Moby – Porcelain, performed on CASIO SK5
Dr Benway has published this new video featuring Moby´s classic song on a Casio keyboard. The Casio SK-5 is a sampling keyboard introduced by Casio in 1987. Samples may be gathered from a built-in microphone or a line-level input from another source. The keyboard was rebranded as the Realistic Concertmate-650 for sale at Radio Shack stores.
EPISODE #1
Moby – Porcelain
2 samples are used: orchestral strings and drum beat.
The sequencer plays the samples in loop.
IN STRICT CONFIDENCE “Morpheus” (Original Version)
The official video of the track “Morpheus”, taken from the album “Utopia.
“MORPHEUS” from the upcoming CD “UTOPIA” (september 21st, 2012).
Directed and produced by Tamas Mesmer & Dennis Ostermann, London 2012.
DOP – Thor Eliasson
Editor – Thomas Sali
Stylist – Awen Teifi
Make up – Holly Judd
Hair styling – Holly Sermon
Hair cut – Katrin Schindler
Studio – Camberwell Studios
http://www.instrictconfidence.com
EMS Synthi 100 sequenced by a Teenage Engineering Op-1
EMS Synthi 100 sequenced by a Teenage Engineering Op-1
@ Otic Sound – http://www.oticsound.com/
Vancouver, British Columbia, Canada
via Kenton (USB-MIDI) to Kenton Pro-Solo (MIDI-CV)
Martyn Ware – founder of The Human League and Heaven 17 – celebrates the 2012 Olympics
Tales From The Bridge is a 3D soundscape collaboration covering the length of the Millennium Bridge in London. The piece was commissioned by the Mayor of London to launch at the start of the London 2012 Olympics, and will run until the end of September.
“We’ve been working for quite a few months now on creating the most amazing installation, which is going to be on the Millenium Bridge during the Olympics,” explains Ware. ”It’s called Tales From The Bridge, which is a combination of ambient sound and an electronic soundscape which we composed together with a fantastic poetic kind of magic realist overlay of spoken word in three dimensions, which is going to be drifting across the bridge.”
The video features an interview with Ware about the piece and a behind the scenes look at its creation:
Ware: We did a piece called Timepiece for the Mexico City installation that we did, Sound Oasis. This was composed of very slowly-drifting chords that changed almost imperceptibly in related keys, over an hour-long loop.
I thought it would be quite nice to use a similar structure, but change the sounds and make it more adapted to the kind of environment here. So that’s the basic musical element, plus some additional, inspirational kind of almost like Blade Runner-ish synth, virtual synths. So we used a lot of Omnisphere.
We used a lot of virtual synths including Arturia’s Moog Modular synth, Korg MS-20, and some Roland System 100 as well.
That’s the basic template of what we did, and it’s slowly drifting, additional kind of Vangelis-type melody lines that weave in space and time around the piece as well. Then we overlaid the fantastic script that Mario Petrucci has written, and performed by a couple of actors with beautiful voices, Mia Austen and Steven Alexander.
The idea was to relate the lyrical content at this end of the bridge to the City and the Church and government, and on the other side to the theatre and the playground of the rich, even though it was a poor area historically, and the arts, and recreation. And the central section of the bridge, compositionally, is about the history of the Thames itself.
More info here>> Kitmonsters.com.
Is Dubstep Avant Garde Musical Genius?
New video fully focused on dubstep, here are the details:
Dubstep. Is. Awesome. While some people may hear noise, we hear amazing musical genius. The aural creativity of Dubstep, and its embrace of inharmonic sounds, makes it the most recent member of the long-established Avant Garde community. There is a long history of avant garde musicians and thinkers promoting the concept of noise and non-instrumental sounds as MUSIC, much to the horror of their audience. But over the past century, changes in technology and music genres have primed listeners, allowing mainstream audiences to enjoy the beautiful noise of Skrillex, Bassnectar & the whole Dubstep movement.
Let us know what sorts of crazy ideas you have, about this episode and otherwise:
Tweet at us! @pbsideachannel (yes, the longest twitter username ever)
Email us! pbsideachannel@gmail.com
Hosted by Mike Rugnetta (@mikerugnetta)
Made by Kornhaber Brown (http://www.kornhaberbrown.com)
BUCHLA BOYS Live at Norbergfestival 2012
Excerpt from the show at Norbergfestival 2012 held in Norberg, Sweden on July 27th with audio in quadraphonic surround.
Buchla Boys are David Sabel and Niklas Sjösvärd, and they’re performing on a 1980’s 5-panel Serge and a 18-size Buchla 200e, both belonging to the Lindblad Studios at the Academy of Music and Drama in Gothenburg. Filmed by Palle Dahlstedt.
Interview: Five questions to Vince Clarke
Astronata Pinguim has released a short interview, based on five questions, with synth maestro Vince Clarke:
ASTRONAUTA – Vince, I watched a video on youtube in which the interviewer asked you if you’re a “synthesizers hunter” and you told him that you’re not anymore but you was one in the past. When was your most obsessed period in the hunt for analog equipment? Is there any equipment of your dreams that you do not have yet? And what are your preferred instruments and/or the ones you use most nowadays?
VINCE – I think I seriously started collecting synths in the early 90’s. And then, having run out of space, I stopped. I realized, the only keyboards worth owning were the one’s that would be useful to my music making process, and that is still true today. I try to incorporate as many different synths as possible into my music, rather than favor one particular keyboard over another.ASTRONAUTA – In the first albums recorded by you, especially on Depeche Mode’s “Speak & Spell” you used only analog synthesizers (not ONLY by your choice but also because the digital technology was just emerging in the music world). How was the recording process on that time, how did you synchonized your equipment, especially those that were made by different manufacturers?VINCE – The early Depeche stuff was recorded onto a 16 track Studer machine. Lot’s of tracks had to be bounced together, decisions had to be made there and then. The engineer, Eric Radcliffe, devised a way of recording a rudimentary click track onto track 16 which enabled us to run an Arp sequencer in sync.ASTRONAUTA – In some tours (especially on the Erasure’s 1991/1992 tour, in which you had a “tank” with multiple keyboards inside), you traveled with many analog keyboards. How was the maintenance of this analog equipment, did you traveled with an electronic technician specialized in analog instruments to repair your synths on the road or did you (or do you) know how to repair your own instruments?VINCE – All of the gear was serviced prior to the tour and required very little maintenance over the course of the tour..(just some TLC). My own knowledge of synth repair was, and still is limited. In the case of a breakdown we would usually find an engineer in whatever city we were performing.ASTRONAUTA – How is your method of composition, do you write a song on the guitar first and then go to synthesizers or do you already compose direct on the analog synths, sequencers and drum machines?VINCE – The songs are composed on either guitar or piano. That way, we can concentrate purely on the melody and lyrics, and not get distracted by the limitless world of sound sculpture.ASTRONAUTA – I suppose that you have a lot of solo stuff, demos of several songs that you wrote for your bands and projects. If you have, do you want to release this material someday? And how about a Vince Clarke solo album, can we expect that you release a complete solo album someday?VINCE – I doubt I’ll ever release a solo record. I really get a kick out of ‘collaboration’.
Mutable Instruments showcases their new Anushri synth
This is a teaser of the Mutable Instruments Anushri synthesizer, currently in development.
Features not demoed in this video:
- Arpeggiator
- VCA envelope and envelope modulation of VCO / PWM
- The 8 LFO shapes and LFO > tempo synchronization
Here are the details on the Anushri synthesizer:
Analog synthesis
- Analog VCO with saw and pulse waveforms, freely mixable.
- Optional automatic VCO calibration in software for those who don’t like messing with trimmers.
- -1 or -2 octaves sub-oscillator.
- Auxiliary square oscillator (DCO) with accurate digital tuning available as an FM modulator or as a sync master for theVCO (yes, it means “ewwwwwwiowwww” and “wongwong”).
- 12dB/octave multimode filter, with smooth self-oscillation.
- Post-filter overdrive/fuzz circuit.
- Linear VCA.
Modulation sources
- 1 main ADSR envelope routable to pitch, pulse width, cutoff frequency.
- 1 simple 1-parameter envelope (morphing through various stages, including the shape of the main ADSR, and a rigid “GATE” style envelope) routed to VCA.
- Velocity routed to either cutoff frequency or VCA gain.
- 1 LFO routable to pitch, pulse-width and cutoff frequency ; with 8 waveforms (triangle, square, ascending and descending ramps, S&H, bernouilli process, piecewise linear random process aka “autodubstep”, noise).
- 1 triangle LFO for vibrato and/or growl.
Arpeggiator and sequencer
- Arpeggiator with 4 modes (up, down, up&down, random) ; 1 to 2 octaves ; 6 patterns.
- SH-101-style note sequencer with step by step recording, up to 128 notes. Easy recording of pauses, ties, and glides.
- Tempo set by internal clock with shuffle, external MIDI clock or external 6/12/24 ppqn trigger.
Drum machine
- Algorithmic drum pattern generator using an innovative “pattern sculpting” approach – allowing a large combination of drum patterns to be sculpted from 5 knobs
- Digital sound generation of BD / SD / HH with tone control
- Drum sounds can be freely triggered from an external sequencer using MIDI channel 10
Interface
- 9 pots and 4 switches for hands-on access to synthesis parameters.
- 9 “soft-pots” for editing modulations / arpeggiator / drum machine settings.
- 3 dedicated navigation buttons (“modulations”, “arpeggiator / keyboard”, “drum machine”).
- 3 dedicated sequencer buttons (“record”, “play”, “hold / rest”).
In/out
- VCO CV in/out (Note: manual VCO calibration is required for accurate 1V/Oct I/O).
- VCF CV in/out (Note: manual VCF calibration is required for accurate 1V/Oct I/O).
- Gate signal in/out (5V level for output).
- 24, 12 or 6 ppqn clock signal in/out (5V level for output).
- External Audio in.
- Audio out.
- MIDI in/out (thru + arpeggiator and sequencer notes).
- CC control over modulations and some of the digitally controlled synthesis parameters. Some parameters like filter resonance cannot be CC-controlled.
“Eurorackable”
- Remove main audio in / out and solder corresponding minijacks on PCB
- Remove LT1054 and solder 2×5 power connector
- Route MIDI in/out to front panel (if you want…). And that’s it!
Availability
- DIY product (full kit)
- Price < 200€ / kit
- Available < October 2012
Synthophone – the retro vintage synth style app for iOS
Following the style of the famous Stylophone. BeatsnBobs present the Synthophone (previously named Synthiphone), a mono synth for iPhone and iPad with extra modulation controls. Designed with a classic 60s wooden case.
Change the wave from classic sawtooth to square and triangle
Adjust the amplitude envelope attack and release
Adjust the key with transpose control
Adjust the vibrato depth and speed
Plus a bender as fun bonus item which probably wont be used much but it looks cool
Download here:
http://itunes.apple.com/gb/app/synthophone/id539352924?mt=8
MicroTrack dB – Tutorial on basic drum programming
A new tutorial video demonstrating basic drum programming in MicroTrack dB iOS.
MicroTrack dB is a music making app for iPhone, iPad and iPod Touch. Inspired by the classic instruments that defined electronic music and popular culture, this app puts music making in the palm of your hand. This portable, virtual studio offers high-quality audio output, intuitive sequencing, flexible drum programming and powerful synthesis, plus a range of effects and performance features. A user-friendly interface and online help enables beginners to start making music, while more advanced musicians will find a host of features to get their teeth in to. Get your creative juices flowing and produce tracks instantly. Realise your ideas, define your sound and create the music that you want to hear.
Available now on the app store. http://itunes.apple.com/us/app/microtrack-db/id545192575?mt=8
DATAMASKIN
