MATRIXSYNTH

The Pianist - Print

1970 Mick Jagger on a Moog Modular

Performance (1970) Promotional Film Featuring Mick Jagger

YouTube Uploaded by Performance786 on Apr 18, 2009
At 1:50.
"A promotional film for the Donald Cammell and Nicolas Roeg film Performance (1970) this film was first shown to Warner Bros execs and then to worldwide distributors, it features exclusive behind the scenes footage.

I had to cut the Memo From Turner scene from this film because Warner Bros put a copyright infringement notice and blocked the video."

Be sure to see the Synths in TV and Film master post.

Queens of the Stone at the Moog Sound Lab

flickr By Moog Music Inc
(click for more)

"Dean Fertita & Troy Van Leeuwen from Queens of the Stone Age trying out the Moog Lap Steel and the Minimoog Voyager XL in the Sound Lab"

Roland SVC-350 synth vocoder demo

Roland SVC-350 synth vocoder demo by RossT
"Recording made hastily in 1990 of Roland SVC-350. MemoryMoog as carrier. Voice via Shure SM57 as modulator. I can't remember if the spatial effects was an Eventide H3000 or Ursa Major Space Station."

There's also this one using a guitar as the carrier. For some reason the embed didn't come up for it, so here's the link:

http://soundcloud.com/rosst/roland-svc-350-guitar-vocoder

Oberheim OB-Xa + PPG Wave 2.2 "Paranoia"

YouTube Uploaded by retrosound72 on Mar 23, 2011

"vintage synth track by RetroSound

PPG Wave 2.2 Wavetable Synthesizer (1982)
Oberheim OB-Xa Analog Synthesizer (1981)
recording: multi-trak
thx to susa for the assistance :)

the audio file and more:
http://soundcloud.com/retrosound/paranoia"

Native Instruments Introduces RAZOR

Native Instruments Razor Tutorial

YouTube Uploaded by NativeInstruments on Mar 24, 2011
follow-up to this post
"Our friends at macProVideo.com have produced this helpful tutorial video. It provides a comprehensive overview of RAZOR's enormous feature-set.

Find out more about RAZOR:
www.native-instruments.com/razor"

Update: and the official press release just in:

"Berlin, March 24th, 2011 – Native Instruments today introduced RAZOR, an innovative and highly distinctive software synthesizer designed together with forward-thinking electronic artist Errorsmith. For use in REAKTOR 5 and in the free REAKTOR PLAYER, RAZOR uses powerful additive synthesis to create intense and profoundly modern sounds for contemporary electronic music production.

Berlin-based producer and renowned REAKTOR instrument designer Errorsmith is dedicated to the "expansion of the sonic horizon through digital sound synthesis". RAZOR realizes this credo through the additive synthesis capabilities of the latest REAKTOR 5.5 generation, which were used to develop a high-resolution synthesis engine with unconventional sound shaping features and a unique real-time 3D spectrum display. The pristine and extremely dynamic sonic character of additive synthesis allows RAZOR to generate a wide and very distinctive array of energetic, hypermodern sounds, ranging from expressive basses and leads to complex, futuristic soundscapes.

RAZOR utilizes up to 320 partials for its sophisticated sound shaping algorithms. The dual oscillator section provides a wide arsenal of timbres, ranging from typical analog-style waveforms to unconventional models like "Primes", "Sick Pitchbend" and "Hoover Sync". The two filter sections offers 20 different filter types including innovative formant, vowel and waterbed models. A further section provides an arsenal of unique "Dissonance Effects" that further contribute to the unmistakable, charismatic sonic footprint of the instrument. RAZOR even integrates a high-performance 34-band vocoder that can also be used to process external audio signals of any type.

The user interface of RAZOR builds on familiar concepts of subtractive synthesizers, providing especially efficient and intuitive control for the underlying highly sophisticated synthesis engine. RAZOR also includes a library of 350 carefully selected presets with a focus on cutting-edge electronic sound aesthetics, accommodating both contemporary club music genres like Dubstep and Techno as well as modern film and game scoring applications.

RAZOR is available for download purchase in the NI Online Shop for $79/69 EUR.

A product video is available on YouTube at
http://www.youtube.com/watch?v=gbuZVcw3ZiM

Additional information on RAZOR is available at
www.native-instruments.com/razor

A digital press kit including picture material is available at
www.native-instruments.com/press.info

About Native Instruments:

Native Instruments is a leading manufacturer of software and hardware for computer-based music production and DJing. The company's mission is to develop innovative, fully integrated solutions for all professions, styles and genres. The resulting products regularly push technological boundaries and open up new creative horizons for professionals and amateurs alike."

Grokking the FS1R: Part 4 - A Solid attempt at Lately

YouTube Uploaded by NoisyLittleBugger on Mar 24, 2011

"WARNING - This video contains loud audio. Even though a limiter was placed on the output, the nature of FM means that noise peaks are inevitable when experimenting. You have been warned!

If you don't know what FS1R or FM synthesis are then there's no point in watching. Really.

Part 4 : A Solid attempt at Lately - Part A

Using the FS1R to emulate one of the most ubiquitous bass sounds in 90's pop. Heaven or Hell, depending on your perspective.
Some examples of it's use:
http://www.youtube.com/watch?v=r9uizdKZAGE - The Janet Jackson song that (apparently) gave it's name to the TX81Z patch.
http://www.youtube.com/watch?v=SjJwqDa1QVI - Ace of Bass
etc...

It's a good synthesis target to for learning FM, and a very useable patch too. This is by no means a perfect copy, but it is the basis of so much more. I will expand this patch in the next video.

Solid Bass is a preset on the Yamaha DX-100. Lately Bass is a preset on the Yamaha TZ81Z. Both are 4-operator FM synths. The only apparent difference between these patches is that, whereas the DX-100 uses only Sine waveforms, the TX81Z used on of it's additive forms (number 5 FWIW). This apprently adds more bite to the attack, but probably not necessary on the FS1R as the feedback is plenty enough to impart that familiar snap in the attack.

Solid Bass is a 4-operator Patch, using algorithm 2 on the DX-100. This is one carrier with stacked modulators - a configuration that is doubled in one FS1R voice 0 algorithm 70. The feedback operator provides most of the snappy attack. A slow, fre--running pitch LFO is also applied. No Filters! Velocity sensitivity only applied to the feedback operator - but this can be expanded to other operators for more expressiveness. Next time.....

Software used:
Sakura FS1R editor - http://synth-voice.sakura.ne.jp/fs1r_editor_english.html (thank you K_Take!)
Reaper - http://www.reaper.fm/
S(m)exiscope vst - http://bram.smartelectronix.com/plugins.php?id=4
Voxengo SPAN - http://www.voxengo.com/product/span/

Grok: "to understand intuitively or by empathy; to establish rapport with" and "to empathise or communicate sympathetically (with); also, to experience enjoyment.""

S4K HD Collection 4 Roland SH-201 Demo part 2 ( space4keys leads patches )

YouTube Uploaded by Space4Keys on Mar 24, 2011

"Hi! And thank you for the purchasing of this KeyboardSolo Collection for Roland SH-201. This is the most Complex and Hig Quality Collection ever made for SH-201, featuring, 18 new amazing sounds, an a Bonus 8-Bit Pack with 6 Patches..." Full description on YouTube.

How to make a wobblebass with SubBoomBass

YouTube Uploaded by robpapen on Mar 24, 2011

"Showing how to make a WobbleBass with SubBoomBass.
And how to use the pitchbend to control the LFO speed."

Claudia Triozzi - Ni vu ni connu

Claudia Triozzi - Ni vu ni connu from F.I.S.Co. Festival on Vimeo.

"Video Excerpt - Live @F.I.S.Co. 11 - 12/4/2011

With the new caleidoscopic project, "Ni vu ni connu", Claudia Triozzi continues her research on the voice, that she considers in its physical and choreographic dimension. In this solo she's never alone on stage, as well in her internal world. An acoustic sculpture by the Baschet brothers conceived in the 60’s, a glass harp, an organ, a computer give the music a performative a vision. The voice declines in a succession of unwise monologues, of incomprehensible psalmodies, pretext for a labial choreography.

Claudia Triozzi dancer choreographer, performer, visual artist. She creates iconoclastic pieces from which dance never comes out unscathed. Claudia Triozzi always sets herself the task of putting preconceived ideas one might have regarding choreographic pieces into question."

"From the 8th to the 15th of april, Xing presents in Bologna the 11th edition of F.I.S.Co. Festival Internazionale sullo Spettacolo Contemporaneo, entitled "Segue" (Follow).

Held in various locations, F.I.S.Co.11 hosts spectacles as well as polymorphic experiences of transdisciplinary nature: not stabilized spaces where dance, performance, vision and critical observation flow together.

'I follow, I follow me'

Follow: accounts for the first time a system of returns to Bologna of some of the artists we most admire, offering in-depths to their works that also disclose personal aspects. There isn’t a particular interest in autobiography but in the weaving between individual, professional and human choices; between creations and circumstances; roles and functions; between the grounded knowledge and its reformulations.
The frame of the festival shifts the expectations of the encounter with the artists. One day on stage; another day driving a passenger vehicle; and yet another among the running crew, assuring a redistribution of the roles and degrees of relation between spectator and performer.
As Bruno Latour suggests, an actor is no more than ‘what it transforms, modifies, perturbs and creates’. An actor is what an actor does.
The explorations and personal solutions of these artists are showed in their development (together they constitute the transformation, testimony, and object of a narrated spectacle): from the performance that questions the architecture of the book; to a micro-facial choreography; to the domestic filmic remake; to the re-Butoh working session with Google to incorporate a foreign tradition; to the work about summoning the invisible; to the performance of embodied music, up to an unclassifiable psalming cabaret.
No aesthetic thread. Pluriverse.

F.I.S.Co. will take place in an elegant and dated theatre all’Italiana, the Theatre Duse, overturning it once, to return to its classical axis on a second moment; in two laboratory spaces of the city, Sì and DOM, managed by close independent companies; and in the compartment of the private taxis of Critical Cab: place/time of a critical reflection on the route that could lead to the places of the spectacle. Brainstorming Camera di Decompressione per gli Spettatori will accompany the festival on line in a space suspended between creation and fruition, strongly dependent on public participation.

F.I.S.Co.11: Zachary Oberzan (USA), Antonia Baehr (D), Xavier Le Roy (F/D), Mette Edvardsen (N/B), Claudia Triozzi (F/I), Jonathan Burrows/Matteo Fargion (UK), Cristina Rizzo (I), Michele Di Stefano (I), Massimo Conti (I), Mårten Spångberg (Sw), Luca Trevisani (I), Lucio Apolito (I), Riccardo Benassi (I)/D.

F.I.S.Co. is conceived and created by Xing, a cultural network based in Bologna with the purpose of planning, supporting and promoting products and events characterized by an interdisciplinary approach toward the issues of contemporary culture.

Partners: Ministero per i Beni e le Attività Culturali, Regione Emilia Romagna, Comune di Bologna, Reale Ambasciata di Norvegia, Fondazione del Monte di Bologna e Ravenna. Media partners: Alias, Il Manifesto, Edizioni Zero, Mousse, Kaleidoscope, Nero, Art'o, UnDo.Net, Città del Capo - radio metropolitana, Radio Città Fujiko.

Venues: Sì, DOM la cupola del pilastro, Teatro Duse.

Xing info and reservations: Via Ca' Selvatica 4/d Bologna tel +39.051.331099 info@xing.it
Xing press: tel +39.051.331099 mob +39.339.1503608 pressoff@xing.it

www.xing-fisco.it
www.xing.it"