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Jack Hertz

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  1. 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.


  2. 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.
  3. 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
  4. 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.
  5. 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.
  6. This collection of essays has been assembled and developed from papers given at the Ambient@40 International Conference held in February 2018 at the University of Huddersfield. The original premise of the conference was not merely to celebrate Eno’s work and the landmark release of Music for Airports in 1978, but to consider the development of the genre, how it has permeated our wider musical culture, and what the role of such music is today given the societal changes that have occurred since the release of that album. In the context of the conference, ambient was considered from the perspectives of aesthetic, influence, appropriation, process, strategy and activity. A detailed consideration of each of these topics could fill many volumes. With that in mind, this book does not seek to provide an in-depth analysis of each of these topics or a comprehensive history of the last 40 years of ambient music. Rather it provides a series of provocations, observations and reflections that each open up seams for further discussion. As such, this book should be read as a starting point for future research, one that seeks to critically interrogate the very meaning of ‘ambient’, how it creates its effect, and how the genre can remain vital and relevant in twenty-first century music-making. Music Beyond Airports features the following authors and essays: Monty Adkins: Fragility, Noise, And Atmosphere In Ambient Music Axel Berndt: Adaptive Game Scoring With Ambient Music Lisa Colton: Channelling The Ecstasy Of Hildegard Von Bingen: “O Euchari” Remixed Simon Cummings: The Steady State Theory: Recalibrating The Quiddity Of Ambient Music Ambrose Field: Space In The Ambience: Is Ambient Music Socially Relevant? Ulf Holbrook: A Question Of Background: Sites Of Listening Justin Morey: Ambient House: “Little Fluffy Clouds” And The Sampler As Time Machine Richard Talbot: Three Manifestations Of Spatiality In Ambient Music David Toop: How Much World Do You Want? Ambient Listening And Its Questions
  7. Vector Synthesis: a Media Archaeological Investigation into Sound-Modulated Light is a computational art project inspired by theories of media archaeology, by the history of computer and video art, and by the use of discarded and obsolete technologies such as the Cathode Ray Tube monitor. This text explores the military and techno-scientific legacies at the birth of modern computing, and charts attempts by artists of the subsequent two decades to decouple these tools from their destructive origins. Using this history as a basis, I then describe a media archaeological, real time performance system using audio synthesis and vector graphics techniques to investigate direct relationships between sound and image using analog CRT displays. Key to this system is a didactic, open source approach which encourages reuse and modification by other artists. The conclusion of the book reflects on how the project and the research surrounding it has contributed to the larger experimental audiovisual arts community through events such as the Vector Hack Festival. Artists discussed include Mary Ellen Bute, Ben Laposky, Norman McLaren, Desmond Paul Henry, James Whitney, John Whitney Sr., Dan Sandin, Steina Vasulka, Woody Vasulka, Larry Cuba, Bill Etra, Mitchell Waite, Rosa Menkman, Cracked Ray Tube, Andrew Duff, Benton C. Bainbridge, Philip Baljeu, Jonas Bers, Robin Fox, Robert Henke, Ivan Marušić Klif, Jerobeam Fenderson, Hansi Raber, Ted Davis, Roland Lioni, Bernhard Rasinger, and the Kikimore group, among others.
  8. Pierre Schaeffer has been credited with being the first to formally identify, document, and promote the use of common sounds for new forms of art. What became the foundation for Musique Concrète, Acousmatic, and other forms of recorded medium sound art. Still in use today, most of the techniques Schaeffer identified including playback speed, sampling, looping, pitch transposition, stretching, and editing were all focused on discovering what he referred to as the “in-itself-ness of the sound”. Read more about Pierre Shaeffer life and work at en.wikipedia.org/wiki/Pierre_Schaeffer Hear, on his birth date of August 14th, 12 contemporary artists from around world celebrate Pierre Schaeffer's life, legacy, and vision by continuing with his on-going pursuit of new dimensions in sound.
  9. The DCS II - Get ready to change what you think about polyphonic synthesizers Look again at the photograph. You're viewing a new generation of synthesizers. The DCS II employs advanced digital technology to bring you (1) advanced digital control matrix (2) an astounding variety of functions unmatched in any other comparable synthesizer (3) complete memory of all functions and (4) single button recall of all programs. Remarkably, it costs less than any other synthesizer that even comes close to its capabilities. First, notice the differences you see. No knobs. No sliders. Just a com-pact instrument with a clean, perfectly arranged control panel of push buttons. These buttons put your fingertips in touch with an amazing variety of functions. The more you know about synthesizers, the more amazed you'll be with the versatility of the DCS II. Imagine yourself with the DCS II at home or in rehearsal. Let your creativity soar as you command its unmatched versatility and flexibility. Explore the widest range of features built into any competitive instrument. When you find the sound you want, program ALL THE FUNCTIONS used in creating that sound with the touch of a single button. Later, in the studio or on the stage, you can summon your creation instantly with the flick of a finger. A single button will activate both voices, the memory sequencer and the multiple function joystick. Incredible? You bet it is. The DCS II packs more features into a com-pact instrument that is easier to use for both the beginner and the advanced synthesist. And it's all done through advanced digital techno-logy. Here is a brief look at the most important features of the DCS II: • Two polyphonic voices which can drive up to eight notes each, commanding a separate synthesizer module on each note. • Each separate synthesizer module has three oscillators with mixable waveforms and modes such as ring, FM, noise source, multi-mode state variable filter, separate ADSR and modulation for oscillator, VCA and filter sections. • Single button, instant access to 48 voice patches. Sixteen are permanent presets and 32 are variable voice patches. • A 256 note memory sequencer which drives one synthesizer mod-ule in either voice and has 16 memory banks. • A totally programmable joy-stick that can vary and set or just vary almost any combination of functions in real time. • Single and/or multi-trigger key-board that will drive Voice I only, Voice II only, Voice I and II high/ low split at middle C, and a unison mode. • Unlimited storage of memory on cassettes, with built-in interface. Compare these features with those found on any other synthesizer.You can come to only one conclusion. There is no comparison! Strider SYSTEMS, INC. P. 0. Box 2934 Norman, Oklahoma 73070 (405) 360-5413 CalZone "Strongarm" Flight Cases are available to fit the DCS II
  10. SynthJacker is an autosampler for iOS. It automatically plays back a MIDI sequence with the notes and velocities you specify, and records the results into an audio file. It then slices the audio into individual sample files, ready to import into an iOS sampler app of your choice. SynthJacker supports both internal instrument Audio Units (AUv3) and external hardware synths. You can also save presets of your sampling sessions, including the note range, velocity layers, and note durations. You can also apply post-processing to samples, to trim silence from them or normalize their level. SynthJacker automatically names the resulting sample files with note and velocity information, so that they can easily be automapped by a sampler app. It also writes an SFZ file with sample information as regions and their root keys. You will find the results in the iOS Files app, in the SynthJacker folder.
  11. Introducing a revolutionary new way to turn your guitar or bass into a fully featured polyphonic synth: Roxsyn, the world’s first metamorphic guitar synthesizer. Expressive, fast and responsive to every nuance, it is a league apart from all other guitar synths to date. Unhappy with cold and temperamental guitar-to-MIDI synths that dominate the market, we developed a completely new approach to guitar synthesis. Our all-original technology synthesizes your guitar directly, without the use of MIDI notes. Rescued from being a poor keyboard substitute, your guitar suddenly becomes an integral part of the synth. It's alive! There is no pitch tracking involved. There are no pitch estimation errors, octave glitches, or garbled chords. There is no over-complicated G2M between your guitar and synth to destroy everything human about your playing. Instead, Roxsyn’s metamorphic sound generation technology retains all the personality of your sound: vibrato, slides, bends, dynamics, even extended technique. The result is a polyphonic synthesizer that is as fast and accurate as it is richly expressive. No need for special MIDI pickups or hardware, either: just plug into your favorite Lightning/USB audio interface, and start synthing! Powerful Synth Engine Roxsyn’s big synth heart is its three metamorphic signal generators (AKA oscillators). Each generator offers 5 unique waveforms, and has a 4+ octave range to cover a wide spectrum of frequencies. They also feature stereo panning, and can route into either of Roxsyn’s dual filter banks. You can even dial in your guitar directly into the synth engine for even bigger sounds. Dual Filter Banks Each containing four custom virtual-analog filter types and dedicated envelopes, the filter banks help sculpt the synth generators in countless new ways. The envelopes are specially designed for the guitar, and are driven by a fully adjustable automatic trigger generator controlled by your playing dynamics. Envelopes offer original features like finite-duration sustain stages, as well as the ability to receive or ignore trigger-off messages. They can also be triggered externally via MIDI controllers like an expression pedal. An additonal envelope controls the amplitude of the signal, giving you even more options in creating synth sounds. Arpeggiator Instantly transform sustained guitar notes into fast (or slow), complex patterns with Roxsyn’s powerful yet easy to use arp. There are 8 stepping algorithms to choose from, as well as settable note value, swing, and note repeats. You can even route the arp to any combination of the 3 voice generators — enabling you to layer a non-arpeggiated sound with an arp pattern. What's more, the arp can send trigger signals into any of Roxsyn’s 4 envelopes, and even reset the LFOs. So it’s also a handy rhythmic / trance tool as well! Modulation & FX Roxsyn’s user friendly modulation matrix lets you manipulate parameters (pitch, amplitude, filters, etc) using its two LFOs and mod envelope. Add subtle vibrato, even glide simulation, or go full-on berserk. LFOs each have 9 waveforms, and feature beat syncing. Each matrix row can take LFOs or the mod envelope as a modulator or control, and can even use external control sources. And if you like your synths on the spicy side, Roxsyn comes with top-notch stereo FX specially developed to evoke extra synthiness: Powerful algorithmic reverb with the sound of countless rooms, phasing, modulating, 2-channel delay, and graphic EQ. Pro Features 500+ factory presets with bass, lead, pad, arp sounds & more. Easily create & share your own presets. Audio Unit v3, IAA, Audiobus, Ableton Link. 64-bit processing at up to 96kHz. 160+ MIDI controllable parameters; MIDI learn & map save/share. Tapedeck (in the app), so you can record, loop & share your ideas on the go. Just some of Roxsyn’s professional features that make life and music a little bit easier.
  12. EG WaveSHAPER is the first synthesizer that lets you create your sound with a finger. Draw the waveform on the screen or shape a builtin one, mix it with a classic analog oscillator and a sub oscillator and automate all the knobs with 2 drawable LFOs and 2 ENVs HYBRID WAVESHAPING ENGINE 'Waveshaping is a synthesis-and-transformation technique that turns simple sounds into complex sounds' 2 wavetables can be designed and morphed to create unique and dynamic sounds under your finger, choosing the morph attack and release; complex spectra can be created waveshaping the oscillator and introducing non linear distortion, rich harmonics and a tube-vacuum behaviour. The hybrid Waveshaping/Wavetable engine lets you combine a wavetable oscillator with a classic oscillator and a sub oscillator, to add additional sound layers and depth. LFOs & ENVs 2 Lfo and 2 Envelopes with indipendent time can be assigned to virtually any of the synth parameters. They can also be graphically designed with the touch of your finger or you can choose among the builtin envelopes. OTHER FEATURES - Hybrid Wavetable/Waveshaping engine - Draw your wavetable oscillator with your finger - 100+ presets (Pad, Lead, Bass and Fx) - 30+ builtin waveforms to use and modify - 2 LFOs and 2 ENVs assignable to any parameter - FX: Reverb, Delay and EG Crush - Detune osc to create huge unison sounds - FM and Noise with configurble FM Ratio and Noise eq - VCF and Reso filters - Complete presets management with export and share - Core MIDI: MIDI in, MIDI CC, MIDI channel pressure control - AU3 with full knobs parameters automation - Universal for iPad & iPhone
  13. Assembler Strat 1 Patchable Modular Synthesizer is semi-modular kit produced around 2010.
  14. Midi Looper is an exploration of live recordable step sequencers which works in a similar way to Guitar Loopers, except for MIDI notes. They are a fun and creative way to generate sequences and MIDI Looper brings a large selection of Record Modes which behave in different ways. There are 7 Sequencers in total and each one can be up to 128 steps in length. They are all polyphonic with up to 8 notes per step and some Modes allow overlapping steps. The Sequencers are hard locked to the timeline, which is a first for HGS Instruments. This means that the Sequence is always accurate when using different step amounts or frequencies regardless of where Playback is started. The normal Mode when Hold is disabled is that the 7 Triggers (represented in red) will act as Gates and let a Sequence through when engaged. Alternatively DAW Automation can be used using the GUI Buttons. Everything except Modes and the Scale can be automated by the DAW, it was designed with this in mind to be a single control per Parameter. Once Recorded the Sequencers can then be processed through the playback system with many options such as Play Mode, Velocity and Length Percentages, Probability and Gate Conditions. Additionally there are 7 Variations which allow overriding specific parameters with customized values. Only one Variation is selected at a time and each can have a unique Global Scale attached to it for re-pitching the output. There is a Midi Recorder which starts recording the output of the Sequences as soon as Play is engaged in the DAW. Using drag n drop the Sequences can be exported at any time either to the DAW or elsewhere. Although Kontakt doesn’t support multi-channel Midi output, by using Multi Track, the exported streams will be separated into individual Sequences. Main Features 7 Sequence recorders each with up to 128 steps and 8 Note polyphony per step. 12 Record Modes which use different methods of Recording Midi. Record Erase removes underlying notes. Note Trigger System for Sequence playback, variation select, common Record options and Transpose. Midi Recorder with Multi-Channel and Drag Export. 7 Variations for overriding Parameters in real-time 7 custom Scales assigned to Variations. Sequence Edit page to provide an overview of each Sequence. Fixed Swing Mode. Customizable Randomization System Internal Preset System Note Record undo up to 30,000 notes.
  15. RhyGenerator is an Euclidean step sequencer made by HoRNet Plugins together with the electronic music artist HATEFISh. The sequencer is designed to distribute as evenly as possible a certain number of “beats” in given number of “steps”, wikipedia explains it better: The Euclidean rhythm in music was discovered by Godfried Toussaint in 2004 and is described in a 2005 paper “The Euclidean Algorithm Generates Traditional Musical Rhythms”. The greatest common divisor of two numbers is used rhythmically giving the number of beats and silences, generating almost all of the most important World Music rhythms,[2] (except Indian). The beats in the resulting rhythms are as equidistant as possible; the same results can be obtained from the Bresenham algorithm. Simply put, with RhyGenerator you can create up to 16 different rhythms, consisting of up to 32 steps each. Those 16 lanes you have on the GUI of the plugin are actually 16 different step sequencer linked to your DAW tempo and each of the sequencer can work in multiple modes: Single note Arpeggiator up Arpeggiator down Chord MIDI Control In the “Note” mode the sequencer outputs the specified note following the rhythm generated by the Euclidean algorithm, in “Arpeggiator up” or “Arpeggiator down” mode the sequencer outputs the notes on the plugin input from lowest to highest (or vice versa) following the specified rhythmic pattern. In “Chord” mode all the notes on the input are played together on every active beat and in the last mode, the “Control” mode MIDI control change messages are used instead of notes, allowing you to automate rhythmically any parameter of your synths . Every one of the sequencers allows you to control the number of steps and beats separately, also the the note mode you can control the velocity and the length of the note, in the control change mode the note number becomes the “control number” and the velocity becomes the “control value”. Of course you can assign a different MIDI channel to every one of the step sequencer to be able to control up to 16 different synths and in addition to these controls we also thought it was cool to add an LFO to every sequencer that can modulate the MIDI message value, velocity for “Note” mode and value for “Control” mode.
  16. XFM is a polyphonic, 32-voice, 6-operator FM synthesizer stereo module that you can build yourself. Essentially, the module receives MIDI messages from a controller/sequencer, produces audio and delivers it via digital (SPDIF) and analog outputs. The sound range XFM can create and its feature set have a very broad intersection with most pure-FM synthesizers of the past (Yamaha DX series, OPL chip series, TX81Z/802/816 modules, etc.). Complete Feature Set + 32-voice polyphonic + Polyphonic or Monophonic Legato modes + 6 operators per voice + Variable modulation algorithm + 8 waveforms per operator + A 6-segment Envelope Generator for each operator + 6-segment Pitch Envelope Generator + Per-voice LFO with Triangle, Square, Sine, S&H waveform + Per-operator adjustable LFO sensitivity for pitch and volume + Per-operator adjustable velocity tracking, keyboard tracking + Monophonic/Polyphonic portamento + Extensive MIDI implementation (pitch bend, mod wheel, aftertouch, sustain, breath ctl, foot ctl, volume, pan, etc.) + Auto-panner + Stereo Chorus + 256 programs memory + MIDI in, thru + 48kHz samplerate + Samplerate-grade modulations + Stereo, 24-bit SPDIF digital out + Stereo, 16-bit analog out + Battery friendly, low power operation + Fully programmable (connecting it to a PC via USB) + Extremely low latency (< 1ms)
  17. This album is dedicated to that giant leap that continues to reach for the future with new initiatives to build bases on the Moon, send manned missions to Mars, and beyond. Available now - https://auralfilms.bandcamp.com/album/back-to-the-moon-1


  18. Random Radar Records was founded in Maryland, USA by Steven Feigenbaum to publish music by electronic, experimental, improvisation, and progressive artists, many of them were local bands around the Washington DC area.
  19. IDK what's the stranger, the Soma Pipe or the people playing it?


  20. Fifty years ago today, July 20th 1969 at 20:17 UTC, the first human being walked on the Moon. As a child of the Space-Age, I was one of the first generations to grow up with the idea that we could leave our home planet. This album is dedicated to that giant leap that continues to reach for the future with new initiatives to build bases on the Moon, send manned missions to Mars, and beyond.
  21. German company EEH developed what was meant to be an analog poly synthesizer that used much of the same CEM aan SSM technology as the OB-8 or the Prophet 5 but at lower cost.
  22. MONOS CV from Hikari Instruments is a standalone instrument based around the dynamic interplay of a pitched noise generator and an oscillating low-pass filter. MONOS CV is an excellent effect processor as well as a source of drones, resonant pings, chaotic sound effects, and more. Internal frequency dividers simultaneously offer six pitch variations of the noise generator’s base frequency, while the filter features two resonant modes: L (long), and S (short). The diverse sonic palette of the instrument can be accessed via intuitively changing positions of the sliders that control the parameters of the synthesizer. The CV version of the instrument features control voltage inputs for noise pitch, filter frequency, as well as dedicated audio input allowing for processing of external sound sources. Under modulation, the instrument outputs a variety of animated sequences, ranging from mildly melodic patterns to outrageously chaotic textures.
  23. "Record sales were poor and it was not unusual for the band to be pelted with rotten fruit and vegetables at gigs."



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