MATRIXSYNTH

Sunday, January 31, 2010

Kegel vs. ether^ra - Voodoo History

YouTube via arthurpainter. Folktek on Ebay
"This can either be described as a spontaneous brotherly moment that went horribly wrong or pure noise therapy, depending on your point of view. You decide. Devices used include my Korg MS-20, Wicks Looper, Folktek Pluton, Korg Mini Kaoss Pad & Kaossilator, EH Memory Man, Alesis Bitrman, and Alesis ineko."

Contemplative Ring-Modulated Partials

YouTube via JeffreyPlaide
"Contemplative Ring-Modulated Partials is an original electronic composition primarily composed on the Korg R3 synthesizer, and utilising extensive use of the 8-step arpeggiator and randomising sequencing functions. The work also features extensive use of double ring-modulated waveforms. Double ring-modulated effects produce some rather unexpected groans, warbles, wheezes, rumbles and squawks - due to the sum and difference effect acting twice on the source oscillator waveforms. The main sequence was composed using dual timbres each set to operating with dual triangle waveforms. Each waveform was ring-modulated by the second oscillator, processed with stereo delay, then further ring-modulated using a sinewave in note mode and adjusted until an interesting effect was achieved. The two timbres were each treated in this manner, then fed to the master reverb effect. The sequence was composed at 104 bpm and played using the 8-step arpeggiator set to random mode. Some steps were muted to create variety in the passage. The second sequence was created in the same way as the first but with different transpose settings for the timbres. Different oscillator ring-modulation settings were used for the individual oscillators, and different pitch settings for the second ring-modulation effect. Again an 8-step randomised arpeggiation sequence was called into play. The last sequence was created like the second sequence, but with lower filter cut-off and high-resonance to induce self-oscillation. Again, wildly variable settings were used for each ring-modulation function. The rhythm track was created on the Hammerhead Rhythm Station using basic electronic percussion set to a four-bar sequence. This was heavily equalised and reverb added. All these tracks were mixed down to create a sub-master with three distinct sequences following on from each other with very slow cross-fades. To the sub-master, an atonal ringing sequence was added comprising triangle waves tuned to non-octave intervals and played as a random arpeggiated sequence. For effect reverse reverb was applied to all tracks and mixed at certain times and panned manually to create an ambient "wash" in the background. This then became the master mix, and it became apparent that interesting poly rhythms could occur when using different arpeggiated settings, but synchronised to the same tempo reference. The result is an interesting trance-like ambient electronic composition with extensive use of ring-modulation and arpeggiated sequences. The visuals are a mixture of moving photo-montage panoramas and video synthesis techniques using modulating patterns superimposed over each other to create a complex cascade of motion and light."

Clair de Lune - Randy George, theremin

YouTube via ooo6
"Clair de Lune by Claude Debussy .

Randy George, theremin
http://randygeorgemusic.com

Beautiful piece of music. Please enjoy. Higher quality download soon to be available. If you are new to the theremin, please discover it in more depth. It is the most fascinating musical instrument in the world (when played as it was originally intended).

The theremin entered my life four years ago. It has been a tremendously challenging journey, but it is immensely rewarding. The theremin is absolutely deceptively difficult to play with musical precision and finesse.

Clara Rockmore, the foremost virtuoso of the theremin introduced it to the world as a serious musical instrument. Over the course of recent music history, this expressive voice was forgotten. Watch/listen to electronic music pioneer Robert Moog discuss this very subject in a video entitled "bob moog cnn" in my video favorites section.

I feel it's definitely time to reconnect with the roots of the instrument. With these classical theremin videos, I hope to light the way back home.

I would like to send a huge personal thanks to mathematician/thereminist, Thierry Frenkel. The volume expression circuit of my Moog Etherwave Pro theremin has been modified with a very important enhancement that he designed. visit his website for more info at: http://theremin.tfrenkel.com"

moon over marin (dead kennedys cover)

YouTube via SunamachiSoundSystem
"tebure camera to tokyo wan no temae made"

Saturday, January 30, 2010

Cwejman CTG-VC Complex Transient Generator

samples at Analogue Haven

"the envelope generator provide control voltages that can be used for dynamic change of all voltage controlled parameters, such as; frequency, amplitude, pulse width, cutoff. the most common use is controlling filters cutoff frequency and a voltage controlled amplifiers amplitude in order to achieve dynamic timbre- and level-changes. all parameters such as attack time, attack hold time, decay time, sustain level, release time and output level are voltage controlled.

the ctg-vc is a complex transient generator with a lot of features, such as; two different shapes for the attack, attack hold (a-hold) for more punchier sound than a standard attack, variable decay slope (d-slope) from natural exponential to heavy logarithmic, attack-decay loop (a-d loop) and polarized level for outgoing transient signals which means that both outputs levels are controllable in both directions (positive and negative). a-d loop switch activates, when on, a steady state attack/dacay generator and the rate is determinated by attack/decay time and attack/decay modes. the external signal alone in to the a-d restart input start a single a-d transient for every new external signals a-d restart period (every shape). the sustain level should be in pos. 0. zero restart resets (when on) the remaining release voltage for new gate signal so attack starts always from 0."

Cwejman MMF-6 - multi output filter

samples at Analogue Haven

"the mmf-6 is a multi mode filter with six outputs, first three from the left; "clean" low pass, band pass and high pass. low- band- and high pass to the right are processed by three separate (for every output) saturation circuits with two modes; soft and hard.additionally, the filter core has so called "symmetry" control for the resonance and cutoff frequency. it is possible to control cutoff so positive and negative going signals has different cutoff frequencies, from a subtle "edge" to very dramatical character of the audio signal (including frequency division effect). now it's possible to imitate the famous moog filter (it can not replace it, of course), ota based filters and others. all this by modulating symmetry by one of outputs (pre-patched to "clean" low pass output) or an external signal. now it is possible to mix clean and saturated audio signals in any combination."

Cwejman BLD - Bass-Lead & Drum Generator

samples at Analogue Haven

"the bld has all components and functions necessary for generating bass lead and drum sounds with focus on bass drum sounds. it can be trigged by a push button or by an external signal (any shape). the pitch, cutoff frequency, transient times and amplitude are also voltage controllable by external signals. the bld contain main sound generator (oscillator) and noise generator and modifiers such as low pass filter, amplifier and two transient (contour) generators.

oscillator has two manual pitch controllers (fine, coarse) and two inputs for controlling the pitch by external signals (fm1, levelled, bipolar pre-patched to transient generator ar and fm2, calibrated to 1 volt/octave). waveforms and mix between shapes is controlled manually from triangle, mix between triangle and pulse, pulse, mix between pulse and saw tooth and saw tooth). oscillator level is controlled manually from 0 thru nominal signal strength to saturated (curved, for more punch). pulse width is controlled manually and by an external signal (pwm).

low pass filter has two audio inputs marked oscillator level and noise level, the cutoff frequency is controlled manually, transient generators ar and ahr and by cutoff pre-patched to fm2 cv input.

noise generator is connected to the low pass filter and to the amplifier (noise level). the noise generator can be routed in to the amplifier (pre) or directly to the output amp (post). the noise generators level is also controlled by pre-patched ar generator thru input noise level.

ar and ahr transient generators are activated manually by the push button trig and/or by an external signal (input trig). attack, hold and release are manually controlled and by an external signals connected to inputs a1, r1 (ar) and a1, hold and r2 (ahr). amplifiers gain is controlled by mix of ar and ahr and by an external signal connected to the input velocity."

Tuvan Throat Singing & Theremin

YouTube via copperleaves

"Here is a short improv for Tuvan/Mongolian throat singing (a style known as "khoomei") and MIDI theremin. The instrument you see me holding in the video is called a "morin xuur" or "horse fiddle". It is normally played with a bow but in this composition I pluck the strings and also drum my fingers on it to play rhythmic patterns. I'm afraid I'm not a particularly good throat singer, but I do enjoy doing it a lot and I greatly admire the Tuvan and Mongolian musicians who are the real masters of it.

The MIDI theremin you see in this video is the Moog MIDI Ethervox."

Be sure to see Huun-Huur-Tu - Live