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Jack Hertz

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About Jack Hertz

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    Male
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    Bay Area, CA
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    Sound Design, FM Synthesis, Publishing, Improvised music, Music Concrete, Digital Synthesis, Visual Design, Video Production, Software Development, Unix, Outdoors, Spirituality, Reading, Publishing

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  1. Jack Hertz

    Warm Place Fractal Bits Drum Synth

    Fractal Bits is a drum synth with over four billion unique sounds created by fractal algorithms. Each set of 12 drums corresponds to a code of 8 characters (you can save/copy/paste it as plain text). Features: search for new sounds with three buttons: next random set (>>>), edit code, previous set (<<<); three types of keyboards for live drumming: on-screen buttons, PC keyboard, MIDI input; six additional processing parameters + control of all parameters via MIDI; real-time audio recording to WAV (32-bit); export to: WAV (one file or a set), SunVox (samples + effects in one file), text clipboard; the LCK button freezes individual drums - they will not change during the search for new sets; iOS: Audio Unit Extension (AUv3), Audiobus, Wi-Fi export/import.
  2. Eight Voice Digital Drum Computer & Sampler Alive and kicking Digitakt is a new compact sampling drum machine from Elektron. It contains all the necessary tools to make people move to the beat. A digital and highly flexible sound engine, sampling capability, a live-friendly sequencer, dedicated tracks for controlling external MIDI gear, and Overbridge support. Drum machines are something of an Elektron speciality. With the Digitakt we show why. Super quality Digitakt is made for heavy use. It features all new hi res encoders and extremely durable back-lit buttons (rated for 50 million presses). The ultra crisp OLED screen perfectly renders the clear and streamlined user interface. Beat making powerhouse Compact, rugged and to the point. Digitakt is a formidable drum machine and sampler. With an astounding feature set and an exquisite digital sound engine, the stage is set for a striking encounter. Elektron Digitakt 8-voice Drum Machine, Sampler and Groove Sequencer, with 8 Audio Tracks, 8 MIDI Tracks, 64MB Sample Memory, and 1GB+ Onboard Storage. Digitakt provides a compact drum machine solution for a computer based rig. It makes beat making a tactile and rewarding experience. It can also double as a sound card, making it perfect for the nimble studio. Elektron Transfer makes it easy to move samples from your computer to your Digitakt , and vice versa. Factory content Digitakt comes pre-loaded with heaps of great electronic and acoustic sounds. Drums, percussion, synths, and FX are all part of the sound palette. The sample collection allows you to start creating, experimenting and producing right away. Also included is an assortment of absolutely stellar acoustic drum kit samples, meticulously sampled by the renowned drum sample company That Sound. 400+ Factory Samples including: + 5 acoustic drum kits - 4 of which by That Sound + 23 electronic drum kits + 42 synth one shots + 44 synth stabs and pads + 83 single cycle oscillators and noise loops Overbridge for Digitakt Fully integrate Digitakt with DAW environments Control Digitakt with a dedicated VST/AU plugin interface Use Digitakt as a 2 in/2 out sound card (CoreAudio/ASIO/WDM) Stream the eight internal tracks, external inputs, and main bus to separate DAW tracks (24 bit/48 kHz) Recall all Digitakt settings when loading a DAW project Sample management functionality Digitakt specifications: + 8 internal audio tracks & 8 dedicated MIDI tracks + 1 × Multi-mode filter, Overdrive effect, and Assignable LFO per audio track + Delay and Reverb send FX + Sampling capability with 64 MB sample memory & 1 GB +Drive storage + 1 × Headphones output + 2 × ¼” balanced main output / 2 × ¼” input + 1 × High Speed USB 2.0 port + MIDI In/Out/Thru with DIN sync out
  3. The Woods is a single from the upcoming album Ruins by Alex Haas. Alex Haas (born 1963, NYC, USA,) label owner of Sonicontinuum, has been working with many renowned artists including U2, Brian Eno, Eric Clapton, Kronos Quartet, Pat Metheny and Bill Laswell. His first collaboration with Dutch composer Michel Banabila started in April on Collector, a track from Banabila's album Uprooted (Tapu Records / 2019). They then decided to renew their collaboration on The Woods, and Alex invited his long time collaborator, Bill Laswell to join this recording. The Woods became an atmospheric organic blend of experimental ambient, 4th world exotica and lush electronics. Synths and treated guitars by Alex Haas are mixed with Banabila's electronically processed voices, keys and field recordings, together with deep bass sounds by Laswell. Mixed and produced by Alex Haas. mastered by Marlon Wolterink.
  4. Jack Hertz

    Erica Synths SYNTRX

    Since its beginnings Erica Synths has promoted experimental electronic music and has developed instruments that enable musicians to explore it. When it comes to standalone instruments, we think, one of most encouraging instruments in experimental music was Synthi AKS, so we teamed up with engineers from Riga Technical University to develop a synthesizer with a user interface inspired by Synthi AKS. SYNTRX [sintrex] is developed from scratch all analogue synthesizer (no part of schematics is cloned from Synthi AKS) with digitally controlled patch matrix. Unlike most of patch matrixes around, that mechanically connect signals, our 16x16 matrix utilizes 32 (!!!) 8 channel analogue switch ICs AS16M1 (made in Latvia, Alfa RPAR) and is a mixer/buffered multiple with 3 level attenuation (gain 1, 0,6 and 0,3) in connection points. It has 256 patch memory, automatic patch switching in performance mode or via MIDI messages. SYNTRX has 3 highly accurate VCOs that track great over 8 octaves, noise generator with “colour” filter, resonant VCF, ring modulator, spring reverb, looping envelope generator, joystick controller, input amplifier with adjustable gain for microphone to line level signals, 3 VCAs, output signal filter, analogue CV/audio signal level indicator and built in speakers. Extra features, not found on Synthi AKS, are Sample & Hold circuit with individual clock, octave switch for VCO1, synchronization of VCO2, AD mode on the envelope generator, as well as MIDI that accepts CV, Gate, Modulation wheel messages and program change messages for the matrix control. The SYNTRX comes in aluminium enclosure with ash tree side panels. We believe, it will inspire users to explore the space and travel to previously undiscovered audible realms.
  5. Jack Hertz

    miRack Eurorack-style Modular Synth

    miRack is a Eurorack-style modular synthesizer for iOS In the meanwhile, this is a minor update with the following changes: * Multicoloured cables! * Added an item to the tools ("wrench") menu that zooms the rack to fit exactly 2 (3 in portrait orientation) rows of modules. * New modules: 8Mode softSN Machine - a very interesting emulator of TI SN76477 "Complex Sound Generator" sound chip from 1978; trowaSoft MultiScope module; "ML Modules" pack. * Fixed a crash when adding SquinkyLabs Mixer8 module. * Removed two Bogaudio spectrum analyser modules for now. They will be back once we're completely happy with their performance on iOS devices. * Some of the graphics and also Befaco and ESeries module panels have been replaced to avoid possible licensing issues.
  6. Erica Synths Pico System III is affordable, compact, yet powerful sounding, full analogue modular system.It comes in two formats – eurorack and desktop. Features + 2-3-4 step sequencer + 2x VCOs + VCO controller/VCA module + Several mixers that work both with CV and audio signals + Modulator (syncable LFO, random CV and noise source) + 2x voltage controlled ASR envelope generators + 2x resonant lowpass gates + BBD delay Pico System III brings modular synthesis back to the basics – the system has multi functional (instead of single-function, like Pico Drums or Pico Trigger in the Pico System II) analogue modules and is intended to encourage creativity in modular patching. The system has 31 inputs and 20 outputs (master output is duplicated) + 7 switches; if you have enough patch cables at your disposal, you can patch the system in 121000931215044250740178662400 or 1.21x1029 variations (we ignored the possibility to adjust potentiometers here). Even though only 0,0001% of all patches will sound more-less enjoyable, you and all your future generations can spend a lifetime only patching the Pico System III. Voice-cards with preset patches set it apart from other eurorack systems – they allow user to change patches instantly and radically, which makes the system well suited for experimental live performances. The system comes with 5 great sounding “factory preset” voice-cards, and 5 DIY voice-cards that are empty and users can develop their own patches. More voice-cards will be available from Erica Synths shop. Pico System III comes both as a desktop unit and a eurorack module. It features a set of modules for advanced sound design, experiments in modular patching and educational purposes. What do you get? Desktop unit20 patch cables, 1 Hosa stackable cable, PSU, 5 factory preset & 5 DIY voice-cards, user manual and patch note sheetsEurorack module 1 Hosa stackable cable, ribbon power cable, 5 factory preset & 5 DIY voice-cards, user manual and patch note sheets Technical specifications: Audio signal levels10VptpCV signal levels (full span)-5V - +5VSequencer CV output range0 - +5VVCO tune rangeC0 - E7LFO rate0.21Hz - 20HzVC EG attack time0...3''VC EG release time0...4.2''Max BBD delay time400msPanel width42 HPPower consumption 175mA@+12V, 112mA@-12V The Pico System III is a completely analog modular system with 13 Pico modules and preset memory. The good selection of modules allows a large number of patches and is ideal for learning analogue synthesis. The Pico System III is small and above all cheap, which makes it a modular synthesizer for everyone. -
  7. Jack Hertz

    ASM HYDRASYNTH Desktop

    The HYDRASYNTH keyboard is both a sound designers dream synth as well as a performing musicians ideal. The sound engine is designed for maximum flexibility. At the same time, we designed the user interface in a way to allow you to edit the patch quickly with a minimal amount of paging and many workflow shortcuts. Utilizing an advanced wavetable synthesis engine, 3 Oscillators, dual Wave Mutators and 2 filters that can be configured in series or parallel, the tone generating capabilities are unmatched. As for the performance capabilities, The HYDRASYNTH keyboard has our proprietary Polytouch™ keybed that offers polyphonic aftertouch over each note, giving you the type of expressive control found only in certain vintage synths. Add to this a 4 octave ribbon controller and ergonomically designed pitch and mod wheels and you have expression and control that is not equaled in any other hardware synthesizer on the market… Today or ever. Polytouch™ keybed The new ASM Polytouch® keybed allows not only the standard velocity and aftertouch found on other keybeds but we support fully polyphonic aftertouch. In recent years companies have been trying to find ways to give the keyboard musician more ways to better express themselves. The problem is that their solution is almost never a keyboard, so you have to learn a new technique to play them. The Polytouch™ keybed features a high quality, standard sized keys, so you can start playing it instantly. Oscillators The tone generation capability is the heart of any synthesizer. The 3 oscillators allow you to choose from a selection of 219 single cycle waveforms. Wavemorphing is a feature usually found on synths with preset wave tables. Creating user wavetables is arduous or downright impossible. Unlike most wavetable synths, our oscillators 1 & 2 have our WAVELIST mode. This mode allows you to pick and choose 8 waves, from our bank of 219, arrange them in the order you want, and then morph from one to another. mutators Oscillators 1 & 2 are routed into our MUTATORS. The Mutators allow you to modulate, bend and sculpt the sound in new (and old) ways. Each MUTANT allows you to choose from the following processes: FM-Linear - for making classic FM sounds. Choose multiple FM sources, including external inputs. Wavestack™ - creates 5 copies of the incoming sound and allows you to set a detune amount. Hard Sync - This gives you those classic hard sync sounds. Try hard syncing a morphing wavetable for some fun. Pulse Width - This will pulse width modulate ANY input sound. PW - Squeeze - This is a different form of pulse width mod that creates a smoother sound. PW-ASM - this mode divides the incoming wave into 8 slices and allows you to set how much pulse width mod will happen in each section. Harmonic Sweep - this will sweep the harmonics of the incoming sound.​ The Mutant's can also generate its own waveforms in both FM and Sync modes so that you do not have use another oscillator....Of course the routing is flexible so you can choose the other oscillators as mod sources if you like. Mixer/ filter routing The 3 Oscillators are fed into a mixer along with the Noise generator and Ring Modulator. The Mixer allows you to mix levels as well as pan the input source. There is a balance control that allows you to choose how much signal of each source is routed to filters 1 and 2. The filters can be set to be parallel or series for ultimate flexibility. filters If oscillators and tone generators are the heart of a synthesizer, the filters are the soul. The Hydrasynth has two filters that can be configured in series or parallel. The first filter has 11 different filter models, giving you multiple options for tailoring your sound. The second filter is a 12db per octave has a continuous sweep from Low pass to bandpass to high pass, similar to the way the classic SEM filter worked. LFO's 5 Low-Frequency Oscillators…YES, 5. Much like our sound engine, the LFO’s are not ordinary by any means. The Hydrasynth LFO’s feature a STEP mode that allows you to create patterns with up to 8 steps. Having 5 mini step sequencers gives you an amazing amount of possibilities for further shaping your sound. Of course, there are also 10 standard waveforms to choose from.​ The LFO's all have delay, fade in, 3 triggering modes, smoothing, start phase, one-shot mode so that they can act as envelopes and BPM sync. envelopes 5 DAHDSR Envelopes……YES 5. ​ An advanced sound engine needs plenty of modulation sources. Our 6 stage envelopes feature Delay, Attack, Hold, Decay, Sustain and Release stages.​ The time settings for the stage can be set in seconds or in time divisions, giving you envelopes that play in sync to your song. You can also loop the envelopes to create LFO’s whose shape can be voltage controlled in the modulation matrix. MODULATION MATRIX The modulation capabilities on the Hydrasynth are endless. With 32 user definable modulation routings, you will have plenty of ways to use the 29 modulation sources and 155 modulation destinations. Almost everything in the synth engine can be a modulation destination including the effects and arpeggiator. The Modulation matrix points themselves can also become modulation destinations. Modulation sources & destinations include the CV Mod In & Out jacks as well as MIDI CC’s ARPEGGIATOR The arpeggiator allows for standard note arpeggiations but also has a phrase arpeggio built-in. Parameters like RATCHET and CHANCE will generate other rhythmic patterns with some randomness to add life and spontaneity to your performance. You can also modulate most of the parameters in the arpeggiator so imagine using LFO’s, Envelopes, Polyphonic Aftertouch or the Ribbon controller to modify your arpeggios in real time. CV/GATE - MIDI - USB There is the standard MIDI and USB/MIDI interfaces on the synth but we go deeper and allow the use of CV/GATE interfaces for connecting to the modular world. It supports the standard voltages for Eurorack modulars as well as some of the Japanese Volts>HZ products. The MOD in and outs allow for modulation from DC to full audio ranges, expanding your modulation capabilities. Main Controls The Main system controls are where you navigate your patches, configure system settings and see parameters like the envelopes, waveforms, filters in the OLED screen. ​Init and Random buttons will allow you to initialize or randomize a complete patch or specific modules with a press & hold + module select button. ​Pressing the HOME button returns you to navigating patches in a simple and easy way. master controls The Master Control section is where all parameter editing, patch naming, and Macro performing is done. Using OLED screens, high-resolution encoders with LED rings, and 8 buttons, this section is designed to give you good feedback on what is going on. The VOICE parameters give you access to play modes, analog feel, voice panning and many other features. macros The patch MACROS are designed to allow the user deep control over the engine in live performance. The 8 assignable encoders and buttons can each be routed to 8 destinations. Complete sound transformations can take place with the press of a button or turn of a knob. patches The Hydrasynth comes with 5 banks of 128 patches in total. We hired some of the best patch designers around to create the 256 factory patches. Finding the patch you want and searching the library is made easy with our BROWSER. Our PC/MAC based Patch Manager plug-in also allows easy moving of patches to create your favorite order as well as load in new patch libraries in the future. effects The effects chain goes beyond the typical ones found in other synths. Pre-effects and post-effects give you some unique ways to process your sound. The delays and reverbs were modeled on some of the most popular effects on the market. The effects are the perfect way to complete your sound, in the box.
  8. Jack Hertz

    ASM HYDRASYNTH Keyboard

    The HYDRASYNTH keyboard is both a sound designers dream synth as well as a performing musicians ideal. The sound engine is designed for maximum flexibility. At the same time, we designed the user interface in a way to allow you to edit the patch quickly with a minimal amount of paging and many workflow shortcuts. Utilizing an advanced wavetable synthesis engine, 3 Oscillators, dual Wave Mutators and 2 filters that can be configured in series or parallel, the tone generating capabilities are unmatched. As for the performance capabilities, The HYDRASYNTH keyboard has our proprietary Polytouch™ keybed that offers polyphonic aftertouch over each note, giving you the type of expressive control found only in certain vintage synths. Add to this a 4 octave ribbon controller and ergonomically designed pitch and mod wheels and you have expression and control that is not equaled in any other hardware synthesizer on the market… Today or ever. Polytouch™ keybed The new ASM Polytouch® keybed allows not only the standard velocity and aftertouch found on other keybeds but we support fully polyphonic aftertouch. In recent years companies have been trying to find ways to give the keyboard musician more ways to better express themselves. The problem is that their solution is almost never a keyboard, so you have to learn a new technique to play them. The Polytouch™ keybed features a high quality, standard sized keys, so you can start playing it instantly. Oscillators The tone generation capability is the heart of any synthesizer. The 3 oscillators allow you to choose from a selection of 219 single cycle waveforms. Wavemorphing is a feature usually found on synths with preset wave tables. Creating user wavetables is arduous or downright impossible. Unlike most wavetable synths, our oscillators 1 & 2 have our WAVELIST mode. This mode allows you to pick and choose 8 waves, from our bank of 219, arrange them in the order you want, and then morph from one to another. mutators Oscillators 1 & 2 are routed into our MUTATORS. The Mutators allow you to modulate, bend and sculpt the sound in new (and old) ways. Each MUTANT allows you to choose from the following processes: FM-Linear - for making classic FM sounds. Choose multiple FM sources, including external inputs. Wavestack™ - creates 5 copies of the incoming sound and allows you to set a detune amount. Hard Sync - This gives you those classic hard sync sounds. Try hard syncing a morphing wavetable for some fun. Pulse Width - This will pulse width modulate ANY input sound. PW - Squeeze - This is a different form of pulse width mod that creates a smoother sound. PW-ASM - this mode divides the incoming wave into 8 slices and allows you to set how much pulse width mod will happen in each section. Harmonic Sweep - this will sweep the harmonics of the incoming sound.​ The Mutant's can also generate its own waveforms in both FM and Sync modes so that you do not have use another oscillator....Of course the routing is flexible so you can choose the other oscillators as mod sources if you like. Mixer/ filter routing The 3 Oscillators are fed into a mixer along with the Noise generator and Ring Modulator. The Mixer allows you to mix levels as well as pan the input source. There is a balance control that allows you to choose how much signal of each source is routed to filters 1 and 2. The filters can be set to be parallel or series for ultimate flexibility. filters If oscillators and tone generators are the heart of a synthesizer, the filters are the soul. The Hydrasynth has two filters that can be configured in series or parallel. The first filter has 11 different filter models, giving you multiple options for tailoring your sound. The second filter is a 12db per octave has a continuous sweep from Low pass to bandpass to high pass, similar to the way the classic SEM filter worked. LFO's 5 Low-Frequency Oscillators…YES, 5. Much like our sound engine, the LFO’s are not ordinary by any means. The Hydrasynth LFO’s feature a STEP mode that allows you to create patterns with up to 8 steps. Having 5 mini step sequencers gives you an amazing amount of possibilities for further shaping your sound. Of course, there are also 10 standard waveforms to choose from.​ The LFO's all have delay, fade in, 3 triggering modes, smoothing, start phase, one-shot mode so that they can act as envelopes and BPM sync. envelopes 5 DAHDSR Envelopes……YES 5. ​ An advanced sound engine needs plenty of modulation sources. Our 6 stage envelopes feature Delay, Attack, Hold, Decay, Sustain and Release stages.​ The time settings for the stage can be set in seconds or in time divisions, giving you envelopes that play in sync to your song. You can also loop the envelopes to create LFO’s whose shape can be voltage controlled in the modulation matrix. MODULATION MATRIX The modulation capabilities on the Hydrasynth are endless. With 32 user definable modulation routings, you will have plenty of ways to use the 29 modulation sources and 155 modulation destinations. Almost everything in the synth engine can be a modulation destination including the effects and arpeggiator. The Modulation matrix points themselves can also become modulation destinations. Modulation sources & destinations include the CV Mod In & Out jacks as well as MIDI CC’s ARPEGGIATOR The arpeggiator allows for standard note arpeggiations but also has a phrase arpeggio built-in. Parameters like RATCHET and CHANCE will generate other rhythmic patterns with some randomness to add life and spontaneity to your performance. You can also modulate most of the parameters in the arpeggiator so imagine using LFO’s, Envelopes, Polyphonic Aftertouch or the Ribbon controller to modify your arpeggios in real time. CV/GATE - MIDI - USB There is the standard MIDI and USB/MIDI interfaces on the synth but we go deeper and allow the use of CV/GATE interfaces for connecting to the modular world. It supports the standard voltages for Eurorack modulars as well as some of the Japanese Volts>HZ products. The MOD in and outs allow for modulation from DC to full audio ranges, expanding your modulation capabilities. Main Controls The Main system controls are where you navigate your patches, configure system settings and see parameters like the envelopes, waveforms, filters in the OLED screen. ​Init and Random buttons will allow you to initialize or randomize a complete patch or specific modules with a press & hold + module select button. ​Pressing the HOME button returns you to navigating patches in a simple and easy way. master controls The Master Control section is where all parameter editing, patch naming, and Macro performing is done. Using OLED screens, high-resolution encoders with LED rings, and 8 buttons, this section is designed to give you good feedback on what is going on. The VOICE parameters give you access to play modes, analog feel, voice panning and many other features. macros The patch MACROS are designed to allow the user deep control over the engine in live performance. The 8 assignable encoders and buttons can each be routed to 8 destinations. Complete sound transformations can take place with the press of a button or turn of a knob. patches The Hydrasynth comes with 5 banks of 128 patches in total. We hired some of the best patch designers around to create the 256 factory patches. Finding the patch you want and searching the library is made easy with our BROWSER. Our PC/MAC based Patch Manager plug-in also allows easy moving of patches to create your favorite order as well as load in new patch libraries in the future. effects The effects chain goes beyond the typical ones found in other synths. Pre-effects and post-effects give you some unique ways to process your sound. The delays and reverbs were modeled on some of the most popular effects on the market. The effects are the perfect way to complete your sound, in the box.
  9. JG Ballard's 1975 sci-fi epic, "High-Rise", prediction of humans colonizing the sky has come to fruition. As people cram into big cities there is no way to go but UP! With all the convinces right there, things get strange as privacy turns into isolation from society, and ultimately themselves. Jack Hertz takes a sonic look at the new standard of living for the fewture. Elite climbers move to the bottom of the top where masks of civilized manners come off in a bizarre world of elite tastes and strange indulgence created by architects of forgotten dreams.
  10. Here are 5 generative remixes of the original tracks from Jack Hertz and Mystified (2015 Aural Films). The remixes use sounds from all of the tracks on the album, for each remix. Thomas used two original Python codes to do this.

     

  11. Jack Hertz

    Buchla Easel Command Module & 208C

    The Buchla Easel Command is the newly updated 208C in a standalone desktop form with MIDI and CV control. The 208C is the module itself for use in a Buchla 200e system. Buchla's own Joel Davel led the charge to create a new version of the legendary Music Easel instrument with more modular flexibility and independence, while also providing the means to easily interface with more devices, such as the various DAWs like Ableton and MIDI controllers, including the very expressive Sensel Morph. It’s still fully analog in its default configuration and provides the unique and exquisite Buchla experience with greater functionality at a lower cost. The 208C in the videos is an actual production unit, not just a prototype.....so our confidence level is pretty high that we can see this through completion in a timely manner! We decided to go with Kickstarter in order to be able to offer the users any chance for feedback, last second tweaks (since we've already integrated a lot of futureproof flexibility inside), and most of all be able to just add all of the final touches in order to make this product the best it can be! What’s new compared to the previous Easel/208? + MIDI input(USB B/DIN) standard on Easel Command, optional on 208C. + 2 - 1/4" Audio outputs (Easel Command only) + 1 - 3.5mm 1v/oct input (mixed to keyboard input) (Easel Command only) + 1 - 3.5mm Gate input (turned into Buchla keyboard pulse with sustain) (Easel Command only) + MIDI A (USB Host) optional expansion port. + Five additional audio connections to get independent inputs and outputs from the oscillators and the gates, plus an FM input to the modulation oscillator. + Five additional banana CV connections to control knobs and faders and ability to send pulses independently to different inputs. + If no aux input is present, analog white noise is generated (using the 266 circuit). + A more logical layout of of the top row. + A power/control mode LED indicator. + Pulser now has a dedicated single pulse switch and mode distinction + The modulation oscillator section is now green, so that each main section has its own color. + The listed oscillator frequencies are more accurate and the scaled fader input range is trimmable from the old range to 1.2v/oct. + You can trim the new modulation oscillator and envelope generator inputs to work with the typical input ranges you desire. + You can trim the oscillators to your desired volts per octave range for both the keyboard and the fader inputs. + You can also reduce the gain on the gate 1 input if you have an unusually hot, non-Buchla input. + One single circuit board allows it to be modular case friendly and easier to service; the 208c module can fit into a 200e case. + Switches and jumpers for those who want to use the new banana inputs —those for the modulation oscillator and sustain— to control the sequencer stages instead. + Standard headers for the program card connector that allow us to develop future iProgramCard-like preset control from inside the unit. + New connectors allow our plug-in MIDI interface and provides an optional stereo digital fx option (coming as an optional add-on in the future) + Actual stereo. The 208 was always a mono synth, but if you plug in a stereo digital fx (coming as an optional add-on in the future), you’ll get stereo outputs on the MIX OUT and headphones. + A new power connector for more cable length and case flexibility and removability and one that’s already compatible with the more recent revisions of the Easel power board. + The 208c module will begin shipping December 2019. Easel Command will begin shipping January 2020. Optional preset management coming as an add-on in the future.
  12. Silent Records, America’s premier ambient record label, is bringing their mystical brand of ambient and drone music back to Dunsmuir this October. Dronesmuir (a portmanteau of the words Dunsmuir and Drone) is the second of a series of music concerts planned by Silent Records for 2019. Drone music will be performed by three artists on the Silent label: Jack Hertz (San Francisco)—small hand-percussion and acoustic instruments processed via synthesizer Stuart McLeod (Portland)—hydrophone, brainwaves, waterphone & digital processing Mark Schlipper (Seattle)—guitar and effects. Jack Hertz promises to enthrall the audience with realtime processing via synthesizers of small handmade instruments. Stuart McLeod’s performance will make use of a hydrophone (underwater microphone) dropped into the underground rivulet below the restaurant. The hydrophone signal, combined with the waterphone will be processed digitally and controlled by the artist’s brainwaves. Mark Schlipper plays guitar in the Seattle drone-doom band The Luna Moth and will perform a solo guitar drone set. In addition, Jack Hertz will be speaking with music students at College of the Siskiyous at noon on Friday, October 18. The Wheelhouse will have food and beverages available for purchase, and Silent Records will have a merchandise table stocked with releases by these artists and many rarities from the Silent Records vault. Sound by China Cat Sound About the artists: Jack Hertz Inspired by the mystery of life, Jack Hertz manipulates sound to create intangible techno- oganic impressions between music and noise. Jack’s live performance will present a journey into the sonic middle ground between the real and the artificial utilizing instruments, found objects, field recordings, and real-time processing to create a sonic environment the audience can explore. Jack has been composing and recording music for more than 30 years. More on his work can be found at JackHertz.com Stuart McLeod Stuart McLeod has composed music for film, stage, and concert hall, for classical, improv, and rock groups. He has played with Gamelan Northwest and led the experimental group SIL2K. Stuart studied composition with Richard Karpen, William O. Smith and Kenneth Benshoof. Current investigations deal with composition vs. improvisation, conscious vs. unconscious will, and the concept of ‘self’. He’ll be performing a piece processing sounds from a hydrophone and waterphone with brain wave activity from an EEG headset controlling audio processing software. More information on his work can be found at stuartmcleod.bandcamp.com. Mark Schlipper Restless and prone to experimentation, Mark got his start playing music in the 80’s in Washington, DC, studying the avant garde in libraries and hardcore in garages. Moving to North Carolina in the early 90’s he began exploring the psychoactive effects of drone, repetition, and particular frequency ranges, sometimes in solo performances, sometimes in groups. In the late 90’s, he eventually brought his odd blend of genres and styles with him to the Pacific Northwest where his solo work has continued to evolve and shape-shift. “One of my bands released a new album, heavier and darker than previous releases, and it gained some attention, in part for my contribution on guitar, and the nature of the drone I was inclined toward. This led me to explore the element of drone more fully in my solo work—taking those things that were background or accent, and making them the focus. This new work tends toward a more ‘maximalist’ approach, with any lighter moments, as the accents, to help draw out the rest. Ideally creating a sound that is a physical presence in the room and in the head.” —Mark Schlipper The Wheelhouse 5841 Sacramento Ave, Dunsmuir, CA 96025 Telephone: (530) 678-3502 SILENT RECORDS Listen: silentrecords.bandcamp.com For more information contact: kim@silentrecords.us
  13. Jack Hertz

    Macumbista WolfTone SoundBox

    The WolfTone SoundBox contains a children’s toy voice-changer circuit which has been modified to include three switches and six touchpoints which interactively modify the sound, 9V battery/DC jack power, a line-level/headphone output, a backlit transparent speaker and an interior lined with handmade Japanese paper. A detachable condenser microphone provides the input to the circuit, which can be either the performer’s voice or feedback from the speaker.
  14. Cyber Folk: Digbee’s Electronic Chronicle gives a thorough look into a unique, highly personal approach to musical electronic instrument building, an approach that is many things: naïve, enthusiastic, sincere, alien, and familiar. This strange future/primitive work journal contains the release of tons of data, beautiful photos, schematics, building techniques, and the inside stories behind many of Digbee’s most beloved instruments. Also inside are artist features for Digbee’s favorite musical electronic practitioners. Within are never-before-published photos and stories of the work of Craig Anderton, Charles Cohen, Michael Johnsen, and Nautical Almanac’s Twig Harper and Carly Ptak. Peppered throughout the book are examples of connected imagery from comic books and science fiction illustration. This book was not written for a specific niche. Anyone with a curious mind and interest in musical electronics, experimental music, art, and craft will find a place of connection. An exclusive flexi-disk (phonograph record made of a thin, flexible vinyl sheet) is included in the back of the book. The disk includes a song made using all instruments featured in the book, and was specifically recorded for Cyber Folk. Cyber Folk: Digbee’s Electronic Chronicle is produced by Harpy Gallery and Selfish 60 Studio for the art exhibition entitled “New American Instruments” which will be up from July 20th to August 10th.
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