Monday, December 01, 2014
echofate zero
Published on Dec 1, 2014 SunFallsMusic
"1st session with Steady State Fate Propagate : a quad voltage controlled gate delay. Stunning abstract timing variations ensued :
MakeNoise Wogglebug clock out to Propagate ch1 in.
Propagate Sum out (cascading pulses) to Rene X-clock in.
Rene UCV to Braids FM (metamode), Jupiter Storm osc 1 out to 1/v in on same Braids.. sent to Echophon.
4ms QCD to 2nd Braids for Kick."
Peter Blasser's superORGAN
superORGAN I: Rainforest Airport
Published on Dec 1, 2014 Peter B
These are in order. Be sure to see part 2 & 3 below for different takes. Peter Blasser is the man behind Ciat-Lonbarde.
"When a computer controls a pipe organ, it can trigger the notes really fast. If you get it fast enough, just barely attacking the pipes, it can elicit all sorts of squeals and pukes. In the computer music conference of 2014, we installed an incarnation of David Tudor's Rainforest next door to Wesleyan Chapel, in its airport-like lobby. Referring to the bacchanal nature of this lobby, and also the pre-show routines of Tudor, came half of the initial lyrics: a list of alcohols. The other half came from the odd chambres and containers used in Rainforest: a styrofoam cooler, a gourd, copper helmet. These objects all have resonant peak frequencies, of course, and a challenge came to emulate them on the pipe organ next door, so musics could waft throughout the sacred and the secular.
Thus part one in this piece for midi organ: superORGAN. Supercollider is the scripting language, and also synthesizer of accompanying sound-worlds, originally made for playing through rainforest objects, but now using the pastor's sound system in the chapel. Here is a list of pipes: vox humana, bassoon, clarinet, french horn. Here is a list of religious terms: liturgy, stole, vow, tabernacle, multi-denominational, pallium, papal, rome, synod, chalice, vespers... crypt. Note the recording is a rare, close-miking, intended to hear the strange whispers of windy pipes in the night."
SuperORGAN II: Resistor Zoo
Published on Dec 1, 2014 Peter B
"When a computer controls a pipe organ, it can trigger the notes really fast. Here the goal is to put only a tiny puff of air into a pipe, to hear the so-called chiff sound, like a consonant before the long vowel of a speaking pipe. Usually one records an organ out in the church, to hear it echoing off the walls and sounding like the voice of God in space. Here, I chose to shove the microphones physically into the chests, so you can hear the sound of various valves, squeaky bellows, and other aspects of the machinery of the universal voice.
Composing computer music for the pipe organ can entail exploring the relationship between tunings. This movement pits the scale encountered in designing an analog synthesizer tuned by raw capacitor values (tocante) against the organ's equal temperament. That forms the basis for the lyrics: "10,22,33,47,68,82,56,39,27." The dissonance between sonic systems is already present in the synthetic nature of loudspeaker sound versus the natural projection of tones by wind-pipe."
superORGAN III: Pile of Fourths
Published on Dec 1, 2014
"Adapting David Behrman's "Pile of Fourths" for the midi organ, I again came up to the possibility of dissonance in confronting tunings. The piece involves improvisational articulations on a ladder of fourths, easily played by the organ. The circle of fourths has always been a fascinating sound, but it also beguiles me with its numerical rationale of compounded powers of three. Did Pythagoras mean that we can hear exponents? Maybe we can, but I chose to command Supercollider to immediately calculate harmonic approximations to the pile of fourths, according to different sub-octaves of A440.
The contrasting pitch material decided, all I needed was a gradient fade between the pipe organ and the computer music. Difficult to fade a pipe organ, so I decided to use patterns to create a sort of primitive, MIDI pulse width modulation, starting with full duty cycle, and ending in the shortest, chiffest clicks of notes. Likewise, I faded the computer music up in a granular way, extending event envelopes from very short to legato in gesture."
Published on Dec 1, 2014 Peter B
These are in order. Be sure to see part 2 & 3 below for different takes. Peter Blasser is the man behind Ciat-Lonbarde.
"When a computer controls a pipe organ, it can trigger the notes really fast. If you get it fast enough, just barely attacking the pipes, it can elicit all sorts of squeals and pukes. In the computer music conference of 2014, we installed an incarnation of David Tudor's Rainforest next door to Wesleyan Chapel, in its airport-like lobby. Referring to the bacchanal nature of this lobby, and also the pre-show routines of Tudor, came half of the initial lyrics: a list of alcohols. The other half came from the odd chambres and containers used in Rainforest: a styrofoam cooler, a gourd, copper helmet. These objects all have resonant peak frequencies, of course, and a challenge came to emulate them on the pipe organ next door, so musics could waft throughout the sacred and the secular.
Thus part one in this piece for midi organ: superORGAN. Supercollider is the scripting language, and also synthesizer of accompanying sound-worlds, originally made for playing through rainforest objects, but now using the pastor's sound system in the chapel. Here is a list of pipes: vox humana, bassoon, clarinet, french horn. Here is a list of religious terms: liturgy, stole, vow, tabernacle, multi-denominational, pallium, papal, rome, synod, chalice, vespers... crypt. Note the recording is a rare, close-miking, intended to hear the strange whispers of windy pipes in the night."
SuperORGAN II: Resistor Zoo
Published on Dec 1, 2014 Peter B
"When a computer controls a pipe organ, it can trigger the notes really fast. Here the goal is to put only a tiny puff of air into a pipe, to hear the so-called chiff sound, like a consonant before the long vowel of a speaking pipe. Usually one records an organ out in the church, to hear it echoing off the walls and sounding like the voice of God in space. Here, I chose to shove the microphones physically into the chests, so you can hear the sound of various valves, squeaky bellows, and other aspects of the machinery of the universal voice.
Composing computer music for the pipe organ can entail exploring the relationship between tunings. This movement pits the scale encountered in designing an analog synthesizer tuned by raw capacitor values (tocante) against the organ's equal temperament. That forms the basis for the lyrics: "10,22,33,47,68,82,56,39,27." The dissonance between sonic systems is already present in the synthetic nature of loudspeaker sound versus the natural projection of tones by wind-pipe."
superORGAN III: Pile of Fourths
Published on Dec 1, 2014
"Adapting David Behrman's "Pile of Fourths" for the midi organ, I again came up to the possibility of dissonance in confronting tunings. The piece involves improvisational articulations on a ladder of fourths, easily played by the organ. The circle of fourths has always been a fascinating sound, but it also beguiles me with its numerical rationale of compounded powers of three. Did Pythagoras mean that we can hear exponents? Maybe we can, but I chose to command Supercollider to immediately calculate harmonic approximations to the pile of fourths, according to different sub-octaves of A440.
The contrasting pitch material decided, all I needed was a gradient fade between the pipe organ and the computer music. Difficult to fade a pipe organ, so I decided to use patterns to create a sort of primitive, MIDI pulse width modulation, starting with full duty cycle, and ending in the shortest, chiffest clicks of notes. Likewise, I faded the computer music up in a granular way, extending event envelopes from very short to legato in gesture."
Analogue Solutions SEMblance Demo
Published on Dec 1, 2014 perfectcircuitaudio
"This video demonstrates the sound and features of the Analogue Solutions SEMblance (SEM clone) synthesizer. Enjoy!"
Perfect Circuit Audio on eBay
Olegtron 4060 controlling Korg Monotron
Published on Dec 1, 2014 Olli Suorlahti
"A simple patch example showing different ways of controlling Monotron with Olegtron 4060"
Morph4 - more tests of new firmware
Published on Dec 1, 2014 gugabox
"in this version of the firmware the way some of the controls work on the controller has been changed"
The Packrat Comes to MATRIXSYNTH!
The Packrat has been featured on MATRIXSYNTH many times in the past (and of course the MATRIXSYNTH Packrat on the right has been a staple of the site since 2006), but now it will be a bit more official. You'll find some words from Dave, the creator of The Packrat, below.
But first, click the image for the full size comic. You can find previous issues on Dave's Packrat site here, and be sure to check out The Packrat Book! It's a great bit of synth history and it makes a great stocking stuffer. MATRIXSYNTH and a few other names in the synth community are featured in the book.
"The Packrat is by all accounts among the smallest, most niche-y comic strips in the entire universe. Nevertheless, it has its fans, and just in case they have any curiosity, they are owed the backstory of the events of the past few months.
I came back from my August, 2014 camping trip through the Canadian back woods with a hot, steaming case of Lyme Disease (I'm fine now!). I was covered in a rash for several weeks and ended up submitting one comic strip too late for print. The following month, specifics too unexciting in which to delve (exclusively involving the publication's administration, going higher than Keyboard Magazine itself) created problematic logistics preventing the print of the next two installments.
I bear the magazine itself no ill will at all, and consider the matter unfortunate only for the fans who had perhaps thought that the Packrat had been retired (by me or the mag). Indeed, those of its followers who are wise enough to follow it on Facebook or my own personal art site umop.com have been able to see monthly synth-tastic adventures at the usual periodic times, so hopefully the notion that the Packrat went to Synth Heaven wasn't too widespread.
Comic strips are trifles in this world, and this one is damn near the, uh... trifliest? So the details about how this strip gets made surely must consist of the silliest orts of minutiae ever to cross anyone's plate. But here they are anyway, every last crumb of them.
Anyway, inasmuch as the break from the magazine was unintentional on the part of everyone directly involved with its creation, I'm using the resultant reality of things as an excuse to move onward with the Packrat. It will now be available online on all the aforementioned sites, and Matrixsynth has agreed to be the exclusive first link to it every month (and possibly, in installments of a more timely fashion!). Neither he nor I are currently making any money at all from any of this; we're both in it for synth-love alone right now (and for me, exceedingly rare book sales). While I was formerly earning enough for a couple of tanks of gas a pop from the magazine (and was lucky to get it in this economy), even that modest honorarium will be gone.This comic strip has somehow survived ten years of life come February, and I have no plans of slowing down any time soon. In order to help keep it going, I plan on setting up a Patreon page this week. I would consider even $100 per month a major victory, since that would at least cover its own dodeca-annual creation. Details about the page will follow once it's all set up.
Thanks for reading the Packrat comic! Enjoy this first Matrixsynth-exclusive episode, featuring an appropriately green synth to start off the maiden voyage."
Befaco EVEN VCO Eurorack Module
via Befaco
Available assembled or as a DIY kit.
"Module in last stages of developing. Information may change without any notice.
This is an voltage controlled oscillator (VCO) with great precision, designed to be stable even in the case of power supply fluctuations.Supplied with a octave selector of 10 positions from 32′ to 1/16′ (C0~C9).
Outputs:
Triangle
Ramp
PWM
Sine
Even (waveshape with emphasis on the even harmonics)
Inputs:
Hard sync. This forces the core to down in the event of change to zero of the input
V/oct. Two inputs fro pitch control summed to the main octave selector and the tone control.
FM. Linear pitch control.
PWM CV. Pulse width control summed to the potentiometer."
Befaco CRUSH DELAY Eurorack Module
via Befaco
Available assembled or as a DIY kit.
"This is a delay based on the PT2399 chip. Starting with a previous design of Scott Bernardi , we added mix CV , in addition to the repetition rate and the feedback . This is the first design in collaboration with Familiar.
It has two inputs, output mix with DRY / WET control and clean delayed output . With this external feedbacks are possible with other effects and controls.
PT2399 is a digital chip widely used in DIY projects. You may get delay times of about 500 ms with pretty good sound quality. Switching to crush mode you can force the machine and get delay times up to 4 seconds at the cost of substantial amounts of downslampling and digital junk."
Befaco BF-22 VCF SALLEN-KEY FILTER Eurorack Module
via Befaco
Available assembled or as a DIY kit.
"This is a dual Hi/Low pass filter. Inspired by the famous sallen key filter from MS-20 early version.
It has attenuverters (inverter-attenuator) as an addition to the normal CV control in Cut-Off and CV control for the resonance with a little more presence of the resonance than the original. The normal CV control for Cut-Off keeps tracking trough 3 octaves.
The ‘Link’ switch connects the input of the second into the output of the first to have it in series"
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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
