Jack Hertz

Members
  • Content count

    2,633
  • Joined

  • Last visited

  • Days Won

    232

Everything posted by Jack Hertz

  1. Monument by Ultravox

    Monument, released in 1983, is a live album by the British band Ultravox. It is the soundtrack to the live video of the same name, recorded at the London Hammersmith Odeon during the band's 1982 "Monument" tour. The opening title track is not live and is identical to the version found on the B-side of the "Hymn" single. The album peaked at no.9 on the UK album chart and was certified Gold by the BPI in January 1984 for 100,000 copies sold. The album was re-issued on CD in 1999 and was expanded, containing all of the songs from the video (but still not the entire concert). Monument was released again in 2009, as a CD/DVD package together.
  2. Monument by Ultravox

    Monument, released in 1983, is a live album by the British band Ultravox. It is the soundtrack to the live video of the same name, recorded at the London Hammersmith Odeon during the band's 1982 "Monument" tour. The opening title track is not live and is identical to the version found on the B-side of the "Hymn" single. The album peaked at no.9 on the UK album chart and was certified Gold by the BPI in January 1984 for 100,000 copies sold. The album was re-issued on CD in 1999 and was expanded, containing all of the songs from the video (but still not the entire concert). Monument was released again in 2009, as a CD/DVD package together. View full movie
  3. The Dark Interpreter Mater Tenebrarum

    The truth I heard often in sleep from the lips of the Dark Interpreter. Who is he? He is a shadow, reader, but a shadow with whom you must suffer me to make you acquainted. The Dark Interpreter operates as contagious sample or village granulator, distortion, and unique sound generator based on a speedy ARM processor allowing for 16 bit sampling at 48KHz, and with a sample memory of around one second (vastly extended by undersampling). The Dark Interpreter is delivered in three versions, all fully assembled and tested, and features high quality ALPS potentiometers, optional BOSS style 9v power socket (+9v/positive on the outside, negative centre, minimum 300mA) or battery clip, and now full size (6.5mm) Neutrik JACK input and output sockets. Please note that versions cannot be extended, they are not cross-compatible.
  4. The Dark Interpreter operates as contagious sample or village granulator, distortion, and unique sound generator based on a speedy ARM processor allowing for 16 bit sampling at 48KHz, and with a sample memory of around one second (vastly extended by undersampling). View full synthesizer
  5. Ligand by MARTIN NONSTATIC

    An electrifying stratosphere of vibrant realms and enchanting tonalities evolves with every breath of Martin Nonstatic’s hand-crafted synthscapes. Gently progressing into a dubby waterfall of mind-massaging oscillations, Ligand is an ambient downpour of dramatic euphoria. Dark, yet soulful minimalism is engraved within the atmospheric frequencies that paint its melancholy walls, a downtempo outcry of distant, mechanical pads and dystopian melodies crawling against an auditory horizon. The experience is an emotional voyage ; it takes us on a captivating journey into a faraway dimension without ever having to leave earth. It feels like a second home, and we invite you through its welcoming doors to explore a brand new world.
  6. The Grendel RA-9 Grenadier is a 1-oscillator analog monosynth with CV-Gate control. It has a semi-modular design in a tabletop enclosure with 1/4″ audio output. The Grenadier can be played stand-alone by using its keypad with 4 independently tuneable keys, or you can activate its onboard sequencer for minimal rhythm loops and tone sequences. Patch in a 1v/oct MIDI-CV converter (not included) and the Grenadier can play sequences from a MIDI workstation or computer. The Grenadier’s unique palette of analog tones comes from its triple bandpass filterbank with syncable modulation. Its voice is designed for electronic basslines and melodic sequences, as well as slow drones, electro percussion loops, bass drums, and more. The filterbank can also become a tone source by setting it to self-oscillate with warm low frequency overdrive. The Grenadier’s VCO offers square and triangle waveform. Its pitch can be modulated by the envelope generator for bass drops and other tuned analog percussion effects. The VCO waveform is synced to gate, for better bass output with staccato sequences. The decay envelope generator offers a wide range of decay times up to 60 seconds. The contour of the envelope can be reversed with the bipolar Envelope Depth knob, putting it solidly in the electro funk zone. The Grenadier’s LFO covers a wide range of 0.05 Hz (that’s once cycle every 20 seconds) up to 60 Hz, and can be reset by gate events for tempo-sync effects. The patch bay allows semi-modular control and multiplies the creative options when patching to itself, another Grenadier, MIDI-CV converters, and modular systems.** Fourteen patch points are provided including CV and gate in and out, clock in and out, LFO rate CV, and external audio input. It accepts Eurorack-type 1/8” (3.5mm) mono phone plugs. The Grendel Grenadier has a straightforward knob-per-function layout that avoids confusing context-sensitive controls. Each switch on the front panel has a red status LED that is easy to see, but not glaringly bright. The case is built of laser-cut steel with durable powder coat and silkscreened graphics. It has a sturdy-feeling build, weighing in at nearly 2 pounds. Grippy rubber feet elevate it above the table, and a pair of polished metal handles double as a roll cage to protect its control surface. The Grenadier is built to satisfy the need for creative analog equipment that stands the test of time. Features 4-step analog sequencer that outputs control voltage in a repeating cycle I-II-III-IV. Voltage of each step is controlled by the knob above each key I-IV. It steps once to the right each time it is triggered. The analog sequencer normally controls the VCO frequency for simple melodic sequences, and can be patched to sequence the filterbank, LFO rate, or an external module. Programmable Trigger Loop: It is normally synchronized to the LFO, or you can patch 16th-notes tempo clock to CLK IN. Program a rhythmic sequence of events in a 32-step (2 measure) endless loop by tapping the PROG-+ button in real time. Your input is quantized to the clock and repeats as long as clock is present. The trigger events can step the analog sequencer, trigger the envelope, or trigger an external module using the TRIG OUT patch point. LFO; The rate can be controlled with the LFO CV IN patch point. Its response is exponential (~0.5v/oct) and its frequency range is 0.05-60 Hz. The symmetry of the triangle wave is variable and the pulse wave output can be varied from 20..80% width by using the Symmetry knob. Activate the TRIG button and the LFO will sync (restart) with each gate event. This can give the impression of tempo-synced LFO effects, and also lets you use the LFO like a second envelope generator for the filterbank. The LFO Depth knob sets the level of filterbank modulation, and is a bipolar gain type control. The LFO Out patch point is post-LFO Depth. The CLK Out patch point normally sends unattenuated LFO square wave. Drone Button: cancels the volume envelope for endless sustained notes. And its filterbank can be driven into deep-pitched overdriven self-oscillations. The Drone Commander has two fixed oscillators, while the Grenadier has one VCO. But the Grenadier goes further with the addition of a VCA and envelope generator, plenty of CV connections, and a minimal onboard sequencer. The Grenadier has CV and Gate Output, CV In and Gate In, Clock In, Clock Out, Alpha In and Beta In (CV inputs to control the filterbank’s 2-axis parameters), ENV Out, LFO Out, Trig Out, Osc Out (Disconnects OSC from Filter, this lets you use it as an FX send), Ext In (FX return or mix in an external VCO)
  7. The Grendel RA-9 Grenadier is a 1-oscillator analog monosynth with CV-Gate control. It has a semi-modular design in a tabletop enclosure with 1/4″ audio output. The Grenadier can be played stand-alone by using its keypad with 4 independently tuneable keys, or you can activate its onboard sequencer for minimal rhythm loops and tone sequences. Patch in a 1v/oct MIDI-CV converter (not included) and the Grenadier can play sequences from a MIDI workstation or computer. View full synthesizer
  8. Frank Zappa Birthday

    Frank Vincent Zappa (December 21, 1940 – December 4, 1993) was an American musician, composer, activist and filmmaker. His work was characterized by nonconformity, free-form improvisation, sound experiments, musical virtuosity, and satire of American culture. In a career spanning more than 30 years, Zappa composed rock, pop, jazz, jazz fusion, orchestraland musique concrète works, and produced almost all of the 60-plus albums that he released with his band the Mothers of Invention and as a solo artist. Zappa also directed feature-length films and music videos, and designed album covers. He is considered one of the most innovative and stylistically diverse rock musicians of his era. As a self-taught composer and performer, Zappa's diverse musical influences led him to create music that was sometimes difficult to categorize. While in his teens, he acquired a taste for 20th-century classical composers such as Edgard Varèse, Igor Stravinsky, and Anton Webern, along with 1950s rhythm and blues and doo-wop music.[6] He began writing classical music in high school, while at the same time playing drums in rhythm and blues bands; later switching to electric guitar. His 1966 debut album with the Mothers of Invention, Freak Out!, combined songs in conventional rock and roll format with collective improvisations and studio-generated sound collages. He continued this eclectic and experimental approach, irrespective of whether the fundamental format was rock, jazz or classical. Read more - https://en.wikipedia.org/wiki/Frank_Zappa
  9. Bernard Parmegiani Birthday

    Bernard Parmegiani (27 October 1927 − 21 November 2013) was a French composer best known for his electronic or acousmatic music. Between 1957 and 1961 he studied mime with Jacques Lecoq, a period he later regarded as important to his work as a composer. He joined the Groupe de Recherches Musicales (GRM) in 1959 for a two-year master class, shortly after its founding by Pierre Schaeffer. After leaving his studies with Lecoq, he was first a sound engineer and was later put in charge of the Music/Image unit for French television (ORTF). There he worked in the studio with several notable composers, Iannis Xenakis, for example. Parmegiani composed his first major work, Violostries, for violin and tape in 1964 for a choreography performed for Théâtre Contemporain d'Amiens directed by Jacques-Albert Cartier. During a visit to America in the late 1960s, Parmegiani researched the link between music and video and on his return produced several musical videos, including L'Œil écoute, and L'Écran transparent (1973) during a residency at Westdeutscher Rundfunk in Germany. In the 1970s, he also became involved with live performances of jazz and performed with the Third Ear Band in London. Read more - https://en.wikipedia.org/wiki/Bernard_Parmegiani
  10. Tristram Cary Birthday

    Tristram Ogilvie Cary, OAM (14 May 1925 – 24 April 2008) was a pioneering English-Australian composer. He was also active as a teacher and music critic. His concert works of note include a Sonata for guitar (1959), Continuum for tape (1969), a cantata Peccata Mundi (1972), Contours and Densities at First Hill for orchestra (1972), a Nonet (1979), String Quartet No. 2 (1985) and The Dancing Girls for orchestra (1991). Cary is also particularly well known for his film and television music. He wrote music for the science fiction television series Doctor Who(including the first Dalek story), as well as the score for the Ealing comedy The Ladykillers (1955). Later film scores included Quatermass and the Pit (1967) and Blood from the Mummy's Tomb (1971), both for Hammer. He also composed the score for the ABC TV animated version of A Christmas Carol. and the children's Animated special Katya and the Nutcracker. Read more - https://en.wikipedia.org/wiki/Tristram_Cary
  11. In Luv by MTA Lab

    MTA Lab is a new project from a cooperation of friends around Thomas Meier, aka TM Solver. The trio plays the basic structures live, then the recording is being edited and mastered in the studio of TM Solver. M for Marcel Margis T for Thomas Meier (TM Solver) A for Andre Danker The three musicians were inspired to create an own project by different concerts of other electronic bands, they visited. The Album "In Luv" is the second album by this trio. An emphasis is to be found in hardwaresampling.
  12. Live and studio recordings of Ruckzuck, Kling Klang, Autobahn, Antenna, Radio-Activity, Trans Europe Express, Computer Love, The Robots, The Model, Metropolis, Pocket Calculator and many others. As innovative as they are influential, Kraftwerk's contribution to the development of electronic music since their formation in 1970 remains unsurpassed. Having inspired everyone from Bowie to Coldplay, Siouxsie to Radiohead, this bizarre collective have also proven partly responsible for entire genres to develop; electronica, techno and synth pop to name but three. This DVD reviews the career and music of Kraftwerk, from their inception in the late 1960s (as pre-Kraftwerk ensemble Organisation), through their most celebrated period in the mid 1970s, and culminating with their resurgence during the 1980s with the popularity of synth-pop and techno. The film further explores how Kraftwerk both fitted in and pulled away from the electronic wing of what is often lazily referred to as ‘Krautrock’. Sparing time also for many of the groups’ contemporaries from the same field, and tracing the unfolding of electronics in German contemporary music generally, this programme presents a fascinating story previously untold on film. Features Include: Rarely seen live and performance footage of Kraftwerk and of other Electronic and ‘Krautrock’ bands – much from private collections. Exclusive and extensive Interviews with; ex-Kraftwerk members Karl Bartos and Klaus Röder; other German ambient and electronic musicians, Dieter Moebius (Kluster/Harmonia), Hans Joachim Rodelius (Kluster/Harmonia), Klaus Schulze (Tangerine Dreams/ Ash Ra Tempel /Solo), Wolfgang Siedel (Eruption/Tangerine Dream/ Kluster), Conrad Snitzler (Kluster/ Solo) and Klaus Löhmer [engineer, Kraftwerk album] Contributions, review and enlightenment from German academics, writers and journalists, Professor Diedrich Diedrichsen (German Sounds), Ingeborg Schober (German Sounds), Manfred Gillig-Degrave (Stereoplay, Audio, Musicwoche) – and from the UK, David Stubbs (Melody Maker, Wire), Mark Prendergrast (author The Ambient Century), Edwin Pouncey (Sounds) David Toop (ambient musician and writer), David Ball (Soft Cell/The Grid) , Rusty Egan (Visage/The Blitz Club) Rare photographs of Kraftwerk and others Live and studio recordings of many of Kraftwerk’s pivotal tracks, including; Ruckzuck, Kling Klang, Autobahn, Antenna, Radio-Activity, Trans Europe Express, Computer Love, The Robots, The Model, Metropolis, Pocket Calculator and many others. Live and studio recordings of many other bands form the ‘Krautrock’ movement. This film is not authorized by Kraftwerk
  13. Radel Saarang Miraj Plus Digital Tanpura

    The Radel Saarang Miraj Plus digital tanpura sounds so close to a traditional tanpura, that professional Indian classical musicians and teachers have overwhelmingly pronounced it to be the ultimate digital tanpura. The Miraj Plus digital tanpura can be used as a 4 / 5 / 6-string tanpura. It has a range of more than an octave. Standard pitch settings, with ultra fine-tuning to intermediate levels is provided. Other features are: – Tempo control to vary the speed of plucking Tone control to vary the bass-treble balance – Pluck control to vary the softness or firmness of pluck – Sustain control for varying the sustenance of strings – Pancham/ madhyam/ nishad/ only shadj selection – Nishad fine-tuning – Option of using 4/5/6 strings – Positioning of 5th and 6th strings befor or after pancham – Fine-tuning of 5th and 6th string – Auto-save plus 10 individual settings of pitch, tempo, pluck and sustain can be stored and recalled. – A convenient LCD panel displays all selections – A stylish gold-tone cabinet All standard Radel features: – Auto-save, automatic switch-over to batteries if mains power fails – Lightweight, safe and strong ABS plastic cabinet – 3-year warranty – Reliable Radel service
  14. Live and studio recordings of Ruckzuck, Kling Klang, Autobahn, Antenna, Radio-Activity, Trans Europe Express, Computer Love, The Robots, The Model, Metropolis, Pocket Calculator and many others. As innovative as they are influential, Kraftwerk's contribution to the development of electronic music since their formation in 1970 remains unsurpassed. Having inspired everyone from Bowie to Coldplay, Siouxsie to Radiohead, this bizarre collective have also proven partly responsible for entire genres to develop; electronica, techno and synth pop to name but three. This DVD reviews the career and music of Kraftwerk, from their inception in the late 1960s (as pre-Kraftwerk ensemble Organisation), through their most celebrated period in the mid 1970s, and culminating with their resurgence during the 1980s with the popularity of synth-pop and techno. The film further explores how Kraftwerk both fitted in and pulled away from the electronic wing of what is often lazily referred to as ‘Krautrock’. Sparing time also for many of the groups’ contemporaries from the same field, and tracing the unfolding of electronics in German contemporary music generally, this programme presents a fascinating story previously untold on film. Features Include: Rarely seen live and performance footage of Kraftwerk and of other Electronic and ‘Krautrock’ bands – much from private collections. Exclusive and extensive Interviews with; ex-Kraftwerk members Karl Bartos and Klaus Röder; other German ambient and electronic musicians, Dieter Moebius (Kluster/Harmonia), Hans Joachim Rodelius (Kluster/Harmonia), Klaus Schulze (Tangerine Dreams/ Ash Ra Tempel /Solo), Wolfgang Siedel (Eruption/Tangerine Dream/ Kluster), Conrad Snitzler (Kluster/ Solo) and Klaus Löhmer [engineer, Kraftwerk album] Contributions, review and enlightenment from German academics, writers and journalists, Professor Diedrich Diedrichsen (German Sounds), Ingeborg Schober (German Sounds), Manfred Gillig-Degrave (Stereoplay, Audio, Musicwoche) – and from the UK, David Stubbs (Melody Maker, Wire), Mark Prendergrast (author The Ambient Century), Edwin Pouncey (Sounds) David Toop (ambient musician and writer), David Ball (Soft Cell/The Grid) , Rusty Egan (Visage/The Blitz Club) Rare photographs of Kraftwerk and others Live and studio recordings of many of Kraftwerk’s pivotal tracks, including; Ruckzuck, Kling Klang, Autobahn, Antenna, Radio-Activity, Trans Europe Express, Computer Love, The Robots, The Model, Metropolis, Pocket Calculator and many others. Live and studio recordings of many other bands form the ‘Krautrock’ movement. This film is not authorized by Kraftwerk View full movie
  15. Ear of God - Jack Hertz

    In celebration of electronic music pioneer Pierre Henry's (1927 - 2017) 90th birthday. Acousmatique is happy to present our first release officially launching the label on this day, for which we will celebrate every year with a new tribute release. We begin with reissue of the "Ear of God" collection. The culmination of Jack Hertz's "Eye of God" modern musique concrete series. Collecting all five album releases in one set with additional bonus tracks. You get to hours of recordings composed from found sounds, field recordings, and electronics in the musique concrete style. Available now on digital for streaming and DVD music disc for collecting.
  16. UPIC (Unité Polyagogique Informatique CEMAMu) is a computerised musical composition tool, devised by the composer Iannis Xenakis. It was developed at the Centre d'Etudes de Mathématique et Automatique Musicales (CEMAMu) in Paris, and was completed in 1977. Xenakis used it on his subsequent piece Mycènes Alpha (1978), and it has been used by composers such as Jean-Claude Risset (on Saxatile (1992)), François-Bernard Mâche (Hypérion (1981), Nocturne (1981), Tithon (1989), Moires (1994), Canopée (2003)), Takehito Shimazu (Illusions in Desolate Fields (1994)), Mari King, and Curtis Roads. Aphex Twin talked about it in an interview Physically, the UPIC is a digitising tablet linked to a computer, which has a vector display. Its functionality is similar to that of the later Fairlight CMI, in that the user draws waveforms and volume envelopes on the tablet, which are rendered by the computer. Once the waveforms have been stored, the user can compose with them by drawing "compositions" on the tablet, with the X-axis representing time, and the Y-axis representing pitch. The compositions can be stretched in duration from a few seconds to an hour. They can also be transposed, reversed, inverted, and subject to a number of algorithmic transformations. The system allows for real time performance by moving the stylus across the tablet. There were a couple of attempts to reproduce the UPIC system using commodity hardware, for instance Iannix and HighC. IanniX, which has been sponsored by the French Ministry of Culture, is a graphical open-source sequencer which syncs via Open Sound Control events and curves to a real-time environment (like Pure Data, SuperCollider, Csound, MaxMSP, openFrameworks, vvvv…). For its part, HighC is currently used as a pedagogical tool in classes ranging from early teens to Master classes in composition, while some contemporary composers, such as George Hatzimichelakis have made it part of their toolset.
  17. UPIC (Unité Polyagogique Informatique CEMAMu) is a computerised musical composition tool, devised by the composer Iannis Xenakis. It was developed at the Centre d'Etudes de Mathématique et Automatique Musicales (CEMAMu) in Paris, and was completed in 1977. Xenakis used it on his subsequent piece Mycènes Alpha (1978), and it has been used by composers such as Jean-Claude Risset (on Saxatile (1992)), François-Bernard Mâche (Hypérion (1981), Nocturne (1981), Tithon (1989), Moires (1994), Canopée (2003)), Takehito Shimazu (Illusions in Desolate Fields (1994)), Mari King, and Curtis Roads. View full synthesizer
  18. A Wickedly Powerful Synergy of Analog and Digital The Evolver marked Dave’s Smith’s triumphant return to hardware synths and still sets the standard for sheer sonic ferocity in a monosynth. It features a plethora of Dave’s best ideas packed into a monstrously powerful instrument with a sound like no other. The Evolver’s unique tonality comes from the synergy of its two analog oscillators and two digital oscillators (which feature the waves from the legendary Prophet VS). Classic Curtis analog low-pass filters and real analog VCAs add warmth and girth to the analog section while the digital high-pass filter, tuned feedback, and digital distortion provide sizzle and grit. But what really sets the Evolver apart is the way in which the analog and digital sides of its personality mesh—in a true stereo signal path. Massive doesn’t even begin to describe the sound of the Evolver. Imagine being able to move effortlessly from thick analog smoothness to crisp digital edge—or anywhere in between—and you begin to get the picture. The LFOs, step sequencer, and three separate delays can all be synced for complex, evolving, rhythmic, time-based effects in true stereo. It’s a sound designer’s dream that can go from ultra creamy to ultra aggressive with the turn of a knob. If you need convincing, just listen to the demos. Features: + Monstrous four-oscillator voice architecture + True stereo signal path with separate Curtis analog low-pass filters in each channel + Dedicated onboard effects (feedback, delay, distortion, high-pass filter, etc.) + 16 x 4 step sequencer really brings the Evolver to life with evolving “pseudo-polyphonic” sounds – you won’t believe it’s mono! + Stereo audio input for audio processing of external stereo or mono signals, enabling the synth to act as a unique stereo effects processor + Everything (sequencer, LFOs, and delay) syncs perfectly to MIDI. + Easy-to-navigate matrix-style interface for quick editing and real-time control of 8 parameters simultaneously + Multiple Evolvers can be daisy-chained for more polyphony.
  19. SynthFest France

    until
    SynthFest France is an annual festival that brings together in Nantes since 2014, fans of synthesizers and electronic music. The 2018 show will be held on From Friday, 30 March to Sunday, 1 April. Read more - http://www.synthfestfrance.fr
  20. Larry Fast Birthday

    Lawrence Roger 'Larry' Fast (born December 10, 1951) is a synthesizer expert and composer. He is best known for Synergy, his 1975–1987 series of synthesizer music albums, and for his contributions to a number of popular music acts, including Peter Gabriel, Foreigner, Nektar, and Hall and Oates. Fast recorded a series of pioneering synthesizer music albums under the project name Synergy. The first album in the series, Electronic Realizations for Rock Orchestra, was released as an LP in 1975. Like the following albums, it exclusively makes use of electronic instruments, mainly synthesizers. Throughout the 1970s and 1980s, Fast released eight more Synergy LPs on Passport Records, all of which were later re-released on CDs. The 1998 re-release of Semi-Conductor, a compilation album originally released in 1984, was a remastered version of the original, and contained ten additional tracks. The eleventh album in the series, Reconstructed Artifacts, was released in 2003, and contained completely new performances of select compositions from the previous albums, using modern digital synthesizers, as well as the new digital recording technologies. Read more - http://synergy-emusic.com/
  21. Pierre Henry Birthday

    Pierre Henry was born in Paris, France, 1927. He began experimenting at the age of 15 with sounds produced by various objects. He became fascinated with the integration of noise into music. He studied with Nadia Boulanger, Olivier Messiaen, and Félix Passerone at the Paris Conservatoire from 1938 to 1948 (Dhomont 2001). Between 1949 and 1958, Henry worked at the Club d'Essai studio at RTF, which had been founded by Pierre Schaeffer in 1943 (Dhomont 2001). During this period, he wrote the 1950 piece Symphonie pour un homme seul, in cooperation with Schaeffer; he also composed the first musique concrète to appear in a commercial film, the 1952 short film Astrologie ou le miroir de la vie. Henry scored numerous additional films and ballets. Read More - https://en.wikipedia.org/wiki/Pierre_Henry
  22. Pierre Henry Birthday

    In celebration of electronic music pioneer Pierre Henry's (1927 - 2017) 90th birthday. Acousmatique is happy to present our first release officially launching the label on this day, for which we will celebrate every year with a new tribute release.
  23. Radel Sunadavinodini Electronic Veena

    Sunadavinodini is a completely self-contained, portable electronic veena that can be assembled or dismantled in seconds. The electronic veena that has revolutionized the way veena performers practice, travel with and perform veena – portable, built-in loudspeaker dispenses with need to carry a separate speaker, adjustable frets save the trouble and expense of re-fretting periodically. The sweet natural sound of veena makes this product popular among the new generation of vainikas.
  24. SOMA LYRA-4 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: - 4 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 4 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.