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Found 120 results

  1. The Nova Drone is an open source, analog experimental sound and light synth. It can be used to create effects ranging from slowly fading drones to chaotic harmonic sequences. It also functions as a complex visual pattern generator when combined with a digital/phone video camera. See the video link below for an example of the color patterns generated by holding a camera up to the LED. The NovaDrone offers 3 channels of sound and light. This is a DOUBLE PCB, which means has 6 channels. The Nova Drones offers 12 potentiometers, 10 switches, 6 oscillators, 9 oscillator sync inputs, 6 frequency modulation inputs and an epic 15 voltage outputs as well as 3 high current outputs for controlling external LEDs. All of the ins and outs have been routed to a prototyping breadboard at the bottom of the unit which allows for liberal experimentation and development of custom circuits. The prototyping area is especially useful for syncing the oscillators of 2 or more Nova Drones together. Each channel has the following features: ADJUSTABLE CONTROLS + volume + TONE pitch coarse tune 24Hz to 750Hz + TONE pitch fine tune + LFO rate .008 Hz (around 1 cycle every 2 minutes) to 750Hz SWITCHES + sync 1 + sync 2 INPUTS + ext sync 3 + PITCH modulation + LFO rate modulation OUTPUTS + TONE square wave + TONE triangle wave + LFO square wave + LFO triangle wave + PWM square wave + High current LED out for off board LEDs.
  2. Many can recall dialing up Midim-g/Midimini patches that fit a song so perfectly that they inspired even greater creativity; shapely, sometimes sinuous sounds whose essence called out to you; emotive sounds you never wanted to change; sounds you lovingly tracked, notated and revered; sounds as vital as the lyrics or lead vocal—that solid, insistent, articulate bounce, bravado, and twangy bang. Was there another sensible, MIDI-driven rackmount choice for immaculate synth bass and lead lines? November 2019 brings the SE Midimini V30 to the table, and nothing has been lost in the translation of this end-of-decade Analog essential. A raft of brand-new hardware features, extensive software sweetening, and modular connections open the window even wider to an already stunning Analog view. It's highlight time again: + Through-hole build: Every. Single. PC board. + Classic 4-pole, 24 db/oct Lowpass Ladder, with voltage-controlled Cutoff. + Semi-Modular: CV & Gate, key voltage, amplifier, and tonal mastering tap points. + #OutsToOuts patchable (1/8" Eurorack Connections). + New fancy COLOR vibe: ENV1>OSC2, OSC3>OSC2, Boomstar Hardware Ring Mod & Noise. + Oscillator 2 Sync: Modulate (sweep) both OSC1 and OSC2 via ENV1>OSC2. + Amp Drive: Boomstar Modular AMP saturation and overdrive, imported into 'V30 world. + Output Feedback loop and gain control—interacts expressively with Amp Drive. + MIDI-syncable, AFM*-capable, multi-waveform LFO, routable to VCO and VCF. + LFO Out patch point with level control, for deep modulation or oscillation creation. + LFO Gate: LFO pulse of VCF/VCA from the SE-02. + OSC 1 Triangle Wave to amplifier, for high Resonance/low frequency compensation. + Envelope 2 Master Mode: ENV2 (VCA) assumes control of Filter (VCF) Envelope. + Independent Release control of Filter and Amplifier. + Flexible Linear and Exponential Glide. + Front Panel-mounted External Audio input with level control. + Handy Boomstar Drone feature for eternal sustain and easy tuning. + Low/Last/High Note Priority, ENV1 invert, VCF/VCA dynamics & VCF (ENV1) Multi-trigger. + Boomstar MIDI Learn feature for MIDI, Aftertouch, and Modwheel.
  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. I am not sure what you were up to this weekend-- following the end of the U.S. shutdown, reading a book, enjoying a slice of pie. Whatever it was, you may not have noticed that radio changed forever. Now, there will always be those who need to hear Jimmy Buffett once again, who love their “Margaritaville” and their Classic Rock Radio. I am not here for those people. I am here for folks who feel that their listening experience(s) are lacking something. I want to provide that missing mystery element. And I want to do so using these 3 free, Public Domain Internet Radio Stations: Endless Dub Radio-- You may love dub music as I do. What I wanted to do was to lay down a number of beat and basslines, and to allow the computer to select randomly from sets of sounds, looping a set of these sounds over the beats. I call the loop sets “Sessions”, and each has many sounds to choose from. As a result, when you tune in to Endless Dub Radio, you hear fresh version after version of dub-- never the same moment twice. To make things better, and in the spirit of dub music, you can bring the sounds in or out. Certain browsers allow you control the level(s) of each of the embedded players, and all allow you to turn players on or off. Tracks load themselves after each beat segment fades out, so the stream continues to evolve. Participate as much or as little as you choose, Endless Dub Radio is for you, not for profit, or for any commercial interests whatsoever: http://www.thomasparksolutions4.com/ Generative Soundscape Radio-- In a similar spirit, and with a similar functionality, GSR pulls randomly-chosen sets of sounds from particular Sessions. These sounds are soundscape elements. There are no beats with this station, just quiet ambient and drone elements that loop for periods of time and, when the first sound ends, cue a new set of sounds to load. This station has effectively held my interest for hours on end, and I have also managed to sleep while letting it play. Listeners can change sound levels using embedded controls. Generative Soundscape Radio is also not-for-profit, and its code and sounds are available in the Public Domain: http://www.thomasparksolutions.com/ Thomas Park Audio Explorer-- Listening to a radio station compose pieces for you can be cool, as with these first two stations. Sometimes you may want to listen to pre-recorded material. The Audio Explorer is great for this. Where it one-ups conventional radio is that it draws from multiple playlists, each chosen at random. These playlists, in turn, contain as many as thousands of unique tracks. These tracks are all cc-licensed. Listening becomes a process of discovery. Listeners are able to (and encouraged to) download tracks that interest them from the player page. The Audio Explorer was created in order to help adventurous listeners find music they might have missed. It brings no money in for Thomas Park or for anyone, and its components are Public Domain: http://www.thomasparksolutions3.com/ So, while you were eating pie this weekend, can we summarize the main change in radio? It was that, radio was always run by commercial entities, and served other purposes than its listeners. As of now, radio is free, generative, public domain, and created to serve you.
  5. Radio Has Changed
     
    I am not sure what you were up to this weekend-- following the end of the U.S. shutdown, reading a book, enjoying a slice of pie. Whatever it was, you may not have noticed that radio changed forever.
     
    Now, there will always be those who need to hear Jimmy Buffett once again, who love their “Margaritaville” and their Classic Rock Radio. I am not here for those people. I am here for folks who feel that their listening experience(s) are lacking something. I want to provide that missing mystery element.
     
    And I want to do so using these 3 free, Public Domain Internet Radio Stations:
     
    Endless Dub Radio-- You may love dub music as I do. What I wanted to do was to lay down a number of beat and basslines, and to allow the computer to select randomly from sets of sounds, looping a set of these sounds over the beats. I call the loop sets “Sessions”, and each has many sounds to choose from. As a result, when you tune in to Endless Dub Radio, you hear fresh version after version of dub-- never the same moment twice. To make things better, and in the spirit of dub music, you can bring the sounds in or out. Certain browsers allow you control the level(s) of each of the embedded players, and all allow you to turn players on or off. Tracks load themselves after each beat segment fades out, so the stream continues to evolve. Participate as much or as little as you choose, Endless Dub Radio is for you, not for profit, or for any commercial interests whatsoever: http://www.thomasparksolutions4.com/
     
    Generative Soundscape Radio-- In a similar spirit, and with a similar functionality, GSR pulls randomly-chosen sets of sounds from particular Sessions. These sounds are soundscape elements. There are no beats with this station, just quiet ambient and drone elements that loop for periods of time and, when the first sound ends, cue a new set of sounds to load. This station has effectively held my interest for hours on end, and I have also managed to sleep while letting it play. Listeners can change sound levels using embedded controls. Generative Soundscape Radio is also not-for-profit, and its code and sounds are available in the Public Domain: http://www.thomasparksolutions.com/
     
    Thomas Park Audio Explorer-- Listening to a radio station compose pieces for you can be cool, as with these first two stations. Sometimes you may want to listen to pre-recorded material. The Audio Explorer is great for this. Where it one-ups conventional radio is that it draws from multiple playlists, each chosen at random. These playlists, in turn, contain as many as thousands of unique tracks. These tracks are all cc-licensed. Listening becomes a process of discovery. Listeners are able to (and encouraged to) download tracks that interest them from the player page. The Audio Explorer was created in order to help adventurous listeners find music they might have missed. It brings no money in for Thomas Park or for anyone, and its components are Public Domain: http://www.thomasparksolutions3.com/
     
    So, while you were eating pie this weekend, can we summarize the main change in radio? It was that, radio was always run by commercial entities, and served other purposes than its listeners. As of now, radio is free, generative, public domain, and created to serve you.
  6. Three dark-ambient stories made with concrete sounds, field recordings, noise, and abstract electronic. Recorded in 2013 at Studio du Coin Cornu, Cœur de Beauce, France. Photo by Ironside. Sleeve design by Graph'Hypnotic. [ abstract electronic, neo-concrete, dark ambient, electroacoustic, experimental, field recordings, noise, drone, sound art ]
  7. With Shadow Aesthetics, Marc Barreca accomplishes something rare in electronic and ambient musics. The fluid, dynamic changes and movement within pieces; the complexities in time and pitch variation and evolution—typically absent from the mostly homogenous constructs of drone and ambient—all bring previously unavailable depth, shading and emotional charges to a form usually admired for its neutrality. Shadow Aesthetics results from a virtual arsenal of digital and analog sources operating in a complex system of origination, structuring, processing and editing. The result is a moving, articulate and complex work: music that is a profoundly emotive, original, and experimental electronic work that is in many ways the culmination of decades of listening, performing and composing in a form known best for continuous change.The album includes an eight-page booklet and a digital download code for the complete album plus two bonus tracks. Marc Barreca has been creating and performing electronic music since the mid-1970s. His 1980 album, Twilight, reissued on vinyl last year, was one of the earliest releases on PoL. Shadow Aesthetics is his eighth solo album for the label. Recent releases include Aberrant Lens (2017) and three collaborations with K. Leimer. Reissues include work on the acclaimed VOD box set American Cassette Culture, an upcoming Cherry Red compilation of seminal U.S. electronic music and the 1983 cassette, Music Works for Industry, now on vinyl. His work is also included in the collection of The British Library.
  8. In an alternate universe the Rome born female synthesist Daniela Casa would be a household name. A genuine pioneer of experimental pop music, abstract electronics, Giallo jazz and even heavy drone rock jams, her elusive and infectious music joins the dots and loops between other Italian female electronic composers such as Giulia De Mutiis (later Giulia Alessandroni), Doris Norton and Suzanne Ciani while retaining one of the most individualistic and diverse composing styles of an advanced mechanical musician regardless of their nationality or gender. This LP compiles, for the first time, a multifarious selection of previously commercially unavailable instrumental music composed at her home studio in the late 70s before her untimely death at the age of 42. Originally designed for use in radio, film, TV and other industry specific applications, these seldom heard selections combine ingenious homemade and hi-tech disciplines, providing scores for Italian thrillers, nature documentaries, educational projects and commercial sound installations. Mastered from the vaults of the sought-after Deneb/Flirt/Canopo library labels (home to some of the rarest records by Fabio Frizzi, Giuliano ‘Raskovich’ Sorgini, Gerardo Iacoucci, Alessandro ‘Braen’ Alessandroni amongst others) these rare tracks reveal Daniela Casa in her most fertile environment (composing as a young mother) in both a solo capacity and alongside incredible Italian session musicians, often sharing release schedules and track lists with her maverick maestro husband Remigio Ducross. These multi-layered musical images remain as vibrant and authentic today as they did thirty-five years ago. Close your eyes and unravel the Sovrapposizione Di Immagini…
  9. Aeolian Meditation is an complex addictive-additive synthesizer playground with a unique a-symmetrical design capable of generating unique and beautiful melodies Meditative and Hypnotic drone tones, movie and musical soundscapes. Main Features ADDITIVE Addictive and Additive Synthesis – Aeolian Meditation is a unique digital take with a twist on the ancient Greek instrument of nature. At the core are two signal chains – harmonic overtones and noise colors The harmonics section consists of the first twelve harmonics at the set frequency. These twelve sine partials are each amplitude modulated at different speeds and depth providing for an ever changing and ever evolving tone. MODULATION Modulate Everything – Aeolian Meditation features intricate and powerful modulation capabilities where everything is modulated by dedicated controls, evolving in free rate or in sync with the project tempo. Volumes, frequencies, filters, effects – sound emerges and flows in magical directions. FM Powerful FM capabilities – The FM especially allows for out-of-this-world sounds. Not only can you toggle the FM source from midi to a set note to a frequency knob, the FM also utilizes dedicated modulators that tweak the source frequency and FM depth. SOURCES Play it like a monophonic synth or morph your vibes to strange and magical planets by switching to note or frequency based drone mode. EFFECTS Colorful Effect Section featuring reverb, delay, chorus, reducer and filter. Endlessly sculpt your sound beyond the initial synthesis. OSC APP - CONTROL AEOLIAN WITH YOUR ANDROID PHONE OR TABLET Aeolian Meditation features a dedicated Android application that lets you control the synthesizer using your phone or tablet with full bi-directional control capability. Every parameter on the device is represented on the app, as well as enhanced functionality such as XY pads and randomizers.
  10. PULSAR-23 is an organismic drum machine that is currently in development at Soma. It has a semi-modular structure and consists of 23 independent modules: – 4 drum channels: Bass drum, Bass\Percussion, Snare drum, Cymbals\Hi-Hat – 4 envelope generators with the unique ability to generate a sustain for the drum channels, turning them into noise\drone synthesizers. – 4 independent loop recorders with the option for individual clocking. They record triggering events, not audio. – Clock generator with an array of dividers as a very powerful tool for rhythm synthesis. – Wide range LFO (0.1 – 5000Hz) with variable waveform. – Shaos – a unique pseudo-random generator based on shift registers with 4 independent outputs, sample and hold and other cool features. – FX processor with CV control incl. CV control of the entire DSP’s sample rate. – Distortion. – 2 CV-controlled gates. – 2 CV-controlled VCAs. – 2 controllable inverters. Also, it has MIDI control and synchronization and a lot of smaller modules such as 3 assignable attenuators and 2 dynamic CV sensors for CV generation etc. In general, there are 52 knobs, 11 switches and over 100 inputs and outputs for patching, Eurorack integration, external mixing and processing, live circuit bending! Here you can see the demo video of the laboratory prototype of PULSAR-23. It does not have the final look, the enclosure or the final panel design. The design will be developed later. Also, some minor features may change and some control options will be added. I’ve done the development of the main sound design and circuitry, and now I would like to introduce the project to the world. The most important things – the sound, the structure, the philosophy – are done. When I started the project, my intention was to make it patchable as much as possible and to have control points everywhere it made sense. It meant not being too concerned about the number of those points. But every socket takes up additional space on the enclosure and on the PCB, while also increasing the risk for construction problems and of course significantly adding to the price as we need good ones. When the number of sockets exceeds 100, like in this drum machine, the dimensions and price of the instrument will be increased several times. Using breadboard sockets and connectors that are small and cheap would not be reliable or comfortable… And then the idea to use crocodile clips + M3 screws came to me, and that resolved all of those problems! The benefits of this solution: 1. Space-saving design on the surface and the PCB. It occupies just several square millimeters. 2. As cheap as M3 screws and nuts plus several washers. 3. 100% reliable as it’s very simple and nothing to break. 4. You can attach several clips to one pin. 5. You can connect the clips together. 6. You can easily connect the clips to individual electronic parts like capacitors, diodes etc. or a part of external circuit, that give you the possibility of circuit bending and experimentation and is very efficient, as including even a single capacitor to some open nodes of PULSAR-23, may change sound drastically. 7. You can easily connect it to any type of jack connector – just attached it to the jack tip. 8. Ready wires with crocodile clips are cheap and easy to find. So despite it not being a standard format of connectors in musical gear, I decided to design it this way as this solution addresses all problems and actually provides a lot of benefits. However, all main connectors such as MIDI and main audio out will have standard professional connectors and it will have a line of adapters from 3.5mm mini-jacks (Eurorack connectors) to the M3 pins The expected net price is 1,200-1,500 Euros. The exact price will be known when the industrial mass production version is ready. We always try to make price as low as possible, but good construction and good production cost money. PULSAR-23 will have the famous quality of parts and assembling of LYRA-8. The expected date of release is autumn\winter 2018\19. The drum machine will be manufactured in Russia and Poland. If you like the sound and the project you can get on the pre-order waiting list and be among the first ones who will receive PULSAR-23. Just send your request to somasynths@gmail.com with subject “PULSAR-23 pre-order”. In your mail, please mention the country where you want the synth to be delivered to and your phone number (it could be useful if our mails go to spam). No deposit is required. Best! Vlad Kreimer 13 June 2018
  11. Gotharman's duoSpaze is a 4 part duophonic/multi-timbral synthesizer/sampler with analog filters, effects and sequencer. Parts: duoSpaze has 4 parts, 2 synth parts and 2 sampler parts. Each part ends with a VCA, and inbetween the synths/samplers and the VCA, up to 2 analog filters, 2 digital filters and 4 insert effects can be inserted, via a touch based Audio Matrix. The parts can also be sent to 2 Output Effects. Synth Parts: Each of the 2 synth parts of duoSpaze has 2 oscillators, Oscillator 1 and Oscillator 2. 4 oscillators in total. Oscillator 1 Generates a waveform that is morphable between sine, triangle, saw, pulse and feedback waves. Pulse width are adjustable for all waveform types. Oscillator 1 outputs both an audio range signal and a low frequency version of this at the same time, so the oscillators functions both as audio range sound and low frequency modulation, at the same time. Pitch, PW, wave and FM amount can be modulated. Oscillator 2 Generates a waveform that is switchable between sine, triangle, saw, square, noise, input L and input R. Pulse width are adjustable for triangle, saw and square, but sounds different from oscillator 1, to have a wider sound range. Oscillator 2 can sync to oscillator 1. Pitch and PW can be modulated. Oscillator 2 can frequency modulate Oscillator 1 (FM), the analog filters (FXM) and the samplers. Portamento is shared with oscillator 1. Ring Modulator: Each of the 2 synth parts has 1 ring modulator. 2 ring modulators in total. The ring modulator get it inputs from oscillator 1 and 2. The level of the ring modulated signal can be adjusted in the output mixer of Oscillator 1. Sampler Parts: Each of the 2 Sampler part of duoSpaze has 4 sample slots, so it is possible to have 8 samplings in total assigned for each preset. Plays back any of the 255 storable samplings, and any of the 64 possible chop samplings within a sampling. Pitch, start point and length can be adjusted and modulated. Samples are chromatically tuned, and has a pitch range of 4 octaves above and 5 octaves below the original sample pitch. Loop mode can be set to Off, On, Free or Sustain. In Free mode the sampling is constantly playing back, and is never re-trigged. duoSpaze comes loaded with a bunch of original Gotharman drum samplings. The samplers can load and playback Little deFormer samples and use the chop points. It is also possible to create chop points in the duoSpaze sample editor, and use these, and to load all samples from a directory as chops within a sampling, via USB. Chops can be detected by level peaks or by single wavecycles. Single wavecycle chops are an easy way to make loops. The samplers has a portamento control. Analog Filters: duoSpaze has 2 sets of analog HPF+LPF filters, 4 analog filters in total. Each of these sets can be inserted on any part in the Audio Matrix. The first filter are a 24dB resonant highpass filter. The second one are a 24dB resonant lowpass filter. Cutoff and resonance for each filter can be adjusted. Oscillator 2 can also modulate the cutoff frequency of both filters (FFM - Filter FM). Cutoff, resonance and filter FM amount can be modulated. In connection with the filters, a special G-ray (Gotharman-Ray) circuit can be found, that will add grit and noise. G-Ray intensity, mode, and feedback can be adjusted, and feedback can be modulated. VCA's: Each of the 4 parts of duoSpaze ends with a VCA. It has 4 in total. A VCA can output to either audio output L and R or Output Effect 1 and 2. A pan control adjusts the levels of the audio signals sent to each output or effect. An ADSR envelope are attached to the VCA. The VCA envelopes can either be in linear, logarithmic or smooth linear/logarithmic modes. A Drone parameter are available, for opening the VCA without the envelope needing to be trigged. VCA pan, attack, release and output level can be modulated. ADSR Envelopes: Each part of duoSpaze has 1 VCA envelope and 1 modulation envelope. 8 in total. With linear/logarithmic charateristics and the modulation envelopes has an additional offset control. Both the VCA envelopes and the modulation envelopes appears as modulation souces. Decay Envelopes: Each part of duoSpaze has a Decay envelope, that appears as a modulation source. LFO's: duoSpaze has 4 LFO's. These are global, and can modulate any parts. Waveform is morphable from triangle to saw to square to high speed FM waveforms. Rate can be adjusted. Both the rate and the wave parameters can be modulated. Random Generators: duoSpaze has 4 Random Generators. Changes to a new random value every time they are trigged. Trigger sources can be Part 1-4 and LFO 1-4. Insert Effects Processors: duoSpaze has 4 insert effects processors. Each of these can be inserted on any part via the Audio Matrix. All effects has a bypass switch, a mix parameter and Freeze modulation. Many parameters can be modulated. Effects can be linked for true stereo effects processing. Insert effects present at the moment: - Digital filter/EQ - 16 filter types and 2 EQ types. Derived from Fuzion. - Chorus - Gotharman's special chorus with an added Deep parameter, that adds space to the chorus. - Pitch-Shifter - +/- 1 octave, +/- 2 octaves or +/- 4 octaves. Adustable sense. - Stretcher - Tries to time stretch the input signal, while at the same time keeping up with it. Impossible? -Yes, indeed :-) - FM - Adds self-FM to the input signal in +/- 1 octave, +/- 2 octaves or +/- 4 octaves ranges. - Resonator - Adds space to the sound. - Distortions - 4 types: Valve, Sine, Fuzz, Xdis. - Pitch Shaper - 1 input version of Gotharman's special Pitch Shaper, that forces an audio signal to play back at a specific pitch, determined by an adjustable frequency. - Glitch Shifter 1 and 2 - Imperfect pitch shifters. - Wave Shaper - Re-shapes the input signal. - FAT - Adds up to 3 layers of the input sound on top of it. The Phaze of the added layers can be adjusted. Output Effects: duoSpaze has 2 Output Effects Processors. Each of the 4 parts can send their signals to these. Output Effects types: - Granulator - Cuts the input signal up in grains, that can be re-arranged. The anAmoNo X granulator can sync to the sequencer. - Variator. Creates new variations of the input signal. Both pitch and rhythmic variations. - Delay - Delay with time and feedback controls, plus Gotharman's Deep, Size, Beam and Xfade controls. Deep adds space to the delay, Size makes the playback range more narrow than the input recording range, and beam beams the delay to previously unknown places. The Xfade control on this delay, creates valleys between the delay taps. The more it is turned up, the more time the valleys takes up. - Roto Delay - New Gotharman delay! This is a 2 tap delay, that is constantly crossfading between the 2 taps. When the Xfade control is turned down, the crossfading is rough, the more it is turned up, the more smooth the crossfading gets. Other controls are the same as the first delay. - Bright Delay - First delay, but with a brighter sound, created by a resonator. - Bright Roto Delay - Roto delay, but with a brighter sound, created by a resonator. - Reverb - Synthetic reverb. - Filters 2 - Some new digital filters. 6 Types. Randomizers: duoSpaze has a Synth parameters Randomizer and a Sequencer step values Randomizer. On each of the Randomizers, blocks like oscillators, filters, effects, note track and many others can be switched on or off, so you only randomize the blocks that you want. Percentage of randomization is settable. Sample Recorder: - Samples are kept in NOR FLASH RAM, that is much more stable than the widely used NAND FLASH, and that does not get any bad blocks. - Samples are kept even after a power off. - Total recording time: 22 minutes mono/11 minutes stereo. - Single sampling max length: 12 minutes mono/6 minutes stereo. - Max. 256 samplings/16.384 chop samples. - Recording sources: Audio input and output, USB import of .wav files. Audio Input: It is possible to record samplings from the stereo audio inputs, and they can be routed to the analog filters and the effects processors. 4x 64-step Note sequencers with MIDI Out: Each Note track has 3 subtracks: - Note: Note input by touch or by realtime record. Octave and bar selected by knobs. Steps on/off selected by touch. - Gate Time: Values inputted by touch. Bar selected by knob. Steps on/off selected by touch. - Velocity: Values inputted by touch. Bar selected by knob. Steps on/off selected by touch. 8x 64-step control sequencers with MIDI Out: Each Controller track has 2 subtracks: - Control Values: Values inputted by touch. Bar selected by knob. Steps on/off selected by touch. - Slide Time: Values inputted by touch. Bar selected by knob. Steps on/off selected by touch. Play Modes: - Multi-timbral: Complete control of each of the 4 parts. Key range and MIDI channel settable for each voice. - Duo: The 2 synth parts plays duophonic. Sample part are still multi-timbral. - Stereo Samplings: The 2 sample parts are mixed together, the left channel goes through the filters/effects of part 3 in the Audio Matrix, and the right channel goes through part 4 filters/effects. Morphing System: - Each preset holds 2 sets of sound parameters. By using the Morph knob, or by assigning modulation to this, when morph mode is "Synth" or "Both", it is possible to morph between the 2 sets of parameters. Activating the "Morph Settings" touch button, will reveal the second set of parameters. - The sequencer also has 2 sets of parameters. Turning the Morph knob, when set to "Seq" or "Both" mode, will morph between the 2 sets of parameters -Morph from one tune to another. Touch Screen Keyboard: - Included! - On the Preset Select screen, a large touch keyboard with Y-mod is represented. On the synth edit pages, a small touch keyboard without Y-mod is represented in the bottom of the pages. USB: - Import/export samples as .wav files. - Import of Little deFormer 2 and FX deFormer samplings. - Import/export presets and songs. - Import of PolySpaze presets. - Backup/restore of duoSpaze's user memory. - Updating of firmware. 3 CV/trigger inputs (optional). Accepts up to +/- 15 volts. Internally scalable to work in +/- 12 volts, 0-12 volts, +/- 5 volts or 0-5 volt ranges. Intput sample rate: 5 KHz.
  12. Both Jack Hertz and Christian Fiesel are prolific experimental electronic artists in their own solo works with multiple releases every year, but their occasional collaborations together have resulted in some very special music, with the mellow prog- electronic ambiance of 2016's `Fast Rails' being particularly memorable. The two are at it again here in a very different manner, with m00m being the name given to a project inspired by their love for Moog synthesizers and Krautrock music. It's a vinyl-length collection of ten schizophrenic and feverish electronic distortions and trippy sound collages, mostly twisted into short bursts with some prog-electronic arrangements and subtle ambient touches as well. `For a Snowflake' makes for an intangible, gargling and bubbling electronic opener. `Klick und Kluck' offers skittering looping programming over gentle ambient synth washes, `Walking in the Shade of Giants' is a drowsy electronic trickle laced with chiming unease, and `4 Fat Guys in a VW Bug' is a rough jangle of Heldon-like scuzzy and serrated electronic manipulation. The dreamy electronics of `Run Aground' take a calmer meditative hold, and the relentless `Stranger on Second Thought' pulses with a near industrial-like imposing machine coldness looming over fizzy colourful eruptions. The menacing `A Box of Marbles' reverberates with gurgling electronic bleedings as flighty shuffling slivers blissfully rise around to bring light, and the Harmonia-like `Scavenging for Trouble' is wistful and life-affirming with its shimmering cooing caresses. Reflective and achingly beautiful, `Every Tuesday Morning' opens as a submerged crystalline ambient drone that lifts to life with slinking pulsing programming and light symphonic Mellotron-flecked touches carefully infiltrating, and `No More Clouds' closes with twitching n' glitching machine tantrums over an unceasing pattering of low-key stalking beats that almost flirt with dance/trance touches. Get into the guts of the album and it takes a very disorientating, mesmerizing hold with its mix of edgier trippy dazes, kaleidoscopic dreamscape atmospheres and embracing ambiance. It proves to be a seductive and colourful Krautrock-modelled prog-electronic work, so let's hope for more team-ups between Fiesel and Hertz in the near future, especially in regards to this new m00m project, as there's so many ideas emerging and already on display on this vibrant and hypnotic debut. Four stars. (this review first appeared on the Prog Archives website on 26th March 2018).
  13. Not friday but Saturday 24th.......a chance to join us in the chat meanwhile listen not released music and also performing Chuck van ZylAnother 2 + 2 EM/Ambient radioshow from the Underground Experts. Not on friday but SATURDAY 24th of march 20.00-0.00 (7pm-11pm UK) Join the chat for all info !http://www.underground-aexpaerten.de/Radio1.html or www.radiosunrise.dePlaylist Norbert 20.00: Wolfgang Riechmann, Code Indigo, Adelbert von Deyen(5x), Michael Brückner, Terje Winther, Tim Blake, Node, Carola Zauchner, Far East Family Band, Pink FloydPlaylist John 22.00: (*)Chuck van Zyl, (*)Skoulaman, (*)Zanov (live in Nantes), Phil France, Steve Roach, MarcE, Adeptus Mechanicus, Centrozoon, Dreun, Mindphaser(*) all performing live one week later in Oirschot E-Live 31 march 2018......new and not released yet tracks now on the radio
  14. Elastic Drums is a music app showcasing an interactive drum kit, that enables to create a huge range of rhythmic grids, ranging from classical analog drumkits up to experimental soundscapes. It contains six channels of high quality synthesized drum sounds, a step sequencer and 4 effect channels. All important control parameters are automatable. The result: Elastic drum composition with a unique character! Features: - 6 synth channels with 13 different percussion synth engines (kick, snare, hihat, clap, tom, wobble, fm, fm4, square, grain, synth, drone, sampler) - 12 parameters for each synth engine - automation for each parameter via knob recording or velocity - 4 send effect channels with 2x13 mono effects and 2x11 stereo effects - automation for all of the 8 possible effect parameters via xy pad - master effects (stutter, delay, compressor ...) - 16 step sequencer for the 6 channels, each with it's own tempo multiplier & length - record audio and export to Soundcloud or Audioshare - email audio recordings and presets - Audiobus, Audiobus Remote, Inter-App Audio and Ableton Link support - Midi learn/Midi implementation of the most important parameters Because all sounds get generated in realtime, the app is cpu heavy! iPhones 5 and greater can handle it with no problem, on iPhone 4s effects 3 and 4 get switched off by the engine automatically to save some cpu power. iPhone 4 and iPad1 are NOT recommended!
  15. If 2018 is anything like the previous twelve months, it means a steady stream of solo works and collaborations ahead for sound experimentalist Jack Hertz, and `The Last Songs of a Dying Tribe' sees the man going it alone for an diverse series of pieces reflecting on ancient indigenous tribes and rapidly vanishing ancient cultures. Sure, Hertz could deliver a series of predictable tribal-flecked ambient tracks, but instead he offers fluctuating experimental electronic fragments, hypnotic prog-electronic journeys and intangible freeform sound collages that make up a very immersive and enticing near-seventy minute exploration. Looking at some of the highlights, opener `Fragrant Perfume of Pleasant Memories' is a subtle collage of treated percussion, hazy acoustic guitars, drowsy electronic washes and slinking bass, with traces of unease creeping around the edges of an otherwise heady chill-out. Restless and glitching electronics seep over raga-like dustiness throughout `Nyami Nyami Swells the Zambezi', `As if There is No Afterlife' is frequently a sauntering psychedelic bass rumination, and the ten-plus minute `On Being Ancient, a Faculty for Surviving Disorder' is a dreamlike ambient drift of ebbing synth drones. `Arabesque Forms in Pale Blue and Browns' almost lurches with restrained trip-hop grooves, and `Lost to the Ignorance of Progress' embraces those unhurried and carefully unfurling electronic atmospheres of the early Klaus Schulze albums like `Picture Music' and twists it with a languid jazzy waft. The fifteen minute `History, a Computer Stored in Tomorrow' starts as a surreal Steve Roach-like ambient drone of ringing crystalline slivers that turns enveloping and oddly embracing as fizzing synth caresses and lightly pattering percussive tribal beats circle the piece, but ultimately it distorts into schizophrenic twitching oblivion in the climax. Bleeding electronic pools permeate the hallucinogenic `Charred n' Pulsed', and the closing title track `The Last Song of a Dying Tribe' is skittering and frantic. Listeners unfamiliar with Jack's work should probably investigate something like his more obviously melodic space music/Berlin School-modelled double `Planet Red' from 2016 first, or his gentler collaborations with the recently late Wolfgang Gsell from last year such as `Sleeping Trees on Earth' and `Blue'. But `The Last Songs of a Dying Tribe' is a challenging, varied (maybe even a little maddening!) and eclectic set that is frequently, seductively disorientating and endlessly fascinating. Four stars. (this review first appeared on the Prog Archives website on the 2nd of March 2018)
  16. until
    The Drone Cinema Film Festival, now in its fourth year, showcases cutting-edge, minimalist works of ethereal beauty that transmute sonic drones into the visual realm. This year's film festival, whose theme is LUNAR/SILVER, takes place on April 14th at the Qbus Club in Leiden, Netherlands, and on April 21st at the Good Shepherd Chapel in Seattle, WA. What is Drone Cinema? Drone Cinema draws its inspiration from a wide range of sources, from the mid-century experimental films of Stan Brakhage and Jordan Belson, the sound of the hurdy-gurdy in Early Music, the tambura of Indian music, the minimalist drones of La Monte Young and Terry Riley and the film genre called Slow Cinema. Drone Cinema filmmakers offer their vision of what sonic drones look like. Drone Cinema filmmakers translate sonic drones into moving images. Cascone refers to Drone Cinema as "transcendigital" media." Transcendigital media is conjured through active imagination instead of being driven by software," Cascone said. Live Music: This year's festival in the Netherlands features Silent Records recording artist and Dutch ambient master Lingua Lustra (aka Albert Borkent) and in Seattle Kim Cascone's new ensemble Khem One will be performing his new drone composition. Films at DCFF2018 ~~~~~~~~~~~~~~~~~~~~~ AUME - Transmission C130 & Scant Intone - Eye of the Storm Mike Rooke - Falling Memories Kat Cascone - LuxLuna Sequencial - The Foundation Kris Force - cloudwalker Albert Borkent - Moon TV Don Haugen - From the Dust Of… Seattle live music: Khem One Leiden live music: Lingua Lustra ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Seattle, Washington The Good Shepherd Center Chapel 4649 Sunnyside Ave. N, 4th floor in Wallingford Admission: $5 - $15 suggested donation at the door Start time: 8 PM Presented by: Nonsequitur as part of the Wayward Music Series ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Contact: Kim Cascone curator/director Drone Cinema Film Festival 2018 kim@anechoicmedia.com
  17. until
    The Drone Cinema Film Festival, now in its fourth year, showcases cutting-edge, minimalist works of ethereal beauty that transmute sonic drones into the visual realm. This year's film festival, whose theme is LUNAR/SILVER, takes place on April 14th at the Qbus Club in Leiden, Netherlands, and on April 21st at the Good Shepherd Chapel in Seattle, WA. What is Drone Cinema? Drone Cinema draws its inspiration from a wide range of sources, from the mid-century experimental films of Stan Brakhage and Jordan Belson, the sound of the hurdy-gurdy in Early Music, the tambura of Indian music, the minimalist drones of La Monte Young and Terry Riley and the film genre called Slow Cinema. Drone Cinema filmmakers offer their vision of what sonic drones look like. Drone Cinema filmmakers translate sonic drones into moving images. Cascone refers to Drone Cinema as "transcendigital" media." Transcendigital media is conjured through active imagination instead of being driven by software," Cascone said. Live Music: This year's festival in the Netherlands features Silent Records recording artist and Dutch ambient master Lingua Lustra (aka Albert Borkent) and in Seattle Kim Cascone's new ensemble Khem One will be performing his new drone composition. Films at DCFF2018 ~~~~~~~~~~~~~~~~~~~~~ AUME - Transmission C130 & Scant Intone - Eye of the Storm Mike Rooke - Falling Memories Kat Cascone - LuxLuna Sequencial - The Foundation Kris Force - cloudwalker Albert Borkent - Moon TV Don Haugen - From the Dust Of… Seattle live music: Khem One Leiden live music: Lingua Lustra ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Leiden, Netherlands Qbus Club Middelstegracht 123, 2312 TV Leiden, NL , Admission: €7,50 Start time: 8 PM Presented by: Hotel Suburbia ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Contact: Kim Cascone curator/director Drone Cinema Film Festival 2018 kim@anechoicmedia.com
  18. Acousmatique is extremely excited to announce our first new catalog release.These sound design stalwarts form a tour de force on their new recording "Where Pathways Meet (1998-2001) Complete Sessions". In addition to the 9 tracks. This album includes 9 bonus tracks that are available with digital or CD purchases only. Phillip B. Klingler (PBK) and John Wiggins have each had long careers in the experimental music scene beginning during the early years of the U.S. cassette underground in the 1980's. Their paths intersected along the way as both artists had records released on the legendary U.S. noise/electronic label, RRRecords. Neither artist's style can be easily defined. John Wiggins is best known as an Emmy winning film and television sound designer, working for HBO and his own production company, Wonderland Sound. Wiggins is a master of the techniques of musique concrete, his experimental work often consists of painstakingly arranged synthetic and natural sounds that create extraordinary "living" audio environments. In 2017 Wiggins was one of the distinguished winners of "PRESQUE RIEN" Luc Ferrari Prize. Phillip B. Klingler is considered a pioneer of noise in the U.S., but has also been recognized for his work in the areas of ambient, drone and glitch music. He uses samples, turntable, analog and digital synthesizers to create dense structures of bizarre sonic origin. He has had numerous albums released and collaborated with the likes of Jim O'Rourke, Wolf Eyes, Dirk Serries, etc.
  19. The “Semantic Daniélou-53” is as highly original as the name it bears. It is a virtual instrument named after its creator, “Alain Daniélou” (4 October 1907 – 27 January 1994) who was a French historian, intellectual, musicologist, Indologist, and a noted Western convert to and expert on Shaivite Hinduism. He spent his whole life investigating “Eastern” music and their different scales and intervals. The “Semantic Daniélou” is delivered with a database of 28 sounds, selected for their harmonic qualities and their diversity. As well as the complete scale of 53 notes per octave, this instrument offers 72 tunings, which themselves contain many different scales. The system’s preset note selections enable a novice to rapidly obtain musical results, whilst the microtonality expert will find great pleasure exploring the tunings which offer a greater number of notes, such as the 12, 36, 45 or 48-note versions of the Daniélou scale. It is also possible to add a drone or to refine the sounds by adjusting the attack or decline of notes, or to add effects such as reverb, delay, etc. The result of this life-long work is a fascinating instrument capable of producing beautiful soundscapes based on fascinating microtonal progressions. An original and highly creative virtual instrument any musician should explore… Developed by Christian Braut, Jacques Dudon and Arnaud Sicard at UVI, upon request of the FIND Foundation (India-Europe Foundation for New Dialogues), the Semantic Daniélou-53 is the first of the Semantic instruments which integrates the entire Daniélou scale. As its name suggests, it includes 53 intervals and offers 72 scales (or tunings). Released in 2013, using UVI Workstation technology it is presented in the form of a virtual instrument, which is available for MacOS and Windows. The history of the “Semantic Daniélou-53” Alain Daniélou spent a big part of his life elaborating a complex theory called “Musical Semantics”. It was the fruit of many years of research and experimentation in Indian modal music as well as other eastern musical traditions. it offers a novel approach to our perception of relationships between pitches. The system he elaborated belongs to the family of just intonation scales, also called “natural” scales. This implies that the intervals it is composed of are expressed in the form of ratios made up of whole numbers to both the numerator and the denominator, which as a result creates harmonic ratios between all the notes of the scale, in this case, 53 per octave. The particularity of this scale is that it bestows a special value to harmonics 2, 3 and 5 and their combinations. According to Alain Daniélou, the intervals created from these 3 factors have the power to provoke precise and apparently universal feelings or emotional reactions in humans. In 1936, Alain Daniélou worked alongside Maurice Martenot, the famous inventor of the “ondes” which carry his name, with whom he built his first keyboard instrument which was tuneable and which displayed interval frequencies. It was patented the following year. The instrument is on display at the Musée de la Musique in Paris. A number of years later, during his travels in India, he designed a craft-built instrument in Varanasi in 1942, which involved the use of a considerable number of bicycle wheel spokes. He then build a series of small bellow harmoniums called Shruti Venu, of which one, built at the University of Visva-Bharati was kept and was restored in 2016 by Klaus Blasquiz. In 1967, Alain Daniélou designed a new electronic instrument, the S52. To build it he called on Stefan Kudelski from Lausanne, Switzerland, the inventor and builder of the Nagra, the famous professional portable tape player. The prototype was presented in Paris in 1980, namely at the UNESCO International Music Council and the IRCAM (Institut de Recherche et Coordination Acoustique/Musique / Research and Acoustic/Music Coordination Institute), and afterwards in Bordeaux, Berlin, Rome, etc. It was not until 1993 that the idea of an entirely digital instrument came into being, by the name of the “Semantic”, christened by the composer Sylvano Bussotti in reference to the Alain Daniélou’s work, Musical Semantics. Upon Alain Daniélou’s request, it was developed by Michel Geiss, an electronics engineer, musician and specialist in electronic instrument design, who was at the time was working with Jean Michel Jarre. The Semantic, later renamed the Semantic Daniélou-36 to avoid confusion with the 2nd version, the Semantic Daniélou-53, contains as is name indicates 36 intervals. These 36 intervals were the ones Alain Daniélou considered to be the most essential among the 53 of his scale. Michel Geiss developed a greatly improved version in 2013, while conserving the external appearance of the original instrument. The second version made use of recent developments in the world of electronic music and included internal sound-generating software. This major technological update enhanced the instrument by offering the possibility of producing richer, varied and expressive sounds, whilst having remarkably precise tuning (to a thousandth of a cent). The new version also boasted a ribbon controller for fine pitch variations.
  20. In short, the Ekdahl Polygamist is a semi-modular, analog synthesizer which is not intended to be another “phat bass synth” but rather a machine with which you quickly can create complex sounds capable of molesting peoples ear drums. The design has features not commonly seen in stand-alone units and employs a greater range of expression than is common, this includes features like non-standard oscillator design, greatly expanded ADSR/LFO times and other not-so common features. The Ekdahl Polygamist can be used as a stand-alone unit, utilizing it's duo phonic, pressure-sensitive ribbon controller. It can also be slaved to other devices, using the dual MIDI-to-CV converter or through direct CV control. The Ekdahl Polygamist is mainly designed with experimental / drone / noise / improv in mind but can really take you wherever you wana go. The basic architecture is classic VCO/VCF/VCA design but all of the building blocks have been designed to allow for much more interesting / chaotic sounds then you get from your bread-and-butter synth. Highlights includes VCO1 which features a "Tilt" output which is a triangle wave that can be *tilted* from sawtooth, to triangle, to ramp. VCO2, the "Pitch multiplying oscillator" consists of a fundamental and three "sub harmonics" that mimics additative/FM synthesis for very complex waveform and chaos generation. The ADSR is loopable and can be used as an oscillator, it can also be paused in its transition. The three LFOs all go to audio range and two of them go down to about 4 minutes for one waveform period. It also features a duophonic, pressure sensitive ribbon controller which sends MIDI data. It has two independent MIDI/USB-to-CV converters which can be ganged in duophonic mode. And there is of course, much, much more.
  21. Virtual ANS is a software simulator of the unique Russian synthesizer ANS - photoelectronic microtonal/spectral musical instrument created by Russian engineer Evgeny Murzinfrom 1938 to 1958. Murzin named his invention in honour of the composer Alexander Nikolayevich Scriabin. The instrument was used by Stanislav Kreichi, Alfred Schnittke, Edison Denisov, Sofia Gubaidulina, Edward Artemiev and other Soviet composers. You can hear the sound of the ANS in Andrei Tarkovsky's movies Solaris, The Mirror, Stalker. In 2004, the British experimental group Coil released CoilANS, a boxed set of experimental drone music performed on the ANS. While the other similar programs are just fun toys, the Virtual ANS is a full-featured professional tool which allows you to create unusual, deep, atmospheric sounds. With this app you can draw a complete piece of music, or convert sound to image (sonogram) and then make some complex sonogram modifications. Actually the potential of the program has not been explored yet, so it (as well as PixiVisor) is more appropriate for people who are searching for something new, not afraid to experiment with sound. Key features: unique Virtual Analog sound engine; unlimited number of pure tone generators; powerful sonogram editor - you can draw the spectrum and play it at the same time; any sound (from a WAV file or a Microphone/Line-in) can be converted to image (sonogram) and vice versa; MIDI Input (only for Windows, Linux, macOS and iOS); supported file formats: WAV (only uncompressed PCM), PNG, JPEG, GIF, VNS (Virtual ANS 1.x); supported sound systems: ASIO, DirectSound, MME, ALSA, OSS, JACK, Audiobus, IAA; iOS: iTunes File Sharing; iOS: Wi-Fi Export/Import; more functions in the next Virtual ANS updates...
  22. Friday 22 december 20.00 - 0.30 (7pm - 11.30pm UK) http://www.underground-aexpaerten.de/Radio1.html or www.radiosunrise.de --Note-- Make shure to listen / join the chat, we do not Podcast ! All 25 tracks in 128-192/kbps quality The Netherlands: Romerium, Arjen Schat, (**)UNI Sphere, Phrozenlight France: Christian Richet, Zanov, Jean-Luc Nest, Space Megalithe, Nightbirds, I-Cube, Monade Ach Lemland: Johan Tronestam Belgium: Alain Kinet, RHEA, Galactic Underground(feat. Erik Wollo), Thurin (feat.Peter Brutin), AGE, Nothing But Noise, (*)Syndromeda live(see Italy) Germany: BK&S, Ringhausen, Johannes Schmoelling, Filter Kaffee Italy: (*)Perceptual Defence live(see Belgium) (*)Soon on Luna Syngate label (**) Want to hear UNI Sphere 2018 ? Just Listen!
  23. 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)
  24. This CD premieres ten works from David Lee Myers, the most prolific composer of Feedback Music. The album’s content spontaneously emerged from Myers’ self-designed, hand-built conglomerations of elaborately interconnected sound processing devices, with no external audio input. Some call the results “sounds from the ether” (hence this album’s title). The CD’s music is distinctive and enticing. We hear an otherworldly, hallucinatory trip to a Martian jungle; irregularly accented bongos overlaid with frog-croaked arpeggios; a rapidly sputtering, helium-inhaling synthesizer; a demented organ, gasping for life; all concluding with the piece dorsal streaming, which presents a lovely, placid atmosphere, tinged with calming panpipe-like chuffing. Dan Visconti writes: “ 'Ether Music' is hardly David Lee Myers’ first foray into this brand of sonic invention, where explorations on the edge of audible electronics mirror a visionary quest into the same electronic pulse that inhabits all organic life. It’s a place where advanced technical experimentation forms the perfect complement for this ancient journey through the bardos of vivid inner landscapes aglow with the fission of an illuminated world, a world that answers our inquiry and is alive in a way less like a thought than a mind. "The 'Darwin of electromagnetic lifeforms' (Mark Dery), Myers has always been singular in this ability to create vast spaces, indeed ecosystems, in which chance and intentional vision all play out in a dialogue where each enriches the other. The creation of several new and original electronic systems, which led to the compositions on this disc, further cements Myers’ reputation as the foremost explorer of 'Feedback Music' – and to those unfamiliar with this sound artist’s unique harmonization of science and magic, this beautifully realized recording serves as the best currently available introduction to the panoramic range that Myers commands. "Myers brings together worlds that have confounded generations of composers, visual artists, and philosophers – and in doing so, he plays scientist and shaman alike, presenting us with imaginary worlds that teem with life, personality, and a pure and deeply considered musicality. As a composer predominantly of acoustic chamber music, I marvel that whereas Myers’ work has strayed far from the world of string quartets and pianos in which I labor, his creations nevertheless manifest a profound display of the paramount principle of classical chamber music: everything that happens is motivated by something prior, an unbroken chain of brainstorms in conversation. If Myers at times has the sonic trappings of his influences Tod Dockstader and the Beatles, his musical rhetoric has the subtlety of classicists like Haydn and Mozart. Myers shapes chance into something not quite random, and vision into something just shy of intent... This collection comes across as grandly symphonic yet also meditative and intimate. "The first recording on this disc (implicate order) begins with gradually thickening or radiant bands of sound that linger, tremble, and falter while ultimately becoming the backdrop for more rhythmic pops and hisses, expanding on a kind of drum-machine texture. The dialogue between these two layers – with each destabilizing the other – ends with a hum reminiscent of the drone in Myers’ favorite 'Revolver' cut, Tomorrow Never Knows. "Effervescent drops, blips, and drizzles greet the ears on rigid and fluid bodies, sweeping across the harmonic series, fusing liquid gestures with relentless ticking, rising, gliding, and darting between both adroitly, before seeming to sink from view into the deep trenches of one’s inner ear. "astabilized begins with recognizable feedback without complication at first, achieving a kind of eerie home quality that could be my own amp or other device beginning to feed back. Before long, this fleeting, quotidian moment begins to stutter and argue with other layers sweeping in competing Doppler motion, taking unexpected turns before ending. "Another standout, arabic science is a meditative moment more exploratory than affirmative, singing out through liminal spaces in a kind of ecstatic glossolalia. the dynamics of particles, the poppiest offering on the disc, kicks off with an immediately catchy ostinato hook that soon croaks with quality of a vocal fry. "radial/axial is perhaps the work which most fully showcases Myers’ mastery and range, and as such it’s one of the most lushly symphonic selections as well. Exploring a range of timbres unsensed by most orchestrators, Myers shows us how unlikely sound sources can give voice to the symphonies within. It’s a fitting calling card for the entire album: daring, aurally eloquent, and epic in scope." This new Myers CD contains the most complete documentation of any Myers release, offering not only his biography and notes on the music, but also a new essay on the history of Feedback Music, photos of his custom designed, hand-built hardware, and Dan Visconti’s enthusiastic Introduction. The album was mastered by Grammy-winner Silas Brown.
  25. Tod Dockstader's second Starkland CD begins with the composer's pulsing, spatially-shifting Traveling Music. He explains some background: "Traveling Music was originally composed as a monaural piece (Electronic Piece No. 8). It was, in effect, my Poeme Électronique, after Varèse, and my first piece to be strictly organized with a few sound-materials (instead of throwing everything in and stirring briskly, as I'd done prior to this). When I got the use of a two-track recorder, I used this piece, instead of doing a new work, so I could concentrate on teaching myself the techniques of placing sound in space (between speakers) and moving it through space – hence the title. (Jackie Gleason, in his black-and-white TV days, used always to ask the pit-band conductor for 'a little traveling music' to help him move across the stage.)" The eerie, otherworldly Luna Park has been described by one critic as "one of the finest works of electronic music I've ever heard" (Fanfare). Dockstader writes: "Luna Park was my first 'new' piece in stereo. I used some of the techniques I'd learned doing Traveling Music: tape-echo antiphony, delay between channels, placement, and 'panning.' By now, the organization of the sounds was very important to me: Luna is a very simple piece: three movements – fast/slow/fast – using few sound-materials. (People remember the laughter; one station broadcast it as 'Dockstader's Laughing Music' – but there actually isn't that much laughter in it.) I wanted it to be silly and sad and simple. The title comes from the old Luna Park at Coney Island, named for Miss Luna Dundy of Des Moines, sister of one of the park's founders. The park burned down in the 1940s, and, by the time I saw it, all that remained was a vast, rutted parking lot." The CD's major work is the brooding, ominous Apocalypse. The composer details the disparate elements of this four-part masterpiece: "Apocalypse followed Luna: I wanted to do something heavier, thicker in texture, more unruly and alarming – a concrète Dies Irae. The slowed (creaking) doors and the cat-cry toy are central to it: they provided the threat and despair I wanted. (The cat-cry toy was a little round box with a picture of a cat on it which, when you turned it upside-down, emitted a thin, pathetic little cry – slowed [on tape], it became, I thought, heart-wrenching.) The passage of Gregorian chant, in Part Two, was used as a vocalization of the door sounds – I'm always looking for sounds of different timbres that express the same emotion. The inclusion of Hitler (tape-echoed into gibberish) in the last part is from my Radio childhood, when I heard his broadcasts in the late thirties: I didn't understand a word, but the terrifying sound of it (made stranger by the shortwave phasing) stayed with me. The sonic boom(s) were almost the only sound I had that had been originally recorded in stereo: the sound-materials in all my work were, originally, almost all monaural, recorded all over the place in a time before portable stereo tape recorders. (The 'live' cat in Part Four sang one night outside our apartment window in the Village: I hung a mic out the window for most of the night, recording his arias.)" Dockstader's extensive work creating Apocalypse generated additional worthwhile material that premiered on this Starkland CD. He explains: "Two Fragments from Apocalypse like the Two Moons of Quatermass, were 'thrown out' from the main work as it cooled and contracted (over a period of months of editing the mixes). Most 'outs' end up on the floor, in ankle-deep snarls of tape, and, at the end of the day, are gathered to The Lord (in a wastebasket). But, sometimes, whole blocks have to come out, because, though they're good, they're hurting the forward motion of the piece: they're Digressions (I digress a lot, because I push in a lot of directions when I'm making a piece – of music or of writing). But, in these cases, I save them, and after the main work is complete, go back and see if they can stand alone as pieces, themselves. So I hack away at them, and sometimes they just vanish: the razor blade reduces them into nothing – which tells me they weren't Pieces in the first place. These two held up under the Blade." The divergently moody Drone has this history: "Drone started one way and went another way (like the Telemetry Tapes did, three years later). I had collected recordings of racing cars in motion, because I liked the droning sound they made, the Doppler-effect of pitch-change (without timbral change) as they passed the microphone. To find an equivalent sound that would be 'playable' – more controllable – I recorded a lot of sustained tones on an acoustic guitar, 'Dopplering' them with tape-speed changes. But, in use, it all became, for me, boring. It was the sort of sound that later became the material for minimalist music, and I wanted maximist music. So, in the process of working on it, the cars just drove away, though some of the guitar survived, along with the title. The musical impetus for the piece was Japanese court music, Gagaku, which I'd heard a lot of, and liked. I tried to combine that kind of sound with some violence – the violence I felt that was lurking, almost unheard, under the restraints of Gagaku. So the piece goes back and forth between drone and demolition, a kind of desert demolition-derby." The CD concludes with the premiere recordings of Dockstader's last "organized sound" music. He writes: "Four Telemetry Tapes are the last pieces of true organized sound I did – though they're almost entirely 'electronic': three rewired audio test generators, played by twisting dials and knobs. The original idea came from recordings of early satellites, starting with Sputnik: the messages they sent back to earth, 'telemetry,' were, to my ears, in the form of loops, slowly and subtly changing over transmission times. I constructed a lot of these loops, and started to mix them – and managed to create an early form of what became New Age music: restful, but, to me, dull. So, as I had with Drone, I threw out the score (but kept the title) and began to improvise, trying to find out how far I could push those three generators. The loops would have been much easier, as it turned out: almost every note had to be cut into shape, on tape: attacks, sustains, decays – my 'envelopes' were handmade with a razor blade and a steel straight-edge, and so much splicing tape that the original tape is often entirely white. The tapes were finished just about the time that the first 'personal' synthesizers became available, along with sequencers – and all that work was instantly made obsolete. But it was fun to do, fun to push those primitive means so far into what became the immediate future. Tod Dockstader's musique concrète turns out to have a surprising relevance to music created decades later; he's been described as "one of the godfathers of Nurse With Wound, and a distant cousin of rap and techno" (Option). Craig Anderton writes that Dockstader was one of the few to master "the art of assembling tape-recorded sounds and painstakingly splicing, cutting, dubbing, manipulating and mixing to create final compositions," then adds: "If you think that sounds similar to the procedures used to create today's cutting-edge pop music, you're right."
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