keep the two worlds separate?

It's had a huge impact on this. Immediately I started thinking about a group of modules called "the live set" which would be a series of devices which would make live performance easier for a modular artist. I don't want to give anything away outside of saying the guy that developed the Wave Trigger for Sparkfun lives a few blocks from me (wink). I've also had a couple of meetings with Vince De Franco, who produces the Mandela Electric Drums whom I met through Danny Carey. If what we're discussing becomes a finished product, it will be a paradigm shift for realization of live electronic music.

7. What's next for you? You were the man behind Plan B, your designs were featured in Subconscious Communications' modules, and you are back with Electro-Acoustic Research. You recently announced the Model 41 Steiner 4P filter. Do you plan to bring back any older designs like the Milton or will you be focusing on new designs only?

The EAR modules will be a combination of new things and legacy re-releases, but none of the old ones will be brought to market now without significant improvements. Not because they were broken before, but because I see no reason to revisit something without making changes. If you go to ear-synth.com the next product up is the Model 12 Mark II. It's two M12's in one package, both fitted with the IFM Sync function found on the M41. There are all manners of interconnection possibilities as well, so that two two can be used independently, or in either serial or parallel operation off all output taps of a single signal. If you sweep to the 'Future' page there's also the Model 24 Heisenberg Mark II, which adds a new quantized output to the stepped random and three new inter-modulation/triggering options. The Model 10 Mark II could not be more different than the original. Now two voltage controllable DASR envelope generators (Delay, Attack, Sustain TIME and Release). I have also mapped out a concept for an upgraded Model 15 Complex VCO which will make it the VERY Complex VCO lol. There are as well three new modules all ready to go.

I have been working on the relaunch for four years - since cEvin and I did the Subcon license on the 15 and 37. I've been working towards it continually. The first three products are completely done with a couple of revisions of hand built SMT prototypes behind them - ready to go - I just need to email the data off to Darkplace when it's time and product will appear a couple of months after that. If you watch Thighpaulsandra's excellent Model 41 demo video - next to the M41 you will see the Model 12 Mark II mounted in his system and that's one thing I did differently this time - I skipped the breadboard stage. I now go directly to SMT PCBs with Metalphoto faceplates. This addresses all sorts of potential calamities. It forces me to concentrate on the design stage and weeds out all manufacturing hiccups before they hit the Darkplace assembly line because if there are problems there - they aren't going to pay for that - I am. As my dad used to say when he was quoting new jobs.... "I don't do this for practice".

This brings me to something I want to close on. My father went through the Plan B collapse with me. He knew how hard I had worked to get where I did and he knew all too well what I forfeited. He was a tough love guy and at times unnecessarily hard on me about it. But in the end, I did it and he knew before he passed away. I was ready for the Model 41 a year and a half ago. Darkplace had already quoted it. It could have launched then and would have had he not died. There were delays from his death that the family needed to settle. But as far dad... I built most of the prototypes on his kitchen table because the light was so much better there than on my bench at home. He saw me working on them. He saw the Darkplace quotes. The last thing he said to me was 'I love you'.  Right before that - he congratulated me on getting the company back on it's feet and that I found a way to do it all on my own, and he told me how proud he was of me. After he said this, I left the hospital for the day and he died that evening at 3 in the morning. Nothing was worth the six years I went through and the problems I caused people, nothing makes my father's death bearable - but that moment came real. real close.

Sunday, December 21, 2014

David Chang's Memorymoog Demo (by Synthpro)


Published on Dec 21, 2014 synthpro

"This video is for David but everyone else is welcome to watch as well. This is one of the 4 memorymoogs from Alan Gary Campbell's collection that I restored back to fully working order, it was a parts unit originally that I ended up turning back into a very good unit. I upgraded many things in this unit including the autotune circuit which helps with accuracy.

I hope you enjoy it David and congratulations on your purchase."

Saturday, March 09, 2013

Scream 2007: ANALOGLIVE! Performances Now Available



via Peter Grenader:

"It gives me great pleasure - for the first time, ever and with the permission of the composers involved to upload the audio files from the live performance ANALOGLIVE, realized and recorded at the Redcat Theater - downtown Los Angeles November 16th, 2007.

In 2007, in what composer Barry Schrader termed an historic event, the annual SCREAM EAM festival hosted Analoglive!, an ensemble conglomerate of live analog electronic music with film composer Gary Chang, Nine Inch Nails keyboardist Alessandro Cortini, Richard Devine, composer and instrument designer Chas Smith, Thighpaulsandra (of Coil and Spiritualized), Peter Grenader and video artist Paul Tzanetopoulos. Analoglive exists as the only sold out show of the SCREAM Festival's 36 year run.

1) Gary Chang: Sanctuaries: Faith (2007)
http://www.ear-group.net/faith.mp3

2) Chas Smith: The Ghosts on the Windows (2007)*
http://www.ear-group.net/ghosts.mp3

3) Peter Grenader: The Secret Life of Semiconductors - Part Four (2003-2009)
http://www.ear-group.net/slocscream.mp3
[intermission]

4) Alessandro Cortini: Paris 1 (2006)
http://www.ear-group.net/paris.mp3

5) Thighpaulsandra: The Aborted Ascension Of Angel Assassins (2007)
http://www.ear-group.net/assasins.mp3

6) Richard Devine: Captract (2004)
http://www.ear-group.net/richard.mp3

You can find pics from the event here and all posts on ANALOGLIVE here.

Tuesday, June 14, 2011

Gary Chang's Custom Wiard Modular


via Gary Chang's Photos where you'll find some back and forth between Gary and George Mattson. Gary shared this pic after seeing George's monster EML. Don't miss the modular in FU Studio.

On the Wiard:
"the Wiard system is my own design of aluminum cabinetry, which is of a monocoque construction - the top, back and bottom of the cabinet is one piece of aluminum, bent to form to fit the module shape, but also the bends provide natural strength without interior supports. The end pieces are welded onto this, and, when the modules are mounted in the cabinet, they provide a very strong, yet ultra lightweight structure. The case is powder coated blue (of course) which gives it a durable finish that should last for years...!"

Also worth mentioning is the stand:
"It is a Freedom Breakdown Stand, which is, by far, the most stable stand on the market. Aside from the stability, the other key features include 1). foot pedal actuated motorized adjusted height, which is great when getting around a big system, and 2). for as hefty a load that this stand can support, it can be completely taken apart for moving." http://www.solidstand.com/

Tuesday, January 04, 2011

FU Studio Pics


http://fu.downloadsnow.net/

via Gary Chang

"In this shot, you can see the Eurorack system, which acts as Time Square, where Ableton Live interfaces with the modular and other analog devices through the Eurorack system (via the Cwejman AI-2s in the lower righthand corner, next to a pair of Make Noise Pressure Points with Brains. Above that is the TipTop row, with a Z8000 sequencer, a pair of Z3000 MK2 VCOs, and a Z-DSP). Also patched in is Schippman Ebbe und Flut, Mungo Sync, OTO Biscuit, Pigtronix Echolution and a Zerotronix Min-LE passive spring reverb. In the left foreground is a Monome 256 running Stretta's Monome suite for Max For Live, and glowing off to the right is an ancient Cooper MSB 16/20 MIDI patchbay....."

"Gary Chang has composed and produced over 80 film and television projects, including 8 films directed by film legend John Frankenheimer and 3 Primetime mini-series written and produced by Stephen King. A former student of Morton Subotnick while studying at California Institute of the Arts, Gary’s involvement in the usage of early music technology in the 70’s had enabled him to have worked for many illuminaries of music, including Herbie Hancock, Chick Corea, Weather Report, Robbie Robertson, Al Jareau, and, eventually film composers Patrick Williams and Giorgio Moroder."

Listen here: http://fu.downloadsnow.net/

Tuesday, August 31, 2010

Mystery CV-controlled quad audio box - Buchla?


via Brian Kehew

"My friend found this in some surplus yard near the Bay Area. It's a CV-controlled quad audio box of some kind, with joystick control. Missing most of its guts and no labels. Obviously not a production unit. Wonder if it's related to the Grateful Dead concerts in quad?"

Anyone have any ideas?

Update via Cooper Sloan in the comments: "Looks buchla... Besides proximity to Berkley and aesthetics the blue pcb is a clue."

via Brian: "Not Buchla from the people I've asked, and the connectors etc are different. But it seems so similar in style, so maybe a related copy. He had a lot of people work for him that could have built this as well."

via Dennis Matana on the AH list: "Looks like something from Elektor. They also used blue pcb's...and the connectors look similar. I'm restoring a Formant at the moment and also the vocoder from Elektor."

Update via gchang (Gary Chang) in the comments: "The obvious Buchla nod is the jack selection - using banana jacks for the cv inputs, but none of the layout is at all similar to Buchla devices, who rarely created anything with conventional VCAs.

My guess is that it is a custom quad locator made for a studio that had a Buchla system as the main unit of the room... "

Thursday, March 04, 2010

Gary Chang: Make Noise Pressure Points

flickr by Analogue Haven
http://analoguehaven.com/
"Here's a pair of Gary Chang's Pressure Points mounted in a small tabletop enclosure (the manufacturer and model # is PacTec Model CM69-120 / www.pactecenclosures.com/Plastic-Enclosures/CM69-120.html ).
They have been modified by Tony of Make Noise to run off a 9v battery.

From Gary: "I sent my Pressure Point back to him and he modified a pair of them for battery power so that I can move it around in my studio to use with whatever modular that I want - the Wiard, Serge or Eurorack...."

The modules can also draw their power from Gary's Eurorack rig via a custom cable, when desired.

LINK (unofficial website): www.garychang.net/."

Sunday, January 03, 2010

Malekko: Wiard Envelator

flickr by Analogue Haven
"Photo of the upcoming Envelator by Malekko. This is the fifth and next Eurorack module to come from the intriguing collaboration between Malekko and modular company Wiard. The Envelator can be considered a very flexible envelope/modulator (i.e. multi-function generator).

From Grant Richter of Wiard: "We added a monostable in the "Cyc" feedback loop. Now you can make rolls, strums, echos and bounces with a single section. To get full audio range (500Hz) the delay only kicks in when the knob is pulled out. Delay time is from 4 milliseconds to 10 seconds, exponential curve. "Ext" is an external CV for the delay time, no room for attn. knob.

The normal range of the attack and decay segments is 1 millisecond to 40 seconds. The X10 knob extends the max time for both attack and decay into Gary Chang territory. I have no idea what to do with a 800 second envelope. But I am told they are cool.

The two pull switches are set up up on a composer level to allow ABCD changes on the fly."

We expect to have stock around the end of January.

Price: TBD.

LINK" http://www.analoguehaven.com/malekko/

Note the image was prevously posted here. Putting this one up for the description.

Monday, November 19, 2007

AnalogLive! Photo Set

"It was an amazing night, as a packed house of 250 plus applauded Alessandro Cortini, Richard Devine, Thighpaulsandra, Gary Chang, Chas Smith,Paul Tzanetopoulos and Peter Grenader as they twisted sound and sight alike at the Redcat Theater in Los Angeles. Click here for the first flickr images taken from the final rehearsal and the performance itself and check back in the next few days as more are added." Previous posts on Analog Live!

Update: be sure to check out the comments in this post for some details on the show.
Update: More images via Anateur Chemist here.

Sunday, November 04, 2007

SCREAM 2007: ANALOGLIVE!

"The program for SCREAM: Analoglive!, November 16th at the Redcat Theater in the Disney Music Hall in Los Angeles, is as follows:

Gary Chang: Sanctuaries: Faith (2007)

Chas Smith: The Ghosts on the Windows (2007)*

Richard Devine: Captract (2004)

[intermission]

Alessandro Cortini: Paris 1 (2006)*

Thighpaulsandra: The Aborted Ascension Of Angel Assassins (2007)*

Peter Grenader: The Secret Life of Semiconductors (2003)

*Denotes a premiere. Gary Chang's 'Sanctuaries: Faith' was part of his summer performance tour in Europe 2007. Richard Devine's 'Captract' is from his 2004 Schematic Records release 'asect/dsect' and Grenader's ' Secret Life of Semiconductors', in which only Part 4 will be presented, was originally written for and performed by the Odin Dance Company in 2003.

The performance will be heavily documented - photographed and filmed - with both posted at a future date on the EAR site and of course MATRIXSYNTH.

For more information or to purchase tickets, go here: http://redcat.org/season/0708/mus/scream.php"

Sunday, September 09, 2007

SCREAM 2007: ANALOGLIVE!

Tickets are now on sale. Title link takes you there.

Note: There are a couple of errors in the event listing as follows: Thighpaulsandra is credited as a percussionist and pianist. While there may be piano involved in his performance, he is part of the evening's analog ensemble, as is Alessandro Cortini of Nine Inch Nails, who's name was mistakenly omitted from the Redcat event listing. Both of these errors will be corrected early next week.

"Prized for their vibrant sounds and the physical immediacy they allow performers, analog synthesizers are combined here with acoustic instruments and kinetic video sculptures in the annual concert presented by the Southern California Resource for Electro-Acoustic Music. This performance features an unconventional six-member ensemble comprising film composer Gary Chang, composer and sound designer Richard Devine, composer and instrument designer Peter Grenader, composer and instrument designer Chas Smith, pianist and percussionist Thighpaulsandra, and multimedia artist and video sculptor Paul Tzanetopolous."

Pictured here is Thighpaulsandra who has actually dropped by a few times to comment on Matrixsynth. Also note Peter Grenader of Plan b.

Monday, August 06, 2007

Santuaries Makes the Associate Press

Remember Sanctuaries? Title link takes you to a write up via the AP.

"It was one of the more unusual summer concert tours veteran composer Gary Chang had undertaken, performing futuristic, electronic music in centuries-old sacred cathedrals.

Chang, who has composed dozens of soundtracks and scores for movies and television, recently returned from Italy, where he brought modern surround-sound-type compositions to some of the country's most venerable landmarks.

'It was kind of a monumental idea,' Chang said with a laugh. 'Let's send 500 pounds worth of gear halfway around the world and drag it around to churches.'

But he'd been fascinated for decades by the acoustics of the ancient cathedrals and always wondered how they might sound when filled with electronic compositions that were filtered through a state-of-the-art 5.1 theatrical sound system."

Wednesday, July 18, 2007

AnalogLive! at the Redcat Theater - November 16th, 2007

"We're extremely pleased to announce the confirmation of AnalogLive! - a live all-analog ensemble performance at the CalArts Redcat Theater, located in the Disney Music Hall complex in Los Angeles, on November 16th.

Bringing together some of today's leading composers, performers and designers for a real-time presentation of works centered around the revival of analog synthesis, Analoglive! is a collaborative live ensemble performance from composers Gary Chang, Alessandro Cortini of Nine Inch Nails, Richard Devine, Peter Grenader, Chas Smith, and a rare Los Angeles appearance by Thighpaulsandra of the band Spiritualized, along with Paul Tzanetopoulos - involving kinetic video sculpture, electro-acoustic music via analog synthesizers and acoustic instruments.

For more information on the show, click the link below and we hope to see you there!

http://www.ear-group.net/analoglive!.html"

Sunday, June 24, 2007

Buchla with a Touch of Serge

via Reed:
"Thought I'd throw another log on the fire regarding the Serge/Buchla debate [see comments of this post]. Here's a picture of my current home Buchla system, for bleeping without having to remain after hours at work. It features an embedded Serge panel, expertly tweaked by Mr. Verbos to accomodate the 0-15V Buchla range. It is a standard issue from the "red" series, comprised of a quantizer, shift register, dual transient generator, random source, smooth/stepped generator, cv mixer, dual slope generator and a vc-adsr. It provides a Swiss Army knife's worth of voltage processing. (Here's where the Serge fans get agitated that it's not being used to make sound).

On one hand, most of its functions can be accomplished (some may argue, more elegantly) with various Buchla modules. Sometimes you can pretend that when you're patching up a Serge "SSG," you're just avoiding tieing up half of a Buchla "SOU," a 257 Voltage Processor & a sample & hold. At other times it's fun to get sucked into the Serge mindset ("Whoa, everything's just something that goes up, down, or gets frozen in time, man"). Plus there are Serge quirks that yield unique results. The VC Rate on the Stepped generator comes to mind. Plus there are things that are simply fun & easy, like clock division with a slope generator.

Last time I saw Gary Chang he told me of his opposition to the "frankensynth" concept, meaning that the serious person should commit to one system & get down to music making. I tend to agree. Personally, nothing speaks more to my musical soul than Vietnam-era Buchla modules. But a souped-up Serge panel sure makes a robust plug-in, to use the parlance of our time.

There's a 259 on the shelf behind the Buchla in case I feel like getting trendy. An additional touch plate keyboard is out of frame. "

Saturday, June 02, 2007

Sanctuaries Tour Information

Title link takes you to Sanctuaries a blog that will cover tour information for a number of shows featuring Gary Chang and Neil Leonard. You might remember Gary Chang from this post on his Wiard modular and this previous post on Sactuaries. The shows will feature the Wiard modular and will take place in religious sanctuaries - churches from times past. When you get to the site, be sure to scroll down and click on "Older Posts" to get to see all of the posts. If I were in the area of any of these events, I would not want to miss it.

You can find audio excerpts on the site as well.

Tuesday, May 29, 2007

AnalogLive!

"We're pleased to announce AnalogLive! - an all-analog live ensemble performance coming to the Redcat Theater at LA's Disney Music Hall this Fall.

Performers include Gary Chang, Alessandro Cortini of Nine Inch Nails, Richard Devine, Peter Grenader, Chas Smith and making a rare L.A. appearance -- Thighpaulsandra of the band Spiritualized, with live kinetic video sculpture by Paul Tzanetopoulos (not to mention miles of analog synthesizers).

More information will be posted in the coming weeks. For information on Redcat, go here: http://www.redcat.org"
NEXT PAGE HOME


Patch n Tweak
Switched On Make Synthesizer Evolution Vintage Synthesizers Creating Sound Fundlementals of Synthesizer Programming Kraftwerk

© Matrixsynth - All posts are presented here for informative, historical and educative purposes as applicable within fair use.
MATRIXSYNTH is supported by affiliate links that use cookies to track clickthroughs and sales. See the privacy policy for details.
MATRIXSYNTH - EVERYTHING SYNTH