ELECTRONIC MUSIC SYNTHESIZER BUILDING WORKSHOP

Published on May 12, 2016 audiovisuality

"Discover electronics and sound design while making your own music synthesizer with sound designer, Andrew Bucksbarg. You will learn basic electronics including schematic reading, IC chips, bread-boarding, oscillators and simple circuits for sound-making and filtering, sound design concepts, and adding controls and sensors that react to touch, temperature and light. The workshop will provide expert instruction to build your own sonic electronics and get you thinking about new ways of composing, controlling and performing with your first electronic, analog mini-synth. The instrument includes a 1/4" output so it can be sampled and incorporated into your own beats, compositions, and performances. Once you have finished the workshop, it’s yours to take home and use or design further! This class is suitable for all levels, all materials for the workshop are included."


"MAY 21: ARTIST ANDREW BUCKSBARG LEADS WORKSHOP IN ELECTRONIC MUSIC SYNTHESIZER BUILDING AND SOUND EXPLORATION

Los Angeles, CA - Discover electronics and sound design while making your own music synthesizer with sound designer, Andrew Bucksbarg through a collaboration with the design collective Poketo and The Line Hotel. You will learn basic electronics including schematic reading, IC chips, bread-boarding, oscillators and simple circuits for sound-making and filtering, sound design concepts, and adding controls and sensors that react to touch, temperature and light. The workshop will provide expert instruction to build your own sonic electronics and get you thinking about new ways of composing, controlling and performing with your first electronic, analog mini-synth. The instrument includes a 1/4" output so it can be sampled and incorporated into your own beats, compositions, and performances. Once you have finished the workshop, it’s yours to take home and use or design further! This class is suitable for all levels, all materials for the workshop are included.

Saturday, May 21, 2016, 11am-5pm , $250.00

For more information and to sign up visit- www.poketo.com/electronicmusic

The Line Hotel:

3515 Wilshire Blvd. Los Angeles, CA 90010
Phone: 213 - 381 - 7411 Ext: 3076

Andrew Bucksbarg (N_DREW) is an artist, musicican, producer, controllerist and audio-visualist. Andrew was an early innovator of hacking and circuit bending and noizical instrument building. He has over a decade of experience teaching courses and workshops in art, new media and sound design. Andrew's work appear has appeared in museums, galleries and festivals internationally, including installations/performances at The Hammer Museum in Los Angeles, The St. Louis Art Museum, and The Santa Monica Museum.

In need of a little post-workshop R&R? Book a room online at thelinehotel.com with code: POK3515 and receive a very special Friends and Family rate from Poketo. Some exclusions may apply."

Upcoming Sound Labs at Amsterdam Dance Event Oct 14 - 18

Workshops at this years' Amsterdam Dance Event currently include Moog, STEIM, Ginko Synthese, and Falafular Synths. Details follow.

ADE Sound Lab: a modular synth heaven

"The modular synthesizer has always been an integral part of dance music, and ADE Sound Lab will shed a light on its heritage during a three day modular synth bonanza.
If you're planning on visiting ADE Sound Lab make sure to grab the annual ADE Card, which allows you to access MusicTalks and live performances.

Modular synths have been on the rise of late. Their new found popularity boosted the modular market in unforeseen ways. The market has spiked like never before, and there are ever more and more musicians, artists and producers making their own modular set up in search of unique sounds and machinery.

ADE Sound Lab focuses on the history and heritage of synths by inviting sound designers, inventors and even some legends of the modular world to inspire you with talks, workshops, performances and a Modular Market. By exhibiting the latest inventions in (modular) synthesis ADE explores the realm of the development of new electronic instruments, (modules for) modular synthesizer systems and audio installations, as well as innovations in the field of image and visualisations of sound. Amongst other work, ADE Sound Lab introduces the Modular Expo.

Do It Yourself Synth Building Workshops
You can not only play around with existing modules and modular systems, but you can also build your own synthesizer. ADE Sound Lab offers several Do It Yourself workshops, some free of charge, others for a fee. The latter will ensure you can take your brand new, playable synth back to your home studio.

Moog’s Chris Howe will head the workshops on Thursday and Friday. Friday will see a workshop that will be led by STEIM - Hypothetical Instruments, which will focus on the future of electronic music, what instruments will be needed and how we will correspond with those yet-to-be-invented modules. On Saturday, the DIY Workshop will be hosted by Ginko Synthese who will let you build your own synth with their very own DIY kits. They’ll even let you make a case to harness the instruments. Falafular will host on Saturday. If you like to learn more about prices and workshop registration, keep a close eye on our website and the respective event pages.

Workshops
Moog Werkstatt by Chris Howe (Moog Music Inc, US)
Werkstatt Workshop provides a way for synth experts and novices alike to explore subtractive synthesizers. Through hands-on instrument modifications, participants will learn the fundamentals of subtractive analog synthesis and the control voltage paradigm. Analog synthesizers have long had their own maker culture born of curious engineers, physicists and hobbyists who have created and crafted their sounds through electronic experimentation. It is our goal to share our love for learning, music, and electronics by encouraging everyone to create the world they want to hear, one mod at a time.

STEIM - Hypothetical Instruments
In this workshop you can design machines for creative expression. Working with low and no-tech, you’ll build non-functional instruments aimed at inventing the music machine of the future. By taking as a starting point how an individual imagines the experience of playing electronic music, we will spend the afternoon making the perfect machine or instrument for that person. This process is directly informed by the designers and researchers from Native Instruments, Johannes Kepler Universität and STEIM, with the goal of making instruments that are positioned on the bleeding edge of technology.

Ginko Synthese
Ginko Synthese, the braindchild of Jan Willem Hagenbeek, aims to close the gap between the stage and the studio. At ADE Sound Lab they will be presenting easy to build cheap DIY kits. The components are available at a reasonable price. The popularity of these kits is currently spreading across the world fast, meaning that a lot of new user codes are becoming available almost weekly. You can use these modules as granular oscillators, wavetable oscillators, drum synths and even as clock sources just by uploading a different code.

Falafular Synths
Falafular is the SDIY brand that enabled Falafelbiels (Niels Kloet) to build himself a fabulous modular synthesizer. The ’S’ in SDIY stands for soldering, and Niels Kloet will show you the nit and grit of Do It Yourself synth building.

ADE Sound Lab is organised by ADE, in cooperation with Creative Industries Fund NL, the Dutch fund that offers sound pioneers and innovators an opportunity to demonstrate what they are working on, as well as helping them to develop their talents further in a 'hot house' environment.

ADE Sound Lab
Dates: Thursday Oct. 15 - Saturday Oct. 17
Time: program starts at noon
Venue: Compagnietheater
ADE Sound Lab is a free program (except for the ADE MusicTalks series and live performances, free for ADE Card holders, also accessible for 1 & 5 Day conference ticket holders)."

The Wobbulator

Note this is a good follow up to this post on The Alchemists of Sound.

via sine in this electro-music.com thread:

"The wooden boxy thing in the front of the picture with the round dail is the workshops wobbulator, the plexi thing on thop of that is the crystal palace, something we woud call a scanner these days."

via Brainstormer in the same thread:
"I've read about one of these devices in a few BBC Radiophonic Workshop related articles. I'm wondering if it would be possible to construct something as unique as this to be used in a modular synthesizer?

I can find very little concise technical information regarding these devices, only application info, so it may be a null discussion point. Unless someone here has a more in-depth knowledge of them?

Here's a few articles that mention the wobbulator:
Quote:
Early on, the Workshop acquired a wobbulator, originally designed for engineering tests but also very useful as a source of raw material. This created a tone whose pitch was continuously varied by a second oscillator, thus providing sweeping waves of sound.
http://whitefiles.org/rws/r02.htm

Quote:
The chief inventor, David Young, came up with contraptions like ‘the Wobbulator’ and ‘the Crystal Palace’ to produce brand-new sound textures, and nothing could ever have been done without the ‘Donotfiddlewith’, a delicate tape-tensioning device made out of Meccano and labelled in felt-tip with an anti-tamper warning.
http://www.timeout.com/london/music/features/4493/Fifty_years_of_the_BBC_Radiophonic_Workshop.html

Quote:
But the 'Ooh-ooh-ooh' isn't me… that's wobbulator, pure wobbulator. That's a piece of test equipment that does wave sweeps.
http://www.delia-derbyshire.org/interview_surface.php

Quote:
The melody notes were also recorded individually, and at half-speed to achieve the desired pitch, while the hiss and windbubble effects were created by carefully filtering white noise through a wobbulator.
http://www.millenniumeffect.co.uk/audio/index2.html

Quote:
They also had a couple of high-quality equalisers (again, test equipment - equalisers, or "tone controls", were not that easy to come by at the time) and a few other gadgets including a "wobbulator" (a low frequency oscillator) and a white noise generator.
http://ourworld.compuserve.com/homepages/Mark_ayres/DWTheme.htm

Quote:
Wobbulating The World
In the early '60s, synthesizers simply did not exist. Producer Joe Meek was using the monophonic, valve-operated Clavioline but the Radiophonic Workshop, oddly enough, never had one. What they did have, though, was all the test oscillators that they could beg, borrow or steal from other BBC departments. A method was devised for controlling 12 oscillators at a time, triggering them from a tiny home-built keyboard of recycled piano keys. Each oscillator could be independently tuned by means of a range switch and a chunky Bakelite frequency knob.

There was also the versatile 'wobbulator', a sine-wave oscillator that could be frequency modulated. It consisted of a very large metal box, with a few switches and one very large knob in the middle that could sweep the entire frequency range in one revolution. They were used in the BBC for 'calibrating reverb times in studios' apparently. And as far as the Workshop's electronic sound sources went, that was it!
Yet, curiously, it is the work produced in those early years that the Radiophonic Workshop's reputation still hangs on. The Doctor Who theme was first recorded in 1963, and still there are fans who insist that the original is the best of many versions made over the years. What's more, some of the sound effects made for the first series of Doctor Who are still being used! When the newly revamped Doctor Who appeared in 2005, hardcore fans recognised the original effects and wrote to Brian Hodgson: "How nice to hear the old original Dalek Control Room again, after all these years!"

Brian's 'Tardis' sound, dating from 1963, is also still used. "I spent a long time in planning the Tardis sound," says Brian. "I wanted a sound that seemed to be travelling in two directions at once; coming and going at the same time." The sound was actually made from the bare strings of a piano that had been dismantled. Brian scraped along some bass strings with his mum's front-door key, then set about processing the recordings, as he describes it, "with a lot of reverse feedback". (By this, I assume he means that tape echo was added, then the tape reversed so that it played backwards.) Eventually, Brian played the finished results to Dick Mills and Desmond Briscoe; at their insistence he added a slowly rising note, played on the wobbulator.
http://musicandculture.blogspot.com/2008_03_01_archive.html

BBC RADIOPHONIC WORKSHOP - A Retrospective

"50TH ANNIVERSARY RELEASE

DOUBLE CD, RELEASE DATE: 3rd NOVEMBER 2008

Mute are proud to announce the release of a 50th Anniversary Retrospective double CD from the Radiophonic Workshop. This brand new compilation features classic, extremely rare and previously unavailable sounds and music by the legendary BBC organisation. Presented in chronological order, the CD includes works from stalwarts of the Radiophonic Workshop such as John Baker, Delia Derbyshire, Daphne Oram, Elizabeth Parker, Desmond Briscoe, Paddy Kingsland, Peter Howell and Malcolm Clarke amongst others.

This Retrospective features over 100 pieces of music and sound effects from various BBC TV and Radio shows from 1958 through to 1997. Including work from Quatermass and the Pit, The Goon Show, The Secret War, Blake’s Seven, The Hitchhiker’s Guide to the Galaxy, Salem’s Lot, The Demon Headmaster, Michael Palin’s Full Circle as well as the original full length Dr Who Theme and the Tardis effects.

Using reel-to-reel tape machines, early heroines such as Daphne Oram and Delia Derbyshire recorded everyday or strange sounds and then manipulated these by speeding up, slowing down or cutting the tape with razor blades and piecing it back together.

The pioneering techniques were created for and used on a myriad of programmes, with Dr Who being their biggest client. The sound of the Tardis in Dr Who was a sound engineer's front door key scraped across the bass strings on a broken piano. Other impromptu props included a lampshade, champagne corks and assorted cutlery.

Ten years ago the workshop was disbanded due to costs but its reputation as a Heath Robinson-style, pioneering force in sound is as strong as ever, acknowledged as possibly the greatest influence on UK electronic music, influencing the likes of Jon Spencer, Aphex Twin, Daniel Miller, Add N to (x)…. The corporation initially only offered its founders a six-month contract, because it feared any longer in the throes of such creative and experimental exercises might make them ill.

Also released on the same day are the albums BBC Radiophonic Workshop and BBC Radiophonic Music, The BBC Radiophonic Music CD concentrates on the more musical output of the legendary organisation while BBC Radiophonic Workshop deals with the pioneering sound effects and methods used to achieve them.

These releases continue a series that began on The Grey Area of Mute with the release of Doctor Who at the BBC Radiophonic Workshop Volume 1: The Early Years 1963-1969 and Volume 2: New Beginnings 1970-1980."

Neanderthals Electronics workshops on tour April-June 2009!

".:::DATES + CITIES:::.

20-24 Apr: Queen St. Studios, Belfast UK
04-09 May: eNKa, Berlin DE
25-29 May: Lydgalleriet, Bergen NO
01-05 Jun: WORM, Rotterdam NL

.:::NEANDERTHAL ELECTRONICS:::.

More than 40,000 years ago, our Neanderthal predecessors invented the first music instruments from simple objects around them (bones and stones, sticks and skins...), without reference to any existing music history, and primarily for their own pleasure rather than that of others.

Nowadays, we use complex audio hardware and software which make it "easier" to make music, so long as we channel our creativity into such socially acceptable avenues as Western Classical or Minimal Techno. As with any established genre, the results are often completely predictable, and therefore quite boring.

But some of us, deep in our wild hearts, still long for the Stone Age simplicity of pure noise!

This 5 day workshop is designed for 8-10 people, possibly with a background in sound, but with no previous electronics experience. They are shown how to use simple objects from our modern environment (resistors, capacitors, transistors, LEDs, integrated circuit chips...) to design and build their own personal, customized primitive noise synthesizers. Each is a tiny world of its own, using primitive analog computers in combination with feedback, sensors and audio inputs to create a unique sound. Even from the same plan, no two are alike!

Participants are encouraged to use found materials for the construction of their personal instrument. The workshop concludes with a group performance and an invitation to the audience to experiment with each of the instruments which have been created.

.:::VIDEOS FROM PREVIOUS WORKSHOPS::::.

http://www.vimeo.com/album/64426
[You might remember these from this previous post]


Neanderthal Electronics workshop, Tartu Estonia from macumbista on Vimeo.


Copenhagen Noise Workshop from macumbista on Vimeo.

.:::ABOUT THE INSTRUCTOR:::.

Derek Holzer (1972) is an American sound artist living in Berlin, whose current interests include DIY analog electronics, sound art, field recording and the meeting points of electroacoustic, noise, improv and heavy metal music. He has played live experimental sound as Macumbista or Derek Holzer--as well as taught workshops in Pure Data and electronics--across Europe, North America, Brazil and New Zealand.
http://blog.myspace.com/macumbista
http://www.vimeo.com/macumbista
http://www.umatic.nl/info_derek.html

.:::REGISTRATION INFO:::.

Please register early for all workshops, as they are limited to 10 places each! All workshop fees include electronic components + use of tools.

BELFAST

***DATES: Monday 20 April - Friday 24 April 2009 10.00-16.00 daily
***LOCATION: Digital Arts Studios, 37-39 Queen Street Belfast BT1 6EA
***COST: This workshop is FREE!
***FINAL PRESENTATION: Saturday, 25 April 2009 9pm til late. Catalyst Arts, 5 College Court Belfast BT1 6BX. £5 donation welcome.
***REGISTRATION: events@digitalartsstudios.com or phone 02890312900

BERLIN

***DATES: Monday 4 May - Saturday 9 May 2009 12.00-18.00 daily
***LOCATION: eNKa / ElsenStr. 52 (2.Hof) Berlin, Germany
***COST: 120 EUR
***FINAL PRESENTATION: Saturday 9 May, 19.00, eNKa
***REGISTRATION: eNKa_NK@gmx.de www.myspace.com/enka52 +49 (0)176 20626386

BERGEN

***DATES: Monday 25 May - Friday 29 May 2009 10.00-16.00 daily
***LOCATION: Lydgalleriet, Østre Skostredet 3, Bergen, Norway
***COST: 500 NOK (approx 56 EUR)
***FINAL PRESENTATION: Friday 29 May, 19.00, Lydgallerie
***REGISTRATION: post@lydgalleriet.no +47 48 23 78 88

ROTTERDAM

***DATES: Monday 1 June - Friday 5 June 2009 11.00-18.00 daily
***LOCATION: WORM, Achterhaven 148, Rotterdam
***COST: 50 EUR
***FINAL PRESENTATION: Friday 5 June, 21.00, WORM, 5 EUR entry
***REGISTRATION: workshop@moddr.net

--
::: derek holzer ::: http://blog.myspace.com/macumbista ::: http://www.vimeo.com/macumbista :::
---Oblique Strategy # 193:"

KISS2014: ORGANIC SOUND - Kyma International Sound Symposium

"Lübeck Germany, 25-28 September 2014
Workshops, Talks, and Live Performances on Kyma and 'Organic Sound'

Champaign, June 19, 2014 — From organs (biological) to organs (musical), this year’s Kyma International Sound Symposium (KISS2014), to be held in Lübeck Germany from 25-28 September 2014, will explore multiple meanings of the phrase “organic sound” through technical talks, live performances, and hands-on workshops. Sound designers, composers, and live performers are invited to participate in a wide range of thought-provoking activities including:

• An examination of how to emulate the organic sound of the analog recording studio using Kyma, presented by composer/sound engineer Greg Hunter of Dub Sahara

• A special evening of “pipe organs like you’ve never heard them before” in the experimental, virtuosic hands of master organist/composer Franz Danksagmüller and his students

• Intensive afternoons in The Collaboratory creating and rehearsing several world premieres including a live sound track for a new film by experimental filmmaker Theo Lipfert performed by faculty and students of the Musikhochschule Lübeck processed through Kyma

• A hands-on “plantification” workshop where you’ll learn from Rudi Giot and his graduate engineering students how to control Kyma sounds through the growth of living plants

Events will kick off on Thursday with the unveiling of a major new release of the Kyma software and will culminate on Sunday with an evening of dancing to Kyma beats at club Parkhaus. The full program is online at: http://kiss2014.symbolicsound.com/detailed-program

[PHOTO: Franz Danksagmüller and friends performing a live sound track to a silent film in the MHL Concert Hall]

About the Symposium
Hosted this year by Franz Danksagmüller and the Musikhochschule Lübeck, each morning of KISS2014: “Organic Sound” features technical/philosophical sessions on topics ranging from voice processing, to sonification of organic chemicals and the Internet, to organic growth and decay, to how to build your own performance controller and use it to control Kyma via OSC, to presentations by individual composer/performers detailing how they utilize Kyma in their live performances and installations.

[PHOTO: Technical/philosophical talks will take place in the MHL Kammermusiksaal]

Afternoons are dedicated to interaction and hands-on activities including open rehearsals of collaborations-in-progress in The Collaboratory, a workshop on Conduction ensemble improvisation techniques presented by London Improvisers Orchestra trombonist and Kymaist Robert Jarvis, and the Kyma Open Lab where Kyma experts (Jeffrey Stolet, Cristian Vogel, Bruno Liberda, Scott Miller, Kurt Hebel, Carla Scaletti and others) will be on hand to answer your questions and consult with you on your current projects.

[PHOTO: Afternoons are dedicated to hands-on workshops and musical collaborations in The Collaboratory]

This year’s KISS features more live performances than ever before, with concerts every evening showcasing some of the best work created in Kyma this year, presented in the acoustically perfect MHL Große Saal and the Jakobikirche Lübeck with its three historically important pipe organs, famously decorated with faces on every pipe.

[PHOTO: The famous organ pipes with faces in Jakobikirche Lübeck have become a symbol for KISS2014 “Organic Sound"]

Check out the exciting lineup of presenters, composers, performers and Kyma experts here.

Who should attend
Anyone who lives for sound — whether you are a novice looking to kickstart your career, an expert seeking a fresh jolt of inspiration, or simply someone who is curious about sound and Kyma — you will find in KISS2014 a chance to meet kindred spirits and immerse yourself in sound and ideas for four intense and inspiring days and nights of non-stop discussions, interactions, music and sound design.

Here’s how Chicago-based sound designer and re-recording mixer, Dustin Camilleri (http://www.pulsetrain.net) describes his experience at a previous KISS:

“…The unique thing about Kyma, I find, is that it appeals to such a wide spectrum of people doing such an amazingly diverse set of things, but sharing a common language. The conversations I had were so incredibly inspiring; the performances I saw were just over the top, and the community at large was just some of the nicest most genuine people I’ve ever had the pleasure of spending some time with.”

Registration and travel
Registration is now open: http://kiss2014.symbolicsound.com/kiss2014-registration. Discounts are available for students and for anyone registering before 1 August 2014.

For travel and lodging information, please visit: http://kiss2014.symbolicsound.com/travel-and-lodging

More information
Stay apprised of the latest KISS2014 news:

KISS2014 Site: http://kiss2014.symbolicsound.com
Facebook: https://www.facebook.com/pages/Kyma-International-Sound-Symposium/241910735840451
Twitter: http://twitter.com/KymaSymposium

Contact the organizers: mailto:info.kiss2014@gmail.com"

MOOGFEST 2017 UNVEILS FULL SCHEDULE OF 100 WORKSHOPS & MASTERCLASSES

via Moogfest

"- Moogfest attendees engage in an ecosystem of ideas, experiments, and specialized skills

Durham, North Carolina (April 5, 2017) – Today Moogfest unveils the full schedule for the expansive four-day festival. Exploring the future of technology, art, and music, the festival includes more than 300 musical performances, daytime workshops, conversations, masterclasses, film screenings, live scores, durational sound installations, and interactive art experiences.

The full schedule can be found online at http://moogfest2017.sched.com

*Please note, the full schedule can be viewed on Sched; however, registration and adding sessions to your personal schedule won't be available until sign-up opens Friday, April 7, at 12:00 noon ET for Engineer ticket holders; Tuesday, April 11, at 12:00 noon ET for VIP ticket holders; and Tuesday, April 18, at 12:00 noon ET for all ticket holders.

Moogfest celebrates the legacy of Bob Moog, a visionary engineer who pioneered the analog synthesizer and other technology tools used by artists like Stevie Wonder, David Bowie, and Kraftwerk. This year’s program will feature over 260 innovators in music, art, and technology -- from Flying Lotus, Animal Collective, Suzanne Ciani, Gotye and Princess Nokia to Dr. Kate Shaw, an experimental particle physicist working on the ATLAS Experiment at the Large Hadron Collider, and Joe Davis, a pioneer in creating art with genes and bacteria at MIT Media Lab. Moogfest takes place in Durham, North Carolina, a fast-growing capital of technology, culture and entrepreneurship.

Happening Thursday, May 18 - Sunday, May 21, with hundreds of artists, speakers, and sessions across downtown Durham, Moogfest contains a vast galaxy of discovery. Workshops are an essential part of the Moogfest program, as the platform prioritizes intimate spaces for collaboration and creativity. In these open learning environments, participants interact with technology tools that allow humans to creatively express themselves in new ways, so that we can design the future we want to see and hear.

CLICK FOR MORE »

MOOGFEST REVEALS MUSIC LINEUP AND PROGRAM HIGHLIGHTS

Details are in. Via MOOGFEST:

"Over 150 participating artists including Flying Lotus, Animal Collective, Gotye, Suzanne Ciani, Derrick May, 808 State, Jessy Lanza, Simian Mobile Disco, Moor Mother, Syrinx, Visible Cloaks, Princess Nokia, and Function added to growing list of Moogfest 2017 participants

Gotye Presenting a Tribute to Jean-Jacques Perrey, The Center for Deep Listening Honoring Pauline Oliveros, and Peanut Butter Wolf Honoring Bernie Worrell and Other Musicians We’ve Lost

Over forty performing artists also leading workshops and sessions in four-day conference program

The independent, annual, four-day festival will take place in
Durham, North Carolina from May 18-21, 2017. This year marks its 11th iteration honoring the spirit of inventor Bob Moog.

$249 for 3-Day General Admission and $499 for 3-Day VIP

All prices exclusive of applicable fees.

Durham, NC (March 7, 2017): Today, Moogfest reveals its lineup of musical performers, led by Flying Lotus, Animal Collective, Gotye, Suzanne Ciani, Derrick May, 808 State, Simian Mobile Disco, Syrinx, Jessy Lanza, and Function. Building on the experimental format of previous years, Moogfest continues to integrate Future Sound (performances) and Future Thought (conference) programming, with many of these artists also leading sessions during the daytime conference program.

Moogfest’s trademark mix of intimate venues and masterful collaborations creates an unforgettable experience festival-goers will not find anywhere else. Experimental electronic and avant-garde dance music is complemented by thematic programming like Black Quantum Futurism, Protest, and Techno-Shamanism that span day-into-night. This year returns with adventurous formats such as live film scores, an overnight live music sleep concert, prelude to sleep listening parties, long-form durational performances, and presentations by leading Instrument Designers.

Moogfest has also invited artists including Gotye and Peanut Butter Wolf to help honor some of the innovative musicians we lost in 2016, including Jean-Jacques Perrey, Pauline Oliveros, Bernie Worrell and Keith Emerson. This 2017 lineup reinforces Moogfest’s commitment to bold experimentation, with some of the most important musicians and thinkers of our day helping to blur the lines between audience and artist, conversation and collaboration, technology and creativity.

CLICK FOR MORE »

Moogfest 2017: Program Themes & Lineup Announcement

Just a heads up, the lineup for Moogfest 2017 has been announced. As always, check out moogfest.com for full details on the event. The following is a small capture for the archives via the Moogfest newsletter.

"Hailed as 'the most adventurous and cutting edge' festival of 2016, Moogfest returns with a commitment to futurist conversations and performances that wrestle with our historic moment, and reflect on the festival’s home in North Carolina.

In celebration of its 11th iteration, Moogfest will unveil its lineup over the next 11 weeks through their weekly “Future Thought Future Sound” email newsletter, inviting the Moogfest community to explore program themes like Transhumanism, Techno-shamanism and Protest.

CLICK FOR MORE »

How to use the ESK32-30617 HT32F61357 Music Synthesizer MCU development board?

video by Jessica Ca

You might remember the Holtek HT36A4 8-Bit Music Synthesizer from this post.

"📌HT32F61357 Music Synthesizer MCU development board ESK32-30617
💻More Information

00:00​ 00:04​ Opening
00:05​ 00:10​ HT32F61357 Music Synthesizer MCU development board ESK32-30617
00:11​ 00:15​ Layout
00:16​ 00:40​ Development Environment
00:41​ 00:48​ Hardware Connect
00:49​ 01:52​ Audio Workshop software Setting
01:53​ 02:40​ Demo ESK32-30617
02:41​ 02:53​ ESK32-30617 with MuseScore3
02:54​ 03:46​ MuseScore3 Software set up
03:47​ 03:56​ www.BestModulesCorp.com


✒Description

The ESK32-30617 is a development board for Holtek Music Synthesizer MCU HT32F61357. It is convenient for users to develop MIDI / sound-related products with the Holtek music development platform Audio Workshop.

The Audio Workshop has internal integrated a wide variety of editing functions, such as MIDI, Sound, Effect, Sentence, etc., which can be quickly configured to generate target code. With the Audio Workshop, users do not need to write the program codes. The Audio Workshop provide tone editing function. Users can replace with their own tone for tone ADSR parameter adjustment to update tone parameters and simulate tone effects in time.

The MIDI / sound effect evaluation and simulation can be quickly implemented when users connect the micro USB of the ESK32-30617 to computer and work with the Audio Workshop.

✒Features
◆Power supply by USB
◆Editable MIDI
◆The Audio Workshop contains loading and editing MIDI functions (not includes MIDI2)
◆Audio output configuration and MIDI interface configuration
◆Tone parameters editing and replacing
◆With the Audio Workshop, users do not need to write the program codes

✒Product Information
◆Dimensions : 139 x 64 x 13 (mm)
◆Packing List :
- HT32F61357 development board ESK32-30617 x 1
- Nylon hexagon posts x 4

✒Resources
*Development platform : Audio Workshop
*Development board : ESK32-30617
*MCU : Holtek HT32F61357, 32-bit Arm® Cortex®-M0+ Music Synthesizer MCU, including datasheet, package dimension, etc.

🏢 Best modules corp.
🔗NO. 3, Creation Rd. II, Science Park, Hsinchu 30077, Taiwan
🤝service@bestmodulescorp.com"

Ult Sound DS-4 Toyo Gakki Drum Synthesizer Demo

Published on Nov 26, 2013 kanallı kanal·36 videos

Googlish description further below.

CLICK FOR MORE »

Mobile Music Making at the Berlin Summer University of the Arts

"App Music: Mobile Music Making
With Matthias Krebs July 29th – August 2nd, 2013

For quite a while now, making music with apps on smartphones and tablets has been more than simply a novelty. Some excellent music apps offer innovative digital musical instruments to the users. Additionally, digital music production has started to change. These apps already allow remarkable musical results, as demonstrated by the first serious album productions (e.g. “The Fall” by Gorillaz) and professional stage performances (e.g. by Jordan Rudess or the DigiEnsemble Berlin).

The summer school seminar will be a composition and sound workshop, in which participants will try out perspectives and potentials of “mobile music.” A range of different sounds and musical compositions will be developed in groups and discussed in a plenary session. Results of the interactive creative activities will be presented in a public performance at the c-base.

Starting with an overview of the different music apps, platforms, devices and interfaces, musical practices will be explored in the creative laboratory.Project groups will develop several performances and productions. The (partial) results will be presented in the workshop by the end of the last day. Additionally, a joint rehearsal with the musicians of the DigiEnsemble Berlin is scheduled. The last two days will be used to prepare the public performance in the c-base.

Central questions are:
• Can you express emotion and meaning with mobile music apps?
What possibilities are offered by mobile sensor controlled devices (such as smartphones and tablets) for music production and for future use as
musical instruments?
• Which musical forms, fields of application and performing practices can be shaped by music apps?

Participants
The workshop addresses interested parties as well as musicians, sound artists and music technologists, who are attracted by making music with digital sensor controlled devices and who are seeking an interactive exchange with others regarding new musical forms. At the same time, the workshop addresses composers and creative individuals (from the field of marketing/media production), who are keen on creating film material and background music for media productions.

Participants may certainly play on their own devices in the workshop, however, additional devices, peripheral equipment and amplifiers will also be provided.

Matthias Krebs is a music educator, physicist and opera singer. For many years now, he has participated in several theater productions as a sound artist and composer. He founded the DigiEnsemble Berlin at the Berlin Career College in 2010. Today, it is the first professional music ensemble, which is regularly performing mobile music on physical stages. Further, Krebs delves into the field of mobile music making in his blog as well as in several music article publications and in his current dissertation.

date: July 29th-August 2nd 2013
place: UdK Berlin, Bundesallee 1-12
fee: 400 € (from June 10th 2013: 420 €) No. of participants: 12 to 15
language: English
application deadline: July 1st 2013
Online registration: www.udk-berlin.de/summer-courses"

Daphne Oram documentary - Wee Have Also Sound-Houses & Early BBC radiophonics: Private Dreams and Public Nightmares (1957)

Daphne Oram documentary - Wee Have Also Sound-Houses

YouTube Uploaded by straypixel on Jan 6, 2012

"To mark the 50th anniversary in 2008 of the creation of the BBC Radiophonic Workshop, the programme examines the life and legacy of one of the great pioneers of British electronic music - the Workshop's co-founder Daphne Oram.

As a child in the 1930s, Oram dreamed of a way to turn drawn shapes into sound, and she dedicated her life to realising that goal. Her Oramics machine anticipated the synthesiser by more than a decade, and with it she produced a number of internationally-performed works for the cinema, concert hall and theatre.

Daphne Oram was among the very first composers of electronic music in Britain and her legacy is the dominance of that soundworld in our culture today.

Introduced by Robert Moreby
Produced by Ian Chambers
TX BBC Radio 3, Sun 3 Aug 2008 21:45"


Early BBC radiophonics: Private Dreams and Public Nightmares (1957)

YouTube Uploaded by straypixel on Jan 8, 2012

"An early BBC experiment in radiophonic sound, predating the establishment of the Radiophonic Workshop, created by Frederick Bradnum and Daphne Oram (pictured) and produced by Donald McWhinnie.
TX BBC Third Programme, 07/10/1957.

McWhinnie's spoken introduction (the work starts at 4:20):

"This programme is an experiment. An exploration. It's been put together with enormous enthusiasm and equipment designed for other purposes. The basis of it is an unlimited supply of magnetic tape, recording machine, razor blade, and some thing to stick the bits together with. And a group of technicians who think that nothing is too much trouble - provided that it works.

"You take a sound. Any sound. Record it and then change its nature by a multiplicity of operations. Record it at different speeds. Play it backwards. Add it to itself over and over again. You adjust filters, echos, acoustic qualities. You combine segments of magnetic tape. By these means and many others you can create sounds which no one has ever heard before. Sounds which have indefinable and unique qualities of their own. A vast and subtle symphony can be composed from the noise of a pin dropping. In fact one of the most vibrant and elemental sounding noises in tonight's programme started life as an extremely tinny cowbell.

"It's a sort of modern magic. Many of you may be familiar with it. They've been exploiting it on the continent for years. But strangely enough we've held aloof. Partly from distrust. Is it simply a new toy? Partly through complacency. Ignorance too. We're saying at last that we think there's some thing in it. But we aren't calling it 'musique concrète'. In fact we've decided not to use the word music at all. Some musicians believe that it can become an art form itself. Others are sceptical. That's not our immediate concern. We're interested in its application to radio writing - dramatic or poetic - adding a new dimension. A form that is essentially radio.

'Properly used, radiophonic effects have no relationship with any existing sound. They're free of irrelevent associations. They have an emotional life of their own. And they could be a new and invaluable strand in the texture of radio and theatre and cinema and television.'"

Also see:
Delia Derbyshire - Sculptress of Sound documentary 1 - 7

Pushing the Envelope: ADSR - Bob Moog Foundation Event

"Asheville Arts Council and Bob Moog Foundation Announce Collaborative Three-Week Exhibit, Pushing the Envelope: Attack, Decay, Sustain, Release

Opening: Saturday, July 9th at 8 p.m.
Workshops: July 13th, 20th, and 26th at 6 p.m.

Closing Evening of Performances: Saturday, July 30th at 8 p.m.

Asheville, NC, June 12, 2011 - Pushing the Envelope: ADSR is a forthcoming multimedia art show melding the historical roots of electronic music with the creativity of Asheville artists who have been inspired by the connections between analog synthesis and visual and performing arts. Bob Moog's pioneering work will serve as inspiration for the exhibit. The show will be held at The Artery in Asheville's River Arts District from Saturday, July 9th, through Saturday, July 30th. The Asheville Arts Council and the Bob Moog Foundation are cosponsoring the three-week exhibit.

Artists involved in the show will interpret the concept of shaping sound through an “envelope,” drawing inspiration from the synthesizer parameters attack, decay, sustain and release. Pushing the Envelope's participating artists are:

R. Brooke Priddy, Janice Lancaster Larsen, Adam Larsen, and Kima Moore —
A movement/installation/sound collaboration

Jason Daniello – An interactive, analog sound installation / performance

Gene A. Felice II & David Mcconville – An interactive, cymatics / analog sound collaboration

Elisa Faires – Sound performance / installation

River Guerguerian – Sound performance and workshop

Bridget Elmer – An analog sound-inspired letterpress print series & workshop

Shaun Hollingsworth – A BMF archive-inspired photo print series

Gabriel Shaffer – A painting / sculptural theremin exhibit

The work of 12 artists will surround a small selection of analog electronic instruments, schematics, notes, and ephemera from Bob Moog's archives, illustrating the connection between innovation, electronic sound, and creativity in the arts. A focal point of the show, the archives will illustrate both the history and the technology behind the Moog sound. This includes the envelope generator, a major component in music synthesis that controls changes in a sound’s loudness and spectral content over time. Most envelope generators control four parameters—attack, decay, sustain, and release—commonly referred to as simply ADSR.

There will also be a series of all-ages workshops focused on the show’s theme and on community outreach and education. Participants will have opportunities to learn about electronic synthesis, sound visualization, and art in a hands-on environment.

In addition, the show will give the Asheville Arts Council and the Bob Moog Foundation opportunities to highlight their respective missions and pay homage to art, music, and technology as intertwined mediums of expression that were all expressed in Bob Moog’s work.

“We are delighted to be collaborating with a breadth of Asheville's talented artists. Inspiring creativity, be it sonic, visual, technical, or intellectual, is at the heart of the Foundation's work. It's very exciting to see Bob Moog's work come alive through the exceptional talent that exists in our unique city.”

– Michelle Moog-Koussa, Bob Moog Foundation’s Executive Director

“Through the various forms of synthesis, we control the spectral content of sound and image as it changes over time. Through the modes of attack, decay, sustain, and release, we influence the sonic character of our work. The ADSR envelope will control the amplitude and frequency of creation. From nil to peak, subsequent rundown, the key is released, leveling to zero.”

– Gene Felice, Collaborating Artist & Curator for the show

“The legacy of Bob Moog and his impact on the creative community here truly cannot be overstated. We’re honored, not only to have the opportunity to pay tribute, but also to engage several of the area’s most vital emerging artists who continue to build upon Moog’s ingenuity.”

– Graham Hackett, Interim Executive Director of the Asheville Arts Council

The Bob Moog Foundation honors the legacy of synthesizer pioneer Bob Moog through its mission of igniting creativity at the intersection of music, history, science, and innovation. Its projects include the MoogLab Student Outreach Program, which brings electronic musical instruments into the schools to teach children science through music; the Archive Preservation Initiative, an effort to preserve and protect the inventor's extensive and historical archive; and the future Moogseum, an innovative educational, historical, and cultural facility that will bring Bob Moog's spirit alive through interactive, experiential exhibits.

The Asheville Area Arts Council is a non-profit service organization that seeks to enhance the capacity and impact of the creative sector, improving the quality of life for our entire community.

The Artery’s hours are 11 a.m. until 6 p.m. Tuesday through Saturday."

Moog Re-Introduces the Werkstatt-01 & CV Expander for $199

Moog Music Inc

"In this exploration of sound design and composition using the Werkstatt-01 analog synthesizer, Asheville-based electronic music producer and Moog Product Specialist Max Ravitz combines eight Werkstatt-01 synthesizers in a dynamic performance in the Moog Sound Lab.

Each of the eight Werkstatt-01 instruments provides a different element in the song ranging from booming kick drums to metallic hi-hats, and deep basses to wavering leads—many of which are based on the sounds found in the Werkstatt-01 Exploration Patchbook, which contains a variety of inspiring patches also designed by Ravitz. All eight Werkstatt-01 synthesizers in this performance are sequenced by the Winter Modular Eloquencer, with a touch of delay and reverb provided by the OTO Machines BIM and BAM to add dimension to the mix."

See the dealers on the right for availibility.

User videos:



Playlist:
1. Moog Werkstatt Overview and Demo by Patchwerks Seattle, available here: http://bit.ly/pw-werkstatt
2. A $199 Moog?! Moog Werkstatt-01 Analog Synth Demo & Build - Reverb
3. TOO Much Werk?? The Moog Werkstatt-01 & CV Expander - Noir Et Blanc Vie
4. Building + Playing Moog Werkstatt-01 + CV Expander Analog Synthesizer Kit - Lightbath
5. Moog Werkstatt-01 (From Build to ACID) - Red Means Recording
6. Moog Werkstatt-01 & CV Expander reissue 2020 build and review - Molten Music Technology

via Moog Music:

"Re-Introducing Werkstatt-01

Werkstatt-01 is a patchable and compact analog synthesizer. A gateway to the expansive world of analog synthesis, the instrument is a must-have for anyone interested in exploring classic Moog sound and circuitry through the unique, hands-on experience of a DIY synthesizer project. This affordable, easy-to-assemble kit requires no prior electronics experience and is a perfect afternoon (or Christmas morning) project.

The straightforward simplicity of Werkstatt-01’s design makes it an ideal jumping-off point to discover a limitless new world of analog sound design, and the included 3.5mm CV Expander makes it a no-brainer for everyone wishing to integrate the iconic Moog sound into their music. The 9" by 6" musical machine may be small, but the raw power and spectrum of the sound it produces is immense.

From Musical Exploration to Experimental Education

First introduced at Moogfest 2014 as part of the event’s Engineering Workshop, the Werkstatt-01 analog synthesizer has been admired as an essential introductory synth, a powerful standalone instrument, and an enhancement to any integrated electronic music ecosystem. Based on classic Moog circuitry, Werkstatt-01 was created to provide a hands-on understanding of how analog synthesizers work and encourage experimentation with sound through patching and interconnectivity.

The research and design that went into Werkstatt-01’s circuits, and the demand for more semi-modular exploratory analog instruments after its initial release, ultimately led to the development of some of today’s most expressive sound design machines: Mother-32, DFAM, Grandmother, Matriarch, and Subharmonicon.

More than a musical instrument, Werkstatt-01 has also served as an interactive educational tool in STEM curricula. The compact, versatile synthesizer has been the heart of the Georgia Tech Hackathon, a weekend-long competition that takes place each February at the Atlanta university’s Center for Music Technology, for six years and counting. The 2021 Georgia Tech Hackathon will be held virtually; see details here.

The easily mod-able analog synth kit has also proven to be a perfect learning ground for DIY modifications and the science of sound. This page of our website features a series of instructional videos to walk you through how to expand your instrument through breadboarding and arduino integration.

Classic Moog Sound & Circuitry

Werkstatt-01’s 100% analog circuits deliver the classic soul and futuristic sound Moog synthesizers are known for. Featuring a full-range analog oscillator with selectable waveforms for powerful sound and the legendary Moog Ladder Filter for precision harmonic sculpting, this instrument covers a vast expanse of sonic territory. Adding movement and modulation is as simple as engaging Werkstatt-01’s analog LFO circuit to simulate the motion of gently breathing waves, or crank up the LFO speed and summon cosmic laser beams. A two-stage analog envelope generator with sustain gives you control to shape dynamics, dialing in everything from lush electronic string swells to punchy basslines and organic percussion hits—and everything in between.

The included CV Expander allows you to enter the endless realms of modular synthesis, where new connections can be made and original sounds are unlocked. Patching inputs and outputs together from the 12 jacks of the 3.5mm patch bay will reconfigure Werkstatt-01’s circuits to create new signal paths and empower new sonic explorations. The included CV Expander also makes it easy to connect Werkstatt-01 to other Moog semi-modular synthesizers, Eurorack systems, or drum machines, enhancing any configuration with powerful analog sound."

See the dealers on the right for availibility.

The New Sound Of Music 1979 - BBC Documentary Featuring EMS & More

YouTube via JeffreyPlaide | October 17, 2010 |

"The New Sound of Music is a fascinating BBC historical documentary from the year 1979. It charts the development of recorded music from the first barrel organs, pianolas, the phonograph, the magnetic tape recorder and onto the concepts of musique concrete and electronic music development with voltage-controlled oscillators making up the analogue synthesizers of the day. EMS Synthesizers and equipment are a heavily featured technology resource in this film, with the show's host, Michael Rodd, demonstrating the EMS VCS3 synthesizer and it's waveform output. Other EMS products include the incredible Synthi 100 modular console system, the EMS AKS, the Poly Synthi and the EMS Vocoder. Most of the location shots are filmed within the BBC's Radiophonic Workshop studios as they were in 1979. Malcolm Clarke demonstrates the Synthi 100, also known as the "Delaware", Michael Rodd demonstrates musique concrete by tape splicing and manipulation and Paddy Kingsland demonstrates tape recorder delay techniques (also known as "Frippertronics"). The Yamaha CS-80 analogue synthesizer is demonstrated by both Peter Howell and Roger Limb. The EMS Vocoder is also expertly put to use by Peter Howell on his classic "Greenwich Chorus" for the television series "The Body in Question". Dick Mills works on sound effects for Doctor Who using a VCS3 unit, and Elizabeth Parker uses bubble sounds to create music for an academic film on particle physics. Peter Zinovieff is featured using his computer music studio and DEC PDP8 computer to produce electronic variations on classic vintage scores. David Vorhaus is featured using his invention, the MANIAC (Multiphasic ANalog Inter-Active Chromataphonic (sequencer)), and playing his other invention, the Kaleidophon -- which uses lengths of magnetic tape as velocity-sensitive ribbon controllers. The New Sound of Music is a fascinating insight into the birth of the world of recorded and electronic music and features some very classic British analogue synthesizers creating the electronic sounds in this film. The prime location for these demonstrations is the BBC Radiophonic Workshop where much creativity and invention took place during the period the workshop was in operation in the latter part of the twentieth century. Electronic music today is used everywhere, and many musicians gain inspiration from the past, as well as delving into the realms of sonic structures and theories made possible by the widespread use of computers to manipulate sounds for the creation of all kinds of musical forms."

The New Sound Of Music 1979 (part 2)

CLICK FOR MORE »

New Paper Synth PS-301 Wavefolder Demonstration & Upcoming Workshop

Published on Nov 13, 2015 Antti Pussinen

"Paper Synth PS-301 Diode Wavefolder demonstration video for Paper Synthesizer workshop series by Antti Pussinen & Wolfgang Spahn

The input waveform is saw wave.

www.dernulleffekt.de
www.anttipussinen.net
www.wolfgang-spahn.de"

Additional details including info on the upcoming workshop:

"In this episode of paper synthesizer workshop, we are building a diode wavefolder, that sounds a bit like a resonant filter, but has a very unique sound.

PS301 Diode Wavefolder is a dynamic waveform processor module, that changes the color and the overtones of a sound, while keeping the same base note. The design is originally Jürgen Haible's take on “Serge Wave Multiplier, middle section”. Yves Usson of YuSynth added an exponential VCA to the design, making voltage control possible, and we modified the circuit further to fit our design requirements.

The module takes in a 10VPP sine, triangle or saw wave and folds this waveform back into itself up to 7 times at the crossover point of the wave.The effect sounds a kind of mix of frequency modulation and mid resonance filtering.

The Controls Include 'CV attenuation', 'Fold Range' (which can also be contolled with 0-5v control voltage) and 'Fold Amount' which changes the amount of folds. Inputs and outputs conform to eurorack standards of 10Vpp, and it runs on eurorack +-12v power supply, and even with +15v power supply from Frack Rack or MOTM synthesizer systems.

ll the tools and materials will be provided.

The faceplate is not included!

The workshop will be held in German and English.

Material and further informations:

http://paperpcb.dernulleffekt.de/doku.php?id=paper_synth%3Aps301_wavefolder

The costs are 60,00€ for the materials.
Please register at: post@wolfgang-spahn.de
The workshop will be held at: Mülhauserstr. 6. Hofgebäude 1. OG

A Workshop by Antti Pussinen & Wolfgang Spahn"

Some details from Paper Synth:

"Ps301 Diode Wavefolder is a dynamic waveform processor module, that changes the color and the overtones of a sound, while keeping the same base note. The design is originally Jürgen Haible's take on “Serge Wave Multiplier, middle section”. Yves Usson of YuSynth added an exponential VCA to the design, making voltage control possible, and we modified the circuit further to fit our design requirements.

The module takes in a 10Vpp sine, triangle or saw wave and folds this waveform back into itself up to 7 times at the crossover point of the wave.The effect sounds a kind of mix of frequency modulation and mid resonance filtering.

The Controls Include “CV attenuation”, “Fold Range” (which can also be contolled with 0-5v control voltage) and 'Fold Amount' which changes the amount of folds. Inputs and outputs conform to eurorack standards of 10Vpp, and it runs on eurorack +-12v power supply, and even with +15v power supply from Frack Rack or MOTM synthesizer systems.

Theory of operation

A PS-301 Wavefolder adds overtones to a waveform, a bit like a distortion unit or a resonant filter. But instead of clipping or ringing, when the waveform peak goes over a certain limit, it folds back and creates a new odd harmonic component. Jürgen Haible had a really good explanation of the process on his site, and since its impossible to know how long the legacy site is kept up, i copy it here:

'A string of diodes is driven with the amplified and level shifted input signal. After each diode there is a “tap” with a resistor that will contribute positive or negative to the output of a two-opamp subtracting amplifier. There are two virtual GND nodes for these summing and subtracting operation. By feeding these virtual GND nodes alternately from the taps of the diode string, you can have the output voltage increased when one diode drop voltage is reached, and have the output voltage decreased again when the next diode in row starts conducting. The number of valleys and peaks is only determined by the length of the diode string, and not by the number of opamps. It turned out that choosing equal resistor values results in an almost regular pattern of the voltage transfer function.'"

Moogfest | Dial Tones .: Raleigh

Published on Nov 22, 2016 Moogfest

"About Dial-Tones:
Dial-Tones is a series of Moogfest curated events celebrating the form and frequencies surrounding the art of synthesis, circuitry, drone, and micro tonal compositions. Hunt Library and Moogfest are throwing a free workshop: build + play for NCSU Students on November 4th.

The Workshop:
Part I: MOOG Synth Build & Intro to Sound Synthesis
Teaching & Visualization Lab taught by Chris Howe, Engineer at Moog A Moog engineer will facilitate a synth building workshops, where participants of all skill levels will discover the beauty and power of analog circuitry and the principles of subtractive synthesis. Attendees should be prepared for a hands-on, intensive and fun learning experience.

Part II: Leveraging the Library of the Future for Multimedia Creativity
Taught by NCSU Libraries staff. Following the synth build, attendees will attend one of three workshop tracks that will combine the Moog Werkstatt synthesizers with Hunt Library’s unique technology offerings:

Audio Production:
Taught by Jason Evans Groth in the Music Room studios. Learn basic composition and beatmaking while recording sounds from the Moog synth in the Libraries’ Music Rooms and Media Production Studios.

Visualizing Sound with Code:
Taught by Walt Gurley in the Creativity Studio. Create live, generative visualizations using the Processing coding language and the sound and voltage outputted from the Moog synth.

Electronic Circuits:
Taught by Adam Rogers/Lauren Di Monte/Matthew O’Connell in the Teaching & Visualization Lab. Use the easy-to-learn Arduino platform to extend the Moog synth’s capabilities with additional circuits, sensors, and code.

Artist Performance:
An interactive drone performance by local musicians CALAPSE, Hanz, JIL, Oak City Slums, PlayPlay, and Trandle at the Hunt Library Auditorium. Each musician takes turns incorporating Moog Werkstatts built in the recent NCSU student workshop while the drone sound output generates algorithmic student-created visuals.

After Party:
Following the Dial-Tones workshop and performance at NCSU’s Hunt Library, Curator Oak City Slums and Moogfest hosted a party at Kings Barcade in downtown Raleigh."

City Skies 08 Electronic Music Event Nov 8, 2008, Decatur, GA

via James Combs on the AH list:

"A little event I do every month here in Georgia...

City Skies 08 Electronic Music Event Nov 8, 2008, Decatur, GA

The next City Skies 08 event will be held on Saturday, November 8, 2008, with an afternoon Master class workshop with Richard Lainhart (Multi-Dimensional Control for Realtime Analog Synthesis Performance using Buchla 200e and Haken Continuum Fingerboard controller) from 2pm-4pm and performances starting at 8pm. We showcase the region's best electronic musicians at our favorite venue, Kavarna.

Confirmed performers on November 8 include Richard Lainhart (from New York), Collaboration with Sounds (from South Carolina), and Bribing The Buddha (from Atlanta). Shows kick off at 8pm.

The Richard Lainhart workshop for the November show promises to be quite amazing. Please tell your friends about it. Attendance will be limited:

Multi-Dimensional Control for Realtime Analog Synthesis Performance

The promise of electronic music has been, from the beginning, to provide the composer with the means to create his or her own unique sounds and musics without the need for intermediaries like performers and technicians. And the problem with electronic music has been, from the beginning, to endow synthesized sound with the same organic expressivity found in acoustic instruments and natural sound while making synthesizers viable performance instruments in their own right.

The first electronic instruments intended for performance, such as the Theremin and the Ondes Martenot, while providing the performer with highly nuanced pitch control, had limited sound-shaping control and could only play one note at a time. The first modular analog synthesizers, while offering polyphony - the ability to play multiple notes simultaneously - and unlimited sonic control, had limited expressive performance control and were completely impractical for live use.

There have been many attempts since then to integrate the unlimited potential of modular analog synthesis with practical performance capabilities, and to provide the electronic music composer/performer with the kind of expressive musical control available in advanced acoustic instruments. Among of the most successful and creative of these efforts are the Buchla 200e analog modular synthesizer and the Haken Continuum Fingerboard.

Buchla's 200e is the first modular analog synth with patch memory and the ability to re-route patchcords on the fly, making it an ideal instrument for performance, capable of both the highest and lowest levels of control. The Continuum is a unique multidimensional controller keyboard that senses direct finger movement in three dimensions (X, Y, and pressure) for each of up to 16 fingers, making it one of the most advanced performance controllers available today. Together, the 200e and the Continuum make for an electronic music performance system of unparalleled expressivity and sensitivity.

In his workshop, Richard will demonstrate the synthesis and control functions of the Buchla 200e with an emphasis on patch programming for maximum expressivity under Continuum control. The workshop will include a live performance focusing on the Continuum/Buchla 200e system's expressive control capabilities. Time permitting, workshop attendees will also have the opportunity to play the system themselves.

WORKSHOP BIO

Richard Lainhart is a composer, performer, and filmmaker based in New York. He studied composition and electronic music techniques with Joel Chadabe, a pioneer of electronic music and the designer of the Coordinated Electronic Music System (http://emfinstitute.emf.org/exhibits/cems.html and http://www.otownmedia.com/chadabe.jpg), at one time the largest integrated Moog synthesizer system in the world. From 1987-1990, Lainhart was the Technical Director for Intelligent Music, developers of innovative computer music software like M, Jam Factory, and UpBeat.

His compositions have been performed in the US, England, Sweden, Germany, Australia, and Japan. Recordings of his music have appeared on the Periodic Music, Vacant Lot, XI Records, ExOvo and Airglow Music labels and are distributed online via MusicZeit. As an active performer, Lainhart has appeared in public approximately 2000 times. Besides performing his own work, he has worked and performed with John Cage, David Tudor, Steve Reich, Philip Glass, Phill Niblock, David Berhman, and Jordan Rudess, among many others. He has composed over 100 electronic and acoustic works, and has been making music for forty years.

Lainhart's animations and short films have been shown in festivals in the US, Canada, Germany, and Korea, and online at ResFest, The New Venue, The Bitscreen, and Streaming Cinema 2.0. His film "A Haiku Setting" won awards in several categories at the 2002 International Festival of Cinema and Technology in Toronto. In 2008, he was awarded a Film & Media grant by the New York State Council on the Arts for "No Other Time", full-length intermedia performance designed for a large reverberant space, combining live analog electronics with four-channel playback, and high-definition computer-animated film projection.

Richard Lainhart
http://www.otownmedia.com
http://www.downloadplatform.com/richard_lainhart
http://www.vimeo.com/rlainhart
http://www.airglowmusic.com

City Skies
http://www.cityskies.com
http://www.myspace.com/cityskiesfestival

Workshop tickets: $15
Performance tickets: $10
http://www.brownpapertickets.com/producer/10495

-Jim"

SYNTHPACK WORKSHOP + PUBLIC SOUND INTERVENTION

Smokes that are good for you...

via Michael: "I'm doing a synth workshop + public intervention with handheld "synthpacks" in downtown Boulder - -"

"ArtDistrict is thrilled to present the work of multimedia artist Michael Trigilio the second week of July 2009. With more information to come, here's the skinny:

Michael is a member of the Visual Art/Media faculty at UC San Diego. A 2008 Whitney Biennial participant as part of Neighborhood Public Radio, Michael's video and sound work has been exhibited nationally and internationally.

While in Boulder, Michael will explore sound as art and enable you to do the same with his synthpack workshop and public sound intervention. Learn to create your own portable electronic sound device, then take to the streets of Boulder and use those smokin' hot sythnpacks in a public sound intervention. {That's them on the left - click HERE for demo.}"

You can find more details, pics and links to media at ARTDISTRICT.