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  3. Lell UDS 2 Analog Drum Synthesizer
  4. The LELL UDS 2 is an analog electronic drums\percussion synthesizer module. It is an all analog drum synthesizer and can make "on the fly" editing in real time using knobs it's built in knobs. The module can be triggered by drum pads or audio signal via trigger input. the module has 2 VCO's and a noise generator with sawtooth and square waveforms. View full drum machine
  5. The Pearl SC-20 Programmable Percussion Synthesizer is an 8 channel programmable drum synthesizer. It creates a wide variety of sounds from typical 1980s Simmons sounds to very strange electronic noises. The instrument features Pearl's DWAP Synthesis technology which stands for Digital Wave Analog Process. The SC-20 offer's 32 waveforms that can be further enhanced with analog processing. View full drum machine
  6. Pearl SC-20 Programmable Percussion Synthesizer
  7. Last week
  8. The Electronium, created by Raymond Scott, is an early combined electronic synthesizer and algorithmic composition / generative music machine. View full synthesizer
  9. Manhattan Research Electronium Mk II
  10. Rucci Handmade Electronic Instruments Maximal Drone
  11. This is a maximal drone synthesizer capable of dense sounds and thick chords. Six oscillators modulate against each other. Each selectable as either full range, off, or low range. There is also a low pass filter and volume. A CV input allows you to power the device with control voltages from 0-5V for interesting automated power sag results. The case is extremely tough die-cast aluminum painted with a durable textured black finish. The CV input is 1/8″, and the mono 1/4″ audio output makes it easy to connect to amps, effects or recording equipment. It is powered by an included internal 9-volt battery or any 9V center-negative DC adapter. Connecting a power supply will automatically disconnect and reserve the battery. This was designed and hand-built in Oakland, California. View full synthesizer
  12. Rucci Handmade Electronic Instruments Drone Jar
  13. Built inside a jar, this drone synthesizer consists of three square-wave oscillators modulating against each other. The pitch of each is controlled by outside light sources hitting the three sensors inside, so there is a lot of room for experimenting. Reacts well in dark settings with light sources such as flash lights, fire, video monitors, the sun etc. View full synthesizer
  14. This is the album I have been waiting for. The new material featuring outtakes and isolated tracks, pulls back the curtains to reveal the master at work. Up there with the IBM computer singing "Daisy", the world's first Artificial Intelligence music generator can be heard under the command of Raymond Scott himself. Hearing what the Electronium really sounded like in action gave me goosebumps. These are the moments avid listeners live for. Rare they may be in this day and age, the new release from Basta Music, "Three Willow Park: Electronic Music from Inner Space, 1961–71" delivers many of these moments. The follow-up to the 2000 "Manhattan Research Inc." album that effectively turned the world onto Raymond Scott. This new release takes a closer look at the man and his instruments, especially the Electronium. The music and accompanying book are some of the most detailed examinations of Raymond's electronic "sidemen", that he designed and built himself. Instead of the vintage commercials and ephemera we know Raymond Scott for. Three Willow Park (TWP) features numerous alternates, outtakes, demonstrations, and solo tracks that provide a first-hand encounter with the unadulterated production recordings. While the term "raw" may be applied, these tracks are full-fidelity recordings, amazingly bright and clear - even by today's standards. The beautifully packaged 3 LP set laid out a in modern vintage style, instantly transports the listener to the time and place of the contents. Each of the record sleeves featuring a different layout. Are filled with delightful Scott ephemera of the facility, instruments and daily life in the factory. The covers are just the teaser for the accompanying 20 page booklet that goes even deeper into the archives to present detailed articles on Scott's electronic music years. Arguably, one of the most important times in Raymond Scott's life. When the Electronium and other inventions matured into products for other people to use. Ultimately, opening the door to his relationship with Motown. The booklet's articles by Scott historians Irwin Chusid, Gert-Jan Blom and Jeff Winner. Accounts by celebrities Robert Moog, Tom Rhea, Herb Deutsch, Brain Kehew and others. With the addition of memories from family and friends. Provide an endearing look at Raymond Scott the artist, engineer, business man, and father. Long standing questions on his instruments are answered, myths dispelled, and new ones presented. I found my self re-reading the booklet again and again. For those who really want to know, the booklet is worth the price alone. When was the last time you put on some music and were moved emotionally by what you heard? These kinds of experiences are rare in this age of on-demand everything. Listening to the TWP tracks are a trip back in time when electronic music was still a Wild-West of sorts. Raymond's enigmatic story is especially interesting because he used audio to document what he did. The sound quality on TWP is so good, and intimate. There is an eerie presence with his gentle voice guiding the listener through the inner-workings of his creations. It feels like you are in the room with him. Production aside, it is what we hear on TWP that makes the ears dance. Spanning 2+ hours on 61 tracks. This is a literal smorgasbord of electronic works by Raymond Scott. Some will sound familiar to those who know the "Manhattan Research Inc" recordings with various alternate and outtakes. While related, the TWP collection has done a fine job of choosing contrasting versions that can be quite different from the final production versions. I got a laugh hearing an electronic version of Powerhouse used on a Domino Sugar commercial. Toy Trumpet, Pygmy War Dance, and classic commercial spots can be heard as well. Yet, those are the minority in the collection. The rest of the cuts are of new and unheard material, including some Motown recordings. These recordings not only show how Raymond Scott composed. They let us hear what many of his inventions really sounded like. The Electronium is the rightful star of the show, but we get to hear the Circle Machine, Clavivox, Bandito The Bongo Artist and others as well. His incredible creativity is immediately apparent in how he's able to configure intricate and or delicate compositions from mere beeps and boops. This was new territory at the time. Scott's vision for an electronic composition system (band) is still a model of complexity and functionality today. This is well evidenced in the many demonstrations, most under 1 minute. Scott's pieces are confidently composed, with a relaxed kind of precision that makes them sound electronic, but have a human element at the same time. Hearing what are effectively intelligent algorithms that play themselves out, musically, or not. It is still a marvel on more aesthetic levels than I will touch on in an album review. Not unlike the discovery of fractals. There's a sense that we're peering into the inner-workings of the Universe. In this regard, Scott is the Tesla of sound. A man who's life was dedicated to commanding the universal rules of sound for the good of all mankind. For your own good, be sure to get "Three Willow Park: Electronic Music from Inner Space, 1961–71" from Basta Music on June 30th. See more information on the release at the official Raymond Scott site:
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  16. The Reon drifbox R is complete analog 2 VCO synthesizer that can make a wide variety of varied sounds with cross modulation and envelope that drifts Synthesizer · Geek's slang, meaning "going crazy, uncontrollable", driftbox that derives its name from "drift". Driftbox R, instead of driftbox S 's DRIFT joystick, incorporates EG (envelope generator), allowing more playable synthesis. However, powerful cross modulation unique to driftbox is evident. With the envelope installed, you can create a varied sound, such as enveloping the pitch and modulating it. With 14 knobs arranged on a compact panel, 2 VCO, cross modulation with VCF, ASR / AD envelope, you can create a wider range of sounds from intense modulation to percussive sound. Since CV / Gate signal can also be input and CV is prepared for each VCO, separate scale performances are played by CV 1, CV 2 as duo phonic synthesizer, and if using CV Link, both VCOs are played with CV 1 You can. This product is not recommended for those who need a versatile synthesizer that is beautiful and tactless. However, if you are looking for a more free sound that you have never heard before, driftbox R will surpass that imagination. View full synthesizer
  17. Reon driftbox R
  18. MMO-3 is a digital, semi-modular, monophonic but stereo synthesizer. Built around various types of modulation synthesis (AM, FM, PM, WS), this synthesizer is mostly dedicated to atonal sound generation. From fat drones, glitchy electronic patterns or percussive noise, the MMO-3 offers rich and complex timbre control. View full synthesizer
  19. Nozoid MMO-3 Semi-modular Monophonic Stereo Synthesizer
  20. Lonestar Technologies The Key
  21. The key was developed by Lonestar Technologies, a company based in Hicksville New York. "The Key" has a far out design and in itself is a guitar synthesizer, where the frets are key like and strings are "veins". View full synthesizer
  22. Terra Australis - Jack Hertz & Michael Meara
  23. REON Drift Box S is an analog semi-modular synthesizer with onboard joystick that lends itself to endless hands-on sonic exploration. Use it alone and drone through vast soundscapes and textures -or- pair it with all sorts of other hardware and it can handle a multitude of duties. The joystick can control the two VCO and lowpass VCF frequencies, allowing unique and smooth sweeping of the frequency spectrum. The Drift Box S plays well with friends! It's small format and 5 inputs make it easy and awesome for pairing with other hardware, including the rest of the Drift Box series. The external audio input means it can be function as a filter fx box. Use the VCO's modulation CV inputs and the CV gate input with a sequencer or CV capable keyboard and it becomes a fat analog voice. It works exceptionally well when used with a modular synthesizer. View full synthesizer
  24. Reon driftbox S
  25. The Synton Syntovox 222 Vocoder is from Netherlands builder Synton who also produced the Syrinx and Fenix I and II synthesizers. Synton is often compared to EMS, Sennheiser, Roland and other high end studio vocoder manufacturers. View full synthesizer
  26. Synton Syntovox 222 Vocoder
  27. The 8-Bit Power Synthesizer produces lo-fi sounds reminiscent of retro video games. It has a single octave keyboard with an octave control knob to sweep through a full six octaves. It is monophonic and only the highest key pressed will sound. View full synthesizer
  28. Rucci Handmade Electronic Instruments 8-Bit Power Synthesizer
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    • CIIIGoff

      Raymond Scott special on this week's Deprogramming Center broadcast.  Features Scott music plus some Scott tributes, including pieces by Encyclotronic's own Jack Hertz and Jon Johnson. 
      Live on KOWS, 12 AM Saturday (midnight Friday) USA Pacific Daylight Time here: 
      if this appointment is inconvenient, a (p)replay is available here for the next month or so...
      Deprogramming Center #44
      · 0 replies
    • Mystified

      “A Machine Music Manifesto” by Thomas Park
                      Earlier in 2017 I brought up some ideas for a “New Industrial Music”. A main component of this music involved using field recordings made of urban locations as sources. Rather than guitars and drum machines, actual recordings of the city were to be the source of sound. This idea has been further developed into a notion of ‘Machine Music”. Recordings of machines can be used as source material for this kind of composition, and the use of machines found in an urban setting makes Machine Music both its own variety and an extension of the New Industrial category.
                      I have made this observation, and my wife recently mentioned this of her own accord, that music on the radio follows certain formulae. She noticed that there were similarities between songs that went deeper than style, and got into using singers whose voices closely resembled one another, or the same technologies and instruments creating the same sounds (such as a use of “autotune”, which forces sounds, and especially vocals, to comply to a specific pitch). In a certain way, the mainstream music business is itself mechanical—methods and designs are used quite abstractly to generate products, much in the same way that factory machines do. Why not, then, simply express what is essential and make a music of machines?
                    Many forms of music already use or involve machines. Instruments are or resemble machines, as do devices used to record, including microphones and mixing decks, computers, and so forth. We master our sounds using software, on a computer. Files are burned to disc, or distributed online, passed from one machine to another and eventually to a mobile device or stereo.
                    Machine sounds themselves can be found in some music, especially in industrial music. A band might mix in a recording of factory equipment, or use power drills or similar devices as sonic sources, whether live on in the studio (such as the band Einsteurzende Neubauten). The machines create a supplemental voice in the mix, or are used as one or a few elements. I would propose that machines should become the dominant, or perhaps the only, sound source in a new type of music. How often do we need to hear a guitar, flute, or bongo? Why not explore and convey a new set of sounds made by mechanical devices?
                     Machines can make interesting and often rich sounds. A normal microphone can pick them up, but even better is a contact microphone. A contact mic is a small disc that is attached to a surface. It picks up the vibrations running through the surface, passing along the sounds manifested in its target. Contact mics are great for recording the various sounds that machines make as they turn on or off and run through their many cycles.
                       An excellent example of a machine as audio source is a washing machine. A washing machine produces literally dozens of sounds, as it moves from cycle to cycle. Each part of the washing process has its own sound, from the percolating sound of water filling the tank to various speeds of grind as the clothes are spun about. These sounds can be captured and further processed using audio software—excellent methods are to try various forms of granulation, or to add distortion or reverberation effects.
                      Composing using machine sounds can be as simple or as complex as needed. Many machine sounds are variations of noise (or noisy drones), and therefore they do not need to be tuned, and can be mixed together and layered freely. Occasional machine sounds have a pitch, which can be used as a source of tonality, or adjusted to match any other pitches using basic audio software.
                      What is the effect of such compositions? This may vary, but generally by using machine sounds, though some amount of noise exists within the pieces, it is quite easy to create a regular, repetitive, precise and meticulous kind of music. I would generally call these kinds of pieces “soundscapes”, as they are ambient drone collages of sound. The sounds in the pieces seem to come from the same sonic family, and indeed they do, having been recorded from similar sources. This effect is heightened if the same recording method is used throughout (for example, the same contact microphone, recording at the same fidelity). It is the case that machines provide their very own new category of instrumentation, and can harnessed to craft music with a very distinct aesthetic.
                      I hope that readers will consider furthering the New Industrial idea and developing a music of machines. It is a more honest approach to music, I feel, than regarding contemporary mainstream music as being anything other than mechanical itself. If a music is essentially of a machine, why not make it to sound that way? Machine Music provides a direct and authentic aesthetic of pragmatic, exact, and repetitive sounds, without using classical instruments or the human voice. Machine Music paves a clear path ahead in the world of music, and it is a good time to establish and explore this path.
      · 0 replies
    • Mystified

      "Gamma" by Grid Resistor-- music made using only recordings of machines:
      Free at Bandcamp.
      And don't miss the "Grid Resistor Playlist", steadily growing:
      · 0 replies
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