YouTube via teatracksvideos. "Gliss is new sound application which lets you play sound files and mix them easily by drawing on your iPhone. With gliss you can load your sounds and draw them on the gliss sequencer in a quick, intuitive way that lets you make music on the fly. Play your mix using a tempo or scrub through by tilting your iPhone. The agility of gliss allows you to improvise and perform using the iPhone as a controller and interface. Get gliss at the app store:"
gliss on iTunes:
TeaTracks gliss ambient machine
"A somewhat spooky ambient machine using gliss sequencer for iPhone / iPod Touch."
gliss sequencer iphone app demo dreamy
"version 1.15 - with gliss you can draw music on your iPhone. This short video shows some very basic functionality. The direction of the playhead and the floating dots are being controlled by the device's tilt." via Palm Sounds
"These videos show the current state of the Gliss firmware and each focus on a specific mode. Please note that we are actively working on the firmware for Gliss with a group of beta testers and everything is subject to change. We welcome any feedback you have.
Playlist:
Gliss Dev Diaries: Scale-Meter Mode
Gliss Dev Diaries: Mode Selection and Direct Control
Gliss Dev Diaries: Record and Waveshape Mode
Gliss: Modular Synth Touch Control
"This video is the first in a new series in which we get Gliss in the hands of artists we deeply respect. It is our great pleasure to open this series with Barker, a Berlin-based electronic musician and DJ working on the outer limits of dance music.
Since 2018’s Debiasing, Sam Barker’s influence has helped steer the direction of contemporary electronic music. Despite his being musically active for many years previous, notably in the duo Barker & Baumecker, his recent solo work has managed to shape a zeitgeist offsetting bittersweet longing with hyper-articulated, post-human body movements.
His releases for Ostgut Ton (particularly 2019‘s Utility), and most recently, Smalltown Supersound manage to straddle a line between the high-tensile, pump-action flex afforded by modern rhythmic and timbral programming techniques, with a nigh-on pop-level keenness for lilting, heart-string-tugging chord progressions. It’s this balance, combined with a microbial focus on all things-music composition (from developing solenoid-powered percussion devices to self-playing pianos) that’s made Barker an artist to love for new initiates and production nerds alike.
With Bela’s Gliss, Barker has found a powerful new tool for shaping melodies, chord progressions and timbres in his modular system. In this video he uses a pair of Gliss modules to record gestures that alter the melodic contours of the patch, and offset the root note of the chord, creating one of his signature, soaring progressions with tactile touch control.
Gliss is capable of much more than recording gestures and real-time parameter control. To learn more about its extensive and intuitive capabilities, visit bela.io.
"Gliss is an elegant and intuitive synthesizer module for touch control. This Eurorack module lets you draw waveforms directly into your system so you can add a human touch to your control signals. It also can act as a signal visualizer, slider, or expressive capacitive keyboard. Gliss is small but powerful (4HP), and allows you to control your signals through high-precision touch sensing. See how waves behave with descriptive and immediate visual output via LEDs mounted behind the touchplate.
Modular synth systems are complex musical instruments, and parameter control is usually through buttons, knobs and sliders. These beloved interfaces are great for precise and accurate control but are not the most performative, and can feel one step removed from the actual control signals. Gliss introduces a kind of touch control which is intuitively and immediately connected to the output signals: you can literally draw the shape of your signals directly into your system.
Powered by the technology behind the Trill capacitive touch sensors from Bela, Gliss has high-resolution position and pressure sensing which is used in combination with a Cortex-M4F microcontroller to create complex behaviors like drawing in waveforms and looping them, with captivating visual feedback from the embedded LEDs. Gliss gives you control over the signals in your modular synthesizer in a way that’s inherently musical.
Features
Control your modules directly, with touch position and pressure sent out as control voltages
Record in gestures, up to 1 minute
Loop the recorded gestures to create LFOs with custom waveforms
Trigger the recorded gesture for custom envelopes, use the button or an external trigger
Play on a 5 button expressive keyboard
Scale and offset all CV outputs to get the perfect range for your other modules
Visualize and process CV and audio signals in your system
"In this dev diary we look at Gliss controlling Rings by Mutable Instruments. This is not the original Rings but rather a Pure Data implementation running on our Pepper module. We love Mutable Instruments and take great inspiration from their open source ethos, design philosophy and incredible synthesiser modules. We will miss them!
Gliss is the perfect counterpart for complex synthesis models as you have two dimensions of highly sensitive and high resolution control literally under your fingertips, position and touch size. In the video above we are using touch size to control the Damping and Brightness parameters of the voltage-controlled resonator. The touch position on the other hand is used to control the speed at which the excitation signal is repeated. You'll hear more about Mutable Instruments and Pepper in coming weeks but for now here's a snippet for you to enjoy.
"Patch Notes is a new series of instructional videos designed to help you get the most out of Gliss and provide a source of ideas for fueling your own experiments and discoveries. Together we will explore possibilities opened by placing Gliss in the midst of a larger patch rather than directly to its final destination, by mixing signals to combine touch control with traditional modulation sources and connecting to unlikely destinations.
"These videos show the current state of the Gliss firmware and each focus on a specific mode. Please note that we are actively working on the firmware for Gliss with a group of beta testers and everything is subject to change. We welcome any feedback you have.
The expressive keyboard mode transforms the touch strip into 5 pressure sensitive buttons with vibrato. Each button can be tuned to a fixed voltage. When you first touch one of the five buttons you will always be in tune and then it is possible to slide continuously between the fixed notes (performing glissandi) for violin or theremin-like performances. The great thing about this keyboard is that you always know that you'll find the in-tune note when you arrive at the centre of the next button.
The vibrato amount is configurable through the submenu. Also to change the tunings of the individual button you just need to go to the submenu, select the button you want to change the tuning of, and then press and drag to retune.
"This video is the second in a series in which we get Gliss in the hands of artists we deeply respect. A native of the Detroit suburbs, Tristan Arp has been making explorative electronic music for more than a decade. In this video he explores Control Mode on Gliss as a strumming interface for Mutable Instruments' Rings.
Thank you for watching.
My name is Meska of the statik collective . I've been making mostly 'dark and expérimental' music for more than ten years now, i'v learn so much online, now it's time for me to share my knoledge, my exploration and this channel is a place to talk about the tools, sound design and techniques to make music with.
"The Gliss Video Manual covers everything you need to know about your module. Gliss is a 4HP Eurorack module which uses a recordable touch sensor to introduce gestural control into modular systems.
Chapters:
00:00 Introduction 02:01 Hardware
03:19 The Menu 03:45 Mode selection 04:14 Settings selectors 05:03 Voltage ranges 06:57 Global settings
09:20 Control Mode 10:15 Control type 11:09 Latching
"This is a patch I've tried to give expressiveness with the Pro 3's modulation capabilities and the nice raw sound of the Black Corporation Rachael. The Rachael is mixed in pre-filter and also separately. Erica Synth's Black Hole DSP 2 adds some echo at the end of the chain."
Pro 3 Legato Gliss Lead: thank you for everything, Dave Smith!
"The Pro 3's alternate gliss mode is for legato playing; the gliss only activates from one note to the next if the first note is held down. Like the opposite of percussion on an organ. This is a factory preset; I had to stop myself from making a patch because I can spend over an hour designing a sound on this synth.
Saddened by the news of Dave Smith's death but his innovations will live on everywhere"
Title link takes you to shots via this auction. I know these aren't knew, just never took the time to check one out. Anyone know how these sound? Off to check the Tube...
"The Electro-Harmonix HOG is a totally polyphonic guitar synthesizer, giving the user complete control of up to 10 interval pitches. Musicians can unveil an entirely new tone potential with anything from extreme sub bass to powerful multi-octave chords, including fifth and third intervals. Dedicated Filtering and envelope control, with numerous setup options, make the HOG a must-have performance instrument. And NO special pickup is required and NO glitches are created.
Features include:
#10 intervals of pitch can be mixed by using 10 surface faders, which may then be played polyphonically with perfect tracking:
· 1 octaves down · 1 octave + a perfect fifth · 2 octaves down · 2 octaves up · Original pitch · 2 octaves up + a major third · One Fifth up · 3 octaves up · 1 octave up · 4 octaves up
#Six unique expression modes are accessible via the Exp button, expression pedal*and MIDI. Octave bends, step bends, volume control, user defined Wah-Wah, Filter control, plus two unique freeze modes: With Freeze Gliss, an expression pedal freezes a chord while letting you play over it having your frozen notes gliss to meet your new notes. The Freeze Volume freezes a chord allowing you to control its volume, with an expression pedal, as you play on top of it.
#An external “whammy” pedal and a momentary surface mounted Exp button, allow for real-time access and manipulation of all of the above expression modes. A new level of performance interaction.
#Dual Envelope generators that work with both the higher and lower frequency ranges. Allows unique contours of attack and release in two different harmonic regions.
#12 dB per octave 2-pole low pass filter and resonance controls manipulate the tone while also being a critical element within the expression modes.
#Surface Foot access for True Bypass, expression control and envelope engagement.
#Store performance presets when you use the optional external Electro-Harmonix foot controller. 9LDC-500 power supply included"
"Simon aka @Chevytravelleruktechnomadic takes a look at the super useful Bela.io Gliss a dual zone touch controller with multiple modes including motion record and looping as well as regular fader type functionality.
All in Just 4hp - priced at around £145 UK"
"Usually 'Karplus Strong' is used as a term for a certain type of synthesis, using ultra short delays to create string like resonators. I've found that when you just run a sound through a processor like that, it adds a wonderful gliss of resonating frequencies. I honestly don't know if this is just the same thing as phasing/flanging but it sounds interesting to me.
DELAY 1 is a great tool for this as its short delay times lend itself really well to this type of Karplus Strong processing.
Check out the video if you want to watch a longwinded experiment on this subject.
"Now available for pre-order at http://www.optigan.com/shoptigan/inde... is our brand new Optigan disc: SURF ROCK! When we've reached 15 pre-orders, we'll go to press with the limited run of 25 discs.
Surf's up! It's time to wax the board and catch a wave! Optigan.com is proud to present Surf Rock , featuring the vintage sounds of the 1960's surf scene. For this music program disc, we've gone into the recording studio with a couple of SoCal's best surf rockers.
Reverb enthusiast Matt Quilter is one-half of the guitar assault from the award-winning Reventlos http://www.reventlos.com/ whose quirky instro albums alternately intrigue and horrify surf music purists. In addition to his duties on guitar, he co-produced the documentary feature Pounding Surf! http://www.surfdrums.com/surfdrums.html an insider's look at the SoCal surf music scene from 1961 to the present day. For the Optigan session, he chose from his arsenal a Fender Stratocaster played through a blond Fender Tremolux and Reverb unit, both from 1963.
Lee "Kix" rarely strays from playing Death-Surf / Afro-Billy music with the Reventlos. However in days past he has recorded with world famous instrumental guitar gods, The Ventures. As a veteran of many Linn Drum sessions, Kix is no stranger to having his drums sampled for posterity. The Optigan session was recorded with vintage 1960's Oaklawn Camco drums, 20x14 bass drum and 14x5.5 metal snare. T he 12x8 and 14x10 toms used in the session were obtained when Kix was a Los Angeles Camco endorsee in the mid-70's.
Guitar and Bass played by Matt Quilter.
Drums played by William Lee "Kix".
Music arranged by Matt Quilter and William Lee "Kix".
Music produced, edited, and mastered by Pea Hicks.
Engineered and Mixed by Jon O'Brien. Recorded at The Music Box Studios, Garden Grove CA http://themusicboxstudios.com/
Disc creation software, disc production cover artwork and jacket layout by Robert Becker .
Cover artwork by Mark Crafford.
RHYTHMS: 4/4
LEFT HAND: Bass, guitar, and drums.
RIGHT HAND: Tremolo electric guitar.
SPECIAL EFFECTS SWITCHES: 1. Guitar Gliss, 2. Drums, 3. Tom-
Toms, 4. Snare Fill, 5. Guitar C Chord.
Be sure to check our other videos for a mini-documentary of the Surf Rock recording session!"
Making of the Optigan SURF ROCK Disc
"peahix — June 01, 2010 —
Here's a mini-documentary of the recording session for the Optigan SURF ROCK disc, shot and narrated by Pat Quilter, co-founder of QSC Audio Products http://www.qsc.com
Featured are Matt Quilter (Pat's brother) on bass/guitar and Lee Kix on drums. Matt and Lee are both members of The Reventlos http://www.reventlos.com. Also appearing are Pea Hicks (optigan guru), Robert Becker (new optigan disc guru) and Jon O'Brien (sound engineer).
Please see our other videos for a demo of the Optigan disc that resulted from these sessions, and visit http://www.optigan.com/shoptigan/inde... to order a copy of the disc."
"The Moog looks excellent but the Contour Shaper, the articulator.. envelope shaper has been “broken” for a few years. At its prime the Moog’s tone oscillators where crystal clear, able to use saw-tooth waves, sine waves square waves and combine them in any way imaginable. Ring modulation, control generators, triggers, white noise, pink noise and pitch scalers could produce anything from a Bach invention to microtonal avant-garde radical compositions. As you can see from the pictures there are a few knobs missing...but the sliders are intact.
This Moog could be restored and back in shape for you to enjoy or sell.
The Moog Sonic 6 is a very interesting synthesizer and a rare find. It folds into a its own case and has its own built in speaker. I enjoyed using the Sonic VI for sound effects and for typical Moog type synth sounds and other sounds you expect from an analog synth. It has 2 oscillators, a ring modulator, sweet moog lowpass resonant filter, mixer section, TWO LFO's, adjustable scaling for microtones, VCA / envelope generator and external input for processing outside sources, gliss, pitchbender, 4 octave keyboard, etc. It's a really flexible synth and fun to play."
YouTube via rolandsh1000 "Inspired by some work by Plutonique9, I opened up my Yamaha CS01 analog monophonic mini-synth and discovered that you can make the tone generator chip generate (at least) 3 new hybrid waveforms.
There are some caveats: -depending on the waveform you hybridize, the footage switch gets out of wack on one of the settings (but you still get 3 of the 4 footages working correctly and thus the full range of the keyboard). - on that one wacked out footage setting, any glissando means a drone on one note and a walk-up/walk-down gliss"
"The NTH sequences the Moog Slim Phatty and Alesis Micron in an improvised jam while synced to the Korg EMX1's drum machine. NTH sequencer phrases, amplitude envelopes, and gliss patterns are sent to the Moog and Micron via MIDI.
The NTH is a fun-to-use, sonically-rich, hackable music synthesizer. It features digital oscillators, an analog low-pass filter, an integrated step sequencer, MIDI I/O, and simple, intuitive controls.
The NTH is available for purchase from February 2, 2012 to March 1, 2012 via Kickstarter. Upon successful funding, production of the NTH will begin and the entire design will be open-sourced.
Audio examples, product photos, and additional documentation can be found at the NTH website:
http://nthsynth.com/
The NTH was designed by Kevin Holland and John Staskevich. Kevin's music and software can be found at http://www.sineqube.com. John's electronics designs can be found at http://www.highlyliquid.com.
"Some of my online theremin friends didn't want me to record this theremin transcription of Franz Schubert's SERENADE. They said it was too schlocky and romantic and that I shouldn't waste my time on it! Nevertheless, it remains one of the most popular and recognizable melodies from one of my favorite composers. This arrangement is for theremin and Haken continuum (accompanied by the Korg TRITON EXTREME). The continuum is playing the delicate recorder/flageolet sound that follows the theremin. Although I think my brain could have played all three instruments at once, I just don't have enough arms and hands, so I prepared the track and played the theremin live.
In the summertime, I often use my barn for music. The barn was built in the 1860's during the American civil war and no nails were used in its construction. It is made entirely of hardwoods and held together with expertly fitted joints and wooden spikes. When you play music in it, the whole building vibrates like the soundbox of a giant bass or cello. Unfortunately it isn't very well insulated and it isn't heated so it is useless for music in the winter. But it's great in the summer!
According to music historians the Austrian composer Franz Schubert (1797 - 1828) wrote this composition in the summer of 1826 in a beer hall, jotting the notes down on the back of a menu. He had apparently stopped in to the place to have a couple of pints and cool off.
The theremin in the video is a Moog Ethervox. The Haken continuum is a continuous controller which, unlike the theremin, does not have a sound of its own. It can sound like just about anything you want and, like the theremin, can elegantly slide from one end of its range to the other in a seamless "gliss". It is also polyphonic and has 16 voices (the theremin is monophonic with only one voice).
I was going to call this piece, "Schubert & the theremin & the continuum go to Bollywood" because I am used to wearing Indian clothes when the weather is particularly hot (as it was today when I recorded this). Natural air conditioning!"
