some sounds resonate with us in mysterious, intriguing ways, as if they were part of something bigger, as if they were holding answers.
ALT is an analog synthesizer designed to expand the realms of sound design, through intricate motion.
preorders available on kickstarter on may 22nd.
Voices
ALT hosts five voices, each with different waveform shaping possibilities, each offering stereo panning, enabling a rich, spatial audio experience.
a harmonic quantizer lets you chose scales, and play beautiful melodies, either with the faders, or with quantized pitch modulation.
Alter
sound alteration can be achieved with a stereo filter inspired by the Korg MS-20, and a wild stereo delay with infinite feedback.
Movement
initiate sound motion with a modulation pin matrix. the matrix has 4 adjustable modulation sources: 2 LFO, 1 random step generator, 1 envelope follower; and 17 destinations.
light and sound sensors make it react and evolve with environmental stimuli.
all of which allow for complex rhythmic patterns, unheard harmonies, and precise sound design.
"Gills is a standalone desktop unit using the Ksoloti Core
Ksoloti is an environment for generating and processing digital audio. It can be a programmable virtual modular synthesizer, polysynth, drone box, sequencer, chord generator, multi effect, sample player, looper, granular sampler, MIDI generator/processor, CV or trigger generator, anything in between, and more.
Ksoloti is an environment for generating and processing digital audio. It can be a programmable virtual modular synthesizer, polysynth, drone box, sequencer, chord generator, multi effect, sample player, looper, granular sampler, MIDI generator/processor, CV or trigger generator, anything in between, and more.
The Ksoloti Core is a rework of the discontinued(?) Axoloti Core board. In short, Ksoloti aims for maximum compatibility with the original Axoloti, with some layout changes and added features. The Axoloti Core hardware board became unavailable at some point, but because Johannes graciously open-sourced the schematics (and since the global part shortage somewhat improved) it was possible to recreate a board nearly fully compatible to the original: enter the Ksoloti Core.
Using the Patcher software on your computer, you create your own sound patches by placing and connecting sound objects, or explore patches other users shared. You can edit any existing patches and even objects, or write entirely new ones from scratch. When you are satisfied with your patch, you can upload it to the Ksoloti Core’s internal memory – or save a collection of patches on SD card – so you can play it without your computer connected.
The fun really starts when you connect pots, buttons, LEDs or displays, sensors and more to control your patches and make Ksoloti a tactile and highly playable hardware instrument.
Board dimensions and layout aside, the two main hardware differences to the original Axoloti Core are:
Ksoloti Core does not have any audio and MIDI jacks on-board.
Ksoloti Core has more pins and functions broken out to headers.
Full information on getting started with the Ksoloti can be found on Ksoloti github here: https://ksoloti.github.io/"
Thank you for watching.
My name is Meska of the statik collective . I've been making mostly "dark and expérimental" music for more than ten years now, i'v learn so much online, now it's time for me to share my knoledge, my exploration and this channel is a place to talk about the tools, sound design and techniques to make music with.
If you'd like to support the channel consider buying music from bandcamp ;)"
"Stray Drum" is a macro oscillator firmware based on FM and ring modulation for the Versio platform. This is a beta release, and it contains rough edges; even some parts of the front panel aren't in use yet, such as the audio inputs, the Trig button, and one of the switches. The pitch input can track V/Oct after calibration. However, a calibration mechanism has not been implemented yet. Pitch: Spans 5 octaves and can track V/Oct but requires calibration.
Spread: Introduces 2 harmonics to the root. Allows seamless adjustment between different chords and dissonant ratios, ideal for percussive sounds.
Feedback: Applies FM feedback to the operators, introducing harmonics up to noise into the base signal.
Attack: When turned to the left, it adds transitional noise that is pitch-filtered.
Decay: Provides a traditional decay effect.
Mode: Alters the modulation function applied to the base signal. It transitions seamlessly from no modulation to exponential decay to a sine wave. In the sine wave section, it can change the modulator frequency, up to a ratio of 5.
Amount: Governs the primary modulation. In exponential decay mode, moving it to the left produces ascending pitch, while moving it to the right creates a descending pitch. Extreme left and right settings select the longest pitch-shifting times.Now, switch to sine wave mode. When the amount is set to the right, it controls the degree of FM modulation. To the left, it adjusts the level of AM modulation, transitioning into ring modulation where the modulator transforms from a sine wave into a square wave.
How it sounds
With this set of controls you can shape its sound to powerful kick drums, classic snares and hihats. Percussive sounds like congas, claves, metallic objects, bells, electronic claps, etc. It also works as a chord machine, giving a wide range of deep and obscure chords perfect for dub techno stabs. Especially when selecting a chord, apply FM to it and some reverb/delay effect."
Left: Executive Director, Michelle Moog-Koussa, poses for a picture with Bob Santelli, Executive Director of the Bruce Springsteen Archives and Center for American Music alongside Herb Deutsch's
R.A. Moog Minimoog at the LBJ Presidential Library in Austin, Texas.
"The Bob Moog Foundation's Executive Director, Michelle Moog-Koussa, and Board of Advisors member Francis Preve recently attended the opening of the Music America: Iconic Objects from America's Music History exhibit at the Lyndon Baines Johnson Presidential Library in Austin, Texas to celebrate the inclusion of a rare R.A. Moog Minimoog from the Bob Moog Foundation Archives.
The R.A. Moog Minimoog, which belonged to electronic music pioneer Herb Deutsch, is serial number 1094 and is one of only 210 R.A. Moog Minimoogs to have been manufactured. The synthesizer was given to Herb by Bob Moog in 1971.
The rare Minimoog synthesizer was chosen to represent Bob Moog's indelible legacy as someone who created instruments that revolutionized the face of music by bringing a brand new palette of sounds to the performing musician, as well as honor Herb Deutsch for the significant role he played in the development of synthesizers and electronic music.
Other objects in the exhibit include: Thomas Edison's wax cylinders, Jimi Hendrix's guitar, Janis Joplin's pants and letters, Dizzy Gillespie's trumpet, Arlo Gurthrie's hand-written song lyrics, and much more.
The exhibit will be at the LBJ Presidential Library from now until August 11, 2024. It will then travel to four other presidential libraries over a two-year period."
"We are excited to announce that thanks to IK Multimedia, everyone who purchases a ticket for our Moog Source raffle will receive a download code for the Syntronik 2 Sorcerer!
Normally priced at $49, the Syntronik 2 Sorcerer is a virtual synthesizer built by Erik Norlander using the exact Moog Source being raffled. Following the end of the raffle on February 26th, all ticket purchasers will receive an email with download instructions.
The Source, serial number 3948, is an excellent condition vintage synthesizer signed by Bob Moog. It features rich sound quality and a technical lineage rooted in the legendary Minimoog. The Source is lauded for its sequencers, sample and hold, arpeggiator, presets, unique data wheel, and patch memory storage. The synthesizer features a mylar touch control panel, single-knob functionality, and the trademark Moog sound.
THE RAFFLE ENDS IN ONE WEEK! Tickets for the raffle are $20 each, 6 for $100, 14 for $200, and 40 for $500.
The raffle is open internationally.
As an added bonus for this raffle only, get a free 2024 Bob Moog - His Life and Work 90th Birthday Commemorative Calendar when you purchase a bundle of 6, 14, or 40 tickets. This offer is valid until the limited quantity of calendars runs out. This offer does not apply to the purchase of individual tickets."
"My acquaintance with SOUND OBJECTS @SoundObjects about 6 years ago. Then I bought myself a Sound Object 2 and a Sound Object 5. The instruments are very interesting and unusual, pushing for sound experiments. And after a lot of time, the guys created a synthesizer called Gekko and it is now in my collection. His time has come."
"I gave away my test equipment (two palettes of it at least) and I am happy about that! Because it became the foundation of a new tape and test equipment studio that you too can record in now. It is situated at the non-profit association Sonoscopia in Porto, Portugal. Sonoscopia is a unique place run by musicians and sound artists. Every nook and cranny is filled with objects made by artists who did residencies there. It is truly one of the nicest places in experimental music I have found across the world.
I gave a workshop on how to use this equipment for music, and here is the short version of that. If you are interested in the full process and more knowledge, the unedited version is on my Patreon.
"techniques (physical modeling and granular synthesis) in an easy-touse semi-modular package. It’s laid out a bit like an acoustic instrument; the GRANULATOR module acts like the player’s touch, exciting one or more tuned objects (here, the RESONATOR module, based on physical models of resonant objects) that come together in a central resonating body (the BODY module, also physics-based)."
"Last but not least we look at Kaivo. Kaivo is what I call experimental physical modeling. The instrument itself is fully customizable (modular) and when you combine that with a granular sound engine and a physical modeling section you’re going to get some wild results. As you’ll see in the video what you select for the resonator and for the body (the physical modeled modules) has a huge impact on the final timbre that’s produced. Note that unlike PianoTeq or String Studio this instrument requires you to use samples. Therefore physical modeling is just one aspect of this instrument and is used more like an effect that you can blend to taste rather than a dedicated method."
"I try to figure out all the things that granular synths can do with the help of the granular synth daddy himself, Barry Truax.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
0:00 Intro
2:05 Time Stretching
5:09 Barry Truax's Granular Synth
7:49 What Is Granular Synthesis Actually
12:25 Outro"
Kaivo is a software instrument combining two powerful synthesis techniques (physical modeling and granular synthesis) in an easy-touse semi-modular package. It’s laid out a bit like an acoustic instrument; the GRANULATOR module acts like the player’s touch, exciting one or more tuned objects (here, the RESONATOR module, based on physical models of resonant objects) that come together in a central resonating body (the BODY module, also physics-based)."
"Synthesize reality with Objekt, a physical modeling synth for new and unique acoustic sounds. Discover the character of organic instruments and real-world materials. Dynamic, playable, and easily customizable.
Producers and beat makers are on the hunt for new sounds with an acoustic flavor. Sounds that can’t be easily duplicated by just any plugins or samples. That’s why Objekt doesn’t play back pre-recorded instruments, it synthesizes them.
Explore hundreds of patches ranging from bells, mallets, percussion, stringed instruments and more. Move any parameter to see what happens. Where you end up might sound familiar or like an imaginary instrument that doesn’t exist. Until now."
Learn Physical Modeling Synthesis with Objekt from Reason Studios
"Objekt Modeling Synthesizer for Reason is a whole new type of synthesis for most people but that's why we packed it into the form factor that would be both easiest to learn and most powerful when you've got it down — a classic Reason Rack synth.
In this deep dive, Ryan will show you how to get started with physical modeling synthesis and how you can either build sounds from scratch if you're a sound designer or modify existing sounds in entirely new ways if you're a musician looking to get inspired.
Contents of this video:
0:00 - Introduction
1:53 - Real world sounds
3:16 - Basic Objekt patch
7:12 - Objekt’s mixer
8:38 - Exciter Impact section
13:55 - Exciter Noise section
18:40 - ADSR vs CPDDD
24:27 - Randomizer
27:41 - Tuning offset"
Objekt is an open-ended physical modeling synthesizer, meaning it models the properties of acoustic instruments and gives you control over those as parameters. Instead of choosing between pre-made options, it opens the hood to the inner workings of physical modeling synthesis so that you can experiment and approach it like what it really is: a synthesizer.
At the heart of Objekt are three resonating objects, think of them like the instrument itself, with in-depth control to create anything from a string or bell to a skin or something yet unheard. The instrument is then set in motion by the Exciter section. From the short impact of a stick to a wash of noisy static, the Exciter lets you play the instrument in dynamic and wonderful ways. Tweak the sound to suit your needs or invent entirely new instruments with just a few parameter changes. Objekt generates all sound in real time without relying on pre-recorded samples which makes it dynamic, playable, and easily customizable—but also fast and lightweight.
Need somewhere to start? Explore over 500 expertly crafted patches covering a wide range of sounds. Objekt excels at both realistic reproductions and new imaginary instruments that doesn’t exist. Until now. Move any parameter to see what happens. Use the powerful randomizer to slightly alter a patch or morph it to a brand new direction. Start from scratch and see where you end up. Objekt’s designed to be explored on your terms.
Objekt is perfectly integrated into the Reason Rack workflow with the familiar browser, native undo, CV and audio cables, and more. You can even connect any audio signal to the External Input and use any sound to excite the instrument’s resonators to incredible effect, think of it like an “acoustic vocoder”.
Features Open-ended physical modeling synthesis for unique acoustic sounds Dynamic, lifelike, and easily customizable Powerful randomizer for instant variation and inspiration Over 500 included patches Included with Reason+ Requires Reason 10.1 or later. The included Combinator patches require Reason 12.
"The user gains the architect’s role by creating dialogues in a 3D simulation scene based on gravitational interaction. A force that is responsible for the macro-formal evolution of our universe.
Creation calculates the gravitational interaction between up to 999 objects and 5 masses (with GPU) and renders the cumulative sound from this dynamically evolving space data.
Each object itself represents an oscillator with a rich sound synthesis engine and unique modulation capabilities
"Live recording by Eduard 'Papa Srapa' Srapionov (b. 1961), an innovative and eccentric Russian experimental/noise sound artist from Rostov-on-Don, primarily known as a designer and creator of peculiar DIY synthesizers, electroacoustic instruments, and various music/non-music interactive objects and sculptures, often built from junk, cheap toys, household items, etc.
Srapionov began his career in the eighties as an audio/light engineer and stage technician for Valery Posidelov's band Day and Evening («День и Вечер»), as well as a bassist for several jazz ensembles and rock groups – most notably, Zazerkalje. Since the early 2000s, Papa Srapa began performing solo with an array of unique self-built electroacoustic instruments, synthesizers, drum machines, effects processors, heavily modified turntable with prepared records, and various unidentifiable sound objects.
Most of his recordings are self-released on CDr – often each copy has a unique handmade artwork and cover design. Papa Srapa also released a few limited edition albums on Ginjoha (Japan), Kotä and Nazlo Records (Russia)."
Emission live #272 - AODYO OMEGA, le poly à modélisation physique (ft. Deep Forest & Adrien Perinot)
video upload by
A few details and pics via their Kickstarter campaign follow.
"In December 2020, thanks to Kickstarter contributors, we achieved a successful campaign for Anyma Phi, the compact desktop monophonic physical modelling synthesizer. Six months later, we delivered it to our contributors.
Since then, we listened to the users feedback and worked on a more powerful and full featured instrument: Anyma Omega. Based on Anyma Phi synth engine, we designed Anyma Omega, a powerful hybrid polyphonic and multitimbral synthesizer. Its physical modelling synthesis engine allows to create new sound universes inspired from the real world, where objects collide, vibrate, and resonate.
Anyma Omega comes in two versions: desktop and keyboard, both including a large display and many controls, with unique sensitive wooden surfaces to feed resonators and enhance expression.
Whether you play live or compose music in the studio, design your own sounds or play presets, Anyma Omega will become a flexible and original addition to your setup.
PHYSICAL MODELLING
Anyma Omega blends the classic ingredients of electronic music with physical modelling technology, allowing it to simulate acoustic sound sources, such as strings or reeds, as well as resonating structures, like wood, glass, or metal.
POLYPHONY
16-notes polyphony with all the richness of Anyma's synthesis engine.
MULTITIMBRALITY
4 sound parts splitted, layered or even chained.
EXPRESSIVE PERFORMANCE
Proven Fatar® velocity sensitive semi-weighted synth action keybed with aftertouch for musical and expressive playing.
Numerous controls to enrich the performance and unique sensitive wooden surfaces (ribbon and touchpad) to feed resonators and enhance expression.
EASY EDITION
Easy access to 14 macro parameters controlling the main characteristics of patches.
Tweak every parameter of every module with the large display and controls, unleashing the power of a semi-modular synth at your fingertips.
Direct access to the various modules thanks to the interactive synthesis path diagram.
ALEAGEN
Create aleatory consistent patches, by pushing a single button, based on smart random algorithms.
POLYMORPH
Beyond polyphony, the exclusive PolyMorph feature can provide extra width, density and depth to the sound: fine-blend panspread, unison, expression and morphing for every single note.
TUNING AND MICROTUNING
With Anyma Omega you can use any scale or tuning to make your sound travel all around the world and the eras.
Explore our multiple microtuning presets. You can also load Scala (.scl) or Anamark (.tun) files in Anyma Omega by converting them to MIDI Tuning standard (MTS) format. In addition to importing and exporting tunings, there are several options that can be used to define and edit tunings directly on the instrument: reference tone adjustment, 12-tone octave scale, tuning table for each note and n-EDO scales.
CONNECTIVITY
With a lot of input and output ports, Anyma Omega easily connects to all the machines, synths and controllers. It is compatible with any standard MIDI controller, including our own electronic wind instrument: Sylphyo.
Plug external audio and use Anyma Omega as a powerful modular FX processor.
FREE EDITOR / LIBRARIAN
Free multi-platform editor/librarian inherited from and compatible with Anyma Phi's sound bank. Organize, archive and share your Anyma patches and performances.
Based on the Anyma Phi monophonic and monotimbral sound engine, Anyma Omega is polyphonic and multitimbral. Play up to 16 notes simultaneously and combine up to 4 sound parts (individual patches) in a performance. Route audio signal from one part to another to create monstous patches.
Anyma Omega Desktop provides an advanced user interface, making the use of an external editor quite unnecessary. We kept the macro parameters matrix of the Anyma Phi available, now available simultaneously thanks to the big TFT IPS color display and its 16 push encoders."
"'Harmony of the Spheres' is a truly remarkable soundset for Waldorf Blofeld synthesizer with 55 exclusive presets created by the well-known sound designer and sound therapist Otto K. Schwarz.
The soundbank is dedicated to the ancient philosophical concept of the harmony of the spheres, also known as Musica universalis. The ancients spoke concerning the musical and mathematical structure of the cosmos. They believed that the movement of heavenly bodies gives rise to harmony, since it is expressed by distances equal to the consonant musical proportions.
In this bank you will find multi-layer pads that take you beyond the event horizon and dissolve into distant outer space; amazing arpeggios that convey the sounds of near-Earth space objects and allow you to enter the unexplored territories of the unknown planets; impetuous leads piercing dark matter with their bright sound frequencies; polyphonic keys, colored by the radiation of the starry sky.
Whether you're creating ambient, soundtracks, EDM or experimental music, this collection of sounds will be at your service!"
United Plugins announces availability of JMG Sound Cryostasis SPECTRAL INERTIA effect enabling progressive audio smearing until infinitely frozen in time
PRAGUE, CZECH REPUBLIC: independent development teams federation United Plugins is proud to announce availability of founding partner JMG Sound’s highly-creative Cryostasis plug-in — an appropriately-named SPECTRAL INERTIA effect enabling progressive smearing any audio of until it is infinitely frozen in time, thanks to spectral effects and controls that shape the character of the frozen tail to blur audio into atmospheric soundscapes — as of October 6…
Cryostasis itself is defined as being the reversible cryopreservation of live biological objects; on the face of it, then, it is also an appropriate name for an effect plug-in placing music into a state of inertia — if it is possible to imagine such a thing. Thankfully, the imaginative team at JMG Sound have come up with a spectral freeze effect called Cryostasis to do just that, so users can concentrate on taking their music into a different direction, both speedily and easily, thanks to its spectral effects and controls that shape the character of the frozen tail to blur audio into atmospheric soundscapes. All are controlled by a continuously variable ‘freeze’ knob or an auto switch that can be timed in milliseconds or musical measures. Manually control the freezing process with the aforesaid knob or tell Cryostasis how quickly to take the sound from normal to frozen, in other words.
What is more, though, is that there is more to the superficially simple-looking Cryostasis plug-in than might first meet the eye. Examples of this include the SIZE parameter, which will change the time length of the spectral window, which will in itself completely change the sonic character — lower values sound unnatural and robotic, while higher values sound smoother and atmospheric. And balancing out the easy-on-the-eye GUI (Graphical User Interface) is WASH, which controls the amount of reverb that is used to diffuse and smoothen the ‘freeze’ effect into a lush and smoothly modulated reverb tail. Try creating spaced-out ambience and soundscapes that dissolve into the ether — surely sweet (ambient) dreams are made of this, while it can even be used as a sound design tool to create frozen vocal loops to load into a sampler!
Saying that, users can quickly fine-tune the resulting frozen sound colour with four filter controls — PITCH (controls the depth of pitch shift scaled by the ‘freeze’ control, with a range of -24 to +24 semitones); FILTER (controls the HP — high-pass — and LP — low-pass — filtering depth scaled by the ‘freeze’ control); LOFI (controls the amount of BITS and RATE reduction scaled by the ‘freeze’ control); and SHIFT (controls the frequency shifting scaled by the ‘freeze’ control, with a range of -1kHz to +1kHz) — to achieve even more unique results. Creatively coupling that LOFI magic with lower SIZE values makes creating dirty robotic glitches to washed-out dusty soundscapes a breeze. It is also possible to create a tape-stop-type effect — whereby the sound appears to slow down over time until it is completely frozen forever — by coupling the ‘freeze’ effect with the built-in PITCH shifter.
And as if that was not enough to get Cryostasis users shaking with excitement — and hopefully not from an energy crisis-induced cold when working with Cryostasis in colder climes, it is well worth noting that it also has continuously variable freeze functionality — unlike most other freeze plug-ins, so users can smoothly transition between freeze states, or even partially freeze to create time-smearing effects.
As always, JMG Sound’s highly-creative Cryostasis plug-in shares several admirable attributes with fellow family members now numbering 26 plug-ins, each playing their part in United Plugins’ proliferating product portfolio, providing maximum audio quality by using internal 64-bit audio processing as well as being able to handle any sampling rate — why not try it at 192 kHz (or even higher)? — and also the fact that it intelligently detects whether it makes sense to perform any processing at all; if not, it temporarily turns on sleep mode, meaning it requires virtually no CPU power at all, thereby saving computing resources for other processes. Putting a photorealistic 3D yet flexible GUI to the test with Cryostasis, likewise, leaves its users with the impression that they are working with real world hardware; however, it easily adapts to their needs since they can always drag the arrow at the bottom-right corner to change its size — smaller to save precious ‘screen estate’ or larger to make it easier on the eye and, as a result, even easier to use than it already is.
It is fair to say, then, that there are (almost) endless possibilities for Cryostasis users to craft creative transitions that are applicable to single tracks or whole songs in the studio or on stage. Surely getting frozen has never been so much fun — or so quickly reversible!
JMG Sound’s Cryostasis is available to purchase for a time-limited introductory promo price of only €19.00 EUR until November 13, 2022 — rising thereafter to its regular price of €79.00 EUR — as an AAX-, AU-, VST-, and VST3-compatible plug-in (using internal 64-bit audio processing capable of handling any sample rate) directly from its dedicated webpage (https://unitedplugins.com/Cryostasis/), where a 15-day, fully-functional trial version for macOS 10.10 and newer and Windows 8/10 can also be downloaded for free.
Note that no iLok, dongle, or internet access is required for Cryostasis activation. (All United Plugins software uses license files for activation and owners can freely use purchased software on all their computers as long as they are the user.)
"Rob Hordijk explains his modular designs at the European Electro Music Event 2012 that took place at Mallorca - Spain."
Sad news in via an anonymous reader today, who spotted the following from Pedro Trotz on Mod Wiggler. Those of you that have been following the site should be familiar with Rob Hordijk's work through numerous posts on the site. Two of his most famous creations were the Benjolin and Blippoo Box.
"I am deeply saddened to announce that my friend and mentor, Robert Ernst Hordjik, passed away earlier today. He was an important part of my life and I am sure also of many others here. He will be greatly missed.
I first met him in the Chateau Sonore event he organized in Belgium, in July 2007. There, lots of similar souls shared our passion for electronic music and electronic instruments. There was a lot of G2 and modular talk, but also performances, instrument demos, concerts, rehearsals... That's when I first heard of the Blippoo, one of his first creations that made him famous.
A few years later he started his work on the modular system that has his name. I felt so grateful for his initiative in Belgium that I couldn't help but planning a follow-up, this time in Mallorca. This time, our meeting had a lot less participants but it was an even better opportunity to make friendships that will last for a lifetime. I believe that in this meeting, in a trip we made to the north coast of the island, between the mountains of the Serra de Tramontana and the Mediterranean Sea, is when Rob decided that he wanted to retire to Mallorca. I can't blame him. It was the middle of January and we were having a pic-nic on the side of a curvy road facing the sea and enjoying what we natives call "the little summer" which is something that happens from time to time in mid-winter when the sea suddenly calms and temperatures rise up to 20 degrees Celsius.
We had a Benjolin workshop, we talked a lot about his design philosophy, and I was happy to record the first series of videos about his modular System. The ones you can find in my Youtube channel. After that series of videos I asked him to build a modular for me and soon enough he came back to Mallorca to deliver it in person.
During this visits I introduced him to Biyi and they automatically made a great connection. Biyi went a few times to The Hague to assist him in the building of Blippoos and modular systems. He even built his own under Rob's supervision. We all three had the idea to start a company in Mallorca where Rob would make the designs, Biyi build the stuff and I would take care of the business side of things. It was all set-up. As soon as his obligations in the Netherlands were fulfilled he would come to Mallorca. The moment arrived but almost at the same time his illness and COVID made things extra difficult.
In one of our talks he said to me that the Benjolin, the Blippoo and the Modular System were his dearest creations and that he was honored to have made so many people happy with them. Let's honor his memory by using them and making the most beautiful sound imaginable.
Born in 1958, self described "synthesizer designer and builder,[3]" Rob Hordijk began learning electronics from around age 12 after developing a fascination with the glowing tubes in stereo amplifiers.[1][4] When he was 14 his father who had noticed young Rob's interest gave him a subscription to an electronics course, which lead to an examination for a ham radio license.
Trained as a designer and not a musician, Rob came from an arts background, studying as a sculptor and jeweler in the 1970s. He approached electronic music in a similar spirit to abstract painting, inspired by the ambient works of Brian Eno, and Luigi Russolo's Intonarumori instruments; where attempts were made to blur the boundaries between music and art:[1]
"In those days I was quite interested in the idea of sound as a material to be sculpted, in the same way you can sculpt wood and metal. [...] You can make mechanical objects that make all sorts of sounds, or you can make electronic objects that make all sorts of sounds. but what I like about the electronic objects is that you don't see what makes the sound. [...] It opens the way to sort of make it a bit mysterious."[1]
In the early 1980s as various integrated circuits, micro-controllers, and processors became available to hobbyists, Rob began buying things such as the early Curtis chips and RCA 1802 based SuperElf processor board out of curiosity more than professional ambition.[1][5] Later switching to an Apple ][+ and the Mountain Hardware Music System, for which he developed a Forth language version that could do all sorts of stuff with the Mountain cards, like KarplusStrong-type plucked string sounds and pitch shifting.[5] His first introduction to a DSP was to the DMX1000 around 1984. In 1986 he switched to Atari ST and an Akai S900.[5] These days he is a Clavia Nord Modular G2 aficionado.[5]
"I am not really a gear freak. But I do believe in mastering synthesis techniques, in making synthesis a second nature, so to be able to fully concentrate on the creative processes."[5]
After finishing art school, Rob also completed 11 years of study in Information Technology, learning about design methods and inventory control.[1] As well as his own instruments Rob worked on the Nord Modular G2 including contributing many patches to the Nord Modular online community, and wrote a comprehensive unofficial manual of the instrument. He has produced music for environments, buildings, film, and dance performances, but is yet to produce an official release on a label.[5] As of 2022 Rob has announced his retirement and will no longer be taking orders.[6]
Design Philosophy Rob's personal definition of a modular synthesizer is more to do with modulation than modularity; referring to functional modules as 'sections'. Everything is supposed to be able to modulate or effect everything else. All levels within the system are optomised for comparability with one another.[1]
Gek.kon is a monophonic digital lo-fi synthesiser. Oscillator generates a waveform that contains digital artefacts, which we can smooth with a simple analogue filter. Smoothing the waveform brings new sounding, giving us a spectrum from lo-fi till vintage timbres.
Gek.kon has:
𝄪 Syncable DCO 1 & 2 generating sawtooth, triangle, sine and pulse waveforms
𝄪 Modulator LFO applied to Oscillators, Amplifier, PWM and Envelope of the Filter
𝄪 Classic Envelope Generator ADSR
𝄪 Dual analogue filter 6 db per octave
𝄪 Filter Phase Inversion
𝄪 Extra effect features like overdrive, fuse, noise and distortion
"'Ambient Jam' is a collection of 50 performances for Korg Wavestate. It includes: 26 Pads, 15 Strings, 9 Textures. The bank covers a wide range of atmospheric timbres: vintage/retro, lo-fi, tape-like, noisy, warm, deep, dreamy, soft, evolving, moving, massive, epic, bright, orchestral, cinematic, dark, distorted, cold, distant, metallic, tense, atonal, non-harmonic, fx-like, soundscape... They will fit many genres, styles, arrangements, and mixes.
"This is quick demo video of the microphonic soundbox that I built for a client. It's fun to search sounds in different materials and objects and get unexpected results. Some thing sound way better than expected and some things make quite boring sound.
I know, the light batteries died by the end of the video."
"Silhoutte Eins Optical Synthesizer at Superbooth 2022
Objects placed on the light table create the source audio waveforms in real time.
The user interface consists of an on-monitor plexiglas hardware controller which addresses 4 software pages.
20 potentiometers and 21 buttons give you quick access to the functions.
All values are shown directly behind and around the controlling potentiometer or button.
SOS says ... this is not unlike Daphne Oram's famous Oramics machine reinterpreted for the 21st Century.
"soundscape synthesizer
