VCI-300MkII DJ controller from Vestax
Vestax has introduced the VCI-300MkII, an updated dj controller, featuring improved platter sensitivity control, aux input to master direct thru connections and higher output master and headphone gain levels.
Vestax’s platter technology has been enhanced with new adjustable Touch Sensor knobs that allow quick and accurate control over platter touch sensitivity. Multiple sensors allow the two platters to simultaneously serve as push-pull cue and scratch control as well as up and down pitch manipulation.
The VCI-300MKII includes Serato’s ITCH DJ Software and can be powered through USB or by using the Vestax SDC-7 power supply, sold separately. When connected to the power supply, the controller offers higher master and headphone gain levels, ideal for noisy club environments.
The VCI-300MkII gives DJs the ability to customize their controllers with Vestax’s Ninja-culture influenced Shuriken jog wheel replacements and the brand new CF-X2 high performance cross fader option. Shuriken jog wheel replacements come in metal “Flame” and spoke and wheel “Bike” designs and can easily be swapped out for the original jog wheels. A non-contact digital magnetic cross fader, the CF-X2 provides fast, smooth fader action.
A direct audio thru feature allows audio to be sent directly to the master outputs from the mic/aux input facilitating DJ changeover music. The VCI-300MkII also offers a 1/8 inch mini headphone jack along with the standard ¼ inch jack.
Octatrack explores an old favorite
Spinning Whhhheeeeeeeeeeelllllllllllllllllllllllllllllllllllllll
Here I use the Elektron Octatrack to explore an old favorite. You’ll notice I use two scenes. One for basic time stretching and the other for entering and sculpting the timescape. That last sentence really should have ended, “sculpting the timescape, man”.
Shared bu Allerian1
Pocket Calculator
Kraftwerk song offered by the FPCiudad of Huesca in the convention center in the peripheries Festival 2009, “Tribute Mix. ” This track is included on the disc Huescasuena.
Inspired by yesterdays YMO nostalgica :-)
’83 YMO / KEY
http://www.youtube.com/watch?v=RifpPG0gMBI
YMO ’83 dispersed concert at Budokan / Keys
Thanks Eddie for the tip
Computer controlling a real midi player piano
Here’s what they have to say about it:
I performed a version of this at the ICAM BestOf Show in June of 2010 in the Experimental Theater of the Conrad Prebys Music Center, UCSD.
http://musicweb.ucsd.edu/MusicCenter/
For that performance the computer was controlling a real midi player piano like one of these:http://usa.yamaha.com/products/mus
ical-instruments/keyboards/disklaviers/grand_pianos/ instead of a sampler piano.
The vibraphone synthesizer was sending 10 discreet channels of audio to a Meyer Constellation Sound system, which was in an 8.2 surround configuration.
It was a project completed for an independent study credit in my major at UCSD.
http://musicweb.ucsd.edu/ugrad/icam.php
Stockhausen: “Telemusik”
Karlheinz Stockhausen: “Telemusik” (1966) Electronic music.
Sources for information contained in the annotations to this video: “Stockhausen, A Biography” by Michael Kurtz, “Stockhausen, Life and Work” by Karl H. Wörner, “The Works of Stockhausen” by Robin Maconie, “Towards a Cosmic Music” by Karlheinz Stockhausen
Sekuensaa ??
This is a musical exploration experience in which multiple participants simultaneously interact with a sound synthesizer by arranging a special set of pieces on top of a multitouch surface.
Pieces exhibit different behaviours when placed on the surface – some act like triggers in a drum machine, some behave like a kaoss pad, while others add extra layers of sound to make the performance really come together. Pieces are sensitive to their position and orientation on the table, so users can cycle through different instruments or modulate sound parameters with a simple twisting or sliding motion.
We believe the key here is to design a system which is simple enough for people with little musical ability to enjoy, while providing enough control to allow people with a stronger background to deliver more complex performances. It´s similar to the reactable, but provides a simpler interface for everyone to enjoy.
Please visit http://www.sensaa.com for more info.
Sound design and music production by Santiago Abadía: www.santiagoabadia.com
Jean Michel Jarre talks about Oxygène
Oxygène 7-13 is a 1997 album of instrumental electronic music by Jean Michel Jarre, his ninth overall studio album. It is the sequel to his 1976 album Oxygène, and is dedicated to Jarre’s former mentor, experimental musician Pierre Schaeffer. While the album was recorded using many of the same synthesizers as Oxygène, and the titling suggests a continuation from where the first album ends, many tracks have a more uptempo, trance-like character. The album is not as widely acclaimed as the original Oxygène, but has been quite successful nonetheless, especially among fans. Released approximately twenty years after the worldwide release of the first Oxygène, it is Jarre’s final album in his traditional style (exclusive of Oxygène: New Master Recording), and thus comes full circle. It was also the last album by Jarre featuring Michel Geiss as collaborator.
“Oxygène 7”, “Oxygène 8” and “Oxygène 10” have been released as singles. A number of remixes of Oxygène 7–13 tracks have been made, including those comprising most of the album Odyssey Through O2. The Orb’s single “Toxygene” was originally intended for release as a remix for the single release of “Oxygène 8”, but was rejected by Jarre for being too distant from the original.
http://www.youtube.com/watch?v=fzU4ClwkNg4
Track listing:
1. “Oxygène 7” — 11:41
1. Part 1 — 4:20
2. Part 2 — 3:43
3. Part 3 — 3:38
2. “Oxygène 8” — 3:54
3. “Oxygène 9” — 6:13
1. Part 1 — 1:53
2. Part 2 — 1:56
3. Part 3 — 2:24
4. “Oxygène 10” — 4:16
5. “Oxygène 11” — 4:58
6. “Oxygène 12” — 5:40
7. “Oxygène 13” — 4:27
Instruments;
* 2600 ARP synthesizer
* VCS3 synthesizer
* AKS
* Eminent 310 Unique
* Mellotron M400
* Theremin
* CS80
* Quasimidi Raven
* Digisequencer
* Akai MPC3000
* Nordlead
* JV 90
* K2000
* RMI Harmonic synthesizer
* Prophecy
* TR808
* DJ70
Ambient, darkwave soundscape created entirely by the SynFactory
Pervading Omnipotent Manifolds of Expression
Pervading Omnipotent Manifolds of Expression is an ambient, darkwave soundscape created entirely by the SynFactory 1.15 modular software synthesizer. This amazing piece of software can be configured in an almost infinite combination of possibilities to produce modulating or sequenced waveforms as simple or complex as the composer wishes to create.
For this composition, the main sequenced lines were created by feeding the patterned 8-step sequencer into the FM inputs of a sinebank module (multiple sinewave oscillators for additive synthesis). The sequenced output from the sinebank was then fed into a ring-modulator unit and modulated by a sinewave. The output from the ring-modulator then fed twin delay units to produce the stereo delay output. It was by manipulating the controls of the sequencer module that produced the real-time variable output, recorded as a continuous waveform that could later be integrated into a multi-track recording structure. A 6.5-minute sequence was produced in this manner, and inserted into a multi-track recording session. Because the tempo bpm was unknown, a “tempo track” was created as a series of high-frequency bleeps (as a visual reference for timing). To this “tempo track” a rhythm track was created manually – by positioning snare and bass drum samples by precision editing in accordance to the visual reference of the “tempo track”.
To create rhythmic variety, the same manually-created rhythm track was ring-modulated by a 150 Hz sinewave, and positioned on the timeline to create an interesting rhythm combination. This first session was then mixed down to create the main sub-master mix to add further elements. A second session was created by introducing a pulsating dark ring-modulated sequence. Surreal chimes fade in and out (created by ring-modulated sequences subjected to extended delays), and “twinkle tones” add to the surreal quality (created on the Korg R3 synthesizer). Other added sequences include additional atonal melodic elements, and “shimmering” passages toward the conclusion of the composition. All these additional elements were then mixed together to create the final stereo master. The result is a darkwave-ambient piece of electronica, partially inspired by the feel in music as evident by the group Bauhaus.
The visuals comprise wide-screen modulating textures and patterns forming a background. Added to this were images of mannequins and science-fiction robots and other strange characters. The Autons from Doctor Who feature quite heavily. This visual composite was then used as the source to process multiple keyed versions of itself to create visual complexity. An outlined composite mix was also created, as well as several multi-coloured variations. Sections of all these variations were edited to the soundtrack. The result is a surreal wash of colours and textures to complement the strange ring-modulated tonalities created entirely by the amazing SynFactory 1.15 modular software synthesizer.
Shared by JeffreyPlaide
Pirates of The Caribbean on synth
Davey Jones theme from Pirates of The Caribbean on synth
This is Davey Jones’s theme which he plays on an organ in pirates of the caribbean, played on my synthesizer
Also, If anyone has tips on putting sound and video thats out of sync back into sync please share your information
P.S. also notice my Synth’s trademark discombobulated middle E note, sometimes it gives a nice edge to my synth making it sound old and wobbly like an old record but when you dont want it to sound like that its a problem… I need an external “KCV” (Keyboard Controll Volatge; I think thats the correct term)
DATAMASKIN
