Harmonic Tone Generator Exhibit Pics

Click here for some pics, in via Skot Wiedmann, of the debut of the Harmonic Tone Generator exhibit, at the Sousa Museum in Urbana-Champaign

Left: The original Harmonic Tone Generator.

via illinois.edu: "The Sousa Archives acquired one of the earliest instruments that composed synthetic music, created by Professor Emeritus James Beauchamp in 1964.

Beauchamp's machine will be exhibited and preserved at the archives, accompanied by a recreated digital version created by ECE electronics services technician Mark Smart.

The instrument was used to compose some of the earliest compositions in electronic music, such as "Underworld" by Salvatore Martirano [embed below]. This type of music would evolve over the years into today's DJ scene."

You'll find articles about the exhibit at the following links:

https://www.ece.illinois.edu..
https://archives.library.illinois.edu..
https://archives.library.illinois.edu...

Below: "Scott Schwartz, Mark Smart, and Jim Beauchamp with the original Harmonic Tone Generator at the Sousa Archives - University of Illinois at Urbana Champaign."

The Sal-Mar is pictured further below. You'll find previous posts including some video of it here.

"The SalMar Construction is displayed next to the Harmonic Tone Generator at the Sousa Archives - University of Illinois at Urbana Champaign. What an exciting time in electronic music, with such cross disciplinary collaboration on these instruments and music."

Published on Nov 5, 2014 #SalvatoreMartirano

Tesla Coil Music - "Risky Business: A Tribute to Nikola Tesla"

YouTube Uploaded by marksmartus2 on Sep 27, 2011

"'Risky Business: A Tribute to Nikola Tesla' for electroacoustic music, Tesla coils, and live Continuum performance. Performed as the last piece of the University of Illinois New Music Ensemble (http://www.glennweb.net/somsite/ensembles.php#newmusic) Concert at Krannert Center for the Performing Arts (http://www.krannertcenter.com/) on September 26, 2009. Continuum and tesla coil parts composed by Mark Smart (http://www.marksmart.net/). Electroacoustic music parts composed by Scott Wyatt (http://ems.music.uiuc.edu/people/wyatt/), director of the University of Illinois Experimental Music Studios (http://ems.music.uiuc.edu/). Tesla coils built by Steve Ward, Jeff Larson, and Terry "Dr. Zeus" Blake (http://www.mastersoflightning.com/). Tesla coil synthesizer control system designed by Steve Ward and Mark Smart. Mark Smart performs on the Continuum Fingerboard designed by Lippold Haken (http://www.hakenaudio.com/Continuum/). The piece was the recipient of a University of Illinois College of Fine and Applied Arts 2008 Creative Research Award."

Brainwave Music with Buchla 200 at Western Front

The following was sent in by Anastasia Chernysheva, a Ph.D. student at University of Illinois Urbana-Champaign.

"On February 28, 1977, On Being Invisible (OBI) premiered in Vancouver, at the Western Front. Stills from the black and white video capture David Rosenboom playing a touch-sensitive keyboard of Buchla 200 “Electric Music Box” and improvising in real-time with his brainwaves. The EEG output (electrical activity in the brain) was sonified by a hybrid computer sound synthesis system. Having years of biofeedback practice behind him, in this piece the pioneer of brainwave music continued exploring ways to relate information processing in the human nervous system to aesthetic experience – thus, stretching the definition of music musical performance.

Invited by the Canadian electronic music pioneer Martin Bartlett, Rosenboom gave a concert in two parts. The part presented the live performance application of the EEG system described above. In the second part of the performance, the composer used his voice, finger cymbals, a monkey drum, and a reed instrument to activate the software. A recording of the concert has been released for the first time by Black Truffle Records on the double-vinyl called “Brainwave Music” (1975/2019).
Videos from the concert can be watched on Rosenboom’s YouTube channel (see Part 1 and Part 2). Courtesy of the Western Front.

On Being Invisible was originally planned to premier at the Music Gallery in Toronto in 1976. However, due to an electricity outage that led to computer failure, the concert had to be canceled, while the audience was already gathered at the front door. Since the organizers had prepared beer for attendees, those waiting were invited inside. Once in, people gathered around the nonfunctioning set of equipment, looking at it with sad faces, as if they had come for a funeral. (see the photo below)

After rebuilding the equipment, Rosenboom performed the piece at the Music Gallery in 1977. This performance was published as vinyl by Music Gallery Editions and later re-released on CD by Pogus Productions.

* Technique of intentional modification of physiological parameters, such as heart rate, body temperature, breathing, etc.

Sources:
• Rosenboom, D. (Ed.) (1975) Biofeedback and the Arts: Results of Early Experiments. Aesthetic Research Centre of Canada Publications, Vancouver.
• Rosenboom, D. (1977a). On being invisible. Music Gallery Editions.
• Rosenboom, D. (1984). On Being Invisible. MusicWorks 28 (Summer), p. 10-13."


On Being Invisible, David Rosenboom at Western Front, Vancouver, 1977, Part 1 video upload by David Rosenboom

"David Rosenboom, On Being Invisible (1977), video documentation. Courtesy of Western Front. ID# WFVDN_7702_03-1 & ID# WFVDN_7702_03-2."

And the release on bandcamp:

Symbolic Sound KISS2012

"KISS2012: real time, reel time, sound and Kyma

Sound designers to converge on St Cloud Minnesota for over 24 hours of lecture/demonstrations, 9 hours of hands-on workshops, and 3 nights of live music, cinema and improvisation

CHAMPAIGN, ILLINOIS, June 26 - The fourth annual Kyma International Sound Symposium (KISS2012) - to take place September 13-16 at St Cloud State University School of the Arts in St Cloud, Minnesota - will include over 24 hours of technical sessions presented by Kyma experts, 9 hours of hands-on labs, and evenings filled with live music and live cinema showcasing some of the most outstanding work created in Kyma this year.

Since the inaugural symposium in Barcelona in 2009, KISS attendees around the world have benefited from the extensive technical training, aesthetic inspiration, and opportunities for collaboration that KISS is known to deliver. This year, more than 100 sound designers, composers, performers, filmmakers, game designers, authors, audio engineers, educators, and students are expected to participate in KISS2012.

"The dual nature of this year's theme - reel time || real time - has attracted an incredibly diverse group of people! It's just a great learning opportunity for everyone involved." - Scott Miller, professor of music composition at St Cloud State University School of the Arts and host of this year's KISS.

Throughout the four-day event, sound designers will be able to explore the latest innovations, features, and capabilities of the Kyma Sound Design Language and learn how to optimize their work flow so they can create amazing new sounds for film, games, music and more. Kyma practitioners are invited to bring their own Sounds to the labs where they can work with Kyma developers and fellow Kyma practitioners to enhance their results.

"One of our passions is to partner with Kyma users to help bring their creations to life. There is no better way to maximize your Kyma skills and discover new collaborative opportunities than by participating in the Kyma International Sound Symposium." - Carla Scaletti, president of Symbolic Sound Corporation, co-host of KISS2012.

If you are obsessed with sound - whether a novice seeking to kickstart your career, an expert looking to take your mastery to the next level, or someone who's simply curious about sound design and Kyma - KISS2012 is your chance to immerse yourself in sound and ideas for four intense and inspiring days and nights.
The deadline for discounted registration is August 10, 2012: http://bit.ly/J7URvC


[Photo Credit: Adam Studer]

Keynote speakers, expert presenters, and topics

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Music for Hard Times [Episode 128]

Published on Mar 23, 2019 CatSynth TV

Anyone ID what's below the Buchla?

"We return to the Luggage Store Gallery in San Francisco for a performance featuring Music For Hard Times - Paul Winstanley and Tom Nunn - plus special guest Thomas Dimuzio on modular and other synthesizers.

For more new and unusual music, please subscribe to this channel and visit www.catsynth.com
________________
Music For Hard Times is a duo with Paul Winstanley, electric bass with multiple effects pedals, and Tom Nunn, original experimental instruments such as space plates, electroacoustic percussion boards and various "skatch" instruments. MFHT has worked together since 2010 and has recorded over 200 sessions, from which nearly a dozen limited run/online CDs have been produced as well as a published CD, "City of Cardboard," and a vinyl record, "Giant Powder Dangerous." MFHT has performed in the Bay Area at venues including Center for New Music, The Makeout Room, [etc.]… In 2015, MFHT was invited to perform as part of the Sudden Sound Festival at the Krannert Art Center in Urbana, Illinois, as well as performing at Experimental Sound Studio in Chicago. Paul’s sounds range from staccato noises to a vastness of sustained tones, using refined implements and highly developed techniques that, at times, defy recognition. Nunn’s space plates, skatchboxes, Lukie tubes and harmonic rods bring a truly unique sound universe to the group that variously blends with, complements and contrasts the “expanded” electric bass. "Music For Hard Times never hit the listener over the head in order to get their attention. They simply get down to the Zen of their other worldly duo exchanges, and, if one is inclined to go along, one will surely find much intrigue." - Mark Pino

Paul Winstanley is an improvising electric bass player from New Zealand who specializes in extended techniques for that instrument. In addition to trying to make his bass sound like electronics he is interested in making electronic music that sounds like natural environments. He has several solo projects including Sci Hi (electronic feedback), Speed Cook (music from sound samples and non-musical sounds) and The Complete Recordings (artificial simulations of field recordings). Paul lived in Auckland, New Zealand for 10 years where he was part of the growing local and national experimental/improvising music scene, playing in groups w/luminaries like instrument inventor Phil Dadson, percussionist John Bell, radical concert brass band The NZ Dominion Centenary Concert Band, folk icon Fats White, abstract electronic supergroup Plains and improvising electronic trio Audible 3.

Tom Nunn has designed, built and performed with original musical instruments since 1976, having received a B.Mus. and M.A. in music composition from the University of Texas at Austin and S.U.N.Y. Stony Brook, and post-graduate work at U.C. San Diego. His instruments typically utilize commonly available materials, are sculptural in appearance, utilize contact microphones for amplification, and are designed specifically for improvisation with elements of ambiguity, unpredictability and nonlinearity. Tom has designed and built well over 300 instruments, representing three basic types: space plates, electroacoustic percussion boards, and skatchboxes. Nunn’s work with experimental instruments since 1975 is thoroughly reviewed in Sudhanshu G. Tewari’s doctoral dissertation, “Confluence: Tom Nunn’s Sculptured Musical Instruments for Improvisation,” University of California Santa Cruz, Dec. 2017.

Thomas Dimuzio is one of unsung artistic figures whose influence and abilities have substantially outstripped his visibility. Composer, multi-instrumentalist, sound designer, experimental electronic musician and recording studio owner, Dimuzio has been busy doing his thing(s) since the late 1980s with critically acclaimed releases issued by the legendary house of audio misanthropy, RRRecords and former Henry Cow drummer (and current Dimuzio collaborator) Chris Cutler’s well-regarded ReR Megacorp label. Equally fluent in a nearly every contemporary post-techno style, Dimuzio’s work clearly demonstrates an insider’s knowledge of older experimental musical forms such as musique concréte and electroacoustic, as well as contemporary ambient-industrial and noise. Thomas Dimuzio has performed and recorded as a solo artist and collaboratively with Fred Frith, David Lee Myers, Dan Burke, Due Process, 5UU'S, Matmos, Wobbly, and many others."

Buchla Touché (1980) – Hybrid Analog Keyboard Instrument

The following was sent in by Anastasia Chernysheva, a Ph.D. student at University of Illinois Urbana-Champaign.

"In 1979, Donald Buchla invited experimental composer and his friend, David Rosenboom to collaborate on the design of a new, keyboard instrument with digital sound generation and hybrid, computer-controlled, analog outputs. The result was the Touché, released in the spring of 1980.

Among particular traits of the instrument are:
• flexibility in use – highly programmable, (64 programmable function parameters available), Touché offers a library of “instrument” structures that could be stored as “presets”;
• responsiveness – a user of Touché would enjoy a broad ability to program multiple stimuli and response structures in performance;
• non-linear waveshaping – Touché permits to produce an enormous range of sound with efficient means of control, i.e. using a small number of knobs

The guiding idea of the instrument design was to optimize it for live performance. The hybrid, digital-analog nature of Touché assumes the following.
• On the digital side: a sound-generating engine produced a wide range of timbre of sound possibilities with non-linear wave shaping techniques.
• On the analog side: a programmable analog circuit called Multiple Arbitrary Function Generator (MARF) enabled extensive control of all sound synthesis parameters.

Rosenboom’s recordings Future Travel (1981) and Daytime Viewing (1983) offer extensive exposure to some particular sound worlds created with the Touché. Other than being used for these recordings and in the recent release by Richard Smith a.k.a. Shusta Cults, (the current owner of Rosenboom’s Touché), the instrument barely may be heard in any other recording. Only 4 instruments exist today but just one of them is in the functional condition.

To learn more about the history and design of the instrument check out the lecture about Buchla Touché given at University of Illinois (2022). Technical parameters of the instrument may be found in the brochure for the instrument. Download the PDF here."

Circuits and Fingers – Composer-Performer Convergence in Electronic Instrument Designs, Oct 5th
video upload by Illinois Music

"Guest lecture at EMS Forum: Circuits and Fingers – Composer-Performer Convergence in Electronic Instrument Designs, Oct 5th

With the director of Experimental Music Studios – Eli Fieldsteel.

Learn more: https://davidrosenboom.com/miller-res..."

Also see Brainwave Music with Buchla 200 at Western Front.

MUSONICS ACQUIRES STG SOUNDLABS, SHIPS 902 VCA REVISION

muSonics is back.

First a little background from Wikipedia:

"1971–1977: Moog Musonics, Moog Music, Inc.

In November 1971, rival company muSonics bought R. A. Moog, Inc. and relocated the company to Williamsville, New York. An old factory at the north end of Academy Street was purchased. The company was renamed Moog Musonics, then Moog Music, Inc.[3]

In 1972, former televangelist and successful salesman David VanKouvering joined the company as VP of Marketing, creating a network of retail stores throughout the United States and then the entire world.[5] Despite the increased commercial success the company saw with the introduction of the Minimoog than with previous products, competition with contemporary manufacturers such as ARP Instruments, Oberheim Electronics, and Electronic Music Studios drove the company steadily deeper into debt.[6][7] Moog Music, Inc. was ultimately sold to Norlin Industries in 1973. At this point, rival companies such as the aforementioned ARP Instruments were producing both monophonic and polyphonic synthesizers that rapidly outpaced the Moog in popularity. By 1975, ARP owned 40% of the synthesizer market share, effectively boxing out Moog Music, Inc.[8]

In 1976, Norlin moved the company to a facility on Walden Avenue in Cheektowaga. In 1977, once his contract with Norlin expired, Robert Moog officially left the company to pursue his own ventures, founding the firm Big Briar.[9]"

---

And the press release for the new muSonics:

For Immediate Release

January 23, 2023

Chillicothe, Illinois - muSonics has acquired very failed Eurorack manufacturer STG Soundlabs in a private equity trade valued at 6 million Dogecoin. Based in the greater Buffalo area, muSonics is America's oldest synthesizer company whose first instrument, the Sonic V educational synthesizer, is highly-regarded as one of the most reliable analogue instruments of the 1970s.

Suit & Tie Guy, former STG Soundlabs president and newly appointed CEO of the merged company, STG muSonics, was quoted as saying “I’m excited to be an important part of a history-rich American brand such as muSonics, which exists in a unique category alongside names like Abercrombie & Fitch, Montgomery Ward, and Radio Shack."

The first STG muSonics product, the Voltage Controlled Amplifier in the American modular synthesizer format, is currently available at Noisebug of Pomona, California. It is the final revision of the Voltage Controlled Amplifier made by muSonics in the early 1970s as part of their very famous and well-regarded modular synthesizers. Updates and improvements include 15 volt power support, selectable AC coupling, and a new shallow profile of less than 2 inches behind the front panel.

Pending the completion of the acquisition, muSonics will be moving from their current office, a vintage dumpster located behind the Wegman’s grocery store in Williamsville, New York, to downtown Chillicothe, Illinois, making it possibly the only company moving to the state this year.

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KISS2013: INTER faces - Kyma International Sound Symposium in Brussels

"Kyma International Sound Symposium in Brussels, 12-14 September 2013, to focus on interfaces for interactive sound design and live performance

Champaign, Illinois, June 18, 2013 - Composers, sound designers and performers are invited to register for this year's Kyma International Sound Symposium (KISS2013) in Brussels Belgium from September 12-15 2013. Featured events include hands-on demonstrations of interfaces for interactive sound and performance, a public dialog on spatialization featuring electronic music pioneers Annette Vande Gorne and Joel Chadabe, a competition pitting teams of sound designers and engineers against the clock to create new performance interfaces, an exclusive preview of new developments in the Kyma sound design language, concerts of new music inspired by the Belgian painter René Magritte, live Kyma electronics spatialized through a 70+ speaker Acousmonium in the Espace Senghor, and an installation in the ISIB foyer where visitors (tracked by a Kinect camera) will create a continuous, collaborative soundscape.

[PHOTO: Caption: Actor Allison Goodman, shown here controlling Kyma with an Emotiv EPOC neural headset, is one of the performers scheduled to appear at KISS2013 in Brussels September 12-15 2013]

"KISS2013: INTER faces" will also feature technical sessions on topics ranging from signal processing to interfaces, an 'Open lab' where Kyma experts will be available to answer questions, hands-on demos and workshops focusing on innovative user interfaces and controllers, and evenings filled with live musical performances showcasing some of the best work created in Kyma this year, including music controlled by brain interfaces, game controllers, iPads, Continuum fingerboards and drawing tablets; audio signals used as controllers; Foley artists as live performers; live cinema; motion-tracked dancers, and more!

Kyma developers Carla Scaletti and Kurt J. Hebel will be joined by over 30 audio and music professionals from ten countries in presenting the seminars, music, and hands-on demonstrations.

The full KISS2013 schedule is available on-line at http://bit.ly/150XXuP

Program highlights

KISS2013 organizers Rudi Giot and Jacques Tichon, along with their students at the Institut Supérieur Industriel de Bruxelles (ISIB), have several special activities planned for KISS2013, including:

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Haken Continuum Meets Tesla - Risky Business, Moog, The Cars Let's Go

Tesla Coil Music - Island at the Center of the World - Part II: The Strangers

YouTube via marksmartus2 | January 22, 2011 | 0 likes, 0 dislikes

"Recorded live in Urbana, Illinois on March 7, 2008. This outdoor concert was part of a student-run open house for the College of Engineering at the University of Illinois. Tesla coils were used to create musical pitches via a control system designed by university student Steve Ward. Two coils were used. The right coil is playing a prerecorded Midi track, acting as the bass, and the left one is performed live as a lead sound via the Continuum fingerboard. In spite of the frigid temperatures (4 degrees Fahrenheit, 26 mph winds), the concert was well attended and was voted the most popular event of the open house.

This is the second part of a prog-rock piece by Mark Smart about the history of Easter Island."

Tesla Coil Music - "Risky Business: A Tribute to Nikola Tesla"

marksmartus2 | August 10, 2009 |

"This piece was composed by Scott Wyatt and Mark Smart and was performed during the SEAMUS (Society for Electro-Acoustic Music in the United States) conference at Sweetwater Sound in Fort Wayne, Indiana on April 18, 2009."

Tesla Coil Music - "Let's Go" by The Cars

marksmartus2 | May 02, 2009 |

"This tune was was played as an encore to "Risky Business: A Tribute to Nikola Tesla" (also on YouTube) at the 2009 SEAMUS conference at Sweetwater Sound in Fort Wayne, Indiana on April 18, 2009. Credits: Tesla coil parts arranged by Mark Smart; coils built by Steve Ward, Jeff Larson, and Terry Blake; control system designed by Steve Ward and Mark Smart. The video was made by jenaber27; I just added some of the original Cars track to balance the sound."

Roland TB-303 Owned by DJ Mickey "Mixin" Oliver

via this auction

"This machine was owned by legendary DJ Mickey "Mixin" Oliver. He was the first to use this machine in electronic music by making acid tracks. He is also known as one of the creators of House Music. Chicago recently named a street after him for his contributions to Dance music. The London Observer named him one of the ten most influential DJs of all time."

It's not clear if the seller means this specific 303 was owned by DJ Mickey "Mixin" Oliver or he just owned one in general.

Update: according to Wikipedia, the first to use the 303 in house: "The first acid house records were produced in Chicago, Illinois. Phuture, a group founded by Nathan "DJ Pierre" Jones, Earl "Spanky" Smith Jr., and Herbert "Herb J" Jackson, is credited with having been the first to use the TB-303 in the house music context (the instrument appeared as early as 1983 in disco via Alexander Robotnick)."

Richard Lainhart - Bellingham Electronic Arts Festival Lecture & Performance

Slideshow of Richard Lainhart's lecture at the Bellingham Electronic Arts Festival (BEAF), Friday, May 6, 2:PM PST, 2011 (mentioned in this post). Below is a video of the Buchla and Haken Continuum portion of the lecture followed by a performance of Olivier Messiaen's Oraison written for the ondes Martenot at the 48:00 mark (see this post for the original version and this post for another performance by Richard). You will notice Richard makes references to earlier parts of the lecture. These included his training on the CEMS modular synthesizer system and the ondes Martenot (don't miss this post and this post on the CEMS). See the labels at the bottom of this post for more info on each. I will upload those videos at a later date. They were background to Richard's experience with early modular synthesizers and controllers that eventually lead him to the Buchla and Haken Continuum. It was a great lecture and I hope you enjoy it. Be sure to bookmark this one. I also want to thank Richard Lainhart for doing lectures like these. They are a rare treat.


YouTube Uploaded by matrixsynth on May 19, 2011

The following is a full transcript. BTW, if anyone is interested in transcription services, let me know.

"RICHARD LAINHART: BUCHLA AND HAKEN CONTINUUM LECTURE

Speaker: Richard Lainhart
Lecture Date: May 6, 2011
Lecture Time: 2:00 p.m. PST
Location: Western Washington University
Event: Bellingham Electronic Arts Festival 2011 (BEAF)
Length: Digital AVI recording; 57 minutes 32 seconds

[Beginning of recorded material]

Richard Lainhart: Okay. What I want to do now is actually talk a little bit about the system itself here and about the design of the system and explain what's actually happening here and why it's designed this way, and again, my focus on, on expression. So this is, as I mentioned, this is the Buchla 200E. This is a current electronic music instrument that is still being made now by Buchla. Don Buchla again was a contemporary, or is a contemporary of Bob Moog, and he took a very different path than Moog did. And one of the reasons I think that Moog's instruments became so popular, of course the Mini Moog was like the first real break-out electronic music synthesizer, was that Moog's instruments had keyboards on them. They had black and white keyboards. And you could use them to play, you could use them to play rock and roll with them basically because you could plug them into a really loud amplifier and it could be louder than a guitar. And it could be a bass, you know, it could be louder than a bass and all that sort of stuff. And of course a lot of, you know, a lot of wonderful music was made with that instrument.

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The Harmonic Tone Generator from 1964

You might remember James Beuchamp's Harmonic Tone Generator posted back in December (be sure to see that post for other bits of synth history). Skot Wiedmann, the man behind Motus Mavis and the Hyve touch synthesizer, wrote in to let us know a new article on the story behind the Harmonic Tone Generator, including an NPR piece, just went up today on the University of Illinois' Public Media website here. Be sure to click through for the audio and the full post. Below is just an excerpt for the archives.

"One of the earliest synthesizer structures was invented in the University of Illinois’ Experimental Music Studio in the early 1960s as part of one of the first computer instruments – The Harmonic Tone Generator.

From Left to Right: The Original Harmonic Tone Generator, James Beauchamp constructing the Harmonic Tone Generator, a close up of one of the original instrument's panels
James Beauchamp sits at a workbench tuning three circuit boards before installing them in the Harmonic Tone Generator. This picture was taken in 1964.

Photo Credit: Courtesy of James Beauchamp
“A lightbulb went off and I decided: we build electronics for audio, we record using electronics in playback, but what about making music or sounds from electronics to begin with?” said James Beauchamp, a research professor in the Department of Electrical and Computer Engineering at the University of Illinois.

He completed the Harmonic Tone Generator in 1964 as part of his PhD project in electrical engineering."

Pictured: "James Beauchamp sits at a workbench tuning three circuit boards before installing them in the Harmonic Tone Generator. This picture was taken in 1964.

Photo Credit: Courtesy of James Beauchamp"

Pictured: "The original Harmonic Tone Generator and its next generation counterpart side by side in the Sousa Archive

Photo Credit: Courtesy of Mark Smart"

ContinuuCon 2020 Set for April 27-29 In Palmela, Portugal

"ContinuuCon 2020, the fifth annual international Haken Continuum Conference, will take place on April 27–29 in Palmela, Portugal. Musicians and technologists describe the Haken Continuum as the world’s most uniquely expressive electronic musical instrument. As in previous years, ContinuuCon 2020 will extend an opportunity for Continuum players, sound designers, software developers, and electronic music enthusiasts to explore the Continuum Fingerboard and ContinuuMini through performances, workshops, lectures, and more.

University of Illinois professor Dr. Lippold Haken and Canadian film and TV composer Edmund Eagan developed the Continuum, the ContinuuMini, and their internal sound engine, the EaganMatrix, over decades of collaboration. Both men will be on hand throughout the event and will be joined by numerous other authorities to share their knowledge and musical expertise.

On April 27, just two days after Superbooth ends in Berlin, the conference will begin with a reception for attendees followed by a public concert at the Theatre S.Joao in Palmela. For the next two days, master players and authorities on the Continuum will give presentations and demos at the Palmela Public Library.

This ContinmuuCon will be the first opportunity to hear Expressive E's Osmose played together with Continuum -- both of these instruments have fast and accurate continuous sensing, both incorporate the EaganMatrix, and yet the difference between keyboard and continuous surface makes them very unlike each other. The performance by Edmund Eagan (on Continuum) on stage with Piano and Continuum virtuoso Rob Schwimmer (on Osmose) will be a historic not-to-be-missed event.

About Palmela

40 kms South of Lisbon, Palmela is a land of contrasts. Located between the estuary of the River Sado, and the hills of the Serra da Arrábida, It has been inhabited since pre-historic times due to its privileged and strategic location. The Castelo de Palmela overlooks the city from a commanding position, and down a steep hill lies the charming historic centre. Palmela is Music – In the community, Music has a prominent place in the daily lives, where the act of creating and re-creating springs organically. Palmela, presents nature, heritage, gastronomy, award winning wines, arts and crafts and the beautiful beaches of the Arrábida, making it an excellent place to welcome the ContinuuCon event.
ContinuuCon 2020 Tickets"

Moog Music to Demonstrate the Moog Modular at Synth City, Thursday, September 10

If you are in the Chicago area on the 10th of September, here's your chance to see a Moog System 35 in person.

"In anticipation of Knobcon 2015, Moog Music and Synth City are excited to host a one night only event with the Moog Modular Synthesizer. Representatives from Moog and Synth City will be on hand to demonstrate and discuss the Moog Modular, it's basic operation, and it's relevance to electronic music history. We will be aided by a System 35, the Sequencer Compliment B, and the 953 Duophonic Keyboard.

This is an incredible opportunity to get some panel time with an extraordinary instrument, and we enthusiastically invite all to attend. This will be an informal event aimed at education and access, before the system travels out to the burbs for Knobcon.

Light refreshments will be on hand, as will the regular inventory of Synth City and Rock N Roll Vintage." Thursday, September 10 at 5:00pm - 8:00pm in CDT at 4740 N Lincoln Ave, Chicago, Illinois 60625.

Technology + Human Touch = A New Way of Creating Music

Published on Jan 27, 2017 Illinois1867

Be sure to check out this article on Skot Wiedmann after the video.

"Skot Wiedmann, an electronics technician and art instructor at the University of Illinois at Urbana-Champaign, talks about the Hyve Synthesizer he built. Wiedmann wants to inspire interdisciplinary work between engineers and musicians, and allow people to explore music and music theory in a creative and fun way."

Experimental Garage Sale in Chicago Happening Now

Facebook Event Page here

"Synthesizers, Circuit Bent Toys, Electronic Kits, Unique Musical Instruments, Food, Live Music & Fun!
Please join us for the 7th Annual Experimental Garage Sale organized by GetLoFi.com and hosted by the Experimental Sound Studio of Chicago.
Vendors from all over Midwest ( Wisconsin, Illinois, Minnesota, Indiana, etc ) will meet for one day to showcase and pass on to a good home tons of gear, electronics, and projects. The sale portion of the day's events will be from Noon - 6:00 pm.

Once again there will be a raffle featuring items donated by the various vendors. Proceeds from the raffle help Experimental Sound Studio continue their programming and services to the regional community.

By Popular Demand- Random Duets Experimental Music Jam! As a celebration of our vendors- most of whom are well-known musicians and performers, we are presenting Random Duets where our artists will be paired up for unique collaborative improvised musical performances- always a lot of fun!! Random Duets will run from 7:30 - 10:30 pm.

Snacks and refreshments will be available (ID required for beer). Sponsored by Chicago's own Revolution Brewing!

This years vendors are:

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Rudolf Haken "Quinquagenarium" - Continuum Fingerboard, Champaign-Urbana Symphony Orchestra

YouTube via DidelphisVirginiana — March 09, 2010 — "Quinquagenarium for orchestra and Haken Continuum Fingerboard, composed by Rudolf Haken for the 50th anniversary of the Champaign-Urbana Symphony Orchestra, Feb 19th 2010, Krannert Center for the Performing Arts, University of Illinois. Conductor Steven Larsen. Haken Continuum sound setup and performance by Mark Smart. Continuum invented by Lippold Haken. Harpist Shirley Blankenship. Audio Engineer Jon Schoenoff. Director of Cinematography Kristen Johns. Video editing and design by Rudolf Haken. Videographers: Dave Cohen, Kevin Coulton, Lippold Haken, Megan Johns. Thanks to Armgard Haken for the name "Quinquagenarium". Program notes and sheet music at http://www.rudolfhaken.com
Haken Continuum site: http://www.hakenaudio.com
Mark Smart site: http://www.marksmart.net
Champaign-Urbana Symphony Orchestra site: http://www.cusymphony.org
Kristen Johns video site: http://www.youtube.com/champaignunder...
Krannert Center site: http://www.krannertcenter.com/
The Champaign-Urbana Symphony is in residence at the Krannert Center for the Performing Arts, University of Illinois."

Symbolic Sound Unveils “Pacamara Ristretto” Audio Processing Unit (APU)

Pacamara launch from Symbolic Sound on Vimeo.

Pacamara explainer from Symbolic Sound on Vimeo.

Press release follows:



September 6, 2022

Symbolic Sound Unveils “Pacamara Ristretto” Audio Processing Unit (APU)

2.5 times performance boost, 20% lower price, expanded connectivity, and inter-application audio

CHAMPAIGN, ILLINOIS — Symbolic Sound announces a new Audio Processing Unit (APU) representing a giant leap forward in performance, energy efficiency, and connectivity over previous generation APUs. At less than half the size, the new Pacamara “Ristretto” delivers, on average, a 2.5 times jump in performance, a 20% reduction in cost, cooler operating temperature, expanded connectivity options, and seamless inter-application routing of audio and MIDI to/from applications running on a host computer.

Performance
Pacamara Ristretto’s compute-cycles and memory are solely dedicated to sound computation, delivering unprecedented levels of performance capabilities to sound designers for film and games, live electronic music performers, sound artists, educators, researchers, and audio professionals who require the highest-quality real-time audio, responsive live interaction, and unbounded creative flexibility from their tools.

“The Pacamara Ristretto represents a radical transformation, not just because it’s Symbolic Sound’s most powerful external APU yet, but because of the ease with which it communicates with the rest of the world,” said Symbolic Sound’s president Carla Scaletti. “Audio, MIDI, and OSC streams can be freely routed between Kyma and other audio applications on your computer and audio devices in your studio, including across LANs and out onto the Internet, creating a combinatorial explosion of sound creation possibilities.”

According to game/film sound design consultant and Pacamara field tester, Alan M. Jackson, “It’s the latest, most powerful revision of the most important audio DSP environment of the last 30 years.”

Powered by Kyma
Audio professionals can leverage the full Kyma 7 accelerated sound design environment for rapid prototyping, testing, creative exploration, and refinement of production-quality sound synthesis and processing algorithms to run in real time on the Pacamara Ristretto.

Kyma, described as a “recombinant sound design environment,” gives sound designers access to extensive libraries of unique audio synthesis and processing modules, along with tools for creating limitless combinations of those algorithms. Galleries of automatically-generated signal flow graphs help speed development, spark the imagination and boost the creative flow — providing creators with the advanced models needed to solve sound design challenges for games, film, live music, data sonification, voice processing, multi-sensor controllers, and more.

Deep integration between hardware and software has always been central to the Symbolic Sound approach. Hardware design is continually informed by software development and vice versa. As a result, the Kyma 7 sound development environment is optimally tuned to take full advantage of the huge increases in processing and memory bandwidth made available by the new Pacamara APU.

Sound designer and musician Cristian Vogel describes the Kyma software environment as “the best for innovating, prototyping and designing innovative digital sound processes… frictionless for ideation and research. Then, reliable and consistent at the outcome stage.”

The Pacamara Ristretto is as comprehensive in its connectivity as it is diminutive in size. The back panel of the rugged, roadworthy enclosure includes:

• USB-C port for audio and MIDI transfer to/from host computer
• Two USB 2.0 ports for connecting audio interfaces and MIDI controllers
• 3.5 mm jack sockets for mic input and stereo headphone output
• RJ-45 network port to connect via a gigabit Ethernet cable to a host computer
• Wi-Fi antenna jack
• USB-C power input port

An APU does for Real-time Audio what a GPU does for Real-time Graphics
Audio professionals require high quality, low latency, reliable real-time audio synthesis and processing. That’s what an APU can deliver.

“The question is not whether a CPU is capable of real-time graphics generation and processing. Everyone understands the advantages of offloading real-time graphics computation onto one or more GPU(s) running in parallel with your main CPU. Not only does it free up memory and computing resources on your CPU, a GPU guarantees the highest-quality, glitch-free interactive real-time graphic performance. The same is true for audio!”

“With the Pacamara you have high quality, configurable algorithms running on dedicated, uncontended hardware,” explains Jackson, “The result is that it sounds great and it’s reliable.”

Soft Hardware
Unlike traditional audio hardware, which has a fixed functionality that never changes, the Pacamara Ristretto can adapt to the evolving needs of users. Regular, significant software updates ensure that Symbolic Sound APUs continue to gain features and functionality so that they actually improve with time.

Jackson adds, “there’s a subtle and important difference between hardware that is upgradeable… and hardware that DOES get upgraded continuously and significantly. Kyma is [Symbolic Sound’s] only product and [they’ve] been working on it, passionately, for decades. [They] have a proven history of constant and significant upgrades.”

What’s in a Name?
The name, Pacamara, comes from a hybrid coffee plant bred to produce larger beans on smaller trees planted closer together — evoking both the ‘recombinant sound’ design philosophy of Kyma and the smaller size, higher-yield of the Pacamara APUs. According to Scaletti, “Coffee aficionados know that a ristretto shot delivers twice the caffeine per milliliter as a standard shot of espresso. The Pacamara Ristretto is actually 2.5 times more powerful and less than half (44%) the volume of previous generations, meaning that the computational performance by volume has increased 5.7-fold.”

Summary
The Pacamara Ristretto is an APU, designed from the ground up for real-time sound synthesis and processing; it works in parallel with your main computer to deliver high-quality real-time audio signal computation, freeing up resources on the CPU for managing your overall studio workflow.

Audio professionals can leverage the full Kyma 7 accelerated sound design environment for rapid prototyping, testing, creative exploration, and refinement of production-quality sound synthesis and processing algorithms to run in real time on the Pacamara Ristretto.

The Pacamara Ristretto APU is the most recent development in a consistent flow of innovation from Symbolic Sound — from Capybara, to Capybara 33, Capybara 66, Capybara 320, Paca(rana) — the sixth generation Pacamara Ristretto APU is groundbreaking in terms of raw compute power, delivering a 2.5-fold leap forward in performance, connectivity, and dependability backed by extensive field testing in real world performance environments.

Pricing and Availability

The Pacamara Ristretto is available today at https://kyma.symbolicsound.com/order-now
Initial supplies are limited due to ongoing (and inexplicable) global electronic component shortages.

The price for a 4-processor Pacamara Ristretto is $3,818 (US)
An entry level, 2-processor system is available for $3,302 (US)

The Kyma 7 software for macOS or Windows is included with the APU.

2012 Circuit Benders Ball Nashville on Kickstarter

"The Circuit Benders’ Ball is a daylong symposium dedicated to the art of the bend, taking place on Saturday, September, 29th. It will feature two stages, over a dozen performers, an interactive art gallery, and workshops. Workshops 10am-7pm. Music 8pm-1am. Our inspirations are the multi-city Bent Festival, The Fuse Factory in Columbus, OH, the eSymposium in Chicago, Illinois, and, of course, Reed Ghazala, the father of circuit-bending!

We have invited circuit bent artists from Tennessee and beyond to perform and lead electronic workshops. The afternoon workshops are open to all ages and all levels of experience. In the evening, experimental musicians and sound artists will perform with circuit bent instruments, custom-made electronics, and/or battery-powered electronic devices. Genres will range from ambient soundscapes to aleatoric noise to EDM influenced grooves.

So: if you are into (or merely curious about) experimental music, making, electronics, art, DIY, hacking, and sonic mayhem, this event is for you!

The all-day event will take place on Saturday, September 29th, 2012 at Brick Factory Nashville, a hackerspace, community workshop, educational facility, art gallery, and performance space.

Performers

Roth Mobot - Chicago
Blight Side of Life - Nashville
Brain Lesion - Murfreesboro, TN
Elegant Bassterds (Ben Marcantel and Derek Schartung) - Nashville
Josh Gumiela, Kelli Shay Hix, Lucas McCallister - Nashville
Hadals - Nashville, TN / Montgomery, AL
Joey Molinaro - New York City
Nashville Robotic Philharmonic - DeKalb, IL
Pimpdaddysupreme - Nashville
Pineapple Explode - Nashville
Posttaste - Nashville
Teletron Orchestra - Nashville / Murfreesboro

Workshops

Chip to be Square: Build Your Own Synth w/ Josh Gumiela. 10am - 1pm
Intro to Circuit Bending w/ Roth Mobot. 2pm-5pm
Build a Buckawatt Bent Boost Kit w/ Zach Adams. 5:30pm-7pm

We Can't Do This Without You!

The CBB is a nonprofit festival. The staff volunteer their time and energy with no monetary compensation. In order to attract the best and brightest in the Circuit Bending community from all over the United States, we need your financial support. All donations will go toward artist compensation, advertising, set decoration, and workshop materials. The more donations we generate, the bigger and better the festival! Show your support by donating!"

via Dylan Simon on The MATRIXSYNTH Lounge

ContinuuCon Electronic Music Conference Scheduled for Portugal

Press release follows:

ContinuuCon 2023, the fifth international Haken Continuum Conference, is slated for May 17–19 in Palmela, Portugal. This year’s focus will be on every electronic musical instrument that features the Continuum’s internal sound engine, the EaganMatrix. This includes the new Osmose synthesizer from French manufacturer Expressive E, as well as the Continuum Fingerboard, ContinuuMini, and EaganMatrix Module for Eurorack from Haken Audio. As in previous years, the conference extends opportunities for musicians, sound designers, software developers, and music enthusiasts to explore these uniquely expressive instruments through presentations, performances, and hands-on experience.

ContinuuCon 2023 will begin with an evening reception on May 17, just four days after Superbooth ends in Berlin. Over the next two days, Continuum and Osmose experts and master musicians will present lectures and demos at the Palmela Public Library. For tickets, information, and videos of past events, visit the website continuucon.com.

Over decades of collaboration, University of Illinois professor Dr. Lippold Haken and Canadian film and TV composer Edmund Eagan developed the EaganMatrix and the Continuum family of instruments. Both men will be on hand throughout the event, along with their counterparts from Expressive E and other authorities, to share their technical knowledge and musical expertise.

Previous Continuum conferences have been held at IRCAM in Paris and in Asheville, North Carolina. Haken Continuum players include Game of Thrones composer Ramin Djawadi, Brazilian electro-acoustic musician Amon Tobin, film composer A.R. Rahman, Dream Theater keyboardist Jordan Rudess, and The Who’s Pete Townshend, who said, “I absolutely adore it. The Continuum is already inspiring me to new ideas.”

About Haken Audio’s Instruments
The Continuum Fingerboard is a 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 is the EaganMatrix, a user-programmable digital modular synthesizer taking full advantage of the supple playing surface’s myriad performance possibilities.

About Palmela, Portugal
About 25 miles from Lisbon, the city of Palmela features art, nature, heritage, gastronomy, award-winning wines, arts and crafts, and nearby, the beautiful beaches of the Arrábida, making it an excellent location for ContinuuCon. With the support of the Palmela City Council, Passos e Compassos is pleased to host ContinuuCon 2023.