"This is the version with both MIDI and Firewire interfaces that allows for direct connectivity to Symbolic Sound Kyma system. This one does not have synth engine built in but it can be upgraded with one at the factory. Super Rare!"
"Evaton Technologies is relocating from Pittsburgh, USA, to Ilha da Madeira, Portugal, in 2024.
Here's what's going on:
We will be relocating to Ilha da Madeira We've begun the process of tearing down and packing up our home / HQ
We expect to begin the move in July 2024
Evaton Technologies will be closed during the transition
What This Means For Customers:
We will attempt to ship all remaining backorders before we leave. Presently, that consists of a handful of our µCVC Haken Continuum-to-CV converter modules, and some Link case bridge modules.
We are not accepting new orders at this time.
Technical support is still available via email during this time.
We hope to re-open for business in Fall of 2024, but that may be subject to events beyond our control.
What This Means For Future Products: The future is brighter now than ever!
Once settled in, Russ will no longer have a full-time 'day job'.
This means more time for module development and production.
Proximity to Europe will mean better service for European customers.
Shipments to USA dealers will take a little longer.
There are lots of exciting new designs coming; soon there will be more time available to bring them to you, Evaton's amazing customers!
Muito Obrigado!
That means 'Thanks very much!' in Portuguese. Thank you so much, to all of our customers. Without you, this journey could not have happened. Meeting customers at trade shows, concerts, and conventions has been the highlight of this engineer's life. Looking forward to new adventures!"
Pictured above: "Evaton Technologies' laboratory. This basement office in our Pittsburgh home served as world headquarters from 2002-2024."
"I've been waiting 50 years to experience analog synthesizers responding intuitively and immediately to pitch, timbre and volume changes from the slightest movements of my fingers on a keyboard! In this video, you'll see and hear unprecedented control of one of the most extreme patches I've ever made. It incudes (4) Vintage ARP 2600's synthesizers and (1) Vintage 1969 Moog IIIc modular synthesizer playing all at once in unison mode or where each modular synth is playing a separate voice in the chord. I've never heard my favorite all-time analog synths sounding so musical, so different and just so good!
To accomplish this task, we are using 5 channels of Haken Audio CVC (Control Voltage Converter) to receive MPE messages from an Expressive E Osmose and also from a Haken Audio Continuum. These state of the art MIDI controllers are able to understand the players most subtle finger movements and immediately translate those messages to the CVC. Without any perceivable latency, the CVC can then send 4 independent control voltages to alter any parameter in real-time on any one of the synths being used as a voice.
My special guest, Osmose and Continuum expert performer Josh Madoff demonstrates all the features on both of these keyboards by playing musical examples. I'll be explaining what's going on, playing some duets with Josh and also providing an in-depth breakdown of the patches on each synth. I'm optimistic that we'l be seeing controllers n the near future delivering higher and higher levels of artistic experiences for performers. Please enjoy the this presentation and let us know what you think in the comments section. Thank you for your support, it means everything to us!
00:00 Anthony's Intro 00:41 Osmose Musical Example 01:11 Set Up (4) ARP 2600s (1) Moog IIIc 01:43 About the Osmose 03:05 About the Continuum 05:25 Musical Examples playing (4) ARP 2600s (1) Moog IIIc from Osmose 10:04 Our Experience Performing with Continuous Control Voltage 13:22 Sostenuto Pedal 15:22 Anthony Plays with a lot of Resonance 16:35 Musical Example - Osmose MPE Arpeggiator 18:23 Musical Example - EaganMatrix Sound Engine & Vintage Analog Modular 22:30 The Control Signals Osmose, Continuum & Haken CVC 25:17 Type of Control & Articulations 27:50 The Synth Patch on the Moog Modular IIIc 31:55 The Synth Patch on the ARP 2600s 34:36 RECAP of Control Voltage Signals Going to the Analog Synths 36:35 Controlling Each Synth Voice from the Keyboard 38:00 Anthony's Summary 38:25 CTA, Thank you 38:49 Logo (theme music)"
"Developed by the French company Expressive E, this revolutionary instrument really expands the range of possibilities for real time control on a keyboard.Three different levels of polyphonic dynamics/aftertouch, polyphonic pitch control with lateral movement of the key, plus more traditional left-hand sliders... and a very poweful synth engine, the Egan Matrix, already in use on the Haken Continuum series of instruments.
On the unit I used, the sound programming was "locked", so I couldn't use the software editor, or store new sounds; I had to limit myself to tweaking some presets a little bit, and enjoying the wonderful performance capabilities."
Details follow:
"Preparations are well underway for ContinuuCon 2024, the sixth international Haken Continuum conference, scheduled for April 26–28 in the Pittsburgh suburb of Carnegie, Pennsylvania. Anyone who plays, aspires to play, or wants to learn more about the Haken Continuum Fingerboard, ContinuuMini, or EaganMatrix Eurorack module—as well as the Expressive E Osmose synthesizer, which also incorporates the EaganMatrix sound engine—is welcome to attend.
ContinuuCon 2024 tickets are now on sale on Eventbrite. Purchasing a ticket by March 25 entitles you to a $50 discount, with conference tickets priced at $280 until that date and $320 after. A ticket allows entry to all conference events, including the opening night reception and two full days of presentations, workshops, and demonstrations. Tickets also include two catered lunches.
Previous ContinuuCons were held in France, Portugal, and North Carolina. This year’s conference will be held at the Andrew Carnegie Free Library & Music Hall. For more information and to view videos of past events, visit continuucon.com. Purchase tickets at eventbrite.com/e/continuucon-2024-tickets-829395021837.
Call for Presentations
In addition to Lippold Haken, inventor of the Continuum Fingerboard and ContinuuMini, scheduled presenters include Edmund Eagan and Christophe Duquesne, developers of the onboard synthesis engine the EaganMatrix. If you have an idea for a presentation, please submit an informal proposal to continuucon@continuucon.com as soon as you can. Presentations that incorporate some performance aspect are preferred. Presentations should be 30, 45, or 60 minutes in length. Applications can no longer be accepted after the available slots have been assigned. Please note that sales presentations will not be accepted.
About Haken Audio’s Instruments
The Continuum Fingerboard is a touch-sensitive, polyphonic electronic instrument that offers continuous multidimensional performance control by responding to each finger independently. The ContinuuMini is a smaller, more affordable duotactic model based on the same technology. Inside either is the EaganMatrix, a cutting-edge, user-programmable, digital modular synthesizer taking full advantage of the supple playing surface’s myriad performance possibilities. For Eurorack users, the EaganMatrix Module is a modular gateway to new musical explorations."
"Thanks so much to Christophe Duquesne @anckorage for this amazing new Osmose preset, "Bouncing Pad"!
This was performed on the Haken Continuum and Expressive E Osmose. I have never played two synthesizers with such an incredible range of dynamics and expression. I really hope that this comes through in the performance.
Using the MPE Arpreggiator on the Osmose, this patch feels both unpredictable and organic. It seems like it's reading my mind, as the most imperceptible change in pressure simultaneously change both the sound and the Arpeggiator in very musical ways. The Osmose is known for attaining more expression through pitch-bend on a per key basis (the bendy keys), but I have actually turned that feature off for this performance. Even without per-note pitch bend, the extreme sensitivity of the keys controlling the MPE Arpeggiator, on a preset that is already in constant motion, gives me access to a vast universe of expression.
And thanks to the unmatched sensitivity and complete pitch freedom of the Continuum, this relatively simple patch feels like playing an acoustic instrument. It has all of the sensitivity, feedback, and nuance that comes with playing an acoustic instrument, as well as all of the difficulty and unpredictability. There are so many unplanned moments when I first touch a note, and the pitch is not perfectly in tune, then I intuitively slide over to correct it. It imbues each performance with a very human quality.
This is in no way a perfect performance, but I've left it as is. I believe that all of the imperfections make it more honest and human. (And some of these happy accidents hopefully make it more musical).
Thanks so much for watching and reading. I hope this year brings you peace, happiness and success :)
"This wonderful piece by György Ligeti is part of the famous 'Musica ricercata' suite for solo piano. This seventh movement has a very interesting feature: the supporting ostinato and the melodic lines are totally decorrelated. I would like to propose here an interpretation which leverages this very aspect, involving two sides of electronic music I enjoy equally. Expressivity with the theremin and haken continuum for the singing lines. Sequencing, patching, tone-shaping with analog synthesizers (@MoogSynthesizers ) for the motor-like background.
Instruments featured: Moog Etherwave Theremin, Mother-32, Subharmonicon, DFAM, Haken Continuum Fingerboard, and my favorite red pullover."
"Another Haken and Kyra Demo. Not playing something meaningful, it's more about the sound.
In this Patch i use a lot of Parameter modulations with the Y direction on the Haken.
The Haken Continuum Fingerboard as a Midi controller for an Waldorf Kyra synthesizers.
The Waldorf Kyra is perfect in combination with the Haken because it updates all voices/multitimbral channels simultaneously while changing parameters. It has no MPE, but it is 8 channel multitimbral and so you can use it with every MPE controller. Only drawback, there are no global controllers (like modulationwheel), but with the Haken i don’t need them.
No external effects are used.
"The Haken Continuum Fingerboard as a Midi controller for an Waldorf Kyra synthesizers. This Continuum is a an old Midi only version. The sensitivity is not so good as the new ones.
The Waldorf Kyra is perfect in combination with the Haken because it updates all voices/multitimbral channels simultaneously while changing parameters. It has no MPE, but it is 8 channel multitimbral and so you can use it with every MPE controller. Only drawback, there are no global controllers (like modulationwheel), but with the Haken i don’t need them.
The pitchbend on the Kyra has only a range of 1 octave, which is not much, but for my use, it's enough.
No external effects are used.
"Tested out the CVC connected to Osmose using the Haken Editor and CVC based presets that Expressive E provides in the Utility category. Here's a presentation on the fundamentals of using the CVC both in stand-alone default mode (options selectable in the editor) and programmed through the EaganMatrix.
Note that the Evaton Technologies 'uCVC"' also works if you are primarily interested in monophonic CVC connection (you can chain two together for duophonic operation) but that is not covered here as most will want to maximize using all four CVC channels with Osmose.
Note I also testing downloading Pitch Table Editor (PTE) tunings to the Osmose and they seem to work ok (though the editor is still visually geared for Continuum). So you can explore micro tunings and customer scales including importing Scala files on your modular setup using this connection though I don't go into great detail as PTE is its own video."
"Initial video comparing Haken Continuum to Osmose and showing the basic Osmose specific programming techniques that form the basis for more complex preset construction. No prior EaganMatrix programming experience is required but basic EaganMatrix programming knowledge will help a bit. If this causes any confusion search pout the initial EaganMatrix programming videos here and start watching them as 90% of EaganMatrix programming is identical between Continuum and Osmose. This video stresses the Osmose specific use cases for Pressure (Z) and Aftertouch (Y) and goes into a lot of fundamental discussion as well as only a single Oscillator is used for discussion. But the video touches on most of the top-level programming techniques that you will find in Osmose presets.
An improvisation on my Eurorack system. Utilizing as sound sources the Haken Audio ContinuuMini and the EaganMatrix Module, as well as the mBiraski kalimba. The EaganMatrix module acts as both a sound source, controlled by both the ContinuuMini surface and the Akai keyboard (as an arpeggiator), and as a stereo audio sound processor.
And an update on EaganMatrix modules:
"After many trials and tribulations, orders and cancelled shipments, indefinite delays, etc., we have finally finally received a quantity shipment of Sharc DSP chips. The DSP shortage was THE most major production stumbling block for us. This chip delivery means there is light at the end of the tunnel, and we are actively completing a production run of EaganMatrix modules.
So in the next few months (we can’t say specifically when) we will have EaganMatrix modules in stock, and will be filling our back order commitments as fast as we possibly can. If you have ordered and have been waiting I would like to thank you for your kind patience. When in stock the EaganMatrix module will join the Continuum, ContinuuMini, and CVC as products currently available to purchase."
"Here's a simple method for creating an organ preset used in a number of Continuum and Osmose organ system presets. This preset can run on both. The idea is to use the 5 oscillators as configurable stops you can set to partials 1 to 8 (you can set more if you like) and then use a Z formula on SL/SR to adjust max attenuation of that component. One Oscillator is used to bring in subharmonics which adds lower octaves increasing the size of the sound.
Short video so you can pause if the text balloons describing the construction go by to fast (no talking - just example of sound playing in the background that is set to a fixed configuration - on for playing main organ part on Slim Continuum and the other set for a different setting for the orchestra reduction with a bit of license).
The preset is available here if you are interested: https://patchstorage.com/simply-organ..."
"We were invited to visit Soma Sound Machines at their Warsaw factory and while we were there were shown the pre production model of the Terra - the unique and very sensitive instrument . Terra features twelve extremely sensitive nodes (cant think of what else to call them!) for playing pitches, plus five for modifying the timbre, there are also 7 modifier knobs which globally effect the sound with two being dependent on the algorithm used.
Despite the wooden case, Terra is a digital sound source and has multiple models which are played rather like instruments, each model has 64 variations. As usual, its a rather off the wall concept, but thats what makes Soma the way it is. In practice, its incredibly sensitive and flexible - reminds us of the Eagan Matrix instruments found in the Haken Continuum or the Osmose.
The Terra will be in production very soon and making its way into the stores."
"A couple of weeks back we were invited to visit the Soma Sound Machines factory in Warsaw, Poland. As well as a look at the first production models of the expressive Terra instrument, we got a look around their place.
PCBs and components are delivered here, the Through Hole hand soldered components are put onto the boards, any SMD (surface mount design) parts are sent off to the machine, units are tested put into the cases and shipped to distributors and customers.
Lyra 8 , Kosmos, Pulsar-23 and Ether are made here and pretty soon the new Terra will be too.
Its actually a pretty cottage style industry, surprisingly small but also very efficient."
"wellenvorm - Petrified Forest - The Final Concert St. Markuskirche Chemnitz, 15.06.2019 https://www.wellenvorm.de
Der Versteinerte Wald, ein weltweit bekanntes und bestauntes Naturdenkmal in Chemnitz. In zweijähriger Arbeit entstand das Album 'Petrified Forest', meine Hymne an das steinerne Weltwunder.
Im Januar 2017 wurde das Album erstmaligvor den Versteinerten Bäumen in Chemnitzlive aufgeführt.
Es folgten Konzerte in der St.Laurentius Kirche Leipzig, in der Nazarethkirche in München und im Planetarium Münster.
An weiteren außergewöhnlichen Orten wurde "Petrified Forest" aufwändig inszeniert, im Landesmuseum für Vorgeschichte in Halle (Saale), in der Maschinenhalle der Zeche Westfalen und im Völkerschlachtdenkmal zu Leipzig.
Mit dem Abschlusskonzert in der St.Markuskirche Chemnitz, schließt sich für mich der Kreis.
Die Petrified Forest Tour endet in meiner Heimatstadt.
- In der Stadt der Versteinerten Bäume -"
Googlish:
"wellenvorm - Petrified Forest - The Final Concert St. Markuskirche Chemnitz, 15.06.2019 https://www.wellenvorm.de
The Petrified Forest, a world-famous and admired Natural monument in Chemnitz. The album 'Petrified Forest' was created in two years of work, my hymn to the stone wonder of the world.
In January 2017 the album was performed live for the first time in front of the Petrified Trees in Chemnitz.
Concerts followed in the St. Laurentius Church in Leipzig, in the Nazareth Church in Munich and in the Planetarium in Münster.
"Petrified Forest" was elaborately staged at other unusual locations, in the State Museum of Prehistory in Halle (Saale), in the machine hall of the Westfalen colliery and in the Monument to the Battle of the Nations in Leipzig.
With the final concert in the St. Mark's Church in Chemnitz, the circle closes for me.
"I really wanted to explore what is possible when treating the amazing Haken Contiuum as a solo instrument. The range of dynamics and expression it is capable of is unbelievable.
In this performance, I demonstrate several techniques that are only possible to play on a Continuum. I find it especially inspiring when I find harmonies that normally only work when they are spread across an entire orchestra, yet they work beautifully on the Continuum.
There is no other solo instrument on earth that can achieve many of these sounds!
Headphones or speakers are highly recommended. The dynamics and frequency range of this performance are way too broad and detailed for a cellphone.
For more info on the Haken Continuum: https://www.hakenaudio.com
