MATRIXSYNTH: Search results for The Well-Tempered Synth

Showing posts sorted by date for query The Well-Tempered Synth. Sort by relevance Show all posts
Showing posts sorted by date for query The Well-Tempered Synth. Sort by relevance Show all posts

Wednesday, October 04, 2023

Bach Prelude 1 in C Major // Moog Matriarch

video upload by Wave Dash Magazine

"One of the most recognizable pieces written by Bach, performed on an analog synthesizer. The first piece in The Well-Tempered Clavier is a popular choice for kids and beginners, and due to its arpeggiated nature, I thought it would be fun to perform on a mono synth. Technically the song should be performed with the lowest two notes held for the duration of the arpeggio, but I opted to use the built-in delay to achieve a similar effect.

I found it surprisingly difficult to create an appropriate patch for this piece. Ultimately I went the route of simplicity, leaning on the quality of the raw tone of the Matriarch and focusing entirely on creating immersive, dreamlike dynamics via expression pedal and patch cables."

Monday, October 02, 2023

Plantasia - Mort Garson. (Midi Visualizer). The Well Tempered Synth

video upload by The Well-Tempered Synth

"'Plantasia' es un cautivador y único viaje musical al mundo de las plantas. Compuesto por Mort Garson en 1976, este álbum fue diseñado para ser reproducido para el crecimiento de las plantas, y es una encantadora mezcla de sonidos electrónicos y orgánicos. La música es calmante y etérea, creando una atmósfera relajante que se siente como un abrazo musical para tu jardín interior.

Las pistas del álbum, como 'Symphony for a Spider Plant' y 'Ode to an African Violet', reflejan las diversas personalidades de diferentes especies de plantas. El uso de sintetizadores e instrumentos Moog por parte de Garson añade un toque futurista a las composiciones, manteniendo al mismo tiempo una calidad natural y orgánica.

'Plantasia' no se trata solo de música; es un testimonio de la relación armoniosa entre los seres humanos y la naturaleza. Escucharlo puede ser una experiencia meditativa que te anima a conectarte con tus compañeros verdes a un nivel más profundo. Ya seas un entusiasta de las plantas o simplemente estés buscando una experiencia musical tranquila y de otro mundo, 'Plantasia' es una elección encantadora que te transporta a un paraíso botánico tranquilo.

'Plantasia' is a captivating and unique musical journey into the world of plants. Composed by Mort Garson in 1976, this album was designed to be played for growing plants, and it's a delightful blend of electronic and organic sounds. The music is calming and ethereal, creating a soothing atmosphere that feels like a musical embrace for your indoor garden.

The album's tracks, such as 'Symphony for a Spider Plant' and 'Ode to an African Violet,' reflect the diverse personalities of different plant species. Garson's use of synthesizers and Moog instruments adds a futuristic touch to the compositions, while still retaining a natural and organic quality.

'Plantasia' isn't just about music; it's a testament to the harmonious relationship between humans and nature. Listening to it can be a meditative experience, encouraging you to connect with your green companions on a deeper level. Whether you're a plant enthusiast or simply seeking a tranquil and otherworldly musical experience, 'Plantasia' is a delightful choice that transports you to a tranquil botanical paradise."

Saturday, August 20, 2022

Bach Well Tempered Clavier book 1 - Prelude and Fugue in C Minor - Synth

video upload by Dor Heled

"A 'switched on' version of Bach's The Well Tempered Clavier book 1 - Prelude and Fugue in C minor, inspired by Wendy Carlos
Played on Dave Smith Prophet Rev2

Read the full blog post about Wendy Carlos - Switched On Bach :"

Saturday, July 31, 2021

Zlob Introduces the VC F3DB Fixed Filter Bank Eurorack Module

What is a Fixed Filter Bank? | Chaos + Control with Zlob VC F3DBvideo upload by Sarah Belle Reid

"In this video, we explore the history of fixed filter banks in synthesizers (what they are, how they work), demonstrate some classic fixed filter bank concepts, and then dive into a series of patch examples exploring the Zlob Modular VC F3DB.

Zlob Modular's VC F3DB is a filter bank for Eurorack modular synthesizers. But it's much more than just that as well; while it can produce the clean, dry, nasal tones you might expect from a classic Moog or Buchla filter bank, it is designed to leverage feedback, clipping, and per-band envelope followers, allowing it to act as a chaotic sound source, spectral decoder, and intense distortion.

To access extended audio from this video (aaand there's a lot of it!), check out my Patreon page! You're free to use these sounds as materials for you own music, as well:

Video Timestamps:
00:00 Intro + Video Overview
01:40 What's A Fixed Filter Bank?
03:36 What's a Filter Bank Good For?
07:42 F3DB Module Overview
09:53 Patch #1: Clipping
11:37 Patch #2: Adding Modulation
16:00 Patch #3: Feedback
19:48 Patch #4: Feedback (But Less Crazy This Time)
22:00 Patch #5: Feedback with Modulation
24:43 Patch #6: Spectral Decoder"
Zlob VC F3DB First Look video upload by Brett Naucke

"A first look at this fantastic new 6-Band Voltage Controlled Filterbank by Zlob Modular. Patch examples including manual filtering, drum processing, voltage controlled filter animation, 'vocoding' and some exploitations using the filterbank as a chaotic audio source. This is a GREAT filterbank capable of some very unique overdrive and distortion functions that set it apart from all other filterbanks in eurorack modular."

via Zlob Modular

"VC F3DB stands for Voltage Controlled Fixed Filter Feedback Distortion Bank. The simplest description is it’s a 16hp six band voltage controlled fixed filter bank. But with the additions of so much gain, clipping, feedback, and self-oscillation it becomes a very flexible and unique gestural sound sculpting tool capable of; graphic equalization over 6 octaves, multi-band distortion, spectral processing, crude vocoding, multi-frequency envelope following, self-modulation, and even as an instrument on its own. With no input it can be used as a pseudo chaotic “harmonic” feedback oscillator.

The filter frequencies were specifically chosen to emphasize more ambiguous and dissonant intervals. Although the frequency bands are spread out over many octaves I purposely tried to leave out “3rds” besides a major 10th at the top frequencies to even out all the dissonance below. But the frequencies aren’t exactly equal tempered, so it’s relative. The bands roughly equate to F2, B3, F#5, C6, F7, A8.

The design is based on the Moog 914 filterbank, which it borrows the frequency bands from. But this circuit uses active filters with opamps inspired by YU Synth opposed to passive cells using inductors on the original. The 88hz is a low pass -24db/oct and 7k is a high pass -24db/oct, the rest are -12db/oct band pass filters all with a Q around 4.

The hard and soft clipping circuit on the input is fairly standard which appears in many different iterations of classic guitar pedals. But it has a lot of gain and can even boost line level signals. What makes it a bit unique is the feedback on the clipping circuit which needs to be turned on by the GFB(gain feedback) switch and the amount can be controlled by the Gain FB pot which can add some fuzz/bite to the signal depending on which clipping switch is engaged or at the extremes it will self oscillate from audio rate to LFO sort of clicking range. All the clipping stages in the module are using silicon diodes.

Consult the Signal Flow Chart to the left for a rough visual breakdown of the controls,in/outs,normalizations, and optional settings for the module.

Each band can also be muted by the top toggle switches or clipped(at the VCA) by the top slide switch which makes this design a bit different than other filter banks. As well as the overall feedback section(bottom middle) takes the sum/all bands out through a VCA(controlled by the feedback pot and FB CV) back to the input gain/clip circuit. and you can also tap into this using different sends/bands to the FB In jack to break the normalization. With this extra feedback “resonance” you can get more whistley and howly filter sounds kinda like the Serge res eq, which can also go into self oscillation.

All cv ins are expecting +5v to open the VCAs(they wont respond to negative voltage), once you get closer to +8v or so it can clip the vca regardless of the gain settings or clip switches. Output amplitude in high gain settings will exceed 10vpp and can get up to 20vpp. The envelope followers tend to stay around 0-5v out, but with clip switch active they can go up to 10v.

Since this is a high gain module there can be bleed between the bands in certain configurations and situations. Also in high gain modes with higher frequencies the 2.8k and 7k bands can bleed a little with the VCAs closed.

This is a highly involved DIY all through hole project. It is a long build with 5 different pcbs to solder and assemble.


Sunday, November 10, 2019

The SynthSummitShow: Paul Schreiber Synthesis Technology E520

Published on Nov 10, 2019 Ken Flux Pierce Fluxwithit

"Synth designer and all around electronics guru Paul Schreiber returns yet for another interview. here to discuss his latest product the E520 Hyperion Stereo effects processor which will soon be up on kickstarter! tune in and join the live chat as we discuss this exciting new product."

Fluxwithit Paul Schreiber videos
SynthSummitShows with the makers

Update2: You can sign up to be notified with the Kickstarter launches here.

Update: some info on the module via


Kickstarter campaign launches on Nov. 15th and the KS page will activate on Nov. 10th. Estimated shipping: late May 2020.


The E520 Hyperion is a mono/stereo in, stereo out effects module. It is 48HP wide and uses less than 300ma of +12V and less than 70ma of -12V.

Powered by a 480MHz ARM Cortex M7 CPU, the E520 has 64MB on on-board SDRAM for recording up to 6min of stereo audio at 48KHz sample rate. The LCD screen and optical encoder navigation uses the same 'shallow' menu scheme of our E352 and E370 modules, with the addition of 4 'soft keys' for selecting options without having to leave the main page.

The E520 uses a premium audio path not usually found in Eurorack. Crystal Semi CODECs, TI OPA-series op amps and WIMA film caps in the output stage are used along with low-noise, dedicated LDO voltage regulators for a clean, full soundstage. Audio conversion uses 48KHz sample rate, 24bit resolution with a line or synth level setting.

Please note this is a 'living document' and subject to modification at any time over the next 8 weeks.

Tuesday, September 25, 2018

Bach on Synth - WTC Book 1, Fugue 17

Published on Sep 25, 2018 Moognificat

"The joyful A-flat major fugue from J. S. Bach's Well-Tempered Clavier, Book 1 performed entirely on a Moog Sub 37 analog synthesizer. This video also includes a basic analysis of subject entries and tonal centers."

Saturday, March 24, 2018


Published on Mar 24, 2018 Moognificat


1. Bach WTC Book 1, Fugue 2 on Moog Synthesizer
A performance of Fugue No. 2 from The Well-Tempered Clavier, book 1 by J. S. Bach. All sounds are created with a Moog Sub 37 analog synthesizer and Reaper.
2. Bach, "Mein Jesu" on Moog Synthesizer
This performance of J. S. Bach's Aria, "Mein Jesu," was created with only a Moog Sub 37 analog synthesizer and the Reaper DAW. The arrangement is based on the string orchestra setting by Leopold Stowkowski.

Commonly performed during Lent, the lyrics describe the anguish of Jesus Christ in the garden of Gethsemane on the night before his crucifixion. Bach masterfully captures the scene with rich harmonies and a mournful melodic line.

Mein Jesu! Was für Seelenweh befällt dich in Gethsemane
3. Bach WTC Book 1, Prelude 6 - featuring Moog synth EDM
Bach meets EDM. This performance of the Well-Tempered Clavier, Book 1, Prelude 6 features a Moog Sub 37 analog synthesizer accompanied by Kontakt 5. Everything was recorded and mixed in Reaper.
4. Purcell, Rondeau from Abdelazer, 8-bit version on Moog Synthesizer
The famous Rondo from Henry Purcell's incidental music to Abdelazer, realized in the style of 8-bit computer game music. Square waves and white noise provided entirely by a Moog Sub 37 analog synthesizer. This is the same rondo that Benjamin Britten used as the source material for his Young Person's Guide to the Orchestra.

The sound of this almost makes you wish that Abdelazer was a real RPG...
5. A Musical Guide to the Synthesizer (Moog Sub 37)
A short demonstration of common synthesizer waveforms and basic filter/LFO effects. Tutti passages bookend short examples of square waves, sawtooth waves, and triangle waves. 100% of the sounds you hear were produced on a single Moog Sub 37 analog synthesizer and mixed in the Reaper DAW.

This video features an arrangement of Purcell's famous Rondeau from the incidental music to Abdelazer. This was also the source material for Benjamin Britten's "Young Person's Guide to the Orchestra. Britten's work is copyright protected, so the form of this arrangement is based on Purcell's original design. I'm sure knowledgeable listeners will still appreciate the homage.

Royalty-free images downloaded from

Saturday, August 27, 2016

Vintage Post Soviet Analog Synth Elektronika EM-141

Soviet organ Venta Electronika 141 (hammond style) \ Электроника 141 Вента

Published on Feb 9, 2015 Cyril Saar

"best soviet organ with synt with organ drawbars, synthesizer block, chorus (leslie effect),additional bass and bells sound.
4:07 - sounds like real leslie"

via this auction

"Eelectromusical key "ELECTRONICS EM-141" - odnomanualny, pyatioktavny, polyphonic, portable tool. Designed to perform pop and classical works as a solo or accompanying instrument composed of professional and amateur ensembles, as well as at home. The tool consists of the following sections: Section flute, percussion section, synth section, the section of the chorus-flanger effect. Flute and percussion sections are the conventional body structure. Synthesis timbre is from 10 harmonics by dialing their levels. Tembroobrazovanie built on pure sinusoidal signals to simulate the sound body "Hammond", vibraphone and other instruments. Synth section containing a managed device in a controlled filter envelope, simulates wind instruments (horn, English horn and other), As well as a wide variety of sounds typical of synthesizers. Section chorus, flanger enriches the tool, gives the sound properties of the instrument and spaciousness of the sound source simulates the effect of rotation in space. Camey housing is part of the security device housing.

The tool provides:
• high stability master oscillator frequency by the use of quartz-locked loop
• minimal error of the scale intervals relatively evenly-tempered musical scale
• the ability to shift the whole structure of the instrument by +/- 1/4 tone
• rich timbre of sound color with sound droop

• Technical specifications:
Number of manual registers:
- A set of flute tone 10 (16, 5, 3.1, 8, 4, 2 2/3, 2, 1 3/5, 1 1/3, 1, 1 1/2)
- Fixed switching flute 1
- Percussion with a set of level 7 (4; 2 2/3, 2, 1, 3/5, 1 1/3, 1, 1 1 / 2_)
- Bass registers included in the fixed amount of 2 lower octaves 2
Full sound range 8 octaves
Accuracy of the scale intervals relatively evenly-tempered scale, not more than 0.05%
Relative volatility master oscillator frequency in the automatic mode for 30 days, no more than 0.1%

Relative volatility master oscillator frequency in the automatic mode for 30 days, no more than 0.1%
Relative volatility master oscillator frequency in manual mode for 4 days, no more than 0.3%
Rated output voltage to a load of 10 ohms, not less than 0.25 V
The peak value of not more than 2.4 V
S / (+ background noise), not less than 60 dB
Dynamic volume pedal range, not less than 40 dB
Vibrato frequency, adjustable between 5 (-2) to 7 (3) Hz
Weight, not more than 20 kg
Dimensions (in working order):
- Length of 938 +/- 5 mm
- Width 410 +/- 5mm"

Sunday, September 13, 2015

An Interview with Barry Schrader

Hi everyone! As you know Barry Schrader will be giving his farewell concert at CalArts on September 26. The following is the beginning of my interview with him. I opted to post the questions and answers as they come in.  New QAs will get a new post so you do not miss them and they will be added to this post so we have one central post for the full interview. This should make it easier for all of us to consume in our busy lives, and it will allow you to send in any questions that may come to mind during the interview process.  If you have anything you'd like to ask Barry, feel free to send it in to  This is a rare opportunity for us to get insight on a significant bit of synthesizer history, specifically with early Buchla systems, and I'd like to thank Barry for this opportunity. Thank you Barry!

Monday, May 27, 2013

XILS-lab launches classic keyboard vocoder emulation plug-in

First announced here, videos here (human vocies), here (glide and layered sounds), and here (strings), the following is the official press release for XILS-lab's new XILS V+ vocoder emulation.  You'll find some additional renders at the bottom of this post. Be sure to click on them for the super size shots.

"GRENOBLE, FRANCE: music software company XILS-lab is proud to announce availability of its XILS V+ virtual instrument and effects plug-in, a faithful emulation of a well-known keyboard vocoder classic, as of May 27...

Following a year of intense instrument modelling deep inside XILS-lab’s ear-opening laboratories, the XILS V+ virtual instrument and effects plug-in has finally emerged, sounding nigh on indistinguishable from an instantly-recognisable keyboard vocoder classic much loved by both contemporary and acclaimed artists alike. But what keyboard vocoder are we talking about here exactly? And what’s a vocoder, anyway?

By definition, a vocoder is a synthesizer that produces sounds from an analysis of speech input. Vocoders arguably had their musical heyday in the Seventies with the likes of British record-producing heavyweight Jeff Lynne’s symphonic rockers ELO making much use of them throughout several striking recordings — think smash hit ‘Mr Blue Sky’ and the Time album (featuring the Roland VP-330 Vocoder Plus keyboard) — while German techno pop pioneers Kraftwerk crafted themselves an ongoing robotic vocoder-led career that’s still resonating throughout EDM’s many modern-day stylistic offshoots; French house music stalwarts Daft Punk became big vocoder fans with several memorable club-friendly hits to their eminently danceable name, par exemple. Historically speaking, the aforesaid Roland VP-330 Vocoder Plus is also musically immortalised on celluloid thanks to Greek synth wizard Vangelis’ memorable early-Eighties electronic scores to the Oscar-winning Chariots Of Fire and Ridley Scott’s sci-fi film noir classic, Bladerunner, both of which made much use of the instrument’s signature Strings — ‘emulating’ the sustained portion of orchestral strings — and Human Voice Ensemble ‘choir’ — remarkable and unique — sounds. Subsequently the long-since-discontinued VP-330 Vocoder Plus has become something of a sought-after classic itself... for those in the musical know. Yet finding a fully-functional, pristine example of this 30-plus-year-old temperamental hardware has become nigh on impossible. Which is exactly where XILS V+ comes into play, of course, thanks to XILS-lab’s labours.

So how, technically, does that historic hardware produce those distinctive sounds? And, more to the point, how has XILS-lab been able to magically model them? First things first. Just like the real thing, XILS V+ is based on a Top Octave Divider oscillator — the hidden heart of almost all vintage string machines. Basically, back in the day, this clever concept enabled hardware designers to achieve 49 notes (or more) of polyphony without having to stabilise and tune 49 (or more) oscillators! Instead, a single square wave-generating so-called Top Octave oscillator designed to oscillate at very high specific frequencies is ‘divided’ to provide 12 standard tempered frequencies over four (or more) octaves that are then used to create the waveform for each individual note. All notes are kept in phase with no drift between octaves and only a single tuning circuit is needed for the complete keyboard range. This was quite a technological breakthrough by Seventies standards, but by its very nature there were some divisive downsides — no polyphonic attack stage to the sound which we take for granted today, for instance. Yet, thanks to today’s cleverer computer world, XILS V+ offers polyphonic attack (and also monophonic attack for the sake of authenticity).

So, just like the real thing, XILS V+ features a 10-band VOCODER, Top Octave Divider-based STRINGS and HUMAN VOICES — or, indeed, sophisticated layering of any these three elements! It successfully captures the keyboard in question’s Top Octave Divider oscillator’s unique sound (that no sampling technology or other simple synthesis techniques can reproduce); the ensemble (chorus) circuitry, featuring a compander and no less than four bucket brigade delays; the voice and vocoder ‘vibratos’ (based on two more bucket brigade delays); the 14 filters involved in producing that heavenly Human Voice Ensemble sound; the three filters used for the Strings section; the 40 ‘vocoder’ filters; and sophisticated Attack, Release, and Glide circuitry. Visually, the main control panel section above the keyboard basically mirrors that found on its inspirational hardware predecessor so anyone familiar with the VP-330 Vocoder Plus will immediately feel right at home here — right down to the classic colourful rocker switches!

But that’s not all: rather than simply producing a feature-by-feature emulation of the original hardware, XILS-lab has truly taken the opportunity to bring this Seventies-vintage keyboard vocoder concept kicking and screaming into the convenience of present-day DAW workflow with four additional panels boasting advanced settings: Mixer/ARP allows users to fine-tune the internal sound generators — from adjusting the relative level of the Male 8 and ML/FM 4 Human Voices to tweaking voice formants, the Top Octave Divider waveform, as well as the Strings filter shape — while a built-in arpeggiator is also provided; Vocoder allows users to adjust the analogue-like Pitch Tracking, the ATT (attack) and REL (release) of the ANALYZE algorithm, as well as FILTERS parameters; Effects provides three built-in effects (STEREO SPACE, based on XILS-lab’s now-well-known Stereo Dynamic Engine; a simple, but efficient REVERB; and an analogue-like resonant PHASER); and last, but by no means least, Modulations with over 14 sources and 24 destinations!

So there you have it. If you’re lusting after those classic keyboard vocoder sounds — and more besides, perhaps, but could never afford or find a suitable hardware original, then your prayers have surely now been answered by XILS-lab. Load up multiple instances of XILS V+ into your favourite DAW. Play. Smile. After all, it’s even better than the real thing!

XILS V+ is available to purchase as an eLicenser or iLok copy-protected virtual instrument and effects plug-in for €99.00 EUR/$128.00 USD until June 30 from the XILS-lab web store: (Thereafter its MRSP will rise to €149.00 EUR/$194.00 USD.)

XILS V+ can be directly downloaded as a 32-bit (Intel and PowerPC) and 64-bit (Intel) compatible virtual instrument and effects plug-in for Mac and Windows in various formats (AAX/RTAS, AU, VST2.4, and VST3) from here:

Various videoed A/B comparisons of XILS V+ and the original hardware it has been so successfully modelled from can be seen and heard here:"

Wednesday, January 02, 2013

Blacet Modular Effects Synth Rack

via this auction

"Klang Werk:
Klang Werk is a high quality balanced (or “ring”) modulator with a number of built in features making it more versatile than the usual synth module. It’s more like an effect box, although it is right at home in any modular system. Klang Werk includes a voltage controlled sine to complex waveform carrier generator, a signal preamp, a signal envelope follower, and an output mix control.

Time Machine:
A balanced modulator takes two signals (“signal” and “carrier”) and multiplies them together, producing their sum and difference frequencies. The original signals are removed from the output. The result is often used to produce bell like clang tones. The world of the equally tempered scale seems to vanish, to be replaced by an alien sonic landscape filled with moments of unearthly beauty and savage cacophony.
Genuine BBD Analog Delay Line Technology for that "retro" sound.
Delays From 10 mS to 2 Seconds!
Bi-Phase Regeneration for Killer Flanging
Voltage Control of Most Parameters:

Darkstar Module:
This reissue of the Dark Star uses the same basic circuit and updates the design with expanded control ranges and CV inputs for the Noise Clock, Noise Filter, VCO and PWM. Use it as a standalone sound generator or interface it with a modular system for some truly wild sounds!
With the interest in chaos theory and fractals in the past few years, this unit provides an excellent means to explore the effects of chaotic (noise) modulation. The results cover quite a wide range from the haunting to the apocalyptic...

Tuesday, November 06, 2012

MacBeth CV Tape Delay Synth Demo

CV Tape Delay Synth by macbeth synthesizers

"This is a very short sample of what I have done with the 'tape delay synthesizer' thing that I'm working on. It was suggested that some control voltage be applied to the delay/repeats of this device. It's still to be tempered- that will happen- but I'm well liking some of the 'artifacts' that are happening here when the CV becomes too much!....control here by a Sample and Hold signal coming from an LFO!"

Friday, August 31, 2012

Handel Modular fuga g-minor HWV 605

YouTube Published on Aug 30, 2012 by powerofthetruth
Listen to this one in stereo

"Another fuga of G.F. Handel played on YUSYNTH modular played by Daniel Philipp Stotz. Recently I recorded the whole well tempered clavier mainly on this synth.
Maybe this fuga is a much earlier work, if you compare it with to HWV 608 of 609. It is very interresting, how carefully Beethoven studied not only Bach but even more Handel fugas. Please take a look at the fugas of Beethoven, mainly in the 9. Sinfonie!
More info please see"

Friday, August 10, 2012

Handel Modular fuga F-major HWV 611

YouTube Published on Aug 9, 2012 by powerofthetruth

"This is an early fuga of Handel. If you compare f.e. the fuga h-minor HWV 608, which is a much later work, you may hear the development of Handel.
It is performed on YUSYNTH modular synth, hand-made by in Prague by Pavel Vancura.
In the 80s I had an ARP 2600, which unfortunately I had to sell, now this synth is very similar to it: 3 VCO, noise generator, 2 VCF, mixer and S/H, 3 ADSR and 2 VCA.
With this synth I also recorded the whole well tempered clavier of Bach. More info please refer to"

Tuesday, March 13, 2012

Bach on Modular Synth BWV 886 praeludium and fuga A flat major

YouTube Uploaded by powerofthetruth on Feb 20, 2012

"Played with a YUSYNTH modular synth, built by Pavel Vancura, in Prague.
The synthesizers gives you the great possibility of creating each voice really independent with a different sound. Specially for the fugas this is great. Played and recorded by Daniel Philipp Stotz, see The complete 2. vol of Bach "the well tempered clavier" is recorded (BWV 870 - 893) on 2 CDs, but still I am looking for a distribution."

SYNTHSERVICE YUSYNTH analog modular synthesizer

Uploaded by powerofthetruth on Oct 20, 2011

"SYNTHSERVICE YUSYNTH analog modular synth demo video, shows basic sounds and some interresting patches and sequences"

Sunday, August 07, 2011

eowave Persephone analog synth

via this auction

"Handmade boutique monophonic analog synthesizer with pressure sensitive ribbon controller. This is an amazingly flexible synth with a 100 % analog oscillator. You can set the range of the ribbon controller from a single octave all the way to 10 octaves! The timbre is also adjustable, there’s a nice low pass filter, an LFO, and it’s quite easy to get Moog type “fretless” bass sounds, as well as a very nice theremin imitation (and it’s much, much easier to play than a theremin). With the right amplification, I think you could get a pretty good ondes martenot sound out of the Peresphone, as well some cello-like tones.

It’s very nicely built as well. Nice solid case, smooth, stained wood panel on the top. The expression key is polished wenge. Jacks in the back are clearly labeled. It has MIDI In/Out as well as CV out. It will take an expression pedal (not included) as well.

There are four operating modes that determine how the expression key, the ribbon controller, and an expression pedal will behave. The oscillator can produce a sine wave, a triangle and smooth gradations in between. In addition, you can use the Persephone as your MIDI controller, and use practically any midi equipped synthesizer or sound module as your sound source, while maintaining the pressure sensitive ribbon controller on the Persephone as your master “keyboard.” It’s also a great instrument if you’re interested in using non-equal tempered pitches—quarter tones and third tones are just as easy to sound on it as the typical 12-tone chromatic ones, and alternate tunings are as easy to find on it as they are on a non-fretted string instrument, such as a violin, a cello, or a fretless bass guitar.

Detailed review available here.

This is a professional instrument, built by hand in Paris by eowave, and shipped from France here to the U.S. Note that this auction is for the stand-alone “desktop” Persephone, not the suitcase model. It is an exactly as new instrument and will be shipped in its original packaging, complete with the small manual and all other paperwork.

Here’s a link for the eowave description: Note that the desktop Mk I is currently out of stock and no longer available at eowave."

Saturday, February 26, 2011

Barry Schrader: Moon-Whales

YouTube via ExMachinaPub | Feb 22, 2011 |

"This video is from a 1985 concert at CalArts that dealt with real-time video processing of live performances. This is the final movement of Schrader's "Moon-Whales and Other Moon Songs" (1982-83), based on poems by Ted Huges. Performers include Maurita Phillips-Thormburgh, soprano, and Michael Scroggins, live video processing. The electronic music was created on a Buchla 200 system (Electric Music Box)."
via Barry Schrader:
"Moon-Whales is the seventh and final movement of my work Moon-Whales and Other Moon-Songs composed in 1982-83, and based on children's poems by the late British Poet Laureate Ted Hughes. It was originally composed for the soprano Maurita Phillips-Thornburgh, who performs in this video. The work was performed several times throughout the U.S. as well as in Europe. The final performance was at the funeral of my friend and colleague, vocalist/composer Frank Royon Le Mée in Marseilles in 1993, at his request. Moon-Whales and Other Moon-Songs was my final non-improvised work with the Buchla 200. Unfortunately, the master tapes, being on Ampex 456, are no longer playable due to the binder problems with that tape formulation. As the masters are, therefore, lost, there will probably never be any more performances of this work. I did do a digital transfer of one of the solo electronic movements, Moon-Wings, for some dance groups many years ago, but, unfortunately, not the other movements of the work. I recently came across this video tape, and although both the video and audio quality are poor, I thought it might be interesting to some people as a documentation of the final movement of the work."

Update: some additional info from Barry Schrader in response to a question from the Buchla 200e list:

"All of the electronic music in Moon-Whales was done on the Buchla 200. The Fairlight referred to is the Fairlight CVI, an early hybrid video processor. The "thanks" is because the CalArts School of Film/Video had one on loan from Fairlight at the time.

[Regarding] the '…melodic 12-tone scale…', the electronic music here, as in all of my works involving live performers, has an "orchestral" accompaniment function. Thus, here, it must support the vocal line, and, yes, it is tonal, in a 20th century, abstracted sort of way. Not all of my music created on the Buchla 200 uses a tempered scale. Then, as now, I use a variety of tunings, some of which are invented for a specific piece or section of a piece. "Monkey King", for example, is entirely pentatonic.

Like most things, the limitations of the Buchla 200 depend on the person using it. Some of the ideas that are important to me in the electronic music I create are the development of new timbres, having a high degree of control over what I'm doing, and trying to go beyond what's been done (both by myself and others) in the past. While little of my analog work is commercially available, the "Lost Atlantis CD" contains music that was entirely done on the Buchla 200 in 1976-77. The booklet that comes with the CD has some technical information. I didn't find it difficult to create any particular type of scale with this synth, as I developed procedures for insuring precise control. For example, with "Moon-Whales", I measured voltage data to 2 decimal places with a VOM, and, using this and other means of notating patch data, I usually was able to faithfully recreate a given patch.

The original version of "Moon-Whales" was quadraphonic, and, on this video, everything is really crushed together. Still, you can get an idea of what it sounds like."

Friday, May 22, 2009

Retrosonik DIY and Darkstar Mods

Darkstar Mods

"By adding two little transformers to the outputs of this device I have changed it from an amusing but thin & sterile sounding digital device into a Phat sounding analog style MONSTER!! The whole procedure only took about an hour to perform but the differance is profound! The highs are much smoother ;none of that digital edgyness & the lows are much fuller.The basses are just ....bassier!! All around the Darkstar just gets darker!

I did this Mod to the First Version of the Darkstar. The Latest version has more outputs so I do not know if there is sufficent room to install the transformers inside the unit, like I did on mine."
via Deviant Synth
"Klange Machen means Noise Machine(roughly) in German.This is a little noise making beastey based on the long extinct SN76477 chip. This chip can still be purchased from Unicorn Electronics ,for about twenty bucks each. The 'keyboard' is part of the etched PCBoard and you use a little probe to touch the keyboard to produce an obnoxious sound.The scale is in no way equally tempered but a lot of fun to play,nonetheless. It was built in a surplus CATV case & has a built in speaker and 1/4 inch audio out, as well."

"The Maelstrom is a theramin and Zoom FX processor that I built into an old bakelite radio,that I salvaged. It also sports a two tone paint job & a built in Plasma Ball for added personality.The audio out put from the theramin Passes through the Zoom 506 bass processor where up to 9 FXs can be stacked & saved into 64 unique presets.The presets can be advanced via a foot pedal that can be pluged into a jack on the Back panel or from buttons on the front of the unit. Built for Marty of the Swinging Love Hammers."

Patch n Tweak
Switched On Make Synthesizer Evolution Vintage Synthesizers Creating Sound Fundlementals of Synthesizer Programming Kraftwerk

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