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  3. Ether Music by David Lee Myers

    This CD premieres ten works from David Lee Myers, the most prolific composer of Feedback Music. The album’s content spontaneously emerged from Myers’ self-designed, hand-built conglomerations of elaborately interconnected sound processing devices, with no external audio input. Some call the results “sounds from the ether” (hence this album’s title). The CD’s music is distinctive and enticing. We hear an otherworldly, hallucinatory trip to a Martian jungle; irregularly accented bongos overlaid with frog-croaked arpeggios; a rapidly sputtering, helium-inhaling synthesizer; a demented organ, gasping for life; all concluding with the piece dorsal streaming, which presents a lovely, placid atmosphere, tinged with calming panpipe-like chuffing. Dan Visconti writes: “ 'Ether Music' is hardly David Lee Myers’ first foray into this brand of sonic invention, where explorations on the edge of audible electronics mirror a visionary quest into the same electronic pulse that inhabits all organic life. It’s a place where advanced technical experimentation forms the perfect complement for this ancient journey through the bardos of vivid inner landscapes aglow with the fission of an illuminated world, a world that answers our inquiry and is alive in a way less like a thought than a mind. "The 'Darwin of electromagnetic lifeforms' (Mark Dery), Myers has always been singular in this ability to create vast spaces, indeed ecosystems, in which chance and intentional vision all play out in a dialogue where each enriches the other. The creation of several new and original electronic systems, which led to the compositions on this disc, further cements Myers’ reputation as the foremost explorer of 'Feedback Music' – and to those unfamiliar with this sound artist’s unique harmonization of science and magic, this beautifully realized recording serves as the best currently available introduction to the panoramic range that Myers commands. "Myers brings together worlds that have confounded generations of composers, visual artists, and philosophers – and in doing so, he plays scientist and shaman alike, presenting us with imaginary worlds that teem with life, personality, and a pure and deeply considered musicality. As a composer predominantly of acoustic chamber music, I marvel that whereas Myers’ work has strayed far from the world of string quartets and pianos in which I labor, his creations nevertheless manifest a profound display of the paramount principle of classical chamber music: everything that happens is motivated by something prior, an unbroken chain of brainstorms in conversation. If Myers at times has the sonic trappings of his influences Tod Dockstader and the Beatles, his musical rhetoric has the subtlety of classicists like Haydn and Mozart. Myers shapes chance into something not quite random, and vision into something just shy of intent... This collection comes across as grandly symphonic yet also meditative and intimate. "The first recording on this disc (implicate order) begins with gradually thickening or radiant bands of sound that linger, tremble, and falter while ultimately becoming the backdrop for more rhythmic pops and hisses, expanding on a kind of drum-machine texture. The dialogue between these two layers – with each destabilizing the other – ends with a hum reminiscent of the drone in Myers’ favorite 'Revolver' cut, Tomorrow Never Knows. "Effervescent drops, blips, and drizzles greet the ears on rigid and fluid bodies, sweeping across the harmonic series, fusing liquid gestures with relentless ticking, rising, gliding, and darting between both adroitly, before seeming to sink from view into the deep trenches of one’s inner ear. "astabilized begins with recognizable feedback without complication at first, achieving a kind of eerie home quality that could be my own amp or other device beginning to feed back. Before long, this fleeting, quotidian moment begins to stutter and argue with other layers sweeping in competing Doppler motion, taking unexpected turns before ending. "Another standout, arabic science is a meditative moment more exploratory than affirmative, singing out through liminal spaces in a kind of ecstatic glossolalia. the dynamics of particles, the poppiest offering on the disc, kicks off with an immediately catchy ostinato hook that soon croaks with quality of a vocal fry. "radial/axial is perhaps the work which most fully showcases Myers’ mastery and range, and as such it’s one of the most lushly symphonic selections as well. Exploring a range of timbres unsensed by most orchestrators, Myers shows us how unlikely sound sources can give voice to the symphonies within. It’s a fitting calling card for the entire album: daring, aurally eloquent, and epic in scope." This new Myers CD contains the most complete documentation of any Myers release, offering not only his biography and notes on the music, but also a new essay on the history of Feedback Music, photos of his custom designed, hand-built hardware, and Dan Visconti’s enthusiastic Introduction. The album was mastered by Grammy-winner Silas Brown.
  4. Artisan Electronic Instruments OTTAVA desktop analog performance synthesizer is a monophonic synthesizer with 25 knobs and 15 buttons to get at that sound fast, and all savable for instant recall. View full synthesizer
  5. Artisan Electronic Instruments OTTAVA desktop analog performance synthesizer is a monophonic synthesizer with 25 knobs and 15 buttons to get at that sound fast, and all savable for instant recall. The synthesizer features: + Dual Analog Oscillators with PWM and Shape Modulation from Saw, through Blade and Triangle waveforms. + Additional Digital PWM Oscillator/Noise Source + Advanced CMOS Ring Modulator with 9 Wave Mangling Variations + Dual Sub Oscillators; -1 or -2 down, Smooth or Square Wave + 4 Pole Analog Low Pass Filter with Resonance control into self-oscialltion.. playable over 5 octaves. + Analog VCA + 4 rate modulatable LFOs with 8 waveforms and 4 modes of operation, including key-sync and one-shot + 4 DAHSDR (ADSR plus delay and hold) with Looping and 3 trigger modes. + 2 8-Step Modulation Sequencers. (special ADSR mode) + MIDI Clock sync on ADSRs and LFOs + 7 Modifier Functions allow combinations of Modulators and/or Keyboard inputs to create all new modulations. + 21 Modulation sources routable to 18 Destinations for complex sound generation possibilities. + 60 Patch Storage and Recall with 10 perfomance Quick Access buttons. + Analog Sound...Digital Stability.. All Through Hole parts
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  7. Seiko DS-202 Synthesizer View full synthesizer
  8. Seiko DS-202 Synthesizer

    Believe it or not, SEIKO. The same people known for making watches, joined the 1980s digital keyboard bandwagon with a rather interesting keyboard of their own. The digital synthesizer was a modular system of sorts that included the DS-202 Keyboard, the DS-310 Synthesizer control module and the DS-320 Sequencer for playing and composing your own tracks. What is interesting is SEIKO's system was built around a 16 harmonic additive synthesis engine. The user could set any of 16 levels for creating the waveforms / sounds that could be played on the keyboard. The synth also features two envelopes and and LFO for shaping and modulation of the sounds.
  9. Flag Days

    12th album by Ray Kosmische. Ambient, electronic, psychedelic, soundscapes.
  10. The story of early electronic instruments, and the nearly forgotten Canadian music pioneer who created the first synthesizers. As told through interviews with three modern-day modular synth musicians. A musical documentary about modular synthesizers, and a tribute to Hugh Le Caine. View full movie
  11. The story of early electronic instruments, and the nearly forgotten Canadian music pioneer who created the first synthesizers. As told through interviews with three modern-day modular synth musicians. A musical documentary about modular synthesizers, and a tribute to Hugh Le Caine.
  12. Bursts of noise mixed with musicality.

     

  13. For some reason, I keep feeling myself pulled back again and again to a certain time in my life. This was the years 2000-2012, when I lived alone in a low rent apartment in the South Side of Saint Louis.

    Life asks us to pay attention to our loved ones, to our jobs, and to our obligations. This was a period of time when I had few obligations, and no spouse. 

    It really was just me, all day, every day, in this shabby place.

    Chippewa And Brannon was where mystified was born.

    Part of mystified's development involved the harvesting of field recordings. My collaborator Chris McDill at one point suggested that I stop using purchased sounds in my pieces, and start harvesting my own.

    As a result, I was able to capture the atmosphere and vibe of my little apartment in the city.

    I tried to convey this atmosphere in many ways. I would use the field recordings as samples, mixing them together. Sometimes there were conscious compositions. Other times, sounds were mixed fractally in a freeware program.

    Last night, I dug into my archival drive and posted all of the phonographic recordings I had from that period-- all of them that had not been digitally effected. I released them on archive.org.

    Having posted them, I went back to listen. I must admit, these field recordings are indeed the best record of the years 2000-2012 for me. They most accurately capture the vibe of living in poverty in the city. My compositions stretch, mold and exaggerate. The recordings do not.

    This was living low and these field recordings capture it exactly.

    https://archive.org/details/ThomasParkSaintLouisUrbanPhonography

    1. Jack Hertz

      Jack Hertz

      "The Art Life" is what you just described. I just watched this doc on David Lynch. Its really worth seeing if you can get get a copy.

       

    2. Mystified

      Mystified

      Thank you, Jack! Small world-- my wife recently had a big Lynch kick (we both watched the Return together), and she shared this documentary with me. Very cool.

    3. Jack Hertz

      Jack Hertz

      I was astonished to see he's still an avid painter, and it really impresses me he's not sharing it with the world. He's a real hands-on kind of guy. Not someone with assistants doing things, like we often see with other well known artists. 

  14. The Korg Minilogue blows me away! This guy is amazing.

     

  15. Yamaha RX11 Digital Rhythm Programmer

    The RX11 Digital Rhythm Programmer represents the crystallization of the most sophisticated electronic music technology, combining advanced microcomputer control with a top-quality digital PCM sound storage and reproduction system. With the RX11 you will be able to program virtually any type of rhythm pattern you required for your music, and since the instrument sounds are digitally recorded, they are indistinguishable from live percussion instruments.
  16. Your RX11 represents the crystallization of the most sophisticated electronic music technology, combining advanced microcomputer control with a top-quality digital PCM sound storage and reproduction system. With the RX11 you will be able to program virtually any type of rhythm pattern you required for your music, and since the instrument sounds are digitally recorded, they are indistinguishable from live percussion instruments. View full drum machine
  17. The Monowave was the brainchild of UK electronics designer, Paula Maddox. Paula has been designing and building synths for many years as well as releasing her own unique music realized on her impressive modular creations. View full synthesizer
  18. The Monowave was the brainchild of UK electronics designer, Paula Maddox. Paula has been designing and building synths for many years as well as releasing her own unique music realized on her impressive modular creations. Paula wanted to build a synth the roots of which lay in the PPG. Originally intended as a monophonic bass synth, the Monowave has uses beyond that. The Monowave is a wavetable synthesiser with 256 waves available for each of the two oscillators. Each oscillator also has a sub-oscillator. The filter is a copy of the Moog filter, there are separate envelope generators for the filter and amplifier, and a simple LFO. The panel is very 'retro' and 'traditional' with knobs for every function and a simple display. Internally, the circuitry is all analogue (except for the digital circuitry used in the oscillators)... no wimpy DSP thank you very much - this is a 'real' synth!! Paula has now released the MonoWave as GPL and has given me permission to release the PCB and a Component Kit for those that unfortunately missed the first, limited run. The new MonoWave (X) is a rebuild of Paula's popular MonoWave I and is being re-released with her permission. The new design reduces the original multi-pcb design down to 2 pcbs:- The Main board, which incorporates all of the original main board circuits, now also includes an onboard regulated power supply, PCB-mounted MIDI sockets (optional breakout connectors provided for those wishing panel-mounted sockets) and has had the multitude of ribbon-cable connectors reduced to 3 off 40-way cables. This board also now supports the ATMEGA16/ATMEGA32 in place of the original AT90S8515 and the ATtiny2313 in place of the AT90S1200. In addition, the front panel design incorporates a 2x16 LCD Module (the original MonoWave only had a 1x16 Module) allowing software developers to extend the user-interface. Technical Information: Envelope Generator's (VCF-EG & VCA-EG) These are the same as the design in Modulus 8, these are compact (needing only two chips) simple to use and fast. MIDI to CV Again Paula went for simplicity, with a little modification to the scaling , you could use it to generate a CV/GATE output for another 1V/Octave synthesizer. Two DACs are used, U403 holds the NOTE CV, U402 the Velocity CV and U406 has the GATE signal. When the main CPU writes the NOTE value, the MSB is also the gate value (note data on midi is only 7-bits wide). VCA1 & VCA2 These again are based on a Modulus edition. The VCA uses a CA3046, this is configured as a Gilbert Multiplier and gives a superb SNR! VCF No secrets here, its a Moog Ladder clone. Giving 24dB/Octave cut off slope. This was based on TomG's adaptation of it and includes some modifications by Paula. Wave Generator Ok, now we start showing some secrets. Essentially the wavegen is just an EPROM feeding a DAC, nothing more. The secret here is the set of NAND gates on the address lines. What these do is allow you to DROP the resoloution from 256-bytes per cycle to 64-bytes per cycle and hence give you a whole stack more harmonics and aliasing. Oscillator1 and Oscillator2 Some more secrets now, the oscillators. Again, nothing too radical, The main oscillator is the ATtiny2313 micro, This feeds a 4024 to allow octave selection. This, in turn, feeds a 4040, Q0-Q7 give the 8-bit address needed for the Waveform (Q0 is the clock into the 4040), Q8 gives us the sub oscillator. Also the waveform selection latches are shown in these drawings. These 16-bits are then fed to the wave-generator circuit. CPU Nothing too major here, you can see the main CPU, LCD interface, Interface to Buttons and also MIDI. The MIDI interface is fully MMA compliant. The LCD has been upgraded to a 2-line display. U203 is the latch used for reading the buttons (to see if they are pressed or not) as this PORT on the CPU is used for other things it needed to have an output enable, the NAND gate ensures that when you want to read it, it latches the data (positive going edge clock) and then enables the outputs (active low enable), simplifying the interface to the CPU. ADC's Here the ADC schematic is straight from the datasheet. The ADCs are self clocking and the CPU just reads values every so often from the ADCs internal latches. Power Supply The MonoWave(X) requires an external well regulated +18VDC supply.
  19. Undulating analog drones to wash away the grit of fast times.

     

  20. SOMA LYRA-8 Organismic Synthesizers

    Unique analog organismic synthesither for soundscapes, FXs, pads, complex textures. The term "Organismic” means that all its modules are intertwined by many nonlinear connections and work in an entangled state, modifying each other, much like organs and systems in live beings. That allows for getting complex, diverse, fluid textures from a relatively simple construction. In the full mode LYRA is analog FM synth with direct control of each operator feedback with two-channels delay, all it can be modulated by complex LFO + distortion. Final output signal can appear as an additional FM operator, close LYRA to one complex structure. Main units: - 8 organ type tuned voices, shaped by individual envelop generator, driven by an individual sensor. Voices divided on four groups, each has wave shape knob, adjusting it from triangle to square, release switch (fast - slow), modulation\FM depth knob and modulation\FM source switch. - Each of 8 voices can works as FM operator, FM algorithm can be dialed in by four three-way switches, allowing for 81 variations of FM synthesis. - There are two common modes of FM here, selected by an additional switch. The first mode divides eight voices into two groups and feeds each of the two back to themselves, and the second one unites all the voices into one structure. All of that makes for over a hundred of FM algorithms. - Each voice has its own LFO tuned to a dedicated frequency. That allows to avoid that primitive sinusoidal vibe you hear when only one LFO is used on all the voices. The LFO can be switched off. - Four groups of voices folded into two parts (4 voices each), each part has a HOLD knob for a continuous sound, and a TRANSPOSE knob to set the pitch or the key for the whole group. - HYPER LFO unit, consists of two separately tuned low-frequency oscillators from which a complex waveform is synthesized. There are four synthesis structures here, selected from by two switches. - MOD DELAY unit has two independent delay channels with individual time adjustment and an option of modulation by one of HYPER LFO's waveforms. The delay time can also be modulated by the delay's own output signal, which enables many effects, including a mode where the delay section itself works like a synth. - DISTORTION section has DRIVE and MIX knobs. The MIX control sets the balance between pure and distorted sound.
  21. Unique analog organismic synthesither for soundscapes, FXs, pads, complex textures. The term "Organismic” means that all its modules are intertwined by many nonlinear connections and work in an entangled state, modifying each other, much like organs and systems in live beings. That allows for getting complex, diverse, fluid textures from a relatively simple construction. View full synthesizer
  22. The Live Performance (Ambient/Spacebient/Berlin) which I have executed on October 4, 2017 in the DOM Cultural Center (Moscow, Russia) within the concert "4.10 Signal from Space" devoted to the 60 anniversary from the date of start of the first artificial Sputnirk of Earth
  23. Secret Life of Trees by Jack Hertz

    Secret Life of Trees was composed on Arbor Day 2012 as part of the Sound For Good "Take to the Trees" Compilation project. Here the entire release is presented with the original "Leaves" and till now, unpublished "Roots" long form ambient compositions.
  24. Just for the anniversary celebration, we are offering a 50% OFF coupon on everything from Aural Films for the rest of the month. You can buy any download or CDs at half price by using the the code "5years" at check out. Check out the catalog for all your choices here https://auralfilms.bandcamp.com/ .
  25. Just for the anniversary celebration, we are offering a 50% OFF coupon on everything from Aural Films for the rest of the month. You can buy any download or CDs at half price by using the the code "5years" at check out. Check out the catalog for all your choices here https://auralfilms.bandcamp.com/ .

    5years.jpg

  26. Earlier
  27. On the occasion of Klaus' 70th birthday in August 2017, MIG proudly presents several gems of typical Schulze works. Issued in a 6-panel, double digipak with a glossy booklet of 20 pages, containing an appraisal by Ecki Stieg in German and English. CD 1: a complete previously unreleased album. The first 39 minutes of Rhodes Romance (47:41) are the same as The Rhodes Violin (55:24) on the bonus CD of Shadowlands; for this long track after 39 min. a violin was added. CD 2: rare tracks, once released in a very limited number at Music fairs or as bonustrack. The tracks on this CD have been released previously. See Schrittmacher and Ion.
  28. Steve has collaborated with numerous visual artists since the beginning of his career in Los Angeles starting in the early 1980’s. During his 11 years living on edge of innovations with sound and vision in Los Angeles it was common to see “Vuscians” set up on the same stage improvising with video synthesizers and using projection systems of that era. Fast forward to 2013, hundreds of music — visual concerts worldwide this Vortex Dome Immersion concert experience is a homecoming for Steve Roach who has not performed in Los Angeles since the early 1990s. Joining up with Steve to carry the visual torch into now, 360 dome visual artist and VJ, Audri Phillips, will be creating original material for the event and presenting it as live in the moment interaction with the Steve’s space and time altering soundworlds. “With his distinctive melange of analogue and digital synthesisers, acoustic instrumentation and highly imaginative soundscaping, Steve Roach is a giant in modern ambient and one of the most respected electronic musicians in the world. He’s been noted for the deep inspiration he draws from the European electronic tradition, and you can certainly hear the legacy of German psychedelic electronica and spacemusic throughout his work; sometimes not in melody, but certainly in its atmosphere and large, reverberant spaces. Another major source of inspiration for Roach is desert wilderness, including the starkly beautiful deserts and wide open spaces of his Arizona home which continue to colour his music to this day.” Mike Watson – AmbientMusicGuide.com – Australia Audri Phillips is an artist /3d animator based in Los Angeles. She started her artistic career as a painter then she was quickly drawn to time based art. Audri has been a pioneer in using computer animation/art in experimental film work and immersive environments. Audri is currently an Artist In Residence through Vortex and the c3: CreateLAB and is mastering the fulldome format. She created full 360 live visuals for an immersive art and music project called MIGRATIONS which premiered in the Vortex Dome in 2011, and in she also created the visuals for BLUE APPLE, a unique 360 immersive ballet which premiered in the dome in 2012. Steve and Audri will perform a 7:30 pm immersive concert on Friday, October 25th then two immersive concerts on Saturday, October 26th at 7:00 pm and 9:00 pm. Dinner will be served in between concerts. Come as early as 7:30 pm if you wish to purchase dinner then attend the 9 pm show. The 9 pm show will be followed by a special VIP Artist’s Reception & Conversation with the Artists in the Vortex Dome. See ticket information for Artist’s Reception. Tickets are limited to 120 per performance. View full movie
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    • Jack Hertz

      Bursts of noise mixed with musicality.
       
      · 0 replies
    • Mystified

      For some reason, I keep feeling myself pulled back again and again to a certain time in my life. This was the years 2000-2012, when I lived alone in a low rent apartment in the South Side of Saint Louis.
      Life asks us to pay attention to our loved ones, to our jobs, and to our obligations. This was a period of time when I had few obligations, and no spouse. 
      It really was just me, all day, every day, in this shabby place.
      Chippewa And Brannon was where mystified was born.
      Part of mystified's development involved the harvesting of field recordings. My collaborator Chris McDill at one point suggested that I stop using purchased sounds in my pieces, and start harvesting my own.
      As a result, I was able to capture the atmosphere and vibe of my little apartment in the city.
      I tried to convey this atmosphere in many ways. I would use the field recordings as samples, mixing them together. Sometimes there were conscious compositions. Other times, sounds were mixed fractally in a freeware program.
      Last night, I dug into my archival drive and posted all of the phonographic recordings I had from that period-- all of them that had not been digitally effected. I released them on archive.org.
      Having posted them, I went back to listen. I must admit, these field recordings are indeed the best record of the years 2000-2012 for me. They most accurately capture the vibe of living in poverty in the city. My compositions stretch, mold and exaggerate. The recordings do not.
      This was living low and these field recordings capture it exactly.
      https://archive.org/details/ThomasParkSaintLouisUrbanPhonography
      · 3 replies
    • Jack Hertz

      The Korg Minilogue blows me away! This guy is amazing.
       
      · 1 reply
    • Jack Hertz

      Undulating analog drones to wash away the grit of fast times.
       
      · 0 replies
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