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  1. 9 points
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    Great pack, instantly wrote a little jam with my FM Volca.
  4. 2 points
    It is sad there are less than 150 Million people from indigenous tribes, left on Earth. Considered to be uncivilized. They are the people who led humanity out of the forest. Into the governments, religions and corporations. That now threaten our true ancestors’ existence. This album is dedicated to the last tribes, past and present (listed below), who's cultures have been lost to the ignorance of progress. Aboriginal - Australia Andamanese - India Asaro - Indonesia Assyrian - Iraq Banna - Ethiopia Batak - Philippines Cherokee - North America Chukchi - Russia Dani - Indonesia Dassanech - Ethiopia Drokpa - India Dukha - Mongolia El Molo - Kenya Gauchos - Argentina Goroka - Papua New Guinea Himba - Namibia Huli Wigmen - Papua New Guinea Inuit - Canada Kalash - Pakistan Karo - Ethiopia Kayapo - Brazil Ladakhi - India Maori - New Zealand Maasai - Tanzania Mursi - Ethiopia Navajo - North America Nenets - Russia Piraha - Brazil Quechua - Peru Samburu - Kenya San - Botswana Shuar - Ecuador Rabari - India Tsaatan - Mongolia Vanuatu - Vanuatu Islands
  5. 2 points
    Dans les pliures des rêves synclinaux (In the folds of synclineal dreams) presents short acousmatic pieces inspired by our intangible dreams and by those dream dusts that still exist when we awaken. Recorded in February 2018 at Studio du Coin Cornu, Cœur de Beauce, France. Sleeve design by Berthelot & Graph'Hypnotic. Photography by Folkert Gorter/Superfamous Studios (CC Attribution 3.0). [ Acousmatic, Electroacoustic, Post-Concrete, Field Recordings, Experimental ]
  6. 2 points


    Is the Master Clock going to be synchronized with the End Of Time One Second From Now?
  7. 2 points
    The Microwave is still is one of the best choices when you’re looking for that unusual and cut-through sound. It’s all in Waldorf’s wavetable synthesis, which is behind the success of the legendary PPG synthesizers, the Waldorf Microwave I and of course the Wave – a dream-machine in its own right. About Wavetable Synthesis Basics The sound generation of the MicroWave II/XT/XTk is based on wavetable synthesis. This type of synthesis combines analog access and digital flexibility in a simple way. Although wavetable synthesis is a form of "sample playback" in principle, you should avoid this term because functionality, operation and results are totally different. The ROM area of the MicroWave II/XT/XTk currently consists of 65 wavetables, 31 locations are reserved for future ROM wavetables. The RAM area contains 32 user wavetables, which can be manipulated over MIDI via appropriate computer software. A wavetable is a list made up of 64 entries. Each entry represents one wave, that can be either located in the ROM or RAM area of the MicroWave II/XT/XTk or calculated by an algorithm after selecting the wavetable. For the purpose of using a wavetable inside a sound program, it doesn’t matter what source the wavetable comes from. A wavetable itself contains no wave data, but is in fact a collection of up to 64 entries referencing up to 64 waves. Not all entries of the wavetable have to contain entries. When one or several sequential entries contain no reference, the MicroWave II/XT/XTk calculates the waves for these locations automatically. The algorithm producing these "imaginary" waves uses an interpolation scheme that crossfades the "real" ones. E.g. when a wavetable contains entries in entry 95 RwkdTNpg8 1 and 5, the positions 2 to 4 are generated based on interpolation between the existing waves in entry 1 and 5. Please keep the terms "wavetable" and "wave" in mind. Don’t bring them into confusion. Introduction Wavetable synthesis gives the MicroWave II/XT/XTk the unique sound character which makes it different from all other synthesizers and samplers. The principle of wavetable synthesis is not new, The PPG synthesizer, "Wavecomputer 360", "Wave 2", "Wave 2.2",and, "Wave 2.3", and, also the Waldorf MicroWave, (the first one) and, Waldorf Wave use this concept. The MicroWave II/XT/XTk contains some enhancements to wavetable synthesis which improve the sonic quality in a remarkable way. An introduction to wavetable synthesis needs some attention because its operation principle is different to other sound generating systems. Nevertheless you should spend a little time in understanding the basics. You will gain more than the effort it takes. Please note that you cannot create your own wavetables or waves with the MicroWave II/XT/XTk itself. To do so, you need a wavetable editor, a special computer program, that allows you to create and edit wavetables and waves.
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    What a surprise to see my Computer Music Collection album nominated in the 2017 Schallwelle Awards. That is enough of an award to know people are listening to my challenging releases. Please download the album now at https://auralfilms.bandcamp.com/album/computer-music
  10. 2 points
    Carols To Challenge Your Ears? Need an alternative this season? Try these: https://archive.org/details/NoelPortersHolidayCollectionVolume2
  11. 2 points
    (Warning - contains flashing images) Finally made a reasonable video for my 'Half Live on the Bed' thing of July 2016, based on a Mixcraft 7 performance panel test from December 2015 (which makes up the 2nd half, the 1st half is me improvising on the YRG, playing the original at different improvised pitches). I only got it done on Thursday when I stumbled across an offer for Sony Vegas Movie Suite which is the first thing I've come across that enables more than one video line to be edited at a time I was able to edit the video in a couple of hours. Unfortunately it took 5 and a half hours to render it into a file and 13 hours to upload it to Youtube . Anyway, enjoy.
  12. 2 points
    (No Pussyfooting) is the debut studio album by the British musicians Robert Fripp and Brian Eno (credited as Fripp & Eno). The album was released in 1973. (No Pussyfooting) was the first of three major collaborations between the musicians, growing out of Eno's early tape recording loop experiments and Fripp's "Frippertronics" electric guitar technique. Brian Eno invited Robert Fripp to his London home studio in September 1972. Eno was experimenting with a tape system developed by Terry Riley and Pauline Oliveros where two reel-to-reel tape recorders were set up side-by side. Sounds recorded on the first deck would be played back by the second deck, and then routed back into the first deck to create a long looping tape delay. Fripp played guitar over Eno's loops, while Eno selectively looped or recorded Fripp's guitar without looping it. The result is a dense, multi-layered piece of ambient music. This technique later came to be known as "Frippertronics". (No Pussyfooting) 's first track, which fills one side, is a 21-minute piece titled "The Heavenly Music Corporation". Fripp originally wanted the track titled "The Transcendental Music Corporation", which Eno didn't allow as he feared it would make people "think they were serious". It was recorded in two takes, first creating the background looping track, then adding an extended non-looped guitar solo over the backing track. This track features Fripp's electric guitar as the sole sound source. The second track "Swastika Girls", which fills the other side, was recorded almost a year after "The Heavenly Music Corporation" in August 1973 at Command Studios at 201 Piccadilly in London. The track employed the same technique as "The Heavenly Music Corporation" except Fripp played to a background electronic loop created by Eno on VCS3. Fripp and Eno took the tapes of "Swastika Girls" to British record producer George Martin's Air Studios at Oxford Circus to continue mixing and assembling the track there.[6] The track's title refers to an image of nude women performing a Nazi salute that was ripped from a discarded pornographic film magazine found by Eno at AIR studios. Eno stuck the image on the recording console while recording the track with Fripp and it became the title of the track. (No Pussyfooting) was released in November 1973 and failed to chart on either the American or British charts. It was met with negative reaction from the record label itself, Island Records, who were actively opposed to it. The album was released in the same year as Eno's more rock-based solo album Here Come the Warm Jets. Eno was attempting to launch a solo career, having just left Roxy Music, and his management bemoaned the confusion caused by the release of two albums with such different styles. Robert Fripp's bandmates in King Crimson also disliked the album. The mainstream rock press also did not pay the album much attention compared to Fripp's work with King Crimson and to Eno's solo album. In the UK, the album was released at a large discount compared to normal album prices and was regarded as something of a musical novelty.
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    George Orwell Meets 2017's USA Ride The Train Of Dissonance To "Untopia" Our hero, Glarmen Glamours, takes on today's Big Brother with sound collage and dramatic electro-acoustical vigor. Curious? Click the Pic Below and Go: Untopia The first review is already in (quote Gerbil Bliss...) The perfect soundtrack to Washington crazy. Tired of trying to apply logic to the sh*t going down in our federal and state governments? Here's a soundtrack of a response. The Universe help us all! Enjoy while we still have an open Title II regulated Internet.
  15. 2 points
    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: http://www.raymondscott.net/three-willow-park/
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    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: KOWS if this appointment is inconvenient, a (p)replay is available here for the next month or so... Deprogramming Center #44
  18. 2 points
    My Life In The Bush Of Ghosts - Brian Eno + David Byrne
  19. 2 points
    This is my current weekly programme. It's not entirely electronic, and some weeks may not have any at all, but it's part of the name, so has a large representation. Unfortunately, it is only an hour, so longer pieces rarely get heard, but I try to when I can. Everything from classic studio type works to current high-tech wonders, though I tend to steer away from overly beat-driven or "pop" sounding tracks. http://www.ciut.fm/shows-2/music-shows/electric-sense/
  20. 2 points
    Thanks for your reply! I tranfered really easily files to Volca FM using this web application that lets you transfer syx files to the synth online. Highly recommended! https://www.retrokits.com/rk002/settings/kfm/patches.html
  21. 2 points
    Check this out. You can see for yourself Eno can't get his DX7's to work either
  22. 2 points
    Memories From the Don Buchla Memorial Concert
  23. 1 point
    Both Jack Hertz and Christian Fiesel are prolific experimental electronic artists in their own solo works with multiple releases every year, but their occasional collaborations together have resulted in some very special music, with the mellow prog- electronic ambiance of 2016's `Fast Rails' being particularly memorable. The two are at it again here in a very different manner, with m00m being the name given to a project inspired by their love for Moog synthesizers and Krautrock music. It's a vinyl-length collection of ten schizophrenic and feverish electronic distortions and trippy sound collages, mostly twisted into short bursts with some prog-electronic arrangements and subtle ambient touches as well. `For a Snowflake' makes for an intangible, gargling and bubbling electronic opener. `Klick und Kluck' offers skittering looping programming over gentle ambient synth washes, `Walking in the Shade of Giants' is a drowsy electronic trickle laced with chiming unease, and `4 Fat Guys in a VW Bug' is a rough jangle of Heldon-like scuzzy and serrated electronic manipulation. The dreamy electronics of `Run Aground' take a calmer meditative hold, and the relentless `Stranger on Second Thought' pulses with a near industrial-like imposing machine coldness looming over fizzy colourful eruptions. The menacing `A Box of Marbles' reverberates with gurgling electronic bleedings as flighty shuffling slivers blissfully rise around to bring light, and the Harmonia-like `Scavenging for Trouble' is wistful and life-affirming with its shimmering cooing caresses. Reflective and achingly beautiful, `Every Tuesday Morning' opens as a submerged crystalline ambient drone that lifts to life with slinking pulsing programming and light symphonic Mellotron-flecked touches carefully infiltrating, and `No More Clouds' closes with twitching n' glitching machine tantrums over an unceasing pattering of low-key stalking beats that almost flirt with dance/trance touches. Get into the guts of the album and it takes a very disorientating, mesmerizing hold with its mix of edgier trippy dazes, kaleidoscopic dreamscape atmospheres and embracing ambiance. It proves to be a seductive and colourful Krautrock-modelled prog-electronic work, so let's hope for more team-ups between Fiesel and Hertz in the near future, especially in regards to this new m00m project, as there's so many ideas emerging and already on display on this vibrant and hypnotic debut. Four stars. (this review first appeared on the Prog Archives website on 26th March 2018).
  24. 1 point
    Co-produced in 1979 with Alien Circles Records, the first album of JIHEL is a collection of titles recorded between 1975 and 1979. All tracks are shorter versions of titles played on stage. Basic tracks recorded between 1975 and 1977 at Studio du Blanc-Mesnil, France. Final recording and mixing during Winter 1978 at Intercontinental Studio, Le Blanc Mesnil, France. Engineered by Norbert Deville and Xavier Reiter. Mixed by JLHB and Norbert Deville. Produced by JLHB and Xavier Reiter for Alien Circles Records. Original LP mastered by Thomas Helm at Rêve Gravure, Paris, France. (Instruments used on each track and production notes on the Word Document) This release mastered in 2011 at Scoz Mastering Suite, Cœur de Beauce, France. Artworks Collages by JLHB. Sleeve Design by Graph'Hypnotic. [ Ambient Electronic, 70s Berlin School Electronic, Experimental Electronic, Soundscapes ]
  25. 1 point
    Instruments used on this album : owned by Jihel : - EMS VCS 3 (x 2) - EMS Synthi AKS - Elka Rhapsody 610 - Farfisa Professional Organ - Roland System 100 Sequencer owned by Intercontinental Studio : - Moog Minimoog - Moog Modular 3C - Moog 960 Sequencer - Eminent Solina String Ensemble
  26. 1 point
    m00m is a band project by electronic music artists, Christian Fiesel and Jack Hertz. Inspired by their love for Moog synthesizers and Krautrock music.
  27. 1 point
    Behringer Neutron Semi-Modular Synthesizer more details by Pete and Rob from Inside R&D: + l think the main kind of driving force was we wanted to do something affordable semi modular a lot of interesting semi modular. + We wanted to kind of get a dabble in that in that market and find something that people could use. + But yet it's a really powerful little synth that it's obviously the two oscillators the 3340 sound fantastic. + As a starting point build up their system, yeah and often you find with Semi, modular gear that that a lot of the inputs on there that you want some of the things in the mob matrix aren't quite right. + We've got a unique custom filter. It's a two pole, but it's multimode and the resin that sounds great and also the overdrive and delay gives it. + You know you very enough of a pallet there to get a wide range of sounds and cleave. It's a filthy. It's morphable LFO shaped oscillator shapes.
  28. 1 point
    I just love "Automat"!!!
  29. 1 point
    Dark Energy III is the successor of Dark Energy II. The main differences between II and III are an improved VCO (no warm-up period, additional triangle waveform, wider frequency range), resettable LFOs, improved ADSR and a lot of internal access points for DIYers. The favored filter of the Dark Energy II has been unchanged. Dark Energy III is a monophonic stand-alone synthesizer with USB and Midi interface. The sound generation and all modulation sources are 100% analog, only the USB/Midi interface contains digital components. It is built into a rugged black metal case with wooden side plates. High quality potentiometers with metal shafts are used and each potentiometer is fixed to the case (no wobbly shafts and knobs). The two LFOs each have a reset input, also ADSR envelope has been improved. In addition, many access points for DIY modifications are accessible internally. These include VCO outputs (triangle, sawtooth, rectangle), hardsync, soft sync, linear FM, VCF outputs (TP / HP / BP), ADSR output and A / D / S / R CV inputs, as well as LFO outputs (triangle, square ). The multi-mode filter was explicitly not changed. Lots of internal access points for DIY applications or modification of the socket functions (e.g. VCO outputs triangle, sawtooth, rectangle, hardsync, softsync, linear FM, VCF outputs L/H/B, ADSR output and A/D/S/R CV inputs, LFO outputs triangle and square).
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    BERTHELOT - Griffures de Parasitaires December 2017 https://archive.org/details/BERTHELOT_Griffures_De_Parasitaires
  32. 1 point
    BERTHELOT - Mécanique des limbes February 2015 http://freemusicarchive.org/music/Berthelot/Mcanique_des_limbes
  33. 1 point
    Robert Fripp (born 16 May 1946) is an English guitarist, composer and record producer. As a guitarist for the progressive rock band King Crimson, Fripp has been the only member to have played in all of King Crimson's line-ups from their inception in the late 1960s to the present. He has also worked extensively as a studio musician, notably with singer David Bowie on the albums "Heroes" and Scary Monsters (And Super Creeps), Brian Eno, David Sylvian and contributed sounds to the Windows Vista operating system. His complete discography lists more than seven hundred releases over four decades. He is ranked 62nd on Rolling Stone magazine's 2011 list of the 100 Greatest Guitarists of All Time after having been ranked by David Fricke 42nd on its 2003 list. Tied with Andrés Segovia, he also is ranked 47th on Gibson's Top 50 guitarists of all time. His compositions often feature unusual time signatures, which have been influenced by classical and folk traditions. His innovations include Frippertronics, soundscapes, and new standard tuning. Read more - https://www.dgmlive.com/robert-fripp
  34. 1 point
    MBS-100 - is a monophonic bass synthesizer inspired by synthesizers produced in the soviet era times while having the flexibility, MIDI control and compact package of the 21st century. It has 19 knobs, 3 switches and 4 buttons with which you can control the parameters of the sound and MIDI. Specification: - Method of synthesis – hybrid analog-digital synthesis; - Voltage-controlled digital oscillators (VCDO) - two, each with four waveforms: saw, square, pulse 1 (25% rate), pulse 2 (10% rate). Note: Pulse 1 and 2 are similar to PMW but are fixed similar to «Aelita», «Polivoks» synthesizers for e.g. Octave ranges - 3 octaves for OSC1 and 5 octaves for OSC2. - Voltage Controlled Filter (VCF) - fully analog 12 db/oct low pass filter with cutoff and resonance parameters; - Envelope Generators (ADSR) – two; - Voltage Controlled Amplifier (VCA) – one, fully analog distortion effect selection switch; - Low frequency oscillator (LFO) - one with two waveform options (square and triangle) to control the VCF. - MIDI interface - MIDI In, MIDI Thru (16 channels + Omni); - Audio output - one mix output (mono 6.3 mm jack); - Controls - 19 knobs, 3 switches, 4 buttons and 11 LED indicators; - Case: durable steel case with wooden cheeks;
  35. 1 point
    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
  36. 1 point
    Great to have another mallet controller on the market...and especially the price! wow! Huge undercut on Alternate Mode (and Buchla... not sure if they still make their mallet instrument). Ive been playing a malletkat since the 90s. Unfortunately they are a bit susceptible to humidity and I'm in a high humidity area. Ive had to send it in to AM a couple times and it's currently not working properly again. Hopefully this model will have better defences against humidity. I like the extra (optional) bars in the accidental keys. A very cool option to have...though I might color it or mark it to avoid confusion. Would be cool for triggering other sounds or chords while soloing, and lotsa other possibilities. Also the extra controls on the right are a huge plus too. I kinda dislike the look of using the drum cymbal stands as a stand. I think Pearl should have used that system for mounting, which is great for adding to a rack like the vibes above, but created something a little more aesthetically pleasing and unique that complements this great creation.. of course just my .02$. But it could easily be mounted (I think) on any kind of keyboard stand laying flat..so not a deal buster or anything. The playing surface will be crucial. Looks like a hard surface. Couldn't imagine it would be though. But at any rate, the feel and action will be a crucial point. Some people mention it didnt have all the midi inputs. I haven't seen the specs. But I personally love the USB option. That's another sweet feature the others don't have. I think this is going to put a dent on Alternate Mode's malletkat. More competition is a good thing though.
  37. 1 point
    Excellent. Just what I am looking for.
  38. 1 point
    A great resource for music from Indonesia and surrounding islands in the South Pacific. http://www.auralarchipelago.com/
  39. 1 point
    Any djs or broadcasters out there interesting in audio copies of my project documentaries? If so, here they are: https://archive.org/details/ThomasParkDocumentaryAudio
  40. 1 point
    Rebekkah Hilgraves brings her show to RadioSpiral on Saturdays at 1pm. The basic premise of the show is that music is everywhere, in everything: in the hum of a city, in the pulse of construction machinery or a heartbeat, in footsteps, in laughter, in breath, in the shuffling of an impatient audience… and, like John Cage’s “Four minutes and thirty-three seconds”, all you have to do is sit and listen. Tune in to At Water's Edge on RadioSpiral on Saturdays at 1pm, via the direct link, or via TuneIn (and RadioSpiral broadcasts 24/7). or listen to the podcast either directly from our website, or from the official iTunes podcast.
  41. 1 point
    WavemansUnderground(NL) & Noby(D) on air friday 25th august http://www.underground-aexpaerten.de/Radio1.html or radiosunrise.de 20.00-24.00CET / 7pm-11pm(UK) all in 128-192/kbps. **NOTE** only in the chat complete info ! Playlist Norbert 20.00; Pete Namlook & Dr. Atmo, Wolfram Spyra(Bonus track), Traumklang 3x(Carola Zauchner) analog!, Indra, and because of "70" 2x Klaus Schulze Waveman discovered many "John's" in his friendslist nearly all musicians......damn good musicians(exept me)! So, "JOHN" is the name. Playlist John 22.00; ['ramp] synchronize or die(release 29 august) -John Eje Thelin(Bildschirm) -John Valk(Waveman ppg2.2) -John Christian -John Hootman(Vir Unis) -John Ireland -John Dyson (Reprise for Jack.......later this year on album) -John Kerr -John Battema -John Valk(Waveman ppg2.3) -John Tocher(Grove of Whispers, Sadayatana) -John Palmer -John Broaddus -John Carpenter(Not only known from his horror movies) recommended -John Drake(Suit & Tie Guy)
  42. 1 point
    The EMS Synthi A, first available in May 1971, and then in March 1972 a version of it with a built-in keyboard and sequencer, the EMS Synthi AKS, a portable modular analog synthesizer made by EMS of England. Most notable for its patch pin matrix, its functions, and internal design are similar to the VCS 3 synthesizer, also made by EMS. EMS is still run by Robin Wood in Cornwall, and in addition to continuing to build and sell new units, the company repairs and refurbishes EMS equipment. The Synthi AKS has been used extensively by Brian Eno in his art rock and ambient albums. He particularly made prominent use of its signal-chain editing capability in order to add color to his own voice as well as Robert Fripp and Phil Manzanera's guitar work. His early band, Roxy Music, supposedly requested that he join them after watching him tinker with the Synthi AKS for only a few minutes. When launched in 1972, the Synthi AKS retailed for around £450. There was an optional three octave (37 note) DK1 monophonic keyboard available for it, later the DK2 (Dynamic Keyboard 2) was available, this allowed independent control of two Oscillators, thus enabling the player to play two notes together. As with the VCS3, a Synthi AKS was worth considerably more than its original price by the late 1970s. The first 30 Synthi AKs featured a black and silver Touch pad, Spin-and-touch random note selector and an unplayable resistive touch sensitive keyboard. This was replaced by the familiar blue capacitive touch sensitive keyboard with integrated sequencer.
  43. 1 point
    Wait for the little creatures to come out...
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  45. 1 point
    ROLI Seaboard Block Super Powered Keyboard
  46. 1 point
    Greetings listeners. It's time for another edition of the Still Stream news letter.Two big tasks have occupied my station hours since I last wrote. First up was a change in service provider which all happened in a bit of a rush due to some technical problems. I'm now firmly set up at Digital Ocean where things are nice and stable. Second I've been catching up on library submissions. Keep an eye on the Facebook page or web site news section for specifics.In live show news, Grove of Whispers has gone on hiatus for a while so that Darth Buddha can recharge his batteries. If you're hankering for bit of grove don't forget that many of the performances are available on Band Camp to buy and to listen to online. Eric is continuing to bring us his special blend of tunes via Mystic Music at the usual time. Visit the home page to see when the next broadcast will be, in your local time zone.Fans of our past DJ's will be very happy to hear that At Waters Edge, Around the Campfire, and Spiral have found a new home at Radio Spiral. Not only do they have a brand new audio stream, they also have a new chat room, as well as their continued presence in Second Life. Be sure to drop by and tune in for a dose of ambient music AND all things electronica.Another piece of exciting news is the creation of a new label called Aatma by our friends Geoff Stewart (aka åpne sinn) and Steve Brand. I believe this is a new sister label for the already excellent EarthMantra netlabel (originally started by Still Stream founder Darrell Burgan). I've had a quick listen to the first release by threadbare and it sounds great! Keep your eye on them and be sure to follow them on Band Camp. I'm sure we'll see some fantastic new releases soon.That's it for now. Thank you all again for your continued support of the station.Cheers, Joel
  47. 1 point
    Synclavier History Tour and The Quantum Potential With Christopher Currell
  48. 1 point
    FSOL Digitana SX-1 Synthi Expander
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  50. 1 point