Polivoks FAEMI-M Soviet Vintage Analog Polyphonic Synthesizer

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video upload by Universal Audio

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Update: The listing has the FAEMI-M as being from 1968. It seemed a little early to me so I checked my copy of Peter Forest's The A-Z of Analogue Synthesisers. It's listed but without a production date. Right before the entry for the FAEMI-M is the FAEMI children's keyboard which was released in 1972. I then checked http://www.ruskeys.net, but no date is given either. Previous posts refer to the FAEMI-M being from the 1970s. Sound on Sound's article on the Polivoks mentions the FAEMI-M but w/o a date. If anyone defininitively knows, feel free to leave a comment. A couple of interesting comments from that Sound on Sound article:

"The Polivoks is a duophonic synthesizer designed by Vladimir Kuzmin, an electronics engineer who had been the bass player and sound engineer in his student band. Having graduated in 1976, he was inspired to apply for work at the Urals Vector Company by the inventor of the FAEMI, the first commercially successful Russian electronic keyboard. That man was Vladimir Lugovetz, the Director of the bureau that controlled development of electronic instruments at the Vector company, and the father of Kuzmin's future wife."

Followed by "Interviewed by Polish synthesizer enthusiast and supplier Maciej Polak, in 2003, Kuzmin explained: "My first task was to design the spring reverberator, but I also tried to improve the design of FAEMI‑M in order to obtain some modern effects such as portamento and filtering."

Auction details:

"So, the good news: All four oscillator generators are working; I have cleaned the potentiometers, and only one couldn't be fixed, and just one is slightly crackling on movement. I replaced the output jacks with the standard 1/4" jack.

Things I couldn't fix: The vibrato section is not working. Several keys are not working at all, and some of them work when pressed harder.

The external original power supply is unusual – it is combined with the scale pedal in one housing. The pedal works, but it also has a slight crackle on movement.

To see and understand the objective condition, I recorded a video. Please watch below, where I aim to show the specific condition of the device. Despite the problems, it is still alive, and I believe you can either repair, sample, or simply enjoy the time with such an old and unusual synthesizer, even in its current state. Of course, due to these reasons, I have also objectively reduced the price.

The package is fully loaded: synthesizer, original power supply/volume pedal, original 5-Din cable to connect the pedal to the synth, power cable for the power supply, original wooden hard case

Here is some official spoecifications:

Specifications:

Keyboard volume - 4 octaves.

Full sound range (all the registers are switched on) - from F in the controctave to E in the fifth octave.

Output voltage at the load of 100 kOhm - not less than 0.1 V.

Power supply:
-from an external DC source - 12 V +10\-20 %;

Power consumption from AC mains - not more than 15 W.

Current consumed from the battery of dry elements - 350 mA.

Overall dimensions - 610*280*110 mm.

Weight - not more than 10 kg."

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Analogue Solutions Ample Synthesizer Now Available

Analogue Solutions Ample Synthesizer -- All Sounds Ample video upload by rezfilter

"Here's a little retro track I put together using only the Ample synth from Analogue Solutions. All parts were sequenced or played live from the Ample, utilizing the onboard Patternator sequencer throughout.

Ample begs to be touched, sequenced, pinned, and played. It's a culmination of all great things from AS."

Check with the dealers on the right for availability. Press release follows.

Analogue Solutions announces availability of Ample as ANALOGUE 3 VCO PATCH PIN SYNTHESISER blending best of past and present products

SHATTERFORD, UK: after a successful soft-launch at SynthFest 2023 in Sheffield, UK on October 7, British boutique electronic instruments innovator Analogue Solutions is proud to announce availability of Ample to a wider audience as a desktop-friendly ANALOGUE 3 VCO PATCH PIN SYNTHESISER — beautifully blending the best elements of several of its past and present products to form a truly analogue modular system skilfully presented as a precision- engineered electronic musical instrument in a spacious (550mm x 262mm x 83mm) steel and aluminium case that also embraces ergonomic features such as VESA mount compliance, should desktop space be at a premium, all of which adds up to being a perfect fit for its appropriate appellation — as of November 29…

Ample adheres to Analogue Solutions’ tried-and-tested no-compromise construction formula, featuring a full rugged steel and aluminium case — no plastic mouldings here; high-quality metal potentiometers with smooth action, fully sealed against dust intrusion; high-quality knobs with spun aluminium caps; high-quality double-sided circuit boards; high-quality 16-bit DAC (Digital-to-Analogue Convertor) for stable MIDI (Musical Instrument Digital Interface) to CV (Control Voltage) conversion; stable analogue oscillators; gold-plated touch plates; plus true retro analogue voice and modulation circuits to give an authentic retro sound. Since Analogue Solutions’ innovative instruments are applauded for proudly possessing a truly vintage sound — synthesisers featuring fully-analogue audio paths with analogue LFOs (Low Frequency Oscillators) and EGs (Envelope Generators), in other words, Ample is in good company as an ANALOGUE 3 VCO PATCH PIN SYNTHESISER.

But by beautifully blending the best elements of several past and present products — namely, the sound elements of Fusebox fabricated originally as an aptly-named, three-VCO (Voltage-Controlled Oscillator) true analogue monophonic synthesiser that favourably fuses the company’s characterful vintage sound with an advanced choice of modulation and melodic possibilities in a beautifully-built box; the jack points introduced in the long-discontinued line of Concussor modular synth drum modules (themselves dating back to the time when Analogue Solutions was the third company to start producing Eurorack format-compatible modules, magical as that might sound in today’s ever-expanding era of thousands of Eurorack modules being produced by hundreds — if not thousands — of developers, both bigger and smaller); the patch pin matrix introduced in the long-lasting Vostok semi-modular synthesiser series (that knowingly nodded and winked at its Russian ‘roots’ from a visual standpoint); the lo-fi echo featured in Dr Strangelove as a small and affordable desktop signal processor (that ushered in Analogue Solutions’ so-called synthBlocks series); and last, but by no means least, the sequencer and CV touch plates introduced in Generator as a highly-versatile multi-channel analogue step sequencer — to form a truly analogue modular system skilfully presented as a precision-engineered electronic musical instrument is what really makes Ample stand out amongst Analogue Solutions’ present-day products.

Put it this way: while Ample shares all of those features from some of Analogue Solutions’ ‘greatest hits’, it still has a sound of its own thanks to the circuits on offer: OSCILLATING is handled by three analogue VCOs (Voltage-Controlled Oscillators), each providing a wealth of features and modulation choices, with the VCO3/LFO 1 legend visually highlighting that the third oscillator can easily be utilised as an LFO (with saw, square, and triangle wave modulation signals), while LFO2/SYNC has a triangle wave output to total two LFOs; the LP VCF (Voltage-Controlled Filter) section is anchored around a four-pole 24dB-per-octave low-pass filter; the VCA (Voltage-Controlled Amplifier) can be set to THRU so it is always ‘open’ (allowing Ample to be used as an effect processor); the two envelope generators — EG 1 and EG 2 — each offer full control over ATTACK, DECAY, SUSTAIN, and RELEASE; extensive modulation routing choices allow for a wide range of resultant sounds extending into percussion and ‘modular’ territory, further extended by patching with the jack sockets and pin matrix; MIDI is intentionally kept simple so users can concentrate on creating new sounds and making music, with all- important control over filter cutoff available via MIDI Velocity; patchable CV control sockets allow the synth in question to effectively be rewired to make new sounds, as well as easily patched together with external Eurorack and other modular systems; the PATTERNATOR is a vintage-style 16-step sequencer; the six touch plates each output a set voltage, so can be used to pitch notes or as modulation signals — either way, they are truly inspirational in action; the pin matrix represents a neat (and flexible) way to patch the synth; and the ECHO section provides easy access to adding a little lo-fi echo or delay.

Audio applications abound when working with Ample as a synthesiser — excelling at analogue sound effects, as well as fat basses, screaming leads, and all manner of other crazy sounds associated with analogue synthesis; an effect processor — perfect for feeding external sounds through the onboard analogue filter and ECHO sections via external audio inputs; a drum synthesiser — suited to producing electronic percussion, including cymbal, hi-hat, kick, and snare sounds; and as a modular synthesiser — partially pre-patched, but with such a wide range of modulation routing possibilities that it is almost as versatile as a full-blown modular system, and capable of producing the same types of sounds but dispensing with telephone exchange-like cabling confusion in favour of making space-saving connections with removable coloured pins, yet still providing a flexible selection of patch sockets so it can quickly be re-patched into itself or to/from external Eurorack and other modular systems.

It is also worth noting in conclusion that while Ample can be used with an external MIDI keyboard or DAW (Digital Audio Workstation), or an external CV keyboard or analogue sequencer, it is equally at home being worked with on its own using its internal step sequencer or pitch played via its six-touch plate ‘keyboard’. Whatever way anyone chooses to work with Ample, it could conceivably be argued that it is the best desktop synth of all — Analogue Solutions-wise or otherwise!

Limited quantities of Ample are already available to purchase directly from Analogue Solutions for £1,999.00 GBP (excluding tax/VAT) via its dedicated webpage (https://www.analoguesolutions.com/ample) while stock will soon be arriving at selected dealers (https://www.analoguesolutions.com/dealers).

Check with dealers on the right for availability.

Luminous Trilogy & A CATALOGUE OF FM MATERIALS by Element433 ( a.k.a. Pere Villez)

via Element433 (Pere Villez)

"When I made the popular YouTube series 'FM Catalogue of Materials', many viewers commented that they would love to see some more of the 'music tech as cinema' style created in the videos.

My new project 'Luminous Trilogy' release, does exactly that. In part 1 'WTD', synths and synth technical diagrams, together with Pure Data/Max patches, become casual parts of the film's environment, which is set in an alt near future. Part 1 was realised with analogue modular, whereas Part 2 "Breath" was scored using binaural audio, VCV rack and live Indian tablas. Part 3 'Contrails' uses physical models, Samplicity's Berlin Studios and vintage FM hardware."

Update: Element433 has made the VCV patch and assets used in the film "Breath" below a free download. You can find instructions on downloading the patch and setting it up here: http://tinyurl.com/e433WpBrvcv.

Luminous Trilogy

video uploads by Element433 ( a.k.a. Pere Villez)

"Three music shorts around the theme of light, from incandescent urban folklore set in the near future, electric neon glowing medussae to impossible skies, all to the sound of dark ambient and techno-world music"

Playlist:

Walking The Dulzaina - Luminous Trilogy - Part 1

Walking The Dulzaina is an edited one-shot music film which details the manic walkthrough time-lapse of an imaginary synthesised dulzaina (Spanish folkloric instrument) being taken for a walk through the "Las Vegas" like dressed streets of a small village festive celebration set somewhere in the near future.

The visuals are nods to the Bladerunner, Lynch, Weirdcore and Kubrick where the glow of transparent neon CRTs, display technical diagrams with a music technology theme. Some suddenly slide up from the ground, while others cross from one side of the street to another.

The music is inspired by minimalism, industrial techno synth-folk where Steve Reich and Techno meet Raymond Scott and 1960's BBC radiophonic.

Musical Equipment Detail:

Intro: Moog Subharmonicon through Fairfield Randy's Revenge ring modular - into two crunchy Elby Systems stereo valve preamps and out into a stereo pair of Doepfer A-199 spring tanks).

Dulzainas: Buchla Easel Command sometimes untreated and sometimes solo through a J.H. 'Son of a Storm Tide' stereo analogue studio flanger (built by Van Daal Electronics (second dulzainas and very low transition whoooses). Buchla and Subharmonicon sync locked and clock divided by Ornaments and Crime clock divider.

Final wormhole sequence: Subharmonicon through stereo A-199 Doepfer spring reverbs and Paulstretched.

This work is not sponsored by any the manufacturers mentioned. They are personally purchased pieces of equipment.

Album:
https://distrokid.com/hyperfollow/ele...

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AUM Keyboard Zones Quick How-To

video upload by boxoftextures

"A quick how-to on how to set up keyboard zones in AUM on the iPad. I connected a CME Xkey Air keyboard to AUM, then added three instruments—bass, piano (with far too much reverb LOL), and “guitar.”

To set up the zones you need to go to the MIDI input settings for each channel and specify the note ranges. After that you can play from the bottom of the keyboard, and as you move upwards you go from bass to piano to guitar. Or you could overlap the ranges, or layer them, or any number of other things depending on what you’re trying to accomplish."

WoFi Jam 04 in Nantes with Les Sondiers

video upload by Kiviak Instruments

"I went to Nantes two weeks ago to shoot a Twitch live with Knarf from Les Sondiers.
We jammed in the afternoon and had a lot of fun, and I wanted to share some things that came out!
By the way, maybe some of you have missed the news...WoFi is now 100% funded! 🎉 THANKS A LOT!"

WoFi Jam 03 in Nantes with Les Sondiers

video upload by Kiviak Instruments

"Two weeks ago, I went to Nantes to shoot a Twitch live with Knarf from Les Sondiers.
We jammed in the afternoon and had a lot of fun, and I wanted to share some things that came out!
By the way, maybe some of you have missed the news...WoFi is now 100% funded! 🎉 THANKS A LOT!"

Anamnesis (4/4) - The Lake

video upload by Hélène Vogelsinger

"A n a m n e s i s ( 4 / 4 )

The Lake

The creation of the lake, 73 years earlier,
led to the flooding of the agricultural land
of the village's inhabitants.

Thus pushing them to leave their home,
where many generations have succeeded
one another since the twelfth century.

The resistance fighters were expropriated;
sealing the fate of these centuries of history.

Although devastated, the village is not part of the past,
and there are still a few lineages to bear witness to its
past existence.The descendants of the last farmer live
among the ruins, and we can still hear the sound of life
in the distance.


✨ 👁️ ✨ 👁️ ✨

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WoFi Jam 02 in Nantes with Les Sondiers

video upload by Kiviak Instruments

"Hey, this is Romain, creator of Kiviak Instruments 👋

Last week, I went to Nantes to shoot a Twitch live with Knarf from Les Sondiers.
We jammed in the afternoon and had a lot of fun, and I wanted to share some things that came out!
By the way, maybe some of you have missed the news...WoFi is now 100% funded! 🎉 THANKS A LOT!

And the Kickstarter campaign is still live until the 16th of November, so it's not too late to preorder your WoFi ⏳😌

Check our Kickstarter campaign to know more: https://www.kickstarter.com/projects/..."

WoFi Jam 01 in Nantes with Les Sondiers

video upload by Kiviak Instruments

"Hey, this is Romain, creator of Kiviak Instruments 👋

Last week, I went to Nantes to shoot a Twitch live with Knarf from Les Sondiers.
We jammed in the afternoon and had a lot of fun, and I wanted to share some things that came out!
By the way, maybe some of you have missed the news...WoFi is now 100% funded! 🎉 THANKS A LOT!

And the Kickstarter campaign is still live until the 16th of November, so it's not too late to preorder your WoFi ⏳😌

Check our Kickstarter campaign to know more: https://www.kickstarter.com/projects/.."

Buchla Thunder + ASM Hydrasynth | Noise Improvisation

video upload by Ryan Gaston

"I recently took delivery of a vintage Buchla Thunder—a MIDI controller I've been dorking out over for years. In this video, I'm exploring a tiny bit of what it can do when combined with an ASM Hydrasynth desktop module...in the form of a mostly noisy/textural improvisation. (Note—the laptop is there purely for the sake of recording. All sounds and effects are coming from the Hydrasynth.)

Released in ~1990, Thunder is bonkers. Like many of Buchla's prior instruments, it uses touch-sensitive plates as a way of interacting with electronic sound engines. There's no "default" setup...you have to program everything that it does from scratch. It can translate touch directly into MIDI notes, or your touches can be used to initiate/conditionally influence programmed strings of events. Keys can even be used to conditionally modify one another's behavior—it's very deep, and things can become complex quite quickly. That's much of its charm: it's very easy for simple interactions to unwind into complex, unexpected flurries of sound.

So it's quite powerful...but given that I've had it for only a short time, I'm still barely scratching the surface. That said, it's already proving to be super inspiring to play, and I'm excited to keep digging in from here."

OXI One Tutorial - CV Trigger Envelopes & Modulations

video upload by OXI Instruments

"Unlock the secrets of CV Trigger Envelopes and Modulation Lanes in this tutorial, designed to swiftly broaden your understanding of the OXI One CV Modulation features.

Explore practical applications, creative tips on using the Modulation Lanes for CV modulation, Random Generator, and insights into the Velocity and Gate columns Views, all packed in a concise yet comprehensive guide.

Explore another take on the topics we've covered in our video by checking out this tutorial by @SynthDad :"

Oxi One - the brain for your modular setup. What you need to know to get started

video upload by SynthDad

"The Oxi One is perfect for controlling your modular setup, but configuring it can be overwhelming at first. In this tutorial I show you how to use your Oxi One to control your modular synth; I’ll explain how the CV/gate mapping page works, how to send envelopes, how modulation using LFOs and automation lanes works, and how to set up a polyphonic patch using the Oxi One as the brain. Best of all we'll get to draw waveforms by hand on the grid to modulate our patches - cool!

This video builds on my previous one. (below) and if you've watched that you'll feel right at home here. Even if you're not an Oxi wizard just yet you'll find this video easy to understand as I've broken it down into themes:

1. Understanding the CV/gate mapping page
2. Creating a one-voice monophonic patch
3. Sending envelopes from Oxi One
4. Adding complex modulation to patches
5. Drum sequencing in modular
6. Polyphonic modules"

Oxi One - 5 Quick Tips to start making music fast

video upload by SynthDad

"The Oxi One is a powerful MIDI sequencer but when you first sit down it can be tough to understand how it works. This is the first in a series of videos where I explain how to use the Oxi One, get to grips with its features, and how use it to make music fast.

In this first episode I will give you 5 quick tips to get started making music with the Oxi One and your synths. This isn’t meant to be an exhaustive deep-dive into every feature, or a review of the device. Instead these are the top five things I think you need to know to get going quickly."

Kiviak Instruments' WoFi Comes to Kickstarter

You might rmember Kiviak Instruments' WoFi from previous posts here.

The have launched a Kickstarter campaign. Price of the WoFi on the Kickstarter Campaign: 599€ / 599$US

Public price of the WoFi post-campaign: 799€ / 799$US.

Press release follows:

"Say hello to WoFi

Kiviak Instruments is pleased to officially announce the release of Wofi, their first instrument ever, on October 17, 2023.

This date will begin a one-month Kickstarter campaign as a pre-order tool to scale the volume of production needed.

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The Blue Marble Synthesizer Project Plans to Put a Music Synthesizer Controller in Space

video upload by Physical Synthesis

Blue Marble Synthesizer Project: Andrew Huang


Physical Synthesis, the makers of Cicada, wrote in to let us know of a new project soon to be seeking funding on Kickstarter.

I asked them what the platform would be based on. They replied:

"The web-based interface will be an adapted version of Patatap to which we’ll add a video feed and other interactions that will be possible to trigger inside the space capsule (i,e agitate the marble by turning on a fan, LED array, microphone, speaker, etc).

The space capsule has a set of different elements that allows to change the position of the physical marble floating inside the zero-gravity chamber (a set of sensors that calculates the position, a fan that agitates the position of the marble, a microphone that records those interactions, etc). All that data is then being sent back to us on earth (or in reverse sent to the capsule from earth using the Live mode). In other words, the web-interface receives data/interactions from the capsule and the Live mode allows to send data/interactions directly to the capsule. Lastly we’re building a VST plug-in allowing to receive MIDI and hook up data directly into your DAW or other synth."

In short the interactive hardware controller w/ microphone to capture audio is in space, while the synth engine and processing is done on earth.

Addtional details from the Kickstarter/Press Release follows.



The Blue Marble Synthesizer is the first-ever music synthesizer that can only work in space and that is playable from here on earth. It’s a synthesizer for making music and experimenting with sound. The system consists of a pressurized capsule in a low earth orbit satellite, a network of sensors, and a web-based interface for people to play with here on earth.

1. The Blue Marble Synthesizer Capsule consists of a pressurized CubeSat module configured with a control computer, camera, sensor array, fan, LED array, a microphone, and a speaker. It measures the behavior of a marble floating in a zero gravity synth capsule and sends sensor data, audio feed, and video feed back to us on earth.

2. The Web-Based Interface is an interactive and self-contained web audio synthesizer designed for everyone. Through a collaboration with the creator of Patatap, this application blends interactions from the Blue marble Synthesizer Capsule data with a traditional interactive music synthesizer. This web-based interface is a way to explore the interactions between the Blue Marble Synthesizer Capsule and people’s own musical creativity.

● When does the space mission start?
The Kickstarter campaign is set to start on Wednesday, October 4 for 30 days until the rocket launch which is set for Wednesday November 1 aboard the SpaceX Falcon 9 Rocket. Once in orbit, the Blue Marble Synthesizer Space Capsule will be rotating around earth every 90 minutes.

● Why does this project matter?
The Blue Marble Synth Project is intended for all those who share a passion for space, music, and the intersection of science and art. Music has always been a universal language that transcends cultural barriers, connecting people on a deeply emotional level. By introducing a music synthesizer to space, we expand the horizons of artistic expression and create a new dimension for human creative endeavors off-planet.

● What is the experience like for supporters?

1. Two primary ways: people will have the chance to make music with the audio and the data captured by the Blue Marble Synthesizer in two primary ways: through an interactive web-interface or via a VST-plug-in. Some supporters may also have the chance to play and interact with the system directly in space.

2. The Blue Marble Web-Interface: is a self-contained web based application that works from here on Earth. Inspired by Patatap, this application blends interactions from the Blue Marble Synth Capsule Data with a traditional interactive music synthesizer.

3. The Blue Marble VST Plug in: this feature allows to receive MIDI and control data from the Blue Marble Synth Capsule to use with other digital synthesizers and digital audio workstations such as Ableton LIVE, FL Studio, Presonus Studio 1, etc.

● Who are the artists involved?
Andrew Huang, Benn Jordan, Trovarsi, and MAYSUN, are invited artists who will compose original music with the Blue Marble Synthesizer during this orbital mission. They each possess the adventurer's spirit that we believe is at the heart of this project.

Andrew Huang
We are thrilled to have Andrew Huang, the YouTube phenom and Toronto-based artist join the Blue Marble Synth Project. As a highly acclaimed music and video producer, Andrew's unique ability to seamlessly blend diverse musical styles with captivating visuals aligns perfectly with the innovative vision we seek to bring to life. His creativity, coupled with his commitment to pushing artistic boundaries, makes him an invaluable addition to this project

These 4 artists will compose original music using the Blue Marble Synthesizer and the resulting tracks will be released for project supporters on an exclusive LP post-mission.

● What else can supporters get by supporting?
Beyond accessing the Web-Based interface and Artist Album, supporters also get access to a range of branded Blue Marble Synthesizer merchandise designed by Physical Synthesis. The collection features a sticker and mission patch, hoodie, t-shirt, cap, tote bag, and more.

● What goes inside the Blue Marble Synthesizer? Technical Breakdown
The Blue Marble Synthesizer Capsule consists of a pressurized CubeSat module configured with a control computer, camera, sensor array, fan, LED array, a microphone, and a speaker. The module allows supporters to receive data so they can control other synths and interfaces as well as initiate actions that affect what happens inside the capsule

1. Zero Gravity Dynamics: to make the Blue Marble Synthesizer an instrument that can truly work in space, it requires harnessing the power of zero-gravity. To do this, the synthesizer relies on interactions between a spherical piece of glass – the blue marble – and an array of accurate laser sensors that measure the distance and location of the marble as it floats around a small pressurized chamber.

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TitpTop Audio Art Octopus, ATX1 and Vortex, O/C module and Error Instruments White Rabbit

video upload by Luca Longobardi

"Another short session with the new TipTop Audio Art modules.
I was exploring the Poly Voice Management of the Octopus, the module that ‘conducts’ the three ART oscillators. In the first part, the simple arpeggio played on the Arturia Keystep is reproduced in order by the first ATX1 (Midi channel 1), the second ATX1 (Midi channel 2) and the Vortex (Midi channel 3). It is easy to follow the change by looking at the red LED that lights up on the modules or the ADSR that is activated on the O/C in the case of the first two oscillators. Things get interesting when you manually switch from Mono 8 mode (one midi channel for each oscillator) to Poly 3, Poly 4, etc. These modes are designed to use oscillators in polyphony, playing chords as you do on a polyphonic synth. By sending a sequence instead, the notes are distributed one after the other among the different oscillators which, with different settings, create an ever-changing melody. A very unique way to make a sequence more interesting I think.
P.s.
The drone you hear comes from the TX-6 while the delay is the White Rabbit by Error Instruments."

Machina Bristronica 2023 - Walkthrough and best new things

video upload by

"I attempted to capture the vibe of Machina Bristronica on a 360 camera, so here's a walkthrough of the entire thing. Plus I highlight some of the cool new things I saw and share my thoughts on how it all went."

https://machinabris.wpengine.com/

Index:
Intro - 0:00
The Grand Tour - 2:12
DivKid Stage - 2:29
Live Space - 3:15
Main Hall - 3:21
DIY Workshops - 3:58
All the synths and modular - 4:13
Data stage - 4:40
Synths! - 5:03
Discussion Stage 18:52
Live Space and bar again - 21:04
Highlights - 22:32
Tiptop Audio ART - 23:56
RYK new FM module - 27:03
Venus Instruments VENO-LOOPER - 28:10
Vostok Atlas - 28:55
Stochastic Instruments Strange-R-Things? - 30:10
PlayFader - 32:45
Befaco FX Boy - 33:50
Gaz cable thingies - 34:14
Julia Bondar live - 34:37
Conclusions - 35:43

See the Machina Bristronica label below for additional coverage of the event.

iConnectivity Introduces PlayAUDIO1U Revolutionary Audio and MIDI Interface

video upload by iConnectivity

"iConnectivity's PlayAUDIO1U is designed to support live performances at the professional level. It is a deeply-thought-out, bulletproof, fail-proof, and made-to-tour interface that provides pristine audio output as well as comprehensive MIDI connectivity to your whole stage. It’s perfect for control and playback of backing tracks, virtual instruments, or almost anything else you can think of that requires computers in a live environment."

Press Release follows:

Calgary, Alberta, September 12, 2023 – iConnectivity announced PlayAUDIO1U, a revolutionary audio and MIDI interface designed specifically for live musicians. PlayAUDIO1U builds on iConnectivity’s reputation for developing bullet-proof, fail-proof solutions for live music performance. Much like its direct predecessor PlayAUDIO12, PlayAUDIO1U integrates numerous redundancy fail-safes for control and playback of backing tracks, virtual instruments, and MIDI devices.

Imagine never having to worry about your computer playback failing, ever again. Imagine an interface where not just the big things, but even all of the little things that are important to your performance were thought of… Things like seamless failover protection of audio and MIDI, XLR outs you can just plug into without direct boxes, control ports that allow you to control all of your connected computers and other hardware, onboard power that works in any part of the world with standard IEC connection, and it all fits in a tiny 1U rack! Imagine no longer…

PlayAUDIO1U by iConnectivity is here!

PlayAUDIO1U allows every working musician access to an easy, seamless, simple & straightforward failover solution.

PlayAUDIO1U fuses iConnectivity’s vast engineering knowledge of the live arena, passion for performance, and decades of experience into one product. PlayAUDIO1U ensures working musicians never suffer the embarrassment of a silent show, ever again.

PlayAUDIO1U’s secret in part is integrating two computers connected directly to the interface, forming an incredible redundancy / failover protection system. Should your main computer fail, PlayAUDIO1U switches to the backup computer in a heartbeat; so fast that you and your audience won’t even notice. Backing tracks keep playing in time and your MIDI gear stays connected. It does this all in a package that is completely designed from the ground up made-to-tour.

PlayAUDIO1U also ships with iConnectivity’s new and improved Auracle 2.0. Auracle 2.0 is fast, flexible and intelligent, allowing performers to create a sophisticated live integration of all audio and MIDI connections, inputs and outputs; Auracle lets you do it in minutes, not hours. 'PlayAUDIO1U builds on everything we learned in creating and then supporting users of our PlayAUDIO12, an interface that quickly became the industry standard,” says Al Joelson, VP of Sales and Marketing. 'This interface is designed to be an even more ready-to-gig, comprehensive solution. It’s a crazy powerhouse of audio and MIDI capability for live performance.

Key Features:

12 Balanced panel reinforced XLR outputs
Integrated +48v phantom power protection on outputs protects your interface from accidental damage when plugging directly into consoles or stage boxes
1x 1/4” TRS stereo headphone output with dedicated control for convenient headphone monitoring
2x USB C type ports for connecting computing devices
Automatic and manual computer switching modes, for lightning-fast switching between connected computers
2x two-button “Control” footswitch selectable input/outputs can be mapped to MIDI functions, control over numerous functions on the interface and/or sending control messages to compatible devices
Audio Protection helps stop unwanted noise from corrupt audio sources/files from making it into the audience
USB MIDI host port, offering up to 8 ports worth of USB MIDI for Class Compliant controllers and/or modules
DIN-MIDI port built-in (1 in 1 out)
Ethernet MIDI with 22 ports of connectivity for rugged long-distance MIDI connections
Auracle 2.0 software enables you to tailor the PlayAUDIO1U’s settings to your exact needs
“MIDI learn” from external MIDI devices to control key functions on the interface
High-resolution audio - Studio sound quality for the live arena - up to 24-bit/96kHz AD/DA conversion
Comprehensive audio mixing and routing between connected USB computing devices and analog outputs
Easy-to-use capacitive touch control and 2 rotary encoders provide software-less control over PlayAUDIO1U’s key features from the front panel
OLED screen for instantaneous status information and precise control
100-240v switching power built-in with Industry-Standard IEC Power Connection
1U ready-to-tour rack-mountable chassis


PlayAUDIO1U™ US MSRP $1399.99 Estimated street price $1199.99, and will be available for pre-order immediately and shipping immediately from www.iConnectivity.com and iConnectivity resellers worldwide. Full product information can be found at iConnectivity.com/playaudio1u

Adastra Ensemble Strings - JRPG Score by GLASYS

video upload by 8Dio

"We were honored to have GLASYS take our Adastra Strings for a compositional tour de force. Adastra is a reimagination of our timeless 8Dio Adagio and Agitato String libraries but super-powered in Soundpaint, emphasizing playability and emotional realism.

Adastra Ensemble Strings is the culmination of 20 years of deep-sampling and building technology to facilitate hyper-realistic orchestral instruments.

Soundpaint makes the Adagio Strings come to life by offering both true polyphonic legato. 127 discrete velocity layers for things like non-vibrato to vibrato and an infinite amount of dynamics and round robin for short notes.

- - - - - -

Adastra Ensemble Strings will be available on September 19th 2023 (on www.soundpaint.com) - and there will be highly affordable crossgrades for all owners of our 8Dio Adagio, Agitato and Anthology String series.

Exclusively (and only possible) in Soundpaint."

Designing Joy: an Interview with Korg.Berlin CEO Tatsuya Takahashi

via Perfect Circuit

"Tatsuya Takahashi, widely known as 'Tats', is a name that resonates loudly among sound synthesis enthusiasts and professionals. Over the last decade, his innovative mindset has been instrumental in resurrecting the popularity of analog synthesis, crafting a unique sonic landscape that blends tradition with novelty. Takahashi was been the creative engine behind some of Korg's most celebrated modern instruments, including the Monotron, the Volca series, and the Monologue and Minilogue synthesizers."

You can find the full interview at Perfect Circuit.

The following a few excerpts.

"I do have a guiding philosophy. I need to talk about the values that are present now, and how different they are from when I started. Obviously, I was naturally drawn to music tech, I have always loved circuits, instruments, and synthesizers. So initially, when I started working at Korg, which was my first "real" job after working in restaurants and bars, I was entirely focused on doing my job well.

As you mention, this period coincided with the revival of analog synthesizers, and I like to think that I played a role in that amongst other members of the industry. However, back then, it was more about doing well in my job and fulfilling my passion. The vision or the philosophy wasn't as defined then as it is today.

Now, at 40, I have a different perspective. I look back at the 23 products I worked on while in Tokyo and try to understand what made my job fulfilling. Apart from my affinity for design, art, music, and the very act of creating—of being and doing, I realized that there was also an important external element that stimulated me, and that was the joy that the users derived from my designs." "If you look at the MS-20, there were very few people involved in that project. The people responsible for the specs, the electrical design, the mechanical design, and the manual were probably the same two or three people. They just operated using general design principles.

Such an approach brings a certain consistency and purity to the product. Of course, if you are working on a complex product like a workstation keyboard, you need a large team to cover all the layers. However, I romanticize this early era of hardware design where everything was unified. If you look at an old Siemens mic pre, everything from the latch that takes it out of the rack to a three-dimensional puzzle of transformers and vacuum tubes to electrical, mechanical industrial design—all these considerations combined together. It is the same idea here, we try to break the boundaries between different disciplines and just see it as one thing."

"Korg.Berlin is nearly three years old, and we are a subsidiary of Korg Inc. Our function is to conduct R&D for new musical instruments. We diverge from the main office in that we have a different product planning procedure. We work directly with things, and we try in physical form what ideas might work. By the nature of that, we are a bit more explorative.

Our operation specifically aims to do things differently from the way it is currently done in Tokyo and Asia as a whole, including the manufacturing infrastructure. Having spent a wonderful decade building mainly analog synthesizers, it was important for me personally to do something different here. The team in Tokyo carry on with that work, and they are super good at it. So there is no point in us doing the same thing. That is why we need a different approach, a different technology, a different appeal, and consequently, we need a different branding. That is why we have our own logo, and we identify ourselves as Korg.Berlin. These are some of the things that make us different.

Looking into the future, we feel that some form of this acoustic synthesis that we unveiled at Superbooth this year will be at the core of our forthcoming products, or even multiple product lines."

Analog synth heaven. Parallel Reality

video upload by WilliamSalmela

"The William Salmela Project: Subtle Moves / Parallel Reality

I got to play with a theremin! So, how to make something cool with it... without actually learning how to play... check it out :)

Lots of nice vintage stuff used in the piece:
Keio Donca Matic - Mini Pops
Korg EX-800
Korg Delta
Korg Sigma
Moog Etherwave Theremin
Micromoog
Yamaha CS-15D
(and a sampled 12-string acoustic guitar)

There's some outboard effects also, like EHX Deluxe Electric Mistress, Stereo Clone Theory, Small Clone and Roland SDE-2000 (the only digital unit here, but hey, it's vintage too).

For more information, please visit:
http://the-wsproject.com/

© 2010 W.T.Salmela"

Analog synth heaven, Veteran Jam

video upload by WilliamSalmela

"The William Salmela Project: Subtle Moves / Veteran Jam
People have been asking for new videos, which warms my soul. I know I haven’t been too active here nor in my studio lately. But I decided to publish this older piece because I had a couple of video clips from the recording sessions.
Sadly I don't have any of these instruments anymore...

Some very nice pieces of vintage kit was used in the piece (along with a few digital things):
Keio DoncaMatic MiniPops (Boss RPD-10, EHX Small Stone)
Korg Delta (Boss KM-60, Boss RPD-10, Joemeek mc2)
Korg MiniPops 7 sampled
Korg EX-800 (EHX Small Stone, Roland SDE-2000)
Korg Polysix – Legacy
Korg Trident (Boss RPD-10, Roland SDE-2000)
Roland RS-505 Paraphonic (EHX Small Stone rus)
Roland V-Synth-XT

© 2010 W.T.Salmela"

Instruō Superbooth23: THE MOVIE

video upload by Instruō

WARNING: This video contains flashing lights which may not be suitable for people with photosensitive epilepsy (There's also a wee bit of swearing!)

This is a movie that follows the creative crew that is Instruō.
In 2023 the company travelled to Berlin to present at the Superbooth trade show/festival.
At the time of these captured events, the expanded team at Instruō numbers 20+ personnel.
Pretty much the entire crew goes to Berlin as we show off who we are and what we make.
This is a look behind the scenes of a Eurorack modular synthesiser manufacturer as they present at the world's best Synth-show!

Directed by Mathew Pieraccini
Edited by Jasōn H. J. Lim

"This 'documentary' is the beginning of a new form of content that I'm (Jasōn) working on in parallel to the endless stream of new instruments that we're developing.
It's a long time since it was just myself working solo back in the early days of Instruō
(~2016).
I now have the privilege of working with some of the most fun and creative people I've ever met.
We collaborate now as a creative coop. My hope is to showcase more who we are, what we're doing and how things work at the workshop here in Glasgow.
I've always been a fan of behind the scenes content so my plan is to open thing up a bit to showcase my collaborators and what they do inside and outside of roles at Instruō"
~Jasōn

00:00:00 prologue
00:01:22 Instruōduction
00:02:05 THE TEAM ASSEMBLES, Glasgow 2023-05-08
00:03:02 BUS
00:03:40 Road Trip (UK)

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