Monday, June 30, 2014
Fun With Moog Sub Phatty Native instruments RC48 and more
Published on Jun 30, 2014 Flux302 of Fluxwithit.com·196 videos
"Just having some fun Jamming live with the Moog Sub Phatty and the Beautiful Reverb RC48 from Native instruments. I also send the moog through the Way Huge Aquapuss guitar pedal and use some percussion from the Fluxwithit.com Dystopia Expansion pack for Maschine"
Microbe Modular Equation Composer - Equation Player mode
Published on Jun 30, 2014
"The Equation Composer comes with a number of built-in 'programs'. This program plays back ByteBeat equations. See http://www.microbemodular.com/product... for more information."
"Inspired by VIznut's "Algorithmic symphonies from one line of code" and the BitWiz Audio Synth, the Equation Composer creates a wide range of gritty, 8-bit sounding melodies, waveforms, and noise. The module is organized into CV selectable "programs" that range from simple equation playback to struttering loops, and wavetable playback.
Internally, the Equation Composer is based on the powerful Arduino Due. Although the module has been built to be enjoyed "as-is", there's a prominent USB jack on the front for updating the firmware and the software is open source. 14 extra pins have been brought to an expansion header on the rear. The Arduno code itself is modular, allowing various software "modules" to be strung together into “programs” that act like individual synths. (Re-programming is recommended for advanced developers and requires some C++.)"
Equation Composer - Drum Selektor preset
Published on Jun 30, 2014
"A quick demo of the Equation Composer - Drum Selecktor preset. Drum sounds are generated by equations, which can be replaced with a little bit of programming. Sorry, the video cuts out about 3/4 of the way through. At one point I plug in an external gate signal, which overrides the internal clock. Once the external clock signal is removed, the internal clock eventually resumes."
Vtg. Korg FK-1 Synthepedal SN 750725 with Original Box
Creamware MiniMax ASB - Do Not Microwave. Do Not Feed Liquids
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
On the back.
via the seller: "The ultimate virtual analog MiniMoog simulator! 12 note polyphony! Control panel layout true to the original classic synth!
Yes, this is the one . . . the virtual analog synth that is widely considered one of the best (if not the best) Minimoog clones ever produced. Google search the Minimax and check the reviews online . . . . by and large, you will find overwhelming praise for how closely this module captures the character of the classic Minimoog. I personally own several current and classic analog synths (including three Moogs), and this little beast really comes darn close to the original (I've also owned a number of virtual analogs, and this is the only one I've held on to over the years!). The control panel is laid out just like the original . . . a little smaller, but still plenty of room to manipulate the knobs. Two additional knobs handle velocity control of the two envelopes. The MiniMax also features dual digital FX processors to handle delay and modulation effects. Best of all, it's 12 note polyphonic! In poly mode, this synth does a great job of emulating the sort of sounds that were capable on a Memory Moog."
Kind of interesting to think about. The Memorymoog was Curtis chip based and not discrete like the original Minimoog. This being a respected emulation of the Minimoog, how does it compare?
via this auction
On the back.
via the seller: "The ultimate virtual analog MiniMoog simulator! 12 note polyphony! Control panel layout true to the original classic synth!Yes, this is the one . . . the virtual analog synth that is widely considered one of the best (if not the best) Minimoog clones ever produced. Google search the Minimax and check the reviews online . . . . by and large, you will find overwhelming praise for how closely this module captures the character of the classic Minimoog. I personally own several current and classic analog synths (including three Moogs), and this little beast really comes darn close to the original (I've also owned a number of virtual analogs, and this is the only one I've held on to over the years!). The control panel is laid out just like the original . . . a little smaller, but still plenty of room to manipulate the knobs. Two additional knobs handle velocity control of the two envelopes. The MiniMax also features dual digital FX processors to handle delay and modulation effects. Best of all, it's 12 note polyphonic! In poly mode, this synth does a great job of emulating the sort of sounds that were capable on a Memory Moog."
Kind of interesting to think about. The Memorymoog was Curtis chip based and not discrete like the original Minimoog. This being a respected emulation of the Minimoog, how does it compare?
X1L3 - Circuit bent - Synth mod - Casio PT82 / PT87
Published on Jun 30, 2014 manufacturedZ3R0 .·105 videos
X1L3 on eBay
"Back to where it all started.
No eye candy or wooden ends etc. I wanted substance over superficiality. As much as i enjoyed doing the larger machines and will probably do more when i think i've something signifigant to add again (like midi / adsr etc) i started to feel that the curious aspect of these little instruments that sparked my interest was getting lost in some kind of pseudo synthesizer territory to the point where i might as well have just moved on to total synth diy and ditched working on these little things. I've taken what i've learned along the way and what i can do now, miniaturised it all for purpose and put it to work with the fundamentals of the circuit bending that bought me to where i am and what i can do now. The charm and fun of a bespoke circuit bent keyboard but with a sound that stretches from vanilla to hell.
I wanted a compact machine which made space very limited. So i opted to ditch all the drum mute/distortion bends and keep just the pitch control bend which is so easily applied to these. Grunge bossa nova and disco get old fast. I wanted this to be something you could sample the hell out of for trashed up noise and quirky analogue hits and sounds. It's heart revolves around additional circuitry. An embedded psu/supressor to power the keyboard, filter and delay efficiently and of course the filter and delay themselves. It also has a CV input around the side that allows you to modulate the filter cutoff via other equipment. In this case a sequential circuits Pro 1 with note sequences programmed to send out cv patterns.
The intro to this video was made using samples from this machine and the sampler/fx processing of propellerheads reason. Probably most apparent as the intro peaks with the delay crash.
I think i've got it right and i think this is something different and diverse within the realm. But i suppose like most things it's a matter of taste as to if you like this particular flavour or not :)"
An Interview with David Van Koevering on Astronauta Pinguim
via Fabricio Carvalho on The MATRIXSYNTH Lounge
"David was one of the main [people] responsible for the Mini Moog becoming a very popular instrument in the early seventies, when he decided to travel thru the USA demonstrating and selling the instrument. David Van Koevering was also the developer of the Orchestron, an instrument that was based on Mattel's Optigan, that became very famous when musicians like Patrick Moraz and Kraftwerk members used in their records!"You'll find the interview on Astronauta Pinguim here.
Pictured:
Top: "On stage: David Van Koevering (2nd from left) and Robert Moog (seated)."
"ASTRONAUTA - How did you meet Robert Moog for the first time?
DAVID - I was traveling and doing musical educational programs in the public schools. There is a picture of my educational presentation in Trevor Pinch's book "Analog Days". I saw an ad in the Music Educators Journal that had a photo of the R. A. Moog Studio in Trumansburg, NY which said "Come Visit Our Backroom". I was performing in the area and decided to visit. Bob Moog was in Europe so I did not meet him then. Awhile later I was performing at a school in Long Island, NY and the principal said "I want you to meet Bob Moog". He had come from Trumansburg, NY to meet me and see and hear my show. Bob and I talked about the last song on my show where I performed on a "Theremin". I had made it from and article that Bob had published in an electronics magazine. After meeting Bob that day he asked if I would like to join him and his family at Carnegie Hall in New York City. It was the first ever live performance of the "Moog Quartet" with Gershon Kingsley. During that concert something switched on in my spirit, I knew I needed to be involved! I had a huge audience and showing the future of music to the younger generation became my goal."
Left: David Van Koevering with Moog theremin.
www.davidvankoevering.com
TOTO'S 1981 YAMAHA GS-1 FM SYNTH SN 1013
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
"Up for sale is a Synth that Toto had during the "Rossana/Africa" days. Apparently I was not clear in my earlier listing that THIS ACTUALLY BELONGED TO TOTO. I can provide evidence of this; call my customer service if you doubt that. There were only 100 of these built- they cost $25,000 and are pretty heavy. This was the immediate predecessor to the Yamaha DX-7 which was also based upon the new FM Synthesis theories developed by Professor John Chowning at Stanford University. (Baldwin & Hammond are STILL kicking themselves for NOT jumping at Prof Channing's formulations).
For the history of this unit, Sound on Sound dot com has a lengthy overview of not only this instrument, but the battle that was waging between the different companies of the time...
The controls are deceptively simple and studio musicians LOVE these machines because of the sounds, and textures that can be coaxed out of them when in the right hands. To the left it has Pitch Control (there is a master pitch conroller underneath to Tune the unit (see last photo)). Next there are TREMELO & VIBRATO- each is Variable and controlled by the left two foot pedals. The Right Foot Pedal is a damper. Next is an ENSEMBLE button to the left of the TOUCH CONTROL button. These two buttons woking together might be called "PSYCHEDELIA", because the combination of the two is Startling. Sometimes Ensemble sounds like a Chorus Effect. When you Really slam a key the effect is HEAVY Distortion. (i.e. THIS is a PLAYER'S EXPRESSION MACHINE).
Three band EQ.
There are 16 SOUND BUTTONS that light up when One is selected. The sounds are loaded from the SOUND STRIPS which are like little tiny plastic bookmarks with magnetic backing. As the photos show, I have both the SOUND LIBRARY & VOLUME ll of the SOUND LIBRARY.
AS MENTIONED ABOVE, THE FIRST SOUND STRIP (A-1) IS MISSING !!!
You place the "A" End of the SOUND STRIP in the mouth of the reader to the right of the keyboard. When you press the designated sound button (1-16) the mechanism pulls the SOUND STRIP inside much like a credit card machine. When it has read the "A" end, the SOUND STRIP is returned to you. You have Now loaded sound onto ONE of the TWO onboard computers in the GS-1. You can now load the "B" end of the sound strip onto the SECOND Computer. UNLESS you want to experiment and load another "A" or "B" end into the second computer (Yamaha actually encouraged "mixing it up".). If you like the new sound you have created, you can record it and store it on a BLANK SOUND STRIP. (there are 8 blank strips provided). Again, THIS is a PLAYER'S EXPRESSION MACHINE!
The Yamaha engineers REALLY "knocked themselves out" on the design of this- the way the sounds can be loaded into the TWO computers, giving the option of 16 sounds YOU HAVE CREATED coupled with the interplay of the Touch-Sensitivity and the Expression functions, coupled (again) with the real-time pedal control of both the Vibrato and Tremelo functions - it's like "The Space Shuttle for Keyboard Players".
If you look at the video of Toto's AFRICA, you will see this machine on stage. Perhaps you are not much of a keyboard player, but a HUGE Toto fan, and turned your dope dealing money into a fortune on Wall Street. Wouldn't it be nice to have this in your living room so your kids could learn the "bum bum bum ba bum bum bum" intro to "Africa"? Or perhaps you are a PLAYER, and want the challenge of the predecessor the the famed DX-7 (which "kicked butt and took names"). Or you have a studio and need THIS to complete your keyboard stable- your clients might feel a tad humbled to be able to sit at Toto's Keyboard. ('let's see shall I up my rates 20, 30, or 40 per cent?')."
via this auction
"Up for sale is a Synth that Toto had during the "Rossana/Africa" days. Apparently I was not clear in my earlier listing that THIS ACTUALLY BELONGED TO TOTO. I can provide evidence of this; call my customer service if you doubt that. There were only 100 of these built- they cost $25,000 and are pretty heavy. This was the immediate predecessor to the Yamaha DX-7 which was also based upon the new FM Synthesis theories developed by Professor John Chowning at Stanford University. (Baldwin & Hammond are STILL kicking themselves for NOT jumping at Prof Channing's formulations).
For the history of this unit, Sound on Sound dot com has a lengthy overview of not only this instrument, but the battle that was waging between the different companies of the time... 
The controls are deceptively simple and studio musicians LOVE these machines because of the sounds, and textures that can be coaxed out of them when in the right hands. To the left it has Pitch Control (there is a master pitch conroller underneath to Tune the unit (see last photo)). Next there are TREMELO & VIBRATO- each is Variable and controlled by the left two foot pedals. The Right Foot Pedal is a damper. Next is an ENSEMBLE button to the left of the TOUCH CONTROL button. These two buttons woking together might be called "PSYCHEDELIA", because the combination of the two is Startling. Sometimes Ensemble sounds like a Chorus Effect. When you Really slam a key the effect is HEAVY Distortion. (i.e. THIS is a PLAYER'S EXPRESSION MACHINE).Three band EQ.
There are 16 SOUND BUTTONS that light up when One is selected. The sounds are loaded from the SOUND STRIPS which are like little tiny plastic bookmarks with magnetic backing. As the photos show, I have both the SOUND LIBRARY & VOLUME ll of the SOUND LIBRARY.
AS MENTIONED ABOVE, THE FIRST SOUND STRIP (A-1) IS MISSING !!!
You place the "A" End of the SOUND STRIP in the mouth of the reader to the right of the keyboard. When you press the designated sound button (1-16) the mechanism pulls the SOUND STRIP inside much like a credit card machine. When it has read the "A" end, the SOUND STRIP is returned to you. You have Now loaded sound onto ONE of the TWO onboard computers in the GS-1. You can now load the "B" end of the sound strip onto the SECOND Computer. UNLESS you want to experiment and load another "A" or "B" end into the second computer (Yamaha actually encouraged "mixing it up".). If you like the new sound you have created, you can record it and store it on a BLANK SOUND STRIP. (there are 8 blank strips provided). Again, THIS is a PLAYER'S EXPRESSION MACHINE!The Yamaha engineers REALLY "knocked themselves out" on the design of this- the way the sounds can be loaded into the TWO computers, giving the option of 16 sounds YOU HAVE CREATED coupled with the interplay of the Touch-Sensitivity and the Expression functions, coupled (again) with the real-time pedal control of both the Vibrato and Tremelo functions - it's like "The Space Shuttle for Keyboard Players".
If you look at the video of Toto's AFRICA, you will see this machine on stage. Perhaps you are not much of a keyboard player, but a HUGE Toto fan, and turned your dope dealing money into a fortune on Wall Street. Wouldn't it be nice to have this in your living room so your kids could learn the "bum bum bum ba bum bum bum" intro to "Africa"? Or perhaps you are a PLAYER, and want the challenge of the predecessor the the famed DX-7 (which "kicked butt and took names"). Or you have a studio and need THIS to complete your keyboard stable- your clients might feel a tad humbled to be able to sit at Toto's Keyboard. ('let's see shall I up my rates 20, 30, or 40 per cent?')."
Modular Wild Presents SOUNDS- TipTop Audio ZDSP-Analog and Digital Feedback
Published on Jun 30, 2014 Modular Wild·127 videos
"A short demonstration of sound examples using Analog or Digital feedback with the TipTop Audio ZDSP. Also a short example of combining the two flavors of feedback."
All parts here.
Eric Archer Mystery Synth
Published on Jun 30, 2014 EA78751·43 videos
"Testing prototypes from Grendel / Rare Waves. Playing with yet-to-be-announced new analog semi-modular CV/Gate tabletop synths is hard work but someone's gotta do it.. Drums: Yamaha QY-70. MIDI-CV converter: Vermona QMI. Efx: camcorder audio fbk. (Apologize for crappy camcorder audio.)"
Mystery Synth (2 of 3)
Mystery Synth (3 of 3)
KISS2014: ORGANIC SOUND - Kyma International Sound Symposium
Workshops, Talks, and Live Performances on Kyma and 'Organic Sound'
Champaign, June 19, 2014 — From organs (biological) to organs (musical), this year’s Kyma International Sound Symposium (KISS2014), to be held in Lübeck Germany from 25-28 September 2014, will explore multiple meanings of the phrase “organic sound” through technical talks, live performances, and hands-on workshops. Sound designers, composers, and live performers are invited to participate in a wide range of thought-provoking activities including:
• An examination of how to emulate the organic sound of the analog recording studio using Kyma, presented by composer/sound engineer Greg Hunter of Dub Sahara
• A special evening of “pipe organs like you’ve never heard them before” in the experimental, virtuosic hands of master organist/composer Franz Danksagmüller and his students
• Intensive afternoons in The Collaboratory creating and rehearsing several world premieres including a live sound track for a new film by experimental filmmaker Theo Lipfert performed by faculty and students of the Musikhochschule Lübeck processed through Kyma
• A hands-on “plantification” workshop where you’ll learn from Rudi Giot and his graduate engineering students how to control Kyma sounds through the growth of living plants
Events will kick off on Thursday with the unveiling of a major new release of the Kyma software and will culminate on Sunday with an evening of dancing to Kyma beats at club Parkhaus. The full program is online at: http://kiss2014.symbolicsound.com/detailed-program
[PHOTO: Franz Danksagmüller and friends performing a live sound track to a silent film in the MHL Concert Hall]
About the Symposium
Hosted this year by Franz Danksagmüller and the Musikhochschule Lübeck, each morning of KISS2014: “Organic Sound” features technical/philosophical sessions on topics ranging from voice processing, to sonification of organic chemicals and the Internet, to organic growth and decay, to how to build your own performance controller and use it to control Kyma via OSC, to presentations by individual composer/performers detailing how they utilize Kyma in their live performances and installations.
Afternoons are dedicated to interaction and hands-on activities including open rehearsals of collaborations-in-progress in The Collaboratory, a workshop on Conduction ensemble improvisation techniques presented by London Improvisers Orchestra trombonist and Kymaist Robert Jarvis, and the Kyma Open Lab where Kyma experts (Jeffrey Stolet, Cristian Vogel, Bruno Liberda, Scott Miller, Kurt Hebel, Carla Scaletti and others) will be on hand to answer your questions and consult with you on your current projects.
This year’s KISS features more live performances than ever before, with concerts every evening showcasing some of the best work created in Kyma this year, presented in the acoustically perfect MHL Große Saal and the Jakobikirche Lübeck with its three historically important pipe organs, famously decorated with faces on every pipe.
Check out the exciting lineup of presenters, composers, performers and Kyma experts here.
Who should attend
Anyone who lives for sound — whether you are a novice looking to kickstart your career, an expert seeking a fresh jolt of inspiration, or simply someone who is curious about sound and Kyma — you will find in KISS2014 a chance to meet kindred spirits and immerse yourself in sound and ideas for four intense and inspiring days and nights of non-stop discussions, interactions, music and sound design.
Here’s how Chicago-based sound designer and re-recording mixer, Dustin Camilleri (http://www.pulsetrain.net) describes his experience at a previous KISS:
“…The unique thing about Kyma, I find, is that it appeals to such a wide spectrum of people doing such an amazingly diverse set of things, but sharing a common language. The conversations I had were so incredibly inspiring; the performances I saw were just over the top, and the community at large was just some of the nicest most genuine people I’ve ever had the pleasure of spending some time with.”
Registration and travel
Registration is now open: http://kiss2014.symbolicsound.com/kiss2014-registration. Discounts are available for students and for anyone registering before 1 August 2014.
For travel and lodging information, please visit: http://kiss2014.symbolicsound.com/travel-and-lodging
More information
Stay apprised of the latest KISS2014 news:
KISS2014 Site: http://kiss2014.symbolicsound.com
Facebook: https://www.facebook.com/pages/Kyma-International-Sound-Symposium/241910735840451
Twitter: http://twitter.com/KymaSymposium
Contact the organizers: mailto:info.kiss2014@gmail.com"
PREVIOUS PAGE
NEXT PAGE
HOME
© Matrixsynth - All posts are presented here for informative, historical and educative purposes as applicable within fair use.
MATRIXSYNTH is supported by affiliate links that use cookies to track clickthroughs and sales. See the privacy policy for details.
MATRIXSYNTH - EVERYTHING SYNTH
© Matrixsynth - All posts are presented here for informative, historical and educative purposes as applicable within fair use.
MATRIXSYNTH is supported by affiliate links that use cookies to track clickthroughs and sales. See the privacy policy for details.
MATRIXSYNTH - EVERYTHING SYNTH
