Harmonic sequencing like Daniel Avery (without 1v/oct pitch CV)

video upload by Endorphin.es

"Sequencing melodies without touching the 1V/OCT pitch of your oscillator?
Today we will break down a classic track by @danielmarkavery called Drone Logic where he uses a technique we call harmonic sequencing.

Original track:
Daniel Avery - Drone Logic (2013 © Phantasy Sound)


Daniel Avery - Drone Logic (Official Video)
video upload by Daniel Avery

"Taken from Daniel Avery's Drone Logic LP. Out now on vinyl, digital and CD from http://shop.phantasysound.co.uk, iTunes, or your local record shop."

Yamaha #Synths1974 Live from Japan

Published on Sep 23, 2019 Yamaha Synths Official

Playlist:

#Synths1974 Live from Japan | Avery*Sunshine MONTAGE8 White Performance
#Synths1974 Live from Japan | Avery*Sunshine MONTAGE8 White Performance
#Synths1974 Live from Japan | Avery*Sunshine Artist Interview
#Synths1974 Live from Japan | MONTAGE8 White OS v3.0 Pattern Sequencer | Yamaha Ginza Store
#Synths1974 Live from Japan | Michael Patrick Artist Interview
#Synths1974 Live from Japan | Michael Patrick MONTAGE7 White Performance
#Synths1974 Live from Japan | Tori Letzer MONTAGE6 White Performance
#Synths1974 Live from Japan | Tori Letzler Artist Interview
#Synths1974 Live from Japan | CP88 Stage Piano Performance | Manuele Montesanti
#Synths1974 Live from Japan | CP Stage Piano OS v1.2 | Demo
#Synths1974 Live from Japan | MONTAGE6 White | OS v3.0 New Features
#Synths1974 Live from Japan | MONTAGE8 White | OS v3.0 Pattern Sequencer
#Synths1974 Live from Japan | Innovation Road - reface Battle
#Synths1974 Live from Japan | Yamaha Synth Designers Interview | Innovation Road
#Synths1974 Live from Japan | Innovation Road Tour pt.3
#Synths1974 Live from Japan | Innovation Road Tour pt.2
#Synths1974 Live from Japan | Innovation Road Tour pt.1
#Synths1974 Live from Japan | FM-X Engine Demo with Hans-Peter Henkel
#Synths1974 Live from Japan | CP88 Stage Piano Demo with Manuele Montesanti | Yamaha Ginza Store
#Synths1974 Live from Japan | Avery*Sunshine MONTAGE8 White Performance | Yamaha Ginza Store
#Synths1974 Live from Japan | Michael Patrick MONTAGE7 White Performance | Yamaha Ginza Store
#Synths1974 Live from Japan | MODX OS v2.0 Demo with Dom Sigalas | Yamaha Ginza Store
#Synths1974 Live from Japan | Tori Letzler MONTAGE6 White Performance | Yamaha Ginza Store
Yamaha Synth Story

Modular on the Roof 4 - Myles Avery

Published on Nov 9, 2016 pyrofiliac

"Myles Avery, local Brooklyn electronic artist and producer, brought his two eurorack cases, monome, and beatstep up to the roof on a chilly sunday afternoon for this groovy session."

Realistic (Moog) MG-1 control board

flick by Avery James Brooks
(click for more)

Inside an MG-1

Korg MS10 Vintage Mono Synth SN 131552

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

"Daniel Avery used one of these on his debut Drone Logic and in recent years it has been popularised by youtuber look mum no computer who swears by it as a cheaper and better alternative to the Korg MS20"

CLICK FOR MORE »

Echigoya Music

via Depressed Children

"Another fantastic synthesizer shop in Tokyo. Much smaller than FiveG, but the selection was very good... Minimoogs from floor to ceiling!"

More pics here.

via Avery

CLICK FOR MORE »

Realistic (Moog) MG-1 re-assembled

flickr by Avery James Brooks
(click for shots of the inside)

"After removing most of that awful melting foam"

1975 Korg 900PS Analog Synthesizer

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

"Super rare Korg analog synth - you'll be hard pressed to find another one of these in this condition, much less find one at all. Everything works except vibrato (maybe a quick fix? I've never opened it up). Also, like most synths from the era, needs a little time to warm up to stabilize. I just used this on a session with no issues. Really sounds amazing and there's nothing like it. Keep in mind is this 100v Japan voltage but it will come with a step converter transformer box (high quality) to convert to for use in the US. There is also avery unique chromium rod 'touch bar' that runs the length of the keyboard in front of the keys to control: Repeat, Forte, Pitch, Vibrato, Portamento. It works and it's awesome."

CLICK FOR MORE »

Tremklad's Corner Analog Workstation

via Tremklad's Corner (see the site for progress)

"I'm waisting time these days on finalising an enclosure to house this Thomas Henry Drum Voice Synth or Quad Bass++ or whatever it's called and a Sound Lab Mini Synth. For the layout, I'm using Avery Clear See through Labels (prod no 15665 for laser printers). It's not as clear as I thought, frosted like, but the enclosure's color is on the light side so it doesn't show much.
I'm spraying a protective clear coat over everything since the ink doesn't really stay put on the labels. One important advise if you plan to use these labels for your projects, these labels will stick silly if applied on anything else than a powder coated surface, be warned, if you have the slightest offset an need to realign this label you'll end up with a mess..."

Modular on the Roof - Improvising with Eurorack Modular Outdoors

Published on Sep 20, 2016 pyrofiliac

Playlist:
1. Modular on the Roof - Improvising with Eurorack Modular Outdoors
2. Modular on the Roof 2 - Dreadbox Erebus and Intellijel Atlantis sequenced with Korg SQ1
3. Modular on the Roof 3 - Colin Benders (Kyteman)
4. Modular on the Roof 4 - Myles Avery
5. Modular on the Roof 5 - Nick Kwas (W A N D E R T A L K)
6. Modular on the Roof 6: Sean Krames
7. Modular on the Roof 7 - Federico Chiesa (Oora)
8. Modular on the Roof Episode 8: Simone Pomposi [Pianosa]
9. Modular on the Roof 9: Collin Crowe
10. Modular on the Roof 10: Bubba Ayoub [Juggable Offense]

A Synth Dream

Chang sent the following in on the AH list. I've posted Synth Dreams in the past and figured this one was worth a post.

"My dream the other night...

I went to a music shop and bought two new synths. One was called the JP6 by Roland but was not a Jupiter 6. It was built almost like a taller, narrower Korg MS-10 or MS-20, with avery colorful front panel.

The other synth was kind of like a Nord MicroMOdular only when programmed it produced these gorgeous, analog drenched sounds and arpeggios. I and my abovementioned companion marveled at the sounds before the ladder sex. Then at some point later in the dream the guy from the store stole the synth back and I woke up pissed.

I have often dreamt of weird sex. I am only human.

I have never dreamt of synths. I am a geek now. Synths & sex? That's reallly weird."


Someone of course wanted to the know the details. Consider yourself warned... There is no synth content beyond this point, so if you are sensitive towards this stuff, move on...

"YOu ased you sick bastid:

Last night's dream has stuck in my head all day.

I can't figure out which part was the weirdest.

After the cut, there is sexy dreamy nonsense. You have been warned.

So the first weird bit was me having sex with the mother of an old high school friend. Only it was not the actual mother, but some sort of composite. And it began on a ladder. Yeah. When we actually, bedded, I tore away her turtleneck sweater to reveal a large surgical scar down the center of her chest and something written on her abdomen which I cannot remember. At some point earlier in the dream she had told me she had recently recovered from cancer. As we had the dream sex, she moaned, "THE CURE!!! THE CURE!!! THE CURE!!!" which neither took to mean sex with me was a cure for cancer (studies are inconclusive) and not an endoresment for Robert Smith and co."

Now this is a crazy synth dream...

Old-School Synth-Pop Tutorial/workflow Videos by Espen Kraft

Espen Kraft
Published on Mar 27, 2017

Note: this completes the current run of Espen Kraft posts on the site. If you are coming in on the main site you can just scroll down for previous posts in order. If you are coming in directly to this post, click here for all Espen Kraft posts in reverse order. There have been a couple of updates, so be sure you haven't missed anything. These are some great synth videos with that classic 80s feel.

http://www.espenkraft.com
https://soundcloud.com/espenkraft
https://open.spotify.com/artist/1dMWi...

Playlist:
1. Old-school synth-pop tutorial/workflow - Retrowave/synthwave - Free patches Roland JX-8P download
2. Italo Disco - Old-school synth-pop tutorial/workflow - Free patches DX7
3. The Golden Boy - Old-school synth-pop Synthwave tutorial/workflow breakdown & multi track
4. 80s MIDI synthesizer setup explained - tutorial/workflow 2017

Details for each:

CLICK FOR MORE »

I Have Many Interests

via Avery

"i made this mac ad parody based on another parody .... and I realized it probably also describes a large percentage of matrix readers besides myself ;)"

KORG MS2000

synth prep before recording my parts

flickr by Avery James Brooks

Breath of the clouds | Peaceful ambient music with UDO Super 6

video upload by MIDERA

"Today I had a chance to test out a UDO Super 6 when a friend (Avery) visited. They wanted to check out my Jupiter 6 and borrow a friend's synth which was stowed away at my place for a while. They were kind enough to bring the Super 6 along for the ride.

So what did I think of the Super 6? It's a bit hard to say honestly, if only because it was in my studio for about an hour and I only really messed with it for about 20 minutes total, including playing this.

I found the naming convention similar to that of the DW8000 - where things were sort of not easy to understand right away - like MG for LFO (on the DW and I'm sure other Korg's of the era). Whatever, it's more on me for not understanding that aspect.

I did have this weird sort of thinking that... I actually think the System 8 held up really well - and strangely, I actually am starting to think maybe I like how my System 8 looks. How can this even happen... I don't know. I think once you start bonding with things, even if they don't look great they still are really unique in other ways.

That said, obviously the System 8 is sort of on a lower tier than the Super 6 in terms of build quality and everything else.

I will say that I could understand someone parting with a Jupiter 6, Juno 6/60/106, and System 8 in order to grab the Super 6. It really does a lot of those things well. I am actually wondering why not sell the Jupiter 6 for the Super 6.

So now that's point number 2 - how does the Jupiter 6 compare? Well... I think I'll need to sleep on that. Maybe I'll write something similar with the Jupiter 6 and see how I feel about it. I will say that there is an incredible amount of overlap on the two.

I think the Jupiter 6 looks cooler though :P

And something that I tried to hide (because it showed up at the beginning and I removed it) and did hear somewhat throughout this video... I could hear clicking when I pressed the keys even when the attack was set to very slow. I wonder what that's about or if it's some weird thing with the delay? I don't know."

How Do You JUNO? Overview

YouTube via rolandmedia. Note the Roland R8-M.
"The world is watching—get your music out there, promote yourself, and show us how you JUNO! Upload a short YouTube video that shows a creative way you use your Roland JUNO keyboard. Perform your own music, talk about your favorite sounds and features, or do whatever inspires you."
Details here

BTW, if you are up to it, let them know MASTRIXSYNTH sent you in your video.

How to Juno YouTube Videos
Here's the best one so far:

Robbie Ryan "Hey Juno" (Extended Version)

YouTube via iloveanalogue
"This is Robbie Ryan's official entry into the Roland "How Do You Juno?" contest. It features a quick spoken introduction and an extended remix of "Hey Juno." The video features Robbie, his kids Piper and Avery, and a 25 year old classic analogue synthesizer named Juno. You can see and hear more of Robbie Ryan's work at http://www.myspace.com/robbieryanmusik, or see his blog at http://iloveanalogue.blogspot.com You can follow him on http://www.twitter.com/robbieryanmusik and find him on Facebook. Thanks for watching! Feel free to pass this video along to friends and post it on your own page."

This is How I Juno

The Roaring 20s Keyboard Stands - Most Sexist Ever?

via Avery in the comments of this post on the best keyboard stand ever. More pics at The Roaring 20s. Would you be a keyboard stand?

Korg 900PS analog preset synthesizer

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

"This is the rare Korg 900PS analog Preset Synthesizer. There seems to be some confusion about the naming (sometimes called PS900), especially since the face plate says "Synthesizer Korg Preset." The 900PS is quite a basic but very interesting monosynth. The 900PS definitely 'borrowed' some ideas from the Pro-Soloist. Instant selection of 29 different tone colors. From the sweet sound of a violin to the chugging of a steam locomotive. Sensitive soft-touch switches and plentiful controls provide a wide variety of effects including vibrato, repeat, even the harmonics you need for a Hammond organ tone.

The 900PS has 29 presets: Timpani, Electric Bass, Synthe Bass, Piano, Harpsichord, Shamisen, Banjo, Mandolin, Xylophone, Tuba, Bassoon, Horn, Cello, Trombone, Saxophone, Voice, Clarinet, Accordion, Trumpet, Funky Trumpet, Synthe Trumpet, Oboe, Violin, Recorder, White Noise, Scale Noise, Harmonics I, Harmonics II, Harmonics III.
You can edit: Portamento, Repeat, Vibrato: Speed/Depth, Attack Control, Sustain Control, Harmonics Control, Traveler Control (= filter cutoff), Pitch Bend, Forte, Volume.
There is also avery unique chromium rod 'touch bar' that runs the length of the keyboard in front of the keys to control: Repeat, Forte, Pitch, Vibrato, Portamento."

Multivox Pulser - Rare Analog Synth

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

"Up for sale is avery very rare analog synth from the mid 70's The Multivox / Firstman PULSER syntheizer. Although it has presets, it can be partially edited via the left panel for many realtime adjustments. The best thing about this synth is the tone... VERY unassuming It sounds way bigger, smooth than it looks... reminds me very much of an ARP Soloist meets a Korg 770 monosynth meets a Moog micromoog!"

CLICK FOR MORE »

An Interview with Alessandro Cortini

Alessandro Cortini is the man behind SONOIO. He played synths for Nine Inch Nails and brought us the SuONOIO synthesizer produced with Scott Jaeger of The Harvestman.  Alessandro  is known for his use of Buchla systems new and old.  He currently has a new free release featuring remixes from Alan Wilder, Telefon tel aviv, Eric Avery and more. There is also a 7 inch for sale on www.sonoio.org.

The following is my interview with him primarily focused on synths.

1. How did the world of synths start for you?

"I was schooled on guitar, back in italy. I am from a very small town so there weren't a lot of bands to play with... I got asked to "help" and record guitars on a record by a local band, called Autobeat, fronted by Franco Naddei (now francobeat). He was really into synths and electronica, so he basically opened a whole new world to me.... He ended up doing a remix for SONOIO on the upcoming remix record which is very cool, considering he was the one who introduced me to Depeche Mode (Alan Wilder is doing a remix too)."

2. What were your first synths and what did you think about them?

"Besides from my friend's instruments, my first "synth" was a Casio VL series, if I recall correctly, when i was 10 years old. On a more involved level, I personally started with software. The first one was Seer Systems Reality on PC...I moved to mac as soon as i could, and started using Cubase's Neon a lot (a small built in VST). Next were Bitheadz Retro AS-1 for synths and Unity DS-1 for samples, all "synced" to Logic (it definitely wasn't as elegant as it should have been).


Emagic's ES-1 was sort of a "step up" because of its integration with Logic...but didn't sound too good.

Bottom line is that I recall being extremely excited and happy for being able to record and compose on my laptop wherever I was, and didn't see the need for hardware synths.... until I borrowed a minimoog and spent a good 4 hours with headphones, a pencil stuck in a key to keep it going and tweaking knobs: that made it obvious that interface, much more than sound, were the reason why it was worth to commit to a dedicated hardware unit.

My infatuation with the minimoog quickly vanished, and moved onto NordLead, Nord Modular and lastly a small used Analogue Systems modular synthesizer. The AS was the beginning of a long relationship with modulars: for once, there were no rules, no predefined paths and no wrong moves (almost).

I expanded my AS until I sold it in order to buy an old paper faceplate Serge, which was then sold once I got Buchla fever…."

3. I still remember the day you announced you'd be working with Nine Inch Nails. What synths did you use at the time and what was that experience like?

"At the time I was still using my nord modular and AS modular.... The audition was odd: I was basically instructed to play on top of a live recording, which I did. The first two songs I played were Wish (on guitar and synths) and Closer. I remember preparing my little patches on the Nord Modular for the audition... I wish I kept those sounds cause they were pretty funny.


The whole NIN experience was amazing, especially the time in the studio working on Ghosts.
I have to admit the reason I left was touring, which became a bit too strenuous and not enjoyable anymore.

I got very involved in the studio side of things: I feel much more at ease working on music in a studio environment than performing live. Live performance always feels like a test, to different extents, generally with little room for spontaneity (my opinion, of course)."

4. Did you explore any interesting synths or new forms of synthesis at the time? I recall Trent Reznor used the Dewanatron Swarmatron for "The Social Network" He is also known for having a few coveted pieces of gear including one of two Waldorf Shadow XTks.

"Trent has a studio full of toys so I had the chance to play with a myriad of instruments I have never seen or heard before...but in the end I would always gravitate towards the modular."

5. You are known in synth circles for you use of Buchla modulars. How did you get introduced to them and what was it that gravitated you towards them vs. other synths? How do you approach the Buchla and how has it impacted your music?

"When I was teaching synthesis at Musicians Institute I basically had to write the curriculum myself. Part of it included an introduction to the history of these instruments and I remember being completely mesmerized by some of the Buchla photos I was able to track down... the way the instrument looked like a toy, like a self contained instrument that first and foremost called you to play with its looks.

I remember when Don announced the 200e series in 2004: I printed the whole site so i could have in my student role book and read it during breaks... I was obsessed.

Peter Grenader was responsible for introducing me to historical Buchla records such as Subotnick's Sidewinder and Sky of Cloudless Sulfur, and his Plan B modules kept my hunger for Buchla inspired technology in check for a while... until I was able to afford my own 200e system.


I am fortunate enough to own both a 200e and a vintage 200 system."

6. How do the Buchla 200e and 200 compare in your opinion, specifically in regards to sound and interface?

"I would say the interface is very close, unless you start analyzing high density 200e modules such as the 251e, where there's a lot going on in a small space. Soundwise, there are similarities, yes, but I see them as two different instruments, and approach them as such.


I love the 200e's 259e wavetable waveform generators, and the ability to use patch storing in a creative way.The 291e is undoubtedly superior to its 200 version, in my opinion. The 222e/223e input port is the culmination of Don's 40 years tinkering with touch surfaces.

The 200e has its own sound and you'd be disappointed if you wanted it to sound like a 200. It just doesn't do it well, mainly because it wasn't designed to recreate that aspect of the 200 instrument, in my opinion, but mostly its interface, applied to modern technology.

7. Recently you've been using the Teenage Engineering OP-1. What are your thoughts on it? How do you like working with it, specifically the physical design and interface, and of course as an audio processing tool?

"I think the OP-1, with its limitations and quirkiness, is a very creative instrument. I can't deny being a bit disappointed by the electro style demos that started popping up once it was announced, but as soon as I got my beta unit it was undeniable it could be used to do completely different things. It goes wherever I go!!! I enjoy the well laid out interface and its sound engines, which are fairly unique in their incarnation. It's a great sketchpad for ideas and sound design, and I have been using it on tour as a vocal effect also."

8. Aside from the Buchla and OP-1, what other synths and/or forms of synthesis do you find yourself gravitating towards when experimenting with sound and music?

"Definitely the more odd looking/sounding ones, preferably without a keyboard."

9. You recently worked with The Harvestman on the SuONOIO. How did that come about and what was that experience like?

"Once I finished recording the first SONOIO record, Blue, I wanted to come up with an interesting product to accompany its release. Something similar to a Buddha Machine, but playable, and something original like a BugBrand synth, but still linked to the album release.... It became clear that it had to be an analog/digital hybrid. Scott was the first to come to mind, as i believe he is extremely talented in bringing the advantages of digital design to an analog interface. After a few phone calls and 3 weeks later, we had the 1st prototype ready....2 protos later, the instrument was done. It was a very quick back and forth collaboration... almost makes us feel guilty, since we had so much fun making it!"

10. Do you see yourself more as a performer, an explorer of synthesis or a bit of both depending on context?


"I really just like playing with instruments and come up with interesting sounds. I am not too good at describing what I do... I just do it!"

11. Is there anything else you'd like to share with our readers?


"I am working on releasing my first instrumental record...it should be out early next year...i am very excited to release it!"

Photos above by Sarah Sitkin



You can find Alessandro Cortini's work at http://sonoio.org/. He currently has a new free release featuring remixes from Alan Wilder, Telefon tel aviv, Eric Avery and more. There is also a 7 inch available.