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Jack Hertz

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  1. Jack Hertz

    Korg minilogue xd Polyphonic Anlogue Synthesizer

    An evolved next-generation analog synthesizer with huge potential for sound design and performance. We wanted to deliver a next-generation analog synthesizer for a new generation of musicians new to analog synthesis. That dream was realized in the development of the minilogue, which instantly made the analog synthesizer approachable. In addition to emphasizing the same real analog sound and joy of controlling an electronic musical instrument offered by the original minilogue, the minilogue xd newly adds a digital multi-engine, effects, a powered-up sequencer, and micro tuning functionality, further expanding the possibilities for sound design and performance potential. Four-voice polyphonic analog synthesis. The analog synthesizer circuit of the minilogue, whose genuine analog sound had a huge impact on the synth world, has been further developed for the minilogue xd. Voice structure of minilogue xd is 2VCO + MULTI ENGINE, 1VCF, 2EG, 1VCA, and 1LFO. In addition to the distinctive circuits found in the series, such as wave shaping to shape the overtones of the oscillator and a sync/ring switch, there's also cross modulation, a sharp two-pole filter, and a drive switch that adds thickness and drives signal into minilogue xd’s filter. Every parameter has been tuned in detail based on what musicians want out of their synth. The sounds range from the warm pads typical of analog to fat basses and crisp lead sounds, covering every situation. Of course, programs that you create can also be saved in the unit. Out of the box, minilogue xd comes loaded with 200 presets, and a total of 500 programs can be saved. Equipped with a digital multi-engine The additional sound design possibilities of digital sound are delivered by the multi-engine that's provided as a third oscillator in addition to the two analog VCOs. This engine, which is equipped with three different types of sound generator (noise, VPM, and user slot) lets you take advantage of a sonic character that's different than analog, and use it at the same time as the analog engine, infinitely expanding the potential of hybrid sound design. Noise generator The noise generator provides four types of noise that are indispensable for percussive sounds or for sound effects. You can use the digital filter to directly change the color of the noise. VPM oscillator minilogue xd’s multi-engine features a VPM (Variable Phase Modulation)/FM oscillator with a two-operator structure. It can produce sharp, metallic sounds with complex overtones beyond the possibilities offered by analog systems. With 16 types of oscillator and a SHAPE knob control, you'll be able to create complex sounds intuitively. User oscillators User oscillators allow you to load your own oscillator programs that you created or obtained via the internet. There are 16 user slots, as well as one type of morphing wavetable oscillator provided as a preset. High-quality digital effects minilogue xd’s high-quality digital effects use 32-bit floating point DSP processing, adding a finishing touch to its deep sound design platform. The three types (modulation effects, reverb, and delay) can be used simultaneously, letting you choose from a wide range of variations including chorus, ensemble, warm tape delay, and a diverse variety of reverb. The user effect slots allow you to load your own effect programs that you've created. User customization brings out infinite potential The minilogue xd features a customizable open environment. The unit comes with 16 user oscillator slots and 16 user effect slots that you can customize. Oscillators and user programs that you've created with the SDK (Software Development Kit) can be loaded into the minilogue xd via the dedicated librarian software. What sounds might arise from the fusion of the expanded digital oscillators with analog synthesis? Create original programs, share code, and participate in the user community. You can start with sample code provided by KORG. Polyphonic step sequencer controlled by 16 buttons The step sequencer provides 16 steps, and supports both realtime recording and step recording. You can use the 16 step buttons to select a step directly, allowing quick editing to replace the pitch of a step or to mute it, or even improvisatory performances. Motion sequence lets you record the movements of up to four knobs, adding time-varying change to the sound, and you can record not only smooth changes in value but also values that change precisely at each step. You can use this to design the sound differently at each step; for example, you might create a drum pattern or sound effect from just a single program. This allows countless ideas to be unleashed. A thoughtfully designed interface Joystick Controls pitch bend and modulation depth, etc. A desired parameter can also be assigned to the up/down axis. Voice mode The four voice modes were selected for the minilogue xd. - POLY: The minilogue xd operates as a four-voice polyphonic synth. - UNISON: The unit operates as a monophonic synth, with the four voices working in unison. - CHORD: Chords are produced using one to four voices. - ARP / LATCH: (ARP) Provides an arpeggiator with up to four voices that can also be used while the sequencer is running / (LATCH) Switches latch on or off. A voice mode depth knob is also provided, which applies a corresponding effect for each mode. - POLY: Turning the knob toward the right switches to DUO mode and deepens the detune. - UNISON: Turning the knob toward the right deepens the detune. - CHORD: Selects mono or chord type. - ARP / LATCH: (ARP) Selects the arpeggiator type. Micro tuning The minilogue xd is equipped with the micro tuning function featured on the monologue, allowing you to individually adjust the pitch of each key. Built in are 23 preset tunings that include some created by Aphex Twin and Dorian Concept, and users can also create and store six user scales and six user octaves. Start by trying out the preset tunings of famous musicians, and then advance to creating your own original tunings. Oscilloscope and motion view display The organic EL display is now larger, and also provides oscilloscope functionality for you to view sound as the electrical signal's waveform. This makes parameter changes visible in real time, giving you visual feedback that helps you understand how the synthesizer works. The display can also show motion view for visualizing the movement of a stored motion sequence. A full complement of input and output jacks Output is now stereo A stereo effect unit is provided at the final stage, and the output jacks are now also stereo. Spatial-type effects such as delay, reverb, and chorus will add an even more convincing touch to your thick analog synth sounds and sparkling digital synth sounds. Damper pedal jack A damper jack has been added in response to requests from artists and users. Two CV IN jacks Two CV IN jacks are provided, with voltage levels of -5V–+5V. In addition to CV/Gate, these can also input modulation signals, allowing you to use external devices to control parameters in the same way as moving the joystick up or down.
  2. Jack Hertz

    KORG Volca Modular Semi-modular Analog Synthesizer

    KORG volca modular is a semi-modular analog synthesizer in the KORG volca format that makes modular synthesis more accessible and understandable than ever before. Featuring 50 patch points for using the 20 included patch cables to connect the eight onboard modules in any way imaginable, volca modular was created with “West Coast Style” synthesis in mind, to offer a unique sound and design that deviates from traditional synthesis norms. A semi-modular analog synthesizer that makes modular synthesis more accessible and understandable than ever before. Creating new sounds that don’t exist in the outside world is an unending dream which has continued since the birth of electronic musical instruments. This dream has evolved and expanded throughout the development of new and unique music production devices. The popularity of modular synthesizers around the world has generated new excitement and interest in the so-called "West Coast style" of synthesis that deviates from traditional synthesis norms. The compact body of this volca synth features eight modules and 50 patch points. While learning the basics of a modular synth, you can use popular features of the volca synthesizer line to control a unique and different flavor of analog sounds. An Analog Synth Composed of Eight modules The volca modular is a semi-modular synthesizer consisting of independent analog synth modules, digital effects, and a sequencer. Each of the modules has been carefully selected for its stand-alone completeness. The modules are internally connected so that sound can be produced even before connecting the included pin cables, and the routing is shown by white lines on the panel. Module connections via a pin cable take priority over the internal connections, bypassing them. SOURCE: This consists of a triangle VCO carrier and a modulator. The complex overtones generated by FM modulation are sent through a wave folder circuit to add additional overtones, producing a distinctive sound. This module is important in determining the basic character of the sound of volca modular. FUNCTIONS: This section consists of two function (envelope) generators. In addition to an ADH generator with attack, hold, and release, there's a Rise-Fall generator, also known as a slope generator, which not only applies time-varying change to the sound but also lets you patch the end trigger out back into the trigger in as a loop, making it usable as a VCO or LFO. WOGGLE: This is a random signal generator containing a sample & hold circuit that uses pink noise as its source. Two outputs are provided, allowing it to output either stepped or smooth random noise. SPLIT: This module distributes one input to two outputs. It can also be used in the reverse direction, combining two control or audio signals into one. DUAL LPG: This consists of two low-pass gate circuits. Typical of the West Coast style of synthesis, the module packages a filter with an amp, allowing the brightness and volume of the sound to vary together. UTILITY: This is a mixing scaling module that combines two signals in various ways. It can mix not only audio signals but also control signals, as well as inverting or attenuating those signals. SPACE OUT: This is a stereo module that applies a reverb-like effect to the audio signal. SEQUENCES: This module is for connecting to the internal sequencer. You can set the tempo, and select different rhythm divisions to output via the gate counter. Analog synthesizers in which a simple oscillator such as a saw wave or square wave is modified by a filter are referred to as "East Coast style" because of their origin from well-known American manufacturers. Synths of this style, as exemplified by the MS-20, have continued to evolve toward a goal of being used in many mainstream musical genres, thus being equipped with a keyboard for performance. Their sounds are notable for sharp filters and rich presence, and can be heard in many well-known songs. Synthesizers of the "West Coast style" evolved in a uniquely different direction from such musical developments. Pursuing the freedom that is inherent to electronic musical instruments, these were based on oscillators such as FM modulation which generated numerous overtones, and used random and complex control signals and low-pass gate circuits to vary tonal character and volume, so that slight movement of a knob might dramatically transform the sound. While their potential was acknowledged, the resulting sound and its changes were difficult to predict, causing these synths to be used in a more experimental capacity. For these reasons, hardware products of this style have been few in number. However, recent years have seen the popularity of modular synths such as Eurorack, as well as DAW plugin instruments that resurrect classic bygone synths of the past. This world-wide movement toward embracing interesting sounds has received renewed attention, spurring a new look at the sounds of this style. Starting from analog, and freely taking in all elements including FM and PCM, the volca series has also focused on this trend. And now, this distinctive "West Coast style" sound has been added to the KORG volca series. Patching allows infinite possibilities Volca modular’s modules are connected via the included pin cables, allowing a diverse range of combinations. The unit's compact chassis provides 50 patch points. Inputs and outputs are color-coded for recognition at a glance, and the signals are also marked by symbols to indicate audio, control, gate or trigger. Normally, each signal is connected according to its use, but on the volca modular, signal levels are universally compatible between modules, allowing hidden possibilities to arise from patching that defies common sense. Twenty pin cables are included, and also included is a reference sheet explaining each patch point and providing basic examples of patching. Volca sequencer elevates experimental sounds into music with a sixteen-step sequencer that can automate parameters While the volca modular is a semi-modular synth, it is equipped with a full-fledged 16-step sequencer providing a wide range of functions, letting you enjoy automatic performance even when used stand-alone. Using the 16 buttons familiar from the volca series, you can perform step input or use the buttons as a keyboard for realtime recording. The pattern chaining function plays back multiple sequence patterns in succession, allowing you to connect up to 16 sequences with up to 32, 64, or even 256 steps to create large-scale development. The motion sequence function records knob movements, letting you add time-varying change to the sound. You can create loops, or use this function live for strikingly original performances. Up to 16 sequence patterns and sounds can be saved in the unit. Also provided is an active step function which lets you play back while skipping the steps you specify. You can skip the latter half to produce a short loop, use an alternate time signature to create polyrhythms, and evolve sequence patterns in real time to create a dynamic performance. Randomize function that can generate accidental ideas The sequencer of the volca modular lets you specify randomization for notes, active steps, and micro tuning. Irregular phrases, rhythms, and scaling that would be unlikely to come to mind can be generated by applying randomness, letting the volca be a source of unknown ideas. Two new modes added for sequence playback Two new sequence modes have been added: bounce sequence mode which makes a round trip through the steps, and stochastic sequence mode which gradually proceeds while randomly moving forward and backward. Playing back a recorded sequence in a different form can add dramatic changes to your song or performance. Musically advanced scales, keys, and micro tuning Although the volca modular is a West Coast style synthesizer, it also provides flexible support for music as a contemporary instrument. You can choose from 14 types of scale including equal temperament. Since you can also specify the tonic key from which these scales start, you can play these scales in any key. There's also a micro tuning function that lets you individually specify the pitch of each note. You can pursue your own unique music by performing in an original tuning with the pitch of individual notes raised or lowered. Excellent playability Connectors that allow synchronized performance and external control With a sync jack that allows easy connection to a Korg groove machine, you can connect the volca modular to another volca series unit, a minilogue, monologue, or prologue, an electribe, or the SQ-1, and enjoy sessions with the sequencer synchronized to the playback. The CV IN jack for external control is a TRS mini stereo jack that lets you input two signals. The left channel can input a ±5V signal and the right channel can input a signal of 1V/oct (0–+6V) signal which is internally converted to pitch CV within the volca modular. Of course, each of these two signals can also be patched to control a module. Enjoy anywhere Compact, size, battery operation, and built-in speaker mean that you can take this unit anywhere and enjoy playing at any time.
  3. Jack Hertz

    Behringer UB-Xa Keyboard

    Aside from the earlier desktop version, many of you requested for a keyboard version of the UB-Xa synth and hence we thought we’d share some designs with you. We have asked our engineers to render a 5-octave keyboard version and use this opportunity to show you some of the insights how such a product is developed. It all starts with the industrial design as well as definition and placement of all functional controls. Once this is completed, the next step is to transfer the “dxf” file which contain the component coordinates plus the artwork for the silk screen printing to the mechanical engineers. Their job is now to translate the artwork into a fully functional design. In general this works quite smoothly but there are instances where mechanical conflicts arise and artwork changes are required. This collaboration between industrial designers as well as mechanical and system engineers gets more complicated whenever electrical or mechanical constraints come into play. Over many decades our engineering teams have created a massive component library of close to 100,000 components which have been designed in a photo- and dimension-realistic manner. This means that any product that is designed based on components from the library will automatically look and feel real, which helps us not only to shorten the design and review process but also skip all photography. As a result any changes can be done almost in real-time and there is no need for traditional photography anymore which is a huge time and cost saver. All our product images on our websites are renderings. Today I am asking for your feedback in relation to the current design. Do you prefer a keyboard over a desktop version and if yes would you vote for a 4 or 5 octave version. Please remember that the actual features have not yet been decided as we’re still gathering valuable input.
  4. Jack Hertz

    Alesis Strike MultiPad Percussion Synthesizer

    Introducing the Strike MultiPad from Alesis - the first percussion pad incredible enough to earn the Strike name. The Strike MultiPad is an incredibly capable and versatile device that far surpasses the performance and creative potential of any previous electronic drum pad. Never before has such sheer percussive power been built into a single unit or been so easy to play. SAMPLE anything you want – any sound, any effect, from anywhere. EDIT your samples and loops with the five built-in effects processors. LOOP-based recording of your performance is a snap, either from the samples you created or the live audio looper. PERFORM better, faster, with more creativity, versatility and capability than any other drum pad, anywhere.
  5. Jack Hertz

    Alesis S4 QuadraSynth Rack

    The Alesis S4 QuadraSynth is a 64 voice, rackmount MIDI sound module featuring built-in parallel-matrix digital signal processing. The 64 has a large, easy-to-read, back-lit LCD display for "Composite Synthesis," which is an innovative combination of subtractive and additive synthesis. Each program can be made up of as many as four individual "sounds" each with their own set of 3 envelope generators, 3 LFO's, tracking generator, dynamic low pass filter, and very comprehensive modulation matrix. In the "Program Mode," the S4 has 128 present and 640 user programs in which the user can program up to 7 simultaneous effects which can be independently assigned to any of four effect busses. This allows different programs or composite sounds to be routed to different effects with dynamically controllable amounts. In the "Mix Mode," the S4 has an additional 100 preset and 500 user programmable "Mixes" which can be used for multi-timbral sequencing applications. In this mode, different programs may be assigned to each of the 16 MIDI channels simultaneously, and have allows you to have separate discrete effects on different sounds with complete mix control. That's why we call it "Mix Mode" rather than a simple multipatch. Programs may be routed to any of the four audio output jacks on the back and the S4 supports optional PCMCIA Sound cards.
  6. Jack Hertz

    Alesis S4 QuadraSynth Rack

    They used to sell kits for this, but they are long gone. Here is information on the changes: http://www.midiworld.com/quadrasynth/upgradef.htm IDK if these are the right EPROMS, but sellers on Ebay are offering upgrades: https://www.ebay.com/sch/i.html?_from=R40&_trksid=m570.l1313&_nkw=Alesis+S4+upgrade&_sacat=0&LH_TitleDesc=0&_sop=10&_osacat=0&_odkw=Optimus+Prime&rt=nc&_oac=1&LH_TitleDesc=0
  7. Jack Hertz

    Traveling On Harmonic Terrains

    Between the harmonics are the greatest peaks and valleys mankind has yet to discover. Travel to the outer reaches of time where sound meets emotion to encounter new forms that go beyond the notes.
  8. Jack Hertz


    Pigments is the latest software synthesizer from instrument creators Arturia. Combining the best of two worlds, it features hugely powerful, cutting-edge wavetable synthesis alongside their award-winning virtual analog technology. After spending 20 years analyzing and emulating the best synthesizers ever made, they have now used their expertise to create an original, uniquely “Arturia” software synthesizer. Pigments offers exceptional sound thanks to its hugely powerful architecture and lightning-fast workflow that makes complex modulations easy, fast, and fun. Arturia promises that while Pigments can sound like other synths, no other synth can sound like Pigments. It is truly a 21st century instrument that will become the go-to choice for all producers, sound designers, and synth-fans alike thanks to its extraordinary features and tempting price. Pigments has some colorful tricks up its sleeve. In fact, it can do things other synthesizers simply cannot do. These include: • AScale quantized pitch modulations to build complex melodic sequences • Continuous unison controls that can be modulated, with classic and chord modes • Extensive waveshaping options for the wavetable oscillator, with great aliasing control • The usual modulation sources and some more unconventional ones like the Turing and Binary random generators • Powerful gate/retrig handling for modulators. Perfect to inspire unusual rhythmic sequences or self-generating patches • Polyrhythmic sequencer with a strong emphasis on randomness, with scale control to remain musical At a glance, here are its key features: Two engines in parallel: the best of both worlds • Virtual Analog triple oscillator engine • Complex Wavetable engine with morphing and import Twin filters: dozens to choose from • Classic filters from V Collection instruments • Modern filters like surgeon and comb • Continuous series/parallel routing Powerful effects section: an all-in-one solution • 13 stunning effects, including wavefolder, overdrive, parametric EQ, and delay • Insert or Send routing options with drag and drop for easy switching • All the essential parameters can be modulated Advanced modulation system: modulate anything with anything • Graphical editing, source-based or destination-based • Envelopes, LFOs, Function generators, Random sources • 4 assignable Macros to control multiple parameters at once Visual interface: understand your sound • Graphical representation of the most important modules • Living, moving waveform to see your sound come alive Polyrhythmic Sequencer and Arpeggiator: get creative • Create complex, custom and evolving sequences or arps Extensive factory preset library: learn from the masters • Hundreds of presets from awesome artists and experienced sound designers, including Jeremy Savage, Starcadian, Cubic Spline, Mord Fustang, and Jörg Hüttner • Highlighted “notes” to show which parameters are recommended to tweak
  9. Jack Hertz

    The Lighthouse by Fiesel & Hertz

    Christian Fiesel and Jack Hertz take to the seas on their latest release. The Lighthouse is a beacon that shows the way along the coastline. Get on board an ever changing journey to someplace else. In an exploration of beaches, mountains, ports and faraway places between land and sea. These tracks were designed to be played in random (shuffled) order to create a continuous stream of randomly changing landscapes. Please play the files or CD on random for best listening.
  10. Jack Hertz

    Modal Electronics CRAFTsynth v2.0

    Modal Electronics are proud to announce the next generation of the successful CRAFTsynth - the Modal CRAFTsynth v2.0.
  11. Jack Hertz

    Flow Motion FM Synth

    The best elements of FM and analog-style subtractive synthesis in one powerful instrument Design deep basses, screaming leads, rich pads and growling FX with this hybrid FM synth, featuring an intuitive graphic interface that makes FM synthesis playful and easy, an innovative 16-step snapshot sequencer, and a rich library of over 1000 presets. Flow Motion combines the best elements of FM (frequency modulation) and analog-style subtractive synthesis in one powerful instrument. The Flow screen eases your way into FM synthesis, with a uniquely designed graphic FM modulation matrix that connects four powerful mono/polyphonic oscillators with independent waveform and pan controls. You can easily modify assignments between the oscillators, using four independent floating LFO/envelope modulators with intuitive drag-and-drop manipulation. The Motion screen lets you further control filters, amplitude, EQ and FX in a ‘traditional’ subtractive way, for added power and flexibility. The 16-step snapshot sequencer enables you to easily capture 16 different states of the synth and switch between them in real time. With 16 recallable snapshots per patch, you can quickly create jaw-dropping sequences, on the fly and in the flow. With an additional 16-step note sequencer/arpeggiator and built-in FX, this hybrid synth will let you take your ideas to new sonic territories. Huge on tweakability, but light on the learning curve, Flow Motion will advance your creative flow whether you’re a beginner or an expert synthesist. Features : Hybrid FM synth combining FM and subtractive synthesis Intuitive graphic FM modulation matrix with instant visual feedback 1000+ strong preset library, including exclusive artist presets 4 high-resolution oscillators 4 flexible LFOs and envelope modulators 16-step snapshot sequencer: sequence up to 16 recallable snapshots per patch Built-in note sequencer/arpeggiator State-of-the-art studio-quality FX Use as standalone instrument or plugin, in the studio or live NKS-ready for NI Komplete Kontrol and Maschine
  12. Jack Hertz

    Eventide HotSawz

    Transform your instrument into a massive synth with HotSawz, a pitch-tracking, monophonic synth engine for your H9. With six stackable sawtooth oscillators, three modulation sources, and four assignable destinations, HotSawz allows you to create a wide palette of sounds that run the gamut from classic synthwave to a pulsing panorama of bouncing blips, brassy swells, and sub-bass swagger. The modulation sources include LFO, Envelope Follower, and ADS Gate, while the four assignable destinations are comprised of Filter Cutoff, Volume, Pitch and Oscillator Depth. Each modulation source can be assigned to any of these destinations at a given time. Thus, multiple sources can manipulate the same destination. In fact, there are 64 combinations of source to destination assignments, providing a vast landscape for serious experimentation For example, scope your favorite sci-fi thriller sounds from Blade Runner to Stranger Things, and create 8-bit video game blips, screaming 70s saw leads and undulating bass odysseys on individual tracks. Too spicy? Dial it back with the global Mix function and maintain some of your original tone. Not spicy enough? Transpose the oscillators up and/or down by one octave for that thick, analog synth sound. Create your own recipe for sonic satisfaction by sprinkling on a bit of HotSawz to excite your auditory taste buds!
  13. THE STORY The story is divided into 6 acts. In a travelling fair of the 1830s Dr Caligari is exhibiting Cesare, a sleepwalker. Cesare predicts that Alan, a student in the crowd, will not live past dawn the next day. When Alan is indeed found murdered in his bed the next morning, his friend Francis suspects Caligari of the crime. Cesare next abducts the girl Francis has been courting, but when the local townspeople give chase he abandons her and collapses. Francis pursues Caligari, who takes refuge in a lunatic asylum. Caligari is revealed to be the director of the asylum, while Francis and the girl are in fact his patients. ABOUT THE MOVIE The Cabinet Of Dr. Caligari, about which more has been written probably than any other film, blends fantasy, romanticism, medieval stories and philosophic fable into a story of mind-control, murder, and insanity. Its painted backgrounds, sets and costumes were in the style of the Der Sturm expressionist group, which included the painters Röhrig and Reimann and the designer Hermann Warm, all three of whom contributed to the art direction of the film. It is in many respects still filmed theater, a series of tableaux or "living drawings" (Der Sturm). In the ongoing controversy over definitions of German Expressionist Cinema, Caligari has long been the key work by which other films have been measured. For some critics, however, it can only be considered a precursor of "expressionism" in cinema, even German cinema; rather it is the instigator of a much narrower cinematic style, its own "Caligarism." ABOUT THE MUSIC After recording live music between 1989 and 1996 with his band Art Zoyd for the films Nosferatu (Murnau), Faust (Murnau) and Hâxan (Christensen), fifteen years later Thierry Zaboitzeff once again sets off to tackle a new project. This time he is alone on the stage, surrounded by a complete arsenal of high-tech equipment yet including his favourite instruments: cello, bass, percussion, guitar and his voice. In the midst of this forest of instruments, cables and electronics, Zaboitzeff sees himself not only as a puppet master, sound artist and creator of soothing sound spaces, but as a composer in the more traditional manner, who understands how to deliver to us reference points and recognizable themes out of a film and sound delirium. His music unfurls like an opera score, in a precise, complex-free poetry and joins together in a completely natural way with the electronic rock sound which Thierry Zaboitzeff has been developing for years. At times the actors seem to step out of the screen and mingle with the live musician, to tell us their story, to tell us stories … because this music pierces through many layers and so leads us into Dr. Caligari’s cabinet, the inevitable benchmark of German Expressionist cinema. CREW Directed: Robert Wiene, 1919, prod co: Decla-Bioshop, prod: Erich Pommer, assoc prod: Rudolf Melnert sc: Carl Meyer, Hans Janowitz, from a story by Hans Janowitz, photo: Willy Hameister, art dir: Hermann Warm, Walter Rohrig, Walter Reimann, cost: Walter Reimann, length: 4682 ft (approx. 78 minutes)German title: Das Kabinett des Dr Caligari, GB title: The Cabinet of Dr Caligari. CAST Werner Krauss (Dr Caligari) ,Conrad Veidt (Cesare), Friedrich Feher (Francis), Lil Dagover (Jane), Hans H. von Twardowski (Alan), Rudolf Lettinger (Dr Olsen), Rudolf Klein-Rogge (captured murderer) Extract of a text written by Claus Löser about the 1st International Caligari Festival. ON THE WAY TO CALIGARIA We, the owners of the ‘Brotfabrik’ in Berlin, have engaged ourselves for quite some time with the history of the early German silent movies. Our house is situated in Weißensee, a district in the northeast of the old and new capital. In 1919 ‘The Cabinet of Dr. Caligari’ was filmed here, a few streets away from our cultural center. At that time Weißensee was the home of the biggest film production industry in Germany. Joe May, Fritz Lang, Harry Piel, Gerhard Lamprecht, Richard Oswald, and Georg Wilhelm Pabst worked here, as well as the creators of ‚Caligari’. To call attention to this forgotten cinematic chapter we started ‘Somnambule’, the ‘First International Caligari Festival’. With the support of the Hauptstadtkulturfonds (Berlin Cultural Fund) and other sponsors we were able to offer a multifaceted program with exhibitions, theater performances, discussion groups and, of course, film screenings. The Festival opened on September 9th, 2010 for a ten day run and it was clear that we needed a special event for the opening night. Therefore we engaged Thierry Zaboitzeff to compose a new score for the classic German silent movie. We were familiar with his work with the French avant-garde rock band ‘Art Zoyd’ and with some of his solo projects. The artist seemed ideal. As a Frenchman he could view the German material with a more distant eye, besides he already had comprehensive experience with silent movies. The results he presented on September 9th exceeded all our expectations. Zaboitzeff composed music which works even without pictures and together with the movie builds to a dramatic chamber opera which discharges intoxicating moments again and again. He deftly deals with the principle difficulty in composing scores for silent movies, coordinating the ‘illustrative’ character of the sounds to the pictures. He begins as a self-ironic master of ceremonies, at times accentuating the carnival atmosphere of the film (it’s triviality, the pretentious conduct of the main character, it’s ever-present pathos), and then sets surprising counterpoints which depart completely from the events on the screen. He found a motif for the insane Dr. Caligari which constantly runs through one’s head. The plot’s ambiguousness and characters are knit together with treacherous, labyrinth sound tapestries which, in the moment we get used to them, are pulled out from beneath us. Zaboitzeff’s own quotes flash up, he plays with sounds from nature and as a complete surprise: sung passages trailblaze through. His composition is unbelievably precise without seeming sterile. The multi-instrumentalist plays for 80 minutes with utmost concentration, creates a second stage next to the film one. In the famous closing scene – where the asylum’s patients are presented as a human panopticon - he doesn’t underlay curious music for this curious scene - instead he layers the pictures with deep sadness and compassion. Thierry Zaboitzeff’s variation of ‘The Cabinet of Dr. Caligari’ is a highly current, interdisciplinary event which will certainly have a long afterlife. Claus Löser
  14. Jack Hertz

    AtomoSynth Asterion Modular Synthesizer

    The new AtomoSynth Asterion is a full modular synthesizer it means all modules are independent and has none internal connection, it needs to be patched to produce any sound. All sound generation and control signals are 100% analog. Very beautiful raw, organic, "electrical" sound!! Very rugged, all metal construction, all potentiometers and jacks fixed to the metal pannel. High quality full sized and well spaced bakelite knobs. High quality double sided PCB board. all components set and soldered by hand by humans!! High quality components, all potentiometers with dust seal. Patch bay separated from the knobs to avoid messing with the cables. 104 patch points!! 1/4 inch jacks. It is an old school style instrument, you need an cv/gate keyboard or cv/gate sequencer to control the Asterion. Specifications. 3 VCO each one with Tune (10 turn precision potentiometer) and pulse width controls. Pulse and saw waveform. 2 CV inputs and PWM cv input. 2 LFO with square, triangle and saw waveforms. 1 White noise generator. 1 Glide module. 2 audio mixers with 4 inputs and 2 outputs each. 2 VCF each one with Low pass input and High pass input, peak/resonance control, 2 cv inputs, 2 audio outputs. 3 Envelope generators ADSR type. 2 Audio VCA with output level (volume) control and cv control input. 3 Voltage mixers each one with 2X gain and 2 inputs (input 2 with offset function), mix output and inverted mix output. 2 Voltage/audio attenuators. 6 signal splitters. Internal power supply (110V -240V AC)
  15. Bülent Arel's (1919 Turkey - 1990 USA) work occupies a special place in the history of electronic music because one thing is certain: Arel's work is still fresh, groundbreaking, and it seems always to look out for the next adventure in sound. Bülent Arel was a Turkish-born American composer of electronic and contemporary classical music. He was also a devoted teacher, a sculptor, and a painter. From 1940 until 1947 Arel studied composition, piano, and 20th century classical music at the Ankara Conservatory. In 1959 Arel came to the U.S. on a grant by the Rockefeller Foundation to work at the Columbia-Princeton Electronic Music Center. By that time the center had just started out under its director Vladimir Ussachevsky. During Arel's work in Princeton he also met Edgard Varèse with whom in 1962 he worked on the electronic sections of Varèse's 'Déserts'. Frank Zappa lists Arel as a key influence. Today's electronic music - may it be by Autechre's 'Confield', Aphex Twin's 'Selected Ambient Works Vol. II', or Squarepusher's 'Do you know Squarepusher' - builds upon a solid foundation which Bülent Arel helped to pave.
  16. Jack Hertz

    Pioneers of Electronic Music

    In 1950, the Columbia University Music Department requisitioned a tape recorder to use in teaching and for recording concerts. In 1951, the first tape recorder arrived, an Ampex 400, and Vladimir Ussachevsky, then a junior faculty member, was assigned a job that no one else wanted: the care of the tape recorder. This job was to have important consequences for Ussachevsky and the medium he developed. Electronic music was born. Over the next ten years, Ussachevsky and his collaborators established the Columbia-Princeton Electronic Music Center, which Ussachevsky directed for twenty years. It was the first large electronic music center in the United States, thanks to the path-breaking support of the Rockefeller Foundation and encouragement from two of the country’s leading universities. The Center became one of the best-known and most prolific sources of electronic music in the world. All of the music on this historic reissue (originally released on CRI CD 611) is the result of the pioneering work of the Center and its composers. The guest composers and Columbia-associated composers who have produced pieces at the Center include Bülent Arel, Luciano Berio, Mario Davidovsky, Jacob Druckman, Arthur Kreiger, Daria Semegen, Pril Smiley, and Edgard Varèse. Ussachevsky’s own students at the Center included Jon Appleton, Wendy Carlos, Charles Dodge, Robert Moog, Alice Shields, Harvey Sollberger, and Charles Wuorinen. Of the seven composers most closely associated with the Center from its early years, six are present on this disc.
  17. Jack Hertz

    Indigo dreams by Steve Shehan

    "Indigo dreams" is an homage to the people that Steve Shehan had encountered in his travels around the world and also to the great authors, painters and sculptors from the past, present and even the possible future. It is a kaleidoscope of dreams and impressions, each related to an experience from his life's journey.
  18. Jack Hertz


    Mellowsound is an emulation of a legendary instrument, a keyboard sampler from the 60s used by many famous artists like the Beatles, David Bowie, Radiohead and many others, this mythic instrument is called The Mellotron. You probably never heard his name but the melodies created with it are mythical. As we have the chance to own a Mellotron M400, we wanted to share with you this unique sound, so we sampled all the notes from our beloved Mellotron, one by one, for all the instruments tapes. With Mellowsound, you will be able to play Mellotron everywhere, with professional audio quality (16bit/44Khz). It’s now like have a vintage orchestra in your pocket! In the same spirit, we designed a smooth and photo-realistic user-interface as an homage to our dear Mellotron. Include in the free version the instruments: Flute, Clarinet and Sax. Get the « Full Version » IAP to get all the 14 instruments, including : Electric guitar, Vibraphone, Sad Strings, Piano, Choirs, and many more. Features: 3 free instruments: Flute, Clarinet, Sax Basic Mellotron settings: Volume, Tone & Pitch Metronome Mixer (instrument & Metronome, Volume & Pan) Midi support (plug your own keyboard) AudioBus & Inter-App Audio support Full Version: 14 instruments FX: Tremolo, Delay & Reverb Live Recording Soon coming: more instruments, more Fx, ADSR envelope control!
  19. Jack Hertz

    Emagic SoundDiver 3.0

    With SoundDiver, you have chosen one of the most powerful editor/librarian systems available today. SoundDiver makes the daily work of many top producers, musicians and keyboard technicians easier and faster. We are confident that you will appreciate the sheer number of supported devices, the ease of operation, universal libraries and flexible editors that have won SoundDiver acclaim from users around the globe. Version 3.0 introduces a stunning new user interface, simplified operation and the unparalleled flexibility afforded by Control-ler Assignments, which will further accelerate your use of SoundDiver. If you arc new to SoundDiver, you will quickly discover the previously hidden depths of your sound modules. We are confident that once you have spent a little time with SoundDiver, you will never want to go back to the arcane menus and parameters found on the tiny LCD screens of most MIDI devices. SoundDiver would not have been possible without the assis-tance of numerous external developers, adaptation authors and beta testers. In addition, many "regular" SoundDiver users have sent us extensive feedback which motivated us to add new functions and contributed to marnt of the improN ements found in Version 3.0.
  20. Jack Hertz


    Thanks to all those who have supported the Oramics project by purchasing this app. We're really grateful for the fantastic response to our humble tribute to Daphne. To celebrate the October 10th 2011 opening of the Science Museum's 'Oramics to Electronica' exhibition, which features an interactive touchscreen version of this app, we're dropping the price! We understand that 3G users have had problems with a background image not loading correctly - we're looking into fixing this as soon as possible. Oramics is a drawn sound technique developed by Daphne Oram in 1957. Oram's composition machine consisted of a large rectangular metal frame, providing a table-like surface traversed by ten synchronised strips of clear, sprocketed 35mm film. The musician drew shapes on the film to create a mask, which modulated the light received by photocells. Although the output from the machine was monophonic, the sounds could be added to multitrack tapes to provide more texture. The original machine is in storage at the Science Museum in London and is expected to go on display in 2011. This iPhone app tries to bring to life the incredible sound of the Oramics Machine. Users can draw aspects of a sound in a drawn composition on top of film reels, including the envelope, pitch, reverb, vibrato, as well control the shape of the sound by drawing a waveshape on top of a glass plate.
  21. Digital Ear can analyze a live or recorded solo performance (e.g. a singing voice, a saxophone solo, or any other musical instrument) and convert it into a standard MIDI file! This file can be played by any synthesizer with a different voice of your choice, or you can import it into your favorite sequencer or notation software (e.g. Cubase VST, Cakewalk, Sonar, Logicetc.) for mixing with other tracks, automatic transcription, or any further processing. Digital Ear reads all popular audio files (.wav, .mp3, .wma etc.) or accepts live microphone input. Beyond simple «Pitch-to-MIDI» conversion... Customize Digital Ear. Each musical instrument or human voice is unique. Digital Ear is flexible. It is not constrained in a specific musical instrument, or voice! Unlike conventional so-called «Pitch-to-MIDI» converters, Digital Ear will send high-resolution pitch events closely matching those of your original sound. Any vibrato, tremolo, pitch-bend, or portamento effects of your recorded sound will be faithfully converted into MIDI events that can by reproduced into any voice of your synthesizer or sound card.Only Digital Ear can capture the nuance and expressive power of the human music player or vocalist. Now in Real-time ! (A.k.a. : Your own voice as a MIDI controller.) NEW! The Real-time edition of Digital Ear can directly convert audio directly from the microphoneinto MIDI! The possibilities are endless: E.g. let your voice to control a virtual pan flute, or just viewhow good your intonation is using the on-screen pitch display. Correct your voice's pitch errors with the Soft Quantization tool. » Convert to MIDI in Real-time and view your intonation as you sing or play a musical instrument. » The Voice Realism is here… » Digital Ear in action! A unique feature of Digital Ear not found elsewhere, is the capturing of detailed volume envelope and timbre dynamics events. These features can really boost your synthesizer's voice realism and enhance your musical expression. Your MIDI files will never sound the same again. » Digital Ear® version 7 Key Features State-of-the-Art recognition engine. Based on the latest psychoacoustical research on human pitch perception. Captures with incredible accuracy and speed instantaneous pitch, volume, and timbre dynamics, with minimal errors. NEW! Real-time Audio-to-MIDI capability. Full-featured built-in Voice Features Editor. View your voice features as they evolve over time with an advanced graphical representation (virtual keyboard, chart, sliders). Editthe pitch, volume and brightness of the sound at any time-slice with accurate and quickly. Settings Wizard: This is a advanced feature of Digital Ear 7. It allows you to find automatically the optimal settings for a particular audio file for best conversion results without trouble. Completely customizable to match every musical instrument or human voice. Store an unlimited number of user-defined engine settings. Ultra high time resolution (NEW! 5 ms frame size minimum). Two types of MIDI files ensure full compatibility with all known sequencers. Such as Cubase VST, Cakewalk, Sonar, Logic e.tc.) Power Tools: NEW! Modify Pitch and Tempo: Transpose your sequence with 1/100 of a semitone accuracy. Easily speed up or slow down the tempo of your song. Soft Quantization: User selectable natural sounding pitch quantization. NEW! Area correct: This brand-new feature uses a new powerful algorithm for error correction. Just drag the mouse over the area you wish to correct, and all errors will be eliminated! In-Tune Wizard. Will tune for you automatically a de-tuned melody, without altering the performance dynamics. Auto Correct: Will clean up for you most tracking errors automatically. Smart Attack Detector: Accurately recognizes note onsets. This feature is particularly effective for string instruments. On-the-fly real-time sensitivity adjustment. Integrated MIDI and Wave file player. Sends your MIDI file to any user selectable any MIDI device. Preview your wave files without leaving Digital Ear. MIDI controller redirection. Select any MIDI controller to send brightness and volume (expression) events. Unlimited MIDI voice selection. Select any of the 128 GM (General MIDI) voices. Full automated for GM (General MIDI) and Yamaha-XG compatible synthesizers. Also supports MIDI synthesizers that do not conform to these standards.
  22. Jack Hertz

    Optotronics Oi, Kant!

    Oi, Kant! is a sort of drum machine. Sort of. Drum-ish machine, as I like to call it. And it’s a weird one. It has 3 voices: drum, bass line and cymbal, though they all have their own Kant-related names, as do the rest of parts on this machine. It also has a resonant filter which can effectively be treated as a fourth voice. All of these voices, predominantly based on CMOS semiconductor chips, can be sequenced using one of the built-in sequencers. Yes, sequencerS, plural. Four of them. Why? Well, why not? These sequencers are completely independent but they are synced to a master clock. Oi, Kant! also offers you an external clock input so you can control the sequencers tempo by sending pulses from other hardware. In fact, all of the voices can also be sequenced from external sequencers, if you’d like to do that. Oi, Kant! offers individual outputs for each of its voices. Please note there is no master output, so in order to listen to them all at once you need to use a mixer or audio interface.
  23. Jack Hertz

    Oberheim OB-SX

    The OB-SX was envisioned by designers to be a smaller, lighter, more durable "live performance" version of their (then) flagship OB-X. The OB-SX featured the same VCO/VCF/VCAs of the OB-X and a voice card design similar to the OB-Xa in which polyphony was based on the number of 2-voice PCB cards installed (using CEM/Curtis chips). Sacrifices were made to the OB-X's "knob for each function" programming interface (replaced in the "SX" by a few realtime only filter and envelope controls), the ability to save patches (all sounds were preset in ROM) and the last octave of the keyboard ("chopped" to 48 notes). Despite the sacrifices, the OB-SX faithfully reproduces the character (and at times the "ill temper" of an all analog design) of the OB-X and OB-Xa. The preset sounds are a bit dated (e.g. early funk & late prog rock), but still usable and the realtime controls allow a good amount of "shaping" to be done. It's important to note that like all Oberheim synths, the OB-SX was a continual work in progress and there were many different revisions made to the OB-SX during its life time. Major revisions included: Early units had 24 presets and mid units had 48 presets and late units had 56 presets (later units had a slide switch on the back to change between banks of presets). The color/case design was changed from the (early units) black & gray of the OB-X to the (later units) black & blue pinstripes of the OB-Xa and OB-8.
  24. Jack Hertz

    Jack Hertz - Music For Coastlines

    Jack Hertz brings his sound design to the bookstore Sat at 11AM. Catch the waves. You can help the series by contributing dollars and cents to the tip jar or by purchasing past performances at andrecustodio.bandcamp.com.