KRAFTWERK "Die Roboter" Tribute Cover

YouTube via gattobus
"This is my tribute to Kraftwerk, the fathers of electronic music. I used the Nord Modular G2 for all the sequenced stuff and for vocoder, Moog Little Phatty for the lead sound and Virus TI for FX. Enjoy!"

ER1+ES1+MS2000R Jam

YouTube via shadowfac
"This is an improvisation with the Korg ER-1 and ES-1 electribes and a Korg MS2000R synthesizer."

OMD Live in Paris 1979 / Intro Statues Bunker Soldiers

YouTube via PlastikOD. Anyone know what synths they used back then? I spotted a KORG MS20.

Update via Micke in the comments:
"The material on their eponymous debut album was recorded around that time, ie from mid-to-late 1979.

On that album they used the following setup:
Korg micro-preset
Selmer pianotron (type of electro-mechanic keyboard sounding not unlike vibes or a xylophone)
Elgam Symphony combo-organ (2-manual) and Vox Continental.
Korg MS-20
Roland CR-78 drum-machine
and a left-handed bass-guitar."

DELIA DERBYSHIRE- "The Wizards Laboratory" (1972)

YouTube via funknroll

"The Women of ELECTRONIC MUSIC! From the 30's to the 70's!

Before synthesizers, electronic music was honed the hard way in universities, by splicing tape loops, distorting sounds, endless dubbing, and blind instinct. Here are the timeless women of future music who created our present...

Since the 1930's, CLARA ROCKMORE was the master of the notoriously difficult Theremin, and later championed by synthesizer-creator Bob Moog; LOUIS & BEBE BARRON created the first all-electronic score for the film "FORBIDDEN PLANET" (1957), using oscillated sounds and tape loops; //STUDIO d'ASSAI (Paris): Danish ELSE MARIE PADE studied under musique concrete founder Pierre Schaeffer, becoming a noted composer; ELAINE RADIGUE used the Buchla and Arp synthesizers in her work, heavily influenced by Buddhist meditation, and records now with laptop improv group The Lappetites; MICHELE BOKANOWSKI has composed for film, televison, and theatre; //BBC RADIOPHONIC WORKSHOP (London): ...was created and directed by DAPHNE ORAM, inventor and sonic pioneer; she was followed by DELIA DERBYSHIRE, who brought Ron Grainer's "DR. WHO" theme to brilliant, eerie life with her studio wizardry; MADDALENA FAGANDINI co-created the proto-Techno single "Time Beat/ Waltz In Space" (1962) with young producer George Martin under the alias 'Ray Cathode'; GLYNIS JONES produced some of the Workshop's classic albums like "Out Of This World" (1976); ELIZABETH PARKER scored many BBC shows including "BLAKE'S 7", and was the person to see the Workshop out in its 1998 finale; //Fluxus performance artist YOKO ONO expanded John Lennon's mind and range with electronic music, musique concrete, and 'happening' experiments; //COLUMBIA-PRINCETON ELECTRONIC MUSIC CENTER (New York): A premiere focal point for international composers since the 50's, including composer and Associate Director PRIL SMILEY; ALICE SHIELDS combined her operatic voice and poetry with the revolutionary synthesizers of the late 60's and early 70's; teacher DARIA SEMEGEN wrote traditional classical music as well as electronic; WENDY CARLOS had massive mainstream success with the all-synth "Switched On Bach", before writing groundbreaking film scores for "A CLOCKWORK ORANGE," "THE SHINING" and 'TRON"; nearby at Bell Labs, LAURIE SPIEGEL spearheaded computer graphics and software design as well as new music; maverick ANNETTE PEACOCK went from Free Jazz piano to the first synthesizers, threading her early 70's raps and rock with freeform electronics; //Argentinian BEATRIZ FERREYRA, who also studied with Schaeffer, is an esteemed composer and teacher; //SAN FRANCISCO TAPE MUSIC CENTER: The crucial West Coast electronic center, including Morton Subotnick, Terry Riley, Steve Reich and PAULINE OLIVEROS in 1962; it moved across the Bay to become the... //CENTER FOR CONTEMPORARY MUSIC (Mills College, Oakland, CA): Oliveros was the first Director, perfecting her signal processing system for live performance; student and now Co-Director MAGGI PAYNE trailblazed video imagery and record engineering along with her music; alum CYNTHIA WEBSTER played in the early synth band Triode, founded electro mag SYNAPSE, and now runs Cyndustries designing software for electronic music, such as the Zeroscillator.

Their innovations led to Progressiv Rock, Krautrock, New Wave, Coldwave, Darkwave, Electro Funk, Industrial, Techno, and Electroclash. Their fringe future music is now the soundtrack of today.

DELIA DERBYSHIRE: This song is from a 1972 LP called "Ultrasonic", collecting music library pieces Delia scored for use in TV shows. It was recently issued on CD, as was "Oramics" by Daphne Oram:
http://www.boomkat.com/item.cfm?id=89395
http://www.boomkat.com/item.cfm?id=35793

See also:
ALICE SHIELDS -"STUDY FOR VOICE AND TAPE" (1968)


"Sound, the infinite frontier! Science had chopped the world into atoms, components from which to build. Modern art deconstructed reality, reconstructing our perceptions of it. And the first Electronic Music likewise took apart sound and turned it inside out for new compositions. Vladimir Ussachevsky founded the first Electronic Music Center jointly with Columbian and Princeton universities in 1952. He brought in avant composers from countries worldwide with new perspectives and radical expirementation. This included women like Daria Semegen, Pril Smiley, Wendy Carlos, and Alice Shields. In the 50's, Electronic Music was distortions of recordings. Sounds on a tape recorder would be manipulated by feedback, repeated spliced loops, overlapping tracks with multiple recorders, and using oscillators and reverb to sculpt the tempo, tone, or texture. This prevailed in continually advancing ways well through the 1960s. Alice used these techniques in creating this composition. A gifted mezzesoprano, she first sang a poem she'd written. She accompanied this with the first analog Buchla synthesizer, a rare and recent device only beginning to draw the attention of the hippest pop musicians. She then manipulated pitch and speed in textural patterns to supplement the freeform song. This was the cutting edge music of the future, usually heard only in academic circles. But it made its way into film soundtracks (from FORBIDDEN PLANET to Wendy Carlos' A CLOCKWORK ORANGE), Fusion Jazz (Miles Davis, Herbie Hancock), Progressive Rock (from George Harrison's 1969 ELECTRONIC SOUND to Krautrock and Kraftwerk), Funk (Stevie Wonder's T.O.N.T.O., Bernie Worrell), on to the synthesizer explosion of New Wave, then Hip Hop (from Bambaataa's ElectroFunk to Public Enemy's radical sculptures of noise), Industrial (synthetic abrasion), and the Electronica music of today; as such, Alice Shields is a godmother of Le Tigre, Peaches, Chicks On Speed, Lesbians On Ecstasy, and Ladytron, to name a few."

MALARIA! -"Your Turn To Run" (1982)

"The Women of 80's ELECTRO! Coldwave, Darkwave, Synthpop, Industrial!

As synthesizers got smaller and cheaper through the 70's, 'future music' went from acedemia to the street. Punk, PostPunk, Funk, and HipHop artists brought attitude and new styles into the pop vocabulary throughout the 80's that forged the music of today. Here are many women from the first Electro rock era..."

http://www.cyndustries.com/woman.cfm
http://www.newyorkwomencomposers.org/...
http://www.aliceshields.com/
http://www.imtheone.net/annettepeacoc...
http://whitefiles.org/rwg/index.htm"

Atomic

via tconrardy on the forum.
"Atomic is a 16 step sequencer composing tool with a built in synth that also has the ability to control other softsynths or even hardware via it's MIDI out function. The design is circular which allows a different approach to composing and sound design.

Inspired by circular step sequencers such as the Buchla Arbitrary Function Generator and Future Retro Revolution. Dedicated to Electronic Music pioneer Allen Strange (1943-2008).

Features
Sequencer:
-16 step sequencer in a circular design with 3 rows: Seminotes, Velocity and Gate
-BPM Rate with 5 modes including random.
-Separate rhythm grid
-Advanced arpeggiator with separate rate, 5 modes with gate and octave controls.
-Latch mode for continuous play as well as indevidual mute for each step.
-MIDI Out for use in modular hosts which also includes LFO's and step modulators to control external vst's or hardware.

Synth:
-2 Oscillators with 14 waveforms including additive partials.
-Separate phase controls, and detune and octave tune as well as harmonic tuning mode.
-VCF with 4 filter types with velocity control.
-2 dedicated envelope generators, one for amp and one for filter.
-2 LFOs, Sub Oscillator, Step Modulator, Random Generator, and Keyboard control with zone and mod wheel assign which includes sequencer controls for step, and rate.
-Comprehensive mod matrix.

Effects:
-X-Y delay with separate multimode filters which can be modulated via mod matrix.
-Spacial stereo reverb
-Phaser with wide sweeping range.

Master section with volume, pan and tuning
CC map for hardware MIDI knob controllers.
Presets by Tim Conrardy and Boris K.

Demo link.
The demo is restricted by a voice-over every 30 seconds or so, as well as MIDI out disabled.

Pricing:
$39.99 USD 25.31 EUR

Web page and demo tunes.

============================
For more information on our other products as well as our acclaimed freeware,
visit the AlgoMusic site."

AHNE 2008: reactable demo

AHNE Reactable Demo from stretta on Vimeo.
via The Stretta Procedure

Origin Trailer

YouTube via Arturiaweb. "Trailer of the upcoming Arturia 's Origin"

Noise Box

Noise Box from Collin Cunningham on Vimeo.
"Loud Object's Noise Toy cased up with an RGB LED + 2 channel color organ"

The Lunar Experience Moon Modular

http://www.moonmodular.com.
Anyone know more about this one?
Update via Yusynth in the comments:
"This Moon Modular 563 module is apparently the commercial version of a module that was custom-made for Gert Jalass. For Xmas 2006, Gert Jalass sent me a Xmas card showing his sequencer unit including two prototypes of the module that were labelled 963. This is a four voices 8 steps trigger sequencers.
Each switch has three states:
Trigger on, OFF, reset.
The pulse width of the triggers can be adjusted independantly for each row.
The module has a clock of its own, but each row can be independantly driven by an external clock."

Update: see the video below via moonmodular in the comments.



MOONMODULAR trigger sequencer M563
YouTube via moonmodular

Modular Casio SK-5 Bent by Oceanus, the Vince Clarke Machine

YouTube via xd515. images via this auction
"in a modular design, with a intergrated Speak and Spell called the 'Vince Clarke Machine'.. not endorsed by Vince but totally capable of making erasure'esque sounds!

Over 100 man hours went into putting this beast together and it has many technical bends previously unheard on the SK, such as the spacial distorter the Auto bend ( as on my modular SK-1 but now syncronised to the internal clock signals ) and the ability to re-program the percussion patterns.

Sadly I can't show all the features in the 10 minutes youtube allow, It can also separate and solo any one of the 4 channels, has separate Percussion / Speak outputs, will sync the autobend to the address bus, you can switch of the internal highpass filters etc.

The Intergrated Speak and Spell has it's own LFO and I have a similar one here on youtube.

This machine may also be for sale for a sensible offer.. :-)

Some hi-res pictures and sound clips can be downloaded from here:
http://www.mediamax.com/oceanus_creat...
http://www.mediamax.com/oceanus_creat...
http://www.mediamax.com/oceanus_creat...
http://www.mediamax.com/oceanus_creat...
http://www.mediamax.com/oceanus_creat...

Oceanus"