[patch] Shepard Tone (Blofeld)

video upload by Synthesizer Video Service

"In this tutorial, I'm showing how to program the Shepard Tone on a Waldorf Blofeld synthesizer. The Shepard Tone is an effect that gives you the impression of an infinitely rising or falling sound. This is a good example for careful and delicate choice of parameters during the sound design process.

Attention! I'm sorry, I forgot to set oscillator 2 to 16'' :(

More Infos on the Blofeld Modifier Simulator:
https://www.frequture.net/products/bl...

[00:00] Intro
[00:37] The Shepard Tone
[01:48] Oscillators
[02:12] Explanation of the Structure
[03:41] LFO
[04:13] Modulations and Modifiers
[07:26] Effects
[09:25] Modifier Simulator
[12:17] Final Patch
[12:34] Outro"

Shepard Tones

ARP 2600 Shepard Tone

video by O.Z. Hall

"This is an approximation of an 'ever rising' Shepard Tone. The Sheppard Tone is an audio illusion creating the impression of a tone the rises forever. A similar video illusion is the barber pole, where the stripes appear to continually rise upward.
This patch is not a legit Sheppard Tone, but it is similar.
I hope you enjoy it."

infinity masks

video by Cray

Sounds like a Shepard tone to me.

Single knob shepard tone in Vital

Matt Tytel

"Added a spectral warping mode that creates Shepard Tones (the never ending ascending/descending pitch effect) with any wavetable"

You can find details on Vital here.

New VITAL Wavetable Based Soft Synth in the Works

Published on May 25, 2020 Matt Tytel

First some demos. Additional details below.

Playlist:

Smear: a spectral oscillator morph mode in Vital

Adding some new ways to change oscillator sounds and added this "Smear" mode. It creates a lot of high frequency content so you can create interesting percussive sounds with just the oscillator.

Inharmonic Stretch: New spectral oscillator morph mode in Vital

It's hard to complete, polish and release a large software project like a synth.

It's even harder when you can be creating and playing with new spectral-morphing oscillator modes instead.

This "Inharmonic Stretch" mode moves oscillator harmonics up the spectrum in a non-linear way.

Stereo LFOs and parameter modulation

All modulation source (LFOs/envelopes/etc) in Vital run in stereo and can modulate parameters separately for left/right channels. You might need to put on some headphones.

Modulating the phase of an oscillator's phase distortion.

Here's a feature I made early in Vital's development.
Distortion phase moves where an oscillator's phase distortion happens. Moving the 'Bend' position can make infinitely rising or falling sounds. It also looks pretty cool!

Spectral formant morphing text generated wavetables (feat. Mashed potatoes and gravy)

Added a spectral wavetable morphing mode that removes unintended formant shifts from playing higher notes (like chipmunking) and allows you to control the amount of shift instead.

It pairs well with Vital's text-to-wavetable, but it sounds cool with other wavetables as well.

Physical modeling with a band-spread comb filter

Shepard tone wavetables

Sometimes you don't want your risers to end, so I added Shepard tone wavetables to Vital. I would have uploaded a 10hr video but I figure when Vital comes out you can generate it yourself.

Harmonic Stretch: Spectral morph mode for wavetables in Vital

This "Harmonic Stretch" mode scales harmonics up the frequency domain, leaving the fundamental where it is.

Effects UI design and colors (no sound)

Now that I've worked on the effect design/layout I can finally start playing with colors :D

Effects UI design and colors (no sound)

Now that I've worked on the effect design/layout I can finally start playing with colors :D

Spectral Time Skew

Added this 'Spectral Time Skew' oscillator effect that scrolls through your wavetable a different amount for every harmonic.
Hard to describe, but fun to experiment with!

Spectral oscillator warping + wavetable phase warping

Combining Vital's spectral oscillator warping with more standard wavetable phase warping. All sounds were made with the same waveframe (with no wavetable movement) to show how many different sounds you can get with pairs of warp modes.

Audio rate filter modulation with saw wave input

Modulating different filters with keytracked LFOs in Vital here. Just a saw wave at a constant pitch as input so all the sound you're hearing is mostly from the filter modulation.

via https://vital.audio

"Create Your Own Wavetables
Turn your own samples into wavetables by using Vital's pitch-splice or vocode wavetable import options.

Create wavetables from scratch using the built-in wavetable editor. Interpolate single cycle waveforms, warp existing wavetables into new ones or even generate wavetables from text!

GPU Optimized Graphics
Get real-time synth feedback from Vital's wavetable, filter, LFO, envelope, and modulation animations that run at a clean 60 frames-per-second.

Vital motion blurs LFO and envelope animations to show those ultra fast modulations. All animations are GPU optimized which leaves your CPU to do its real job, the audio processing.

High Quality Oscillators
Generate clean sounds using Vital's oscillators that have an extremely low noise floor and have a sharp cutoff at Nyquist for almost no aliasing.

Worried about CPU usage? There are some clever SSE optimizations to keep the oscillators easy on your CPU, so crank up the unison on both oscillators!

Full Stereo Modulation Chain
Stereo modulate almost any control in Vital. Modulate filter cutoffs and resonances in opposite directions for your left and right ears. Tweak an envelope so the decay time varies in stereo.

If all the stereo modulation gets too crazy, blend it back to Dual-Mono mode and have both stereo channels playing their separate controls in the center for a full stacked sound."

EMS Synthi Impro

Published on Mar 27, 2020 Stefano Bertoli

"Variation on the Shepard Risset Tone Patch

No sequencer
some delay and reverb from the mixer and a small Buddha Machine here and there"

"Elevation: 99" a TR-8S song by gattobus

Published on Jan 31, 2019 gattobus

"This song was created using only TR-8S, single pattern, 4 bars.
I loaded some external samples, like a pad, a Shepard tone and some blips from my modular. The other sounds (Bass, Drums and arpeggio) are from the internal synth engine.
I hope you like it! I had a lot of fun playing it! :-)"

Shepard Tone patch for Analog Modular Synthesizer

Published on Sep 11, 2017 Stephen Mendes

"A descending Shepard-Risset glissando that really works. Built for the fantastic DOTCOM synthesizer, but you may be able to port it to other platforms. Good luck and enjoy."

Update:

CLICK FOR MORE »

Mutable Instruments Tides - Demonstrations by Perfect Circuit Audio

Published on Jan 11, 2017 Perfect Circuit Audio

Available here: https://www.perfectcircuitaudio.com/m...

MATRIXSYNTH members get a %10 discount at Perfect Circuit Audio! See the membership page for details.

Playlist:
1. Mutable Instruments Tides Modulation Demonstration

"In this demo, we are using Tides as a slow modulation source to modulate the filter cutoff of the second resonant filter of Shelves. Braids in CSAW mode is the sound source fed through Shelves. Two LFO signals from Peaks are patched into Tides' first two waveshaping inputs to demonstrate how these morphing frequencies sound at low frequency. A Clock is then generated from Grids and patched into the Trigger input to demonstrate Tides' ability to function as an envelope. The top button is the mode select knob, which can select between oscillator mode, AD envelope mode, and ASR envelope mode."

2. Mutable Istruments Tides Oscillator Demonstration

"In this demo, we begin by just morphing the waveshape knobs while in oscillator mode. Each of the three knobs affects a different part of the timbre, with the third knob cutting off to nothing (with Parasites installed.) A modulation source from Peaks (LFO to slow triangle wave) is then patched into the third waveshape control. Frames is then switched into Sequencer mode, being clocked by Channel 2 of Peaks. These four sequencer channels from Frames are then patched into the two other waveshape controls, the Level VCA and the 1v/Oct input (with the internal Quantizer from Parasites enabled.) For a little bit of space, the final output is then patched into Clouds, being fedback for Size and Position modulation. A full morphing sequenced line with FX with only four modules!"

3. Mutable Instruments Tides Parasites Feature Demonstration

"In this demo, we show how the internal quantizer works within Tides Parasite. To access the quantizer, long press the top button. It will begin blinking with green, and with presses from the mode buttons, it will scan through the quantizer presets. The menu counts upwards in binary, including no quantization, semitones, a major scale, a minor scale, whole tone, pentatonic minor, poor pentatonic, and fifths. (These were scanned backwards in the video.) To exit the quantizer mode, long press the top button again. The second section demonstrates how the mode "Two Bumps" can be used to generate a shepards tone. This is taken directly from the Tides parasites manual on Mqtthiqs' github account. "Put the oscillator in this "octaves" mode, put the width at noon and the frequency around 9 o'clock; 28 octaves will ring at the same time, many of them way outside the audible range. Now feed a slow sawtooth to the 1V/Oct input, and adjust its amplitude so that it is 1V (or 2 or 3... any round number of volts). Monitor the Bipolar output: you will hear a Shepard-Risset infinite glissando."

RIP Jean-Claude Risset

Shepard-Risset Glissando


Jean-Claude Risset, a pioneer of electronic music, passed away on November 21. Many of you will recognize his Risset Tones, or Shepard Tones above as they were based on the work of Roger Shepard as referenced in this post: "Risset Tones (Risset tones are based on the work of Roger Shepard in the 1960's and the further developments made later by Jean-Claude Risset, RissetTones is designed to create an acoustical illusion. Perhaps best explained as the aural equivalent of the barber pole, the product of the RissetTones is a gliding tone which seems always to be moving either up or down in pitch while staying in the same general position.)"

He, of course, was known for quite a bit more:

The image to the left is from forestpunk on Music From Computer: "an exquisite repackaging of influential works from early computer music Jean-Claude Risset, spanning the years 1968 – 1985. It illuminates a fascinating intersection between old-world classicism, musique concrete, and synthesis."

Wikipedia has the following:

"Risset was born in Le Puy-en-Velay, France. Arriving at Bell Labs, New Jersey in 1964, he used Max Mathews' MUSIC IV software to digitally recreate the sounds of brass instruments. He made digital recordings of trumpets and studied their timbral composition using 'pitch-synchronous' spectrum analysis tools, revealing that the amplitude and frequency of the harmonics (more correctly, partials) of these instruments would differ depending on frequency, duration and amplitude. He is also credited with performing the first experiments on a range of synthesis techniques including FM Synthesis and waveshaping."

Below are two additional compositions by Jean-Claude Risset. His work and influence go beyond anything that can be captured in a single post. His influence can be seen in various posts here on MATRIXSYNTH. This post, as all posts, is here only to let you know he was a significant influence on our world. Be sure to see the full wikipedia and forestpunk articles above and of course, always research more on your own. There is an incredible world of work to explore out there.

Jean-Claude Risset - Computer Suite From Little Boy (1968)

Published on Jul 9, 2012 Sebastian H. M. Murdock

"Composer Jean-Claude Risset was a pioneer in the field of computer music and recipient of a great many honors for this music and research (especially in the area of sound synthesis). After studying the sciences, in addition to composition and piano with teachers like André Jolivet (Le Jeune France co-founder), Risset went on to work at Bell Labs, with Max Matthews, for a few years in the late '60s, working on applications that would imitate instruments and others sounds. He brought sound synthesis to Orsay in the early '70s, and Marseille and Paris -- to the Institute for Acoustic Music Research and Creation, with Pierre Boulez -- in the mid-'70s. He became IRCAM's computer music director from 1975-1979, after which he served as Director of Research at facilities including CNRS; Risset received the CNRS Bronze Medal in 1971, the Silver Medal in 1987, and the Gold Medal in 1999, for his work and related writings, such as his computerized sound synthesis catalogue of 1969. His other awards include the Dartmouth Prize (1970), first place in the Bourges Digital Music competition (1980), Ars Electronica Austria (1987), Grand Prix National de la Musique (1990), Musica Nova Prague (1995), and an Honorary Doctorate of Music by the University of Edinburgh in the mid-'90s. His best work spans decades and includes 'Sud' (1985), 'Aventure de lignes, Profiles' (1981), 'Mirages' (1978), 'Inharmonique' (1977), 'Musique pour Little Boy' (1968), and 'Fantasie pour Orchestre' (1963)."

Jean-Claude Risset - Invisible (1)

Published on Jul 16, 2015

Make Noise Spiratone - Shepard Tone Generator for the tELHARMONIC

Published on Sep 15, 2015 MAKEN0ISE

The Sipratone is not a new module or firmware but rather an existing implementation of the tELHARMONIC.

via Make Noise

"The Spiratone is a form of Shepard Tone generator. It is a sonic barber pole that creates the auditory illusion of a tone that continually ascends or descends in pitch, yet ultimately seems to get no higher or lower.

It occupies the same space as the tELHARMONIC. To find it, have nothing patched to D-Gate and HOLD H-LOCK for 5 seconds. The sound will dramatically change... you've found the Spiratone inside your tELHARMONIC.
Multi Voice Shepard Tone generator inspired by Jean-Claude Risset 'Computer Suite from Little Boy: Fall,' 1968 & James Tenney "For Ann (rising)," 1969

CENTROID sets spacing of the oscillators

INTERVAL allows for complete control of modulation depth and direction

FLUX adds random pitch flucuations

6 octaves of continuous 1V/ Octave pitch control

4 octaves of quantized pitch control

DEGREE Modulation able to be synchronized by clock or gate via D-Gate input

Gate Out completes the conversation between Spiratone and rest of system!

Utilizes High performance DSP hardware with 24bit, 48kHz codec, 32 bit floating point processing

Reasonable power consumption

Pairs well with Optomix"

A Patch A Day by hamiltonulmer

Update: you can find hamiltonulmer's page here.

"I am not new to music, but I am new to modular synthesis. So I am creating one simple patch a day in order to get used to my small system.

I will do approximately 365 patches over the next year. Over that course of time I will likely add modules, change my setup, and explore various rabbit holes.

Two questions arise from these constraints. First, is a small 6U, 84HP system musically sufficient and diverse enough for a worthwhile patch, every day? Second, given that no matter what I intend on recording a patch a day, regardless of the outcome or circumnstance, what is the relationship between quantity and quality?"

via Pierre Serné on The MATRIXSYNTH Lounge

Playlist:
(these are in reverse order by hamiltonulmer - Day 1 was missing in the playlist so I embedded it below).

CLICK FOR MORE »

EMS Synthi . . . Shepard - Risset Tone Patch

Published on Dec 27, 2012 by djangosfire

"Shepard-Risset style patch on the EMS Synthi"

Shepard Tone Illusion .... and more!

Uploaded on Oct 23, 2011

Shepard-Risset glissando visualization

Barber's Pole Pattern by Roland Kuit

Barber's Pole Pattern by Roland Kuit

You can find a tutorial on how to create a Barber's Pole on Roland Kuit's site here.

"A Shepard tone, named after Roger Shepard, is a sound consisting of a superposition of sine waves separated by octaves. When played with the base pitch of the tone moving upward or downward, it is referred to as the Shepard scale. This creates the auditory illusion of a tone that continually ascends or descends in pitch, yet which ultimately seems to get no higher or lower.
It has been described as a "sonic barber's pole". The acoustical illusion can be constructed by creating a series of overlapping ascending or descending scales.***"

Roland Kuit brought us the Roland Kuit's Laboratory of Patching previously posted here.

Update: one more demo & image of the patch:

5 Phase Digi Barber Pole by Roland Kuit

TANSU Modular Synth for iOS

TANSU Synth DEMO

Uploaded by MusicAirportJP on Sep 24, 2012

iTunes:
TANSU Synth - MUSIC AIRPORT.INC
iPads on eBay
iPod Touch on eBay

The iOS application - which is named "TANSU (dresser)", is a miniature
version of a Modular Analog Synthesizer. This synthesizer is the same as the
one used and mastered by Hideki Matsutake of LOGIC SYSTEM.

The sounds that were sampled and used for the VCO (Voltage Controlled
Oscillator) come directly from the actual "TANSU" owned by Hideki Matsutake
himself.
In addition, it also contains many original LOGIC SYSTEM recordings. The
application condenses the fun, experience and sound of an actual modular
synthesizer onto the small screen of an iPhone!!

What will the sound be like when using the application? This application is
focused on providing the user with the feeling and excitement of using the
actual synthesizer for which it is based.

Not only for a techno fan, but for any music lover!! Feel what it is like to
create your own music!!
Try this application to experience the "the birth of sound and music."


The main functions

■LOGIC BOX
Sound effects such as Shepard Tone and rhythms from music by LOGIC SYSTEM
have been made directly into the sound source.

■MUSIC
You can use your iPhones own music library as a sound source. (However,
certain tracks which are covered under DRM may not be used).

■Microphone function
You can use sounds which have been recorded with microphone.

■Preset function
You can explore the potential of the TANSU Synth from various demo patterns.
Moreover, it can be utilized as a tutorial for beginners.

■VCO (Voltage Controlled Oscillator), VCF (Voltage Controlled Filter), VCA
(Voltage Controlled Amplifier), LFO (Low Frequency Oscillator), EG (Envelope
Generator)

Enhance the basic functionality of an analog synthesizer. (Various sound
processing is possible.)

■It has an 2 channel 8 step analog sequencer!

(We are planning to add a function for converting to a 1 channel 16 step
sequencer)

■You can enjoy connecting and reconnecting the patch cord to creat sounds
just as with a real synthesizer.

■Three sound sources can be mixed by a three-channel mixer!

support：iPhone4S, iPhone5, iPad（Over iOS5.0）

Notes:
Commercial use of the works created by using this application is subject to the copyright clearance from right holders."

iTunes:
TANSU Synth - MUSIC AIRPORT.INC
iPads on eBay
iPod Touch on eBay

Endless Series v3.1

"Endless Series v3.1. was recently released adding RTAS, VST3 and standalone support. The standalone version is now available separately for a reduced price on the Mac App Store.

Endless Series is a unique effect based on the Shepard Tone auditory illusion, which generates mind bending infinite scales, psychedelic drones and fascinating sonic textures.

It works as a tone generator, a ring modulator, phaser, flanger or resonant filter bank effect.

Features:
• Additive Tone generator with up to 40 partials
• Circular pitch ring modulator, flanger, filter and 24 stage phaser FX
• Glissando, auto-stepped and MIDI stepped modes
• Many options to tweak harmonicity and timbre
• Stereo detune, phase offset and auto-panning
• Quantise pitches to 14 different scales
• Soft clipping, extra harmonics and noise modulation
• Fast ASR amplitude envelope in MIDI stepped mode
• MIDI reset-able for repeatable output
• 64-bit internal processing
• Integrated help system and user manual
• Integrated preset system for sharing presets across platforms
• 32 high quality factory presets
• VST2/VST3/AudioUnit & RTAS plugin formats & Standalone App
• 32-bit and 64-bit binaries"

www.olilarkin.co.uk

Oli Larkin releases Endless Series version 3

"Endless Series is unique synthesis and effect plugin based on the Shepard Tone auditory illusion. It generates mind bending infinite scales, psychedelic drones and fascinating sonic textures and works as a tone generator, a ring modulator, phaser, flanger or resonant filter bank effect.

Features:
VST2 / AudioUnit plugin based on the Shepard Tone auditory illusion
Additive tone generator with up to 40 partials
Circular pitch ring modulator, flanger, filter and 24 stage phaser FX
Glissando, auto-stepped and MIDI stepped modes
Many options to tweak harmonicity and timbre
Stereo detune, phase offset and auto-panning
Quantise pitches to 14 different scales
Soft clipping, extra harmonics and noise modulation
Fast ASR amplitude envelope in MIDI stepped mode
MIDI reset-able for repeatable output
Integrated help system
32 high quality factory presets"

http://www.olilarkin.co.uk

New Buchla Modules - 223e, 296, and 260e

http://buchla.com
Update: prices added after each description below.
via Ross / cray5656 / vicmod

"Model 296e SPECTRAL PROCESSOR

A 16 channel bandpass filter with built-in analysis and synthesis capability, the 296e can function as a real time performance filter, a programmable compound equalizer and even as a spectrum transferring vocoder.

Center frequencies are selected to complement the ear’s discrimination curve. Each frequency band has its own VCA input and envelope follower output, allowing for rather intricate transformations. The 296e can be split into two 8 band filters, with vocoding interconnections internally provided, or two 296e’s can be cascaded (with a behind-the-panel connection) with one performing spectral analysis, and the other synthesis.

A unique user interface can present instantaneous envelopes, thus creating a real time spectrum display, or two response curves may be entered, stored and edited in real time. Modulation may be applied to the response curves, creating some rather strange effects, and a “freeze” facility allows for storage of the instantaneous envelopes.

Envelope decay times are adjustable, and pre-emphasis may be applied to smooth the frequency response when vocoding.

All settings can be stored as presets in systems with a 225e or a 206e preset manager." $4600

"Model 223e TACTILE INPUT PORT

You don’t care for spatial control? The 223e substitutes an innovative arpeggiator for the rings of the 222e

This three panel unit tactile sensor responds to a feather-weight touch, or to several pounds of pressure. An additional (1 panel unit) module houses the outputs, the arpeggiator controls, and the edit facility.

The tactile surface is normally mounted in the first row of a 201e-12 or 201e-18 cabinet: alternatively, it may be mounted in the recently announced 201e-3u frame, relieving spatial binds in crowded systems.

An ergonomic array of 27 keys sense pressure and velocity; fourteen respond to location in one or two dimensions. Arrayed into multiple user-defined groups ranging in size from 1 to 25 keys, they produce a variety of user-programmed control voltages.

Location, pressure, impact and tuned voltages, as well as pulses, are presented at a total of 30 outputs. The LCD based user interface is remarkably simple and flexible. The arpeggiator features multiple patterns, internal and external clocks, and many other sundry features.

All settings, including key programming, can be memorized and recalled by the 225e or 206e preset manager" $2550

"Model 260e DUOPHONIC PITCH CLASS GENERATOR

The Model 260e Duophonic Pitch Class Generator consists of two independent, voltage controlled pitch class generators. (A pitch class generator produces a singular pitch in every perceivable octave.) Frequency modulation inputs and a five band spectrum-shaping facility are provided.

When switched to the "barber pole" mode, an internal computer takes over pitch control of both generators, and issues pulses for triggering an external envelope generator (a model 281e, for example), which in turn can drive a voltage controlled amplifier (like a model 292e dynamics manager). When the 260e's output signals are gated through the latter, Shepard tones and other auditory illusions (such as the tri-tone paradox) may be produced.

The rate of change is variable to 2.5 octaves per second in either direction, and is voltage controllable. Additionally, the pitch intervals can be adjusted from quarter-tones to tri-tones to continuous (for Risset tones).

With its multi-voicing, equalization, envelope shaping, and frequency modulation capabilities, you will find the 260e musically more interesting than the standard Shepard tone generator employed in perceptual psychology experiments.

The settings of the 260e can be stored and retrieved as numbered presets with a model 225e or 206e preset manager." $900

Sanfrancisco Electronic Music Festival via Brian Comnes

Remember the SFEM? The following are Brian Comnes' notes on the last Friday of the event.

act 1 - Barbara Golden, a big Bay Area name in alternative music came out and read a piece of prose about getting lusty with some now dead poet, allegedly Lenoard Cohen's mentor, and there was a home slide show of her in the 70's with canned bouzuki music - a nice prose spoken word piece, but wierd for the SFEMF is you think about it

Act 2 was Steven Roden, his rig is in the picture I attached and as far as I can tell it is a few guitar delay boxes and some sound sources, harmonicas, slide guitar, and including the wooden peach crate which is apparently rooted in some electronica history , very nicely done piece but it put me to sleep, hardly synth porn..... here is another shot from the sfemf press photos site, hey he's playin a harmonica, not biting his nails.

Act 3 part 1 was a 12 minute set of Risset Tones (Risset tones are based on the work of Roger Shepard in the 1960's and the further developments made later by Jean-Claude Risset, RissetTones is designed to create an acoustical illusion. Perhaps best explained as the aural equivalent of the barber pole, the product of the RissetTones is a gliding tone which seems always to be moving either up or down in pitch while staying in the same general position.) Bottom line is that it was about 9 minutes too long, heck I could have done that with a copy of AudioMulch and 2 mouse clicks, a lot of people were looking at their watched at the 5 minute mark, to top it off I think it was from CD and not genrated live.

Act 3 part 2 piece by Toronto-based James Tenney whose piece which was played back from CD with a live percussion overlay by percussionist William Winant. He showed up with about 80 pieces of kit, including tuned Bundt cake pans, assorted pan lids in addition to a gong, tympani and other more traditional drum stuff but look at that other attched picture and you will see a door bell buzzer (!) in a box that was fileterd by opening and closing the lid, the canned track part seemed to be random synth burps and gee if I had 80 things to bang on I'd like to think I could keep it going, he had some great techniques though with the gong and tympany by rubbing on them with a mic'ed stick of some sort

the best of the evening was before the show .....a multimedia installation at Recombinant Media Labs by Semiconductor....the venue is superb, you are surrrouned by ten 15 foot wide by 8 foot high video screens in a 30X45 foot room and it has 16 channel surround, the video was NASA video and still shots of the sun using the solar energy patterns worked down to audible levels and added harmonics, i.e. the whiter the screen the louder the music, ...its a really cool way to experience solar flares to say the least

also I didn't see it but on Thursday night Brenda Hutchinson was playing this rig"