"I use dual mode of DX5, combine 2 E.Piano together, in other words it is two DX7 machines work together.
01:06 I play my favorite song: '' Graduation - Momoko Kikuchi ''.
I use effects from Novation X-Station synthesizer.
Hope you enjoy."
"Dawn with the Roland Boutique JX-03 in a high place above Lyon City.
Audio recorded 'as is' straight out of the one box.
Started to program at 6:10 (in the split screen)
and finished the track at 7:05 while the sun came up.
Thanks for watching."
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Note: I created a new outdoor views for these moving forward. I thought of lumping in the outdoors label but think I'll keep them separate for now. Note there are tons of videos in the archives w/o the label. If you spot any feel free to let me know by either leaving a comment on the post or emailing me, and I will add the label.
Published on Mar 3, 2019 Starsky Carr Update: Re-Published on Mar 15, 2019.
"A quick look at recreating the famous riff and leads from one of the all time synth pop classic by the Eurythmics.
Easily created on the IK Multimedia UNO monosynth in a couple of minutes. It's so close there's a copyright dispute on the recording
!! I guess I should take that as a compliment.
"Documentary following a generation of post-punk musicians who took the synthesiser from the experimental fringes to the centre of the pop stage.
In the late 1970s, small pockets of electronic artists including the Human League, Daniel Miller and Cabaret Volatire were inspired by Kraftwerk and JG Ballard and dreamt of the sound of the future against the backdrop of bleak, high-rise Britain.
The crossover moment came in 1979 when Gary Numan's appearance on Top of the Pops with Tubeway Army's Are Friends Electric heralded the arrival of synthpop. Four lads from Basildon known as Depeche Mode would come to own the new sound whilst post-punk bands like Ultravox, Soft Cell, OMD and Yazoo took the synth out of the pages of the NME and onto the front page of Smash Hits.
By 1983, acts like Pet Shop Boys and New Order were showing that the future of electronic music would lie in dance music.
Contributors include Philip Oakey, Vince Clarke, Martin Gore, Bernard Sumner, Gary Numan and Neil Tennant."
"From The Social Network original soundtrack (2010, The Null Corporation).
I was trying to recreate the easiest parts of my favorite track from The Social Network's OST in my modular system. It soon became an exercise in using all the modules simultaneously. Recorded in February 2019.
Both drum sounds are created feeding signals from MFB OSC-3 into LxD vactrols, which are opened with Maths envelopes; the kick drum is a pitch-modulated triangle wave, the hat is from the white noise output. Intellijel Shifty is used like a gate sequencer to alternate kick/hat triggering. Two segments from Mutable Instruments Stages are used as faders for controlling drums' volume in Veils.
The bass sound is made with the Minibrute 2 using two saw oscillators one octave apart, with the LP filter controlled by an AD envelope from Stages. Pitch CV is manually triggered tapping buttons on the Korg SQ-1 in "step jump" mode; CV Out is sent to the SSF Modbox S&H for tempo quantization and to a slew-limiter made with Stages for slight portamento. The Minibrute mod-wheel is patched to increase the decay time of VCA and VCF envelopes, so it can be used to gradually control legato.
The 64-notes arpeggio is a square wave from MFB OSC-3, sequenced with the Minibrute (whose pitch CV is free to be used since does not control the on-board bass sound) and filtered with Bastl Cinnamon. A button on the second SQ-1 track is used to control Veils to un-mute the arpeggio at will. Digitech Obscura Altered Delay's mix and repeat controls are used to create the messy ending.
The piano-like long notes are pre-recorded in the Morphagene. A "distortion effect" is applied in real-time using the Minibrute's metalizer wavefolder, modulated by Morphagene's envelope follower. The sample doesn't loop, it's triggered using clock divisions.
Everything is mixed and sent through three guitar pedals: OBNE Dark Star for shim reverb, then a little room reverb and a compressor at the end."
