via Inteliko.click the image and read.
Thursday, November 15, 2007
The Shape Of Things That Hum
Uploaded on Feb 1, 2011 The Soundtrack of Zapresic
"Mini Moog 00:12
Vocoder 09:45
DX7 20:19
Fairlight 30:27
Simmons 40:12
TB-303 50:27
TB-808 1.01.01
Akai Sampler 1.11.20
The Shape of Things That Hum
is a synthesizer documentary series that first aired by Channel 4 in the UK during 2001.
The series focused on electronic instruments that helped shaped modern music, with every episode focusing on a specific instrument. The episodes were broadcast between 01.30am and 01.41am, and featured musicians talking about classic vintage synthesizers, including the DX7 that defined the sound of the 1980s.
Production company Allied Forces
Producer Jacques Peretti
First broadcast 2001
Original channel Channel 4 (UK)
Genre documentary
No. of episodes 8
Length 11 minutes (episode)
Episodes:
Mini Moog (15-01-2001) - Cult electronic instruments that helped to shape modern music.
Vocoder (22-01-2001) - Developed as a scrambling device in World War II, includes interviews with Orbital and Rick Wakeman.
DX7 (29-01-2001) - Synthesizer that defined the sound of the 1980s. Interviews with Vince Clarke and Nick Rhodes.
Fairlight (05-02-2001) - Computer based snthesizer offering sampling, digital recording, sequencing and editing. Includes Nick Rhodes.
Simmons (12-02-2001) - Includes producer Arthur Baker talking about making "Planet Rock".
Roland TB-303 (19-02-2001) - House innovators Coldcut and Orbital discuss the Roland 303 synthesizer.
Roland TB-808 (26-02-2001) - Includes producer Arthur Baker, plus Ray Keith talks about the importance of the bass.
Akai Sampler (05-03-2001) - Instrument that helped fuel the rave scene and the white label explosion"
Old post before Google video was laid to rest:
The Shape Of Things That Hum - Minimoog
The Shape Of Things That Hum - Roland TR-808
The Shape Of Things That Hum - Roland TB-303
The Shape Of Things That Hum - Simmons Drums
The Shape Of Things That Hum - Vocoder
The Shape Of Things That Hum - Fairlight
The Shape Of Things That Hum - Yamaha DX7
The Shape Of Things That Hum - AKAI Sampler
I actually put the AKAI Sampler vid up here.
Spectralhead Audio SilverBox
Another TB-303 clone, this one from Spectralhead Audio."At the beginning of the 80s, a new bass synth appeared on the market. Aimed at bass-guitarists, it featured an in-built sequencer with slides and accents. Only about a decade later did it become one of the most popular instruments in certain styles of acid, techno, house and trance music. Since that, numerous copies and software and hardware emulations have been born, which all try to grasp the character of this wonderful synth. We did our best to reincarnate this instrument as an authentic-sounding, convenient and easy-to-use VSTi plugin. Countless hours were spent on analysis and measurements, with the goal of making the most-authentic sounding emulation. As a result of the research, SilverBox was born, 25 years after the creation of the machine.
.: Features :.
* Authentic monophonic analog bassline emulation
* Easy-to-use interface
* Oscillator with saw/square waveforms
* 18 dB/oct. analog modeled multimode filter, lowpass/highpass/bandpass modes
* Sequencer with piano roll, accent & slide
* Variable pattern length (1-16)
* Advanced randomize functions
* 16x oversampled distortion with minimum aliasing (soft, hard clipping, soft foldback, hard foldback)
* Optimized DSP code using SIMD instructions
* Customizable MIDI CC automation "
click here for more info including sample comparisons.
Rod Hunter - Apache ( Moog ) Only 1 Minute for Demo purposes
"http://www.dariointernet.com
Important: Less than 1 minute for demonstration purposes. Sample taken from a vinyl record copy.
Keywords: I used to own the iranian 7" copy of this when I was a child. I was one or two years old. The iranian jacket appears in this clip. Listening to the wierd sound of this record as a child while looking at the record turning has definitly had an effect on me. 1973 The recording seams to originate from France . Its kind of psychotic , psychodelic ( psicodelic ). I'm sure dance music and hinrg and italo disco lovers will appreciate this. Quite rare and difficult to find. I don't think it is available on cd. Introvabili gliintrovabili"
I had the original video for Apache posted here but it looks like the video is no longer available. I checked YouTube and only found the Apache vs. covers. I have the Prodigy one up in that post. If anyone finds the original let me know and I'll update this post. You can either leave a comment or email me. My contact info is on the bottom right of the site.
Casio CT410v Vintage Analog Synthesizer
"a short Rhytm Sequence through the real Analogfilter.This Casio Keyboard is very rare to find,and it is better then Casio MT 68,Casio MT68 because there are only Preset Sounds."
Casiotone CT-410V Part.2
"First i have played some with Pipe Organ Sound with the fantastic Casio Stereo chorus , it tunes like a "Roland"Stereochorus,Drums are normal,later Drums through the Filter,Pipes Sound normal, but in the end with Stereochorus again."
Casio CT410v Vintage Analog Synthesizer Part.3
YouTube via jopachelbel.
"little Bach Musette D major,from: 'Notenbüchlein für Anna Magdalena Bach'"
Update:
YouTube via jopachelbel.
"I have played an old Beatles Tune,"Ill Follow The Sun".The Lead melody is going through the real analog Filter with Parameter Resonance and Cutoff.."
Beaver and Krause - Peace Three - Moog Synthesizer (YouTube)
YouTube via Frritzz.
"Also on Google Video in stereo.
http://video.google.com/videoplay?doc...
Some more uploads of my records playing on the Pioneer PL-518.
The video appears slightly tilted, perhaps you can bear with that. In future videos, I gotta pay attention to the level on the tripod.
Using my Sony CCD-TRV608 camcorder.
From "The Nonesuch Guide to Electronic Music" by Paul Beaver and Bernard T. Krause. "Peace Three" is the first and last track on the album. All done on the Moog synthesizer.
Back in late '80s I found this album at a flea market. It didn't have the booklet but the records were almost like new. Some days later, again at a flea market. I found the album with the booklet, in very good shape. So, I sold the one without the booklet. The customer was happy, nonetheless."
Update via the comments:
"This is "Fr-ritz" the one who uploaded the video. The YouTube video embeded in this blog is in mono. You can listen to this in stereo by downloading it from Google Video:
http://video.google.com/videoplay?docid=7671769399545658346&hl=en
Thanks to Matrixsynth for including this video, as well as the ones with the First Moog Quartet."
The First Moog Quartet - To Handel With Love - 45rpm
via Frritzz, also on YouTube.
"You can get the stereo sound by downloading it.
This is actually some rendition of Alla Hornpipe from Handel's "Water Music". My father ... all » got this from a Salvation Army store. He must've made some find. Played on my Pioneer PL-518 turntable.
Redone in better lighting and using my Samsung S630 for better video resolution."
And previously posted:
The First Moog Quartet - Bei Mir Bistu Shein - 45rpm
Grant Richter on the Wiard Envelooper
via the Wiard list.
Short version:
"Think of it as a sampler for the control signals that make up synthesis, rather than the audio output of the synthesis. That means it is parametric, which means you can goof around with the routing of signals, reversing signals, switching the order of signals in order to create new phrases from other material."
Long version:
"I can tell you the most about the Envelooper as I am almost ready to start PC board layout for that one.
Back in 1999, a 27C512 EPROM cost about $5, now the 27C801 EPROM, which is a 1 megabyte unit is the same price. So all the new designs are going to use the 1 megabyte EPROM for storage.
The larger EPROM sizes are pin compatible with earlier pin layouts like the 27C512. You can actually wire a Grayhill binary encoder (from Allied for about $15) to the extra 4 address pins on a 27C801 and plug it into a Wavefrom City board. That would give you the equivalent of 16 x 27C512 in the same space. That is if there are now 16 software banks for the Wavefrom City and Mini-wave. Dave Hylanders board is nice because it give you voltage controlled selectrion of 10 EPROMs, but you can fit a chip to hold 16 chips worth with a little kludging to any Waveform City or Mini-wave with a rotary selector switch.
The Mini-wave is a single arbitrary function generator (the least expensive ever offered). The Envelooper is a multiple arbitrary function generator. It has 4 outputs each of which will output one Mini-wave or Waveform City waveform at the same time. The Envelooper is setup to use these waveforms for control purposes.
The Buchla MARF is really nice, except it looks very complicated to use and understand. I tried to come up with a MARF that has an easy to understand user interface. I used something familiar, it is modelled after an ADSR. Each section of A,D,S and R is one 256 byte Mini-wave waveform, so 4 of these play in series (set by ADSR logic) for a total of 1024 steps, each on 4 individual tracks.
The tracks are targeted to certain functions: Track one is for pitches, track two is for waveshape control, track three is for VCF control and track four is for VCA control. But they don't have to be used that way, they are just control signals, and you can route them anywhere in the patch.
I tried drawing the waveforms with Wave256, with little success. I tried a program to
convert .MID files to the control signals, that is OK, but limits you to keyboard type phrases.
What I needed was a way to record actual control signal from all the synths that I have ito the correct format time aligned on 4 channels. Just yesterday I succeded in getting such a system working. I can now record control signals from my ARP2600, 1603 sequencer, all of the Buchla stuff, Joysticks, JAGs, Steiner EVIs and anything else that makes a usable set of control voltage, then store them as musical control signals on 4 paralell tracks.
The Envelooper has several operating modes. In "one shot" mode it behave just like an ADSR, using the gate and trigger signals. When gate and trigger go high, it goes to the attack phase and plays out the 256 values stored on each of 4 channels, then it switches to the decay phase and does the same, unless gate goes low, then it jumps to release phase, or a new trigger will make it jump to the begining of attack. If it gets to sustain, it loops at sustain until gate goes low, or a new trigger comes in.
That makes it sound complicated, but it is very intuative. There are 3 loop modes, in mode 1, it plays A-D-S-R in sequence and the time for each section is adjustable from 1 millisecond to about 25 seconds per section with 4 knobs. In mode 2, only the attack knob controls the loop speed for all sections (handy when you are using it like a sequencer). Mode 3 plays each section in reverse. There is a switch that will link the pitches to the playback speed so it acts like a tape recording would. Slower playback lowers the pitches, and faster playback increases the pitchs.
Think of it as a sampler for the control signals that make up synthesis, rather than the audio output of the synthesis. That means it is parametric, which means you can goof around with the routing of signals, reversing signals, switching the order of signals in order to create new phrases from other material.
Since there are 16 x 256 = 4096 section in the new PROM, I am inthe process of programming all 4096 waveshapes to make some kind of usable musical "gesture". The need to be a bit generic, so it is not just a tape recorder, but has snippets of musically useful material stored and ready to use in your compositions.
No one has ever do anything like it to my knowlwedge, which is the whole point of trying to advance the state of the art.
I am trying to be brief, but I hope that gives some idea of the new control module in the pipeline.
Maybe Gary or Doc will be willing to comment on the "gestural" theory of music analysis.
I am also being inpired by the work of the "sentics" people who relate physical gesture to emotion. Initially, they were studying the shapes of musical instrument key action over time and how it related to perceived emotion. Now they seem to have gone completely "new wave" and generalized the idea to far too much. But the core concept is still useful."
Short version:
"Think of it as a sampler for the control signals that make up synthesis, rather than the audio output of the synthesis. That means it is parametric, which means you can goof around with the routing of signals, reversing signals, switching the order of signals in order to create new phrases from other material."
Long version:
"I can tell you the most about the Envelooper as I am almost ready to start PC board layout for that one.
Back in 1999, a 27C512 EPROM cost about $5, now the 27C801 EPROM, which is a 1 megabyte unit is the same price. So all the new designs are going to use the 1 megabyte EPROM for storage.
The larger EPROM sizes are pin compatible with earlier pin layouts like the 27C512. You can actually wire a Grayhill binary encoder (from Allied for about $15) to the extra 4 address pins on a 27C801 and plug it into a Wavefrom City board. That would give you the equivalent of 16 x 27C512 in the same space. That is if there are now 16 software banks for the Wavefrom City and Mini-wave. Dave Hylanders board is nice because it give you voltage controlled selectrion of 10 EPROMs, but you can fit a chip to hold 16 chips worth with a little kludging to any Waveform City or Mini-wave with a rotary selector switch.
The Mini-wave is a single arbitrary function generator (the least expensive ever offered). The Envelooper is a multiple arbitrary function generator. It has 4 outputs each of which will output one Mini-wave or Waveform City waveform at the same time. The Envelooper is setup to use these waveforms for control purposes.
The Buchla MARF is really nice, except it looks very complicated to use and understand. I tried to come up with a MARF that has an easy to understand user interface. I used something familiar, it is modelled after an ADSR. Each section of A,D,S and R is one 256 byte Mini-wave waveform, so 4 of these play in series (set by ADSR logic) for a total of 1024 steps, each on 4 individual tracks.
The tracks are targeted to certain functions: Track one is for pitches, track two is for waveshape control, track three is for VCF control and track four is for VCA control. But they don't have to be used that way, they are just control signals, and you can route them anywhere in the patch.
I tried drawing the waveforms with Wave256, with little success. I tried a program to
convert .MID files to the control signals, that is OK, but limits you to keyboard type phrases.
What I needed was a way to record actual control signal from all the synths that I have ito the correct format time aligned on 4 channels. Just yesterday I succeded in getting such a system working. I can now record control signals from my ARP2600, 1603 sequencer, all of the Buchla stuff, Joysticks, JAGs, Steiner EVIs and anything else that makes a usable set of control voltage, then store them as musical control signals on 4 paralell tracks.
The Envelooper has several operating modes. In "one shot" mode it behave just like an ADSR, using the gate and trigger signals. When gate and trigger go high, it goes to the attack phase and plays out the 256 values stored on each of 4 channels, then it switches to the decay phase and does the same, unless gate goes low, then it jumps to release phase, or a new trigger will make it jump to the begining of attack. If it gets to sustain, it loops at sustain until gate goes low, or a new trigger comes in.
That makes it sound complicated, but it is very intuative. There are 3 loop modes, in mode 1, it plays A-D-S-R in sequence and the time for each section is adjustable from 1 millisecond to about 25 seconds per section with 4 knobs. In mode 2, only the attack knob controls the loop speed for all sections (handy when you are using it like a sequencer). Mode 3 plays each section in reverse. There is a switch that will link the pitches to the playback speed so it acts like a tape recording would. Slower playback lowers the pitches, and faster playback increases the pitchs.
Think of it as a sampler for the control signals that make up synthesis, rather than the audio output of the synthesis. That means it is parametric, which means you can goof around with the routing of signals, reversing signals, switching the order of signals in order to create new phrases from other material.
Since there are 16 x 256 = 4096 section in the new PROM, I am inthe process of programming all 4096 waveshapes to make some kind of usable musical "gesture". The need to be a bit generic, so it is not just a tape recorder, but has snippets of musically useful material stored and ready to use in your compositions.
No one has ever do anything like it to my knowlwedge, which is the whole point of trying to advance the state of the art.
I am trying to be brief, but I hope that gives some idea of the new control module in the pipeline.
Maybe Gary or Doc will be willing to comment on the "gestural" theory of music analysis.
I am also being inpired by the work of the "sentics" people who relate physical gesture to emotion. Initially, they were studying the shapes of musical instrument key action over time and how it related to perceived emotion. Now they seem to have gone completely "new wave" and generalized the idea to far too much. But the core concept is still useful."
Prophet-5 Demo Record 1978 - Just Bach
via Bitexion, via this VSE thread. BTW, he's looking for tips on how to create "the 'screaming' lead that comes in around 40 seconds and continues throughout the whole piece." If you know feel free to comment here or there.
SCOPE - Oxygene 4 live
YouTube via memoscope. Sent my way via fischek.
"Un video que mezcla imagenes de SCOPE en vivo en la presentacion del 4 de Febrero del 2003 en el frontis de la Gobernacion de Cachapoal, en Rancagua Chile e imagenes de SCOPE en el Planetario de Santiago"
translated:
"A video that mixes images of SCOPE live in the presentation of on February 4, 2003 in front of the Gobernación de Cachapoal, Chile in Rancagua and images of SCOPE in the Planetarium in Santiago."
If anyone knows more about this band and the synths used, please comment. I'm fascinated this performance was in Santiago Chile.
One more:
SCOPE + DIVO - Chronologie 6
"Una pequeña presentación, en donde interpretamos este exelente tema de Jean Michel Jarre"
"A small presentation, which we interpret this excellent theme by Jean Michel Jarre"
Update: one more:
Felipe Paez en vivo: Calypso 2 JEAN MICHEL JARRE
YouTube via grandmoff.
EMS SynthiA Demo, Part one Patching
YouTube via legionhwp.
"Demo by Electronic musician David Talento of the EMS SynthiA synthesizer. Hear this instrument on the Music For Isolation Tanks CD - The Feedback Machine available online at: link"
Update:
EMS SynthiA demo Part 2 - External processing
LELL UDS - Soviet analog drum synth
via this auction"This drum synth has two independent and identical chanells which can trigged from sensetive drum pads like Simmons or from any audio source\ drum machine, sound card etc.\, two 5Din Inputs and one 5Din Out, sounds tweaked using 24 different knobs, NO MIDI .
listen to some sound examples you can here [ruskeys.net]:
leloops.zip
lelluds.zip"
ARP 2500
images via this auction"ARP 2500 “MODEL 2002” THIS IS THE MAIN CABINET. IT WAS SERVICED ABOUT A YEAR AGO BY JULIE YARBROUGH"
"Oscillators and Insects" on Tiny Showcase
Some more synth art via Gord. BTW, I added an art label for similar posts. I need to find the graffiti posts next, but if you catch any that should have this label as well as any other call it out in the comments or shoot me an email (bottom right of site)."Gordon Wiebe
Sold out run of 100.
5.8" x 4.55" (plus border for framing)
$20.00
FATHER: Come here son and have a seat, I think you are old enough to hear this. Now, sometimes when a highly resonant daddy saw waves cutoff frequency is modulated by a sample and hold mommy circuit…
SON: beep beep bop bip boop beep bop boop."
Chris Reccardi
"Chris Reccardi is a 20 year veteran of TV and Film Animation and a burgeoning fine artist in the 'Pop Surrealism / Lowbrow' art movement"And he draws synths. Click here for his website.
pictured:
"How about fiddling with these knobs for a change, Aldo Cosmo"
acrylics on wood / gessobord panel
24x@24"
$2400
and
"polyfonik"
acrylic on woodgessobord panel
24x24"
#2500
via Gord
Telesisgear LCD Backlights
"We manufacture backlights for Emu, Korg, Roland, Kurzweil, Yamaha, and many other companies keyboards, sound modules, and other gear with backlit LCD displays. With a new backlight we can help get your gear back into fully functional condition.There is an instructional CD that explains what to do once the display has been removed from the instrument. Add $2.00 for US orders and $3.00 for international orders.
You have the option of doing the work yourself or having Telesis do the work for you. Call us if you want us to do the work.
Small backlight panels are $28.00US and large backlight panels are $30.00US.
We also have new and reconditioned displays available for some Korg, Roland, Kurzweil and other manufacturers instruments."
click here for the website. You can find one currently up for auction for the Casio FZ1, FZ10m, VZ10m, and Hohner HS1, HS1m here.
Roland SR-JV80-05 World Expansion Board
via this auction.I thought this etching was pretty cool. I hadn't seen it before this. If anyone knows of a better shot let me know. I couldn't find one in the first 10 pages of Google image search, so here it is.
"The World Expansion Board includes 250 waveforms and 255 patches featuring ethnic instruments from Asia, Europe, Australia, the Middle East, Africa and South America. Its loops sound totally authentic, as I'm sure many of them were recorded on location around the world. There are also some patches that mix and match world regions to create new textures. This board also utilizes the digital effects on the JV/XP/XV or whatever to augment the instruments and create completely invented textures. The pitch bend and mod wheel are set up on the single instrument patches to realistically emulate the physical properties and idiosyncrasies of the original emulated instrument. Here is a list of the waveforms and patches.
It is compatible with the JV80, JV90, JV1000; the XP30, XP50, XP60, XP80; the JV880, JV1010, JV1080, JV2080 and JD990; the XV88, XV3080, XV5080 and Fantom."
Update: a larger image via Tom. Click on image for the full size.
Roland TB-303 Modded
images via this auction
"modified with FiveG which adds CV/Gate/Slide/VCF/ACC inputs for full control (and more) over every aspect of the machine from a MIDI sequencer via any CV/GATE converter or analog sequencer. The filter input allows you to program the filter amount from a sequencer or CV source (pedal, etc.), which is not possible using the internal sequencer.
The TB-303 is THE sound of acid and techno house music! It's a monophonic analog bass synthesizer married to a pattern-based step sequencer released in 1982. It features a single analog oscillator with two waveforms (ramp or square) and has a simple but excellent VCF filter with resonance, cut-off, and envelope controls. There are also knobs to adjust tuning, envelope decay, tempo and accent amount.How does it work? Well, it's not a performance synthesizer because you have to program a pattern of notes and timing info into it (sort of like a drum machine). Patterns can then be linked into songs. It was originally made to accompany a drum machine, the TR-606 specifically, and provide bass-line accompaniment to guitarists, keyboard players, etc. It was not a successful product in its time. As a result, creative DJs and aspiring electronic musicians found them for next to no money and began using them for techno and acid music. Usually a single pattern is continuously played while the performer tweaks the knobs creating an exciting and expressive musical event.
The TB-303 has become one of the most sought after vintage synths ever! It has helped develop and stylize many forms of electronic music including House, Acid, Trance and Ambient. If ever there was a need for a repetitive bassline/groove or an extremely resonant and bubbly sound, the 303 is KING. Truly a unique machine with a very identifiable sound! It has spun off several imitators as well: Novation BassStation, ReBirth, Doepfer MS-404, MAM MB-33, Syntecno TeeBee, and more (see Related & Alternative Gear sidebar).
Ironically, these days it's become trendy to dislike the 303 again, now because of over-use. But I don't and you shouldn't either because it is one-of-a-kind and it's just got that sound that everyone loves!
Getting creative with the 303 always leads to great sounds! Add a guitar distortion pedal for instant hard-core acid and techno. Use the CV and Gate outputs to control other old synthesizers and get that elastic 303 groove workin' your other synths (especially cool with a polyphonic synth).
There are some custom modifications for the TB-303 which are definitely worth mentioning here. Get all the acid you can squeeze out of your TB-303 with the modification, designed to enhance and extend the range of the 303's filters and sound."
Elektron SFX-6 Monomachine
images via this auctionSpecs:
6 track internal sequencer
6 track external MIDI sequencer
5x Monosynths
6x tape-style tempo-synced delays
18x tempo synced LFO’s
Full realtime control
Dual DSP system
Six audio outputs
Two audio inputs
Compact hi-quality design
Large back-lit LCD
Full MIDI implementation
Elektron SPS-1 Machinedrum
images via this auctionSpecs:
4x MD synths
32 step patterns
More than 40+ MD machines
16 track percussion sequencer
16 part track effect system
Stereo master effect system
16x LFO’s
Full realtime control
Dual DSP system
Six audio outputs
Two audio inputs
Compact hi-quality design
Large back-lit LCDFull MIDI implementation
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MATRIXSYNTH - EVERYTHING SYNTH
© Matrixsynth - All posts are presented here for informative, historical and educative purposes as applicable within fair use.
MATRIXSYNTH is supported by affiliate links that use cookies to track clickthroughs and sales. See the privacy policy for details.
MATRIXSYNTH - EVERYTHING SYNTH
