Atari 520 ST 512kb RAM running the tracker Maxymiser. The Atari is hooked up to a composite to vga scaler and then to a LCD monitor.
The Commodore 64c is running MSSIAH and the monosynth program. and is not hooked up to any monitor during the movie. since the screen is black during “play-mode” it’s not necessary to have it hooked up ^^
The audio is connected to my Proton Stereo 520 amplifier, therefore the quite hard paining on the computers
I have composed the song myself and play a little extra bass on the c64.
Making some atari arcade sound effects with the Op-1 and schippmann filter. Modular running Cyclebox II and WMD gama wave into two MakeNoise Optomix’s all clocked from one plan-b mini-ELF LFO.
A 32k demo for the Atari 2600 VCS. Placed 2nd in the oldskool demo compo at Stream 2012. Code by me and music by Knoeki. MESS capture.
I successfully compiled the ASAP (Another Slight Atari Player) library  for a PIC32MX795F512H. ASAP emulates a 6502 CPU and the famous POKEY sound chip  used for example in the ATARI 400/800 and XL/XE 8-bit computers. To say it with Wikipedia’s words: POKEY’s sound is distinctive
About 60 tunes (worth about 2.5 hours of music) taken from ASMA (Atari SAP Music Archive)  are included and stored in the PICs flash memory. D0 is the left and D1 the right PWM channel.
The source code is available here: http://dangerousprototypes.com/forum/viewtopic.php?f=56&t=3944
Easy to get somewhat nostalgic watching this Atari project
“The “gAtari” was my excuse to do something a little silly after I discovered that the Atari 2600 was more limiting than I realized! (31 pitches, minimal waveforms and only 2 channels!) I needed an EQ which could take a high voltage and drop it down to line level (Boss bass EQ) plus a way to hold loops between tracks and parts (Boss delay). So rather than have it “DJ” style config, I thought I make something a little more creative. It uses my atari-x-mod converter software which compiles binary files for Atari. You can find a little video about it here: http://vimeo.com/23589320”
Big ups to Celsius / Trash80 / nf / Lazerbeat for the audio recording. Massive thankyou to sebastienvd81 & JDD3J for shooting additional video footage. Thanks to Wing / Celsius / Abrasive for their assistance and filming. Mega-thanks to Paul Slocum for the maco asm code for 2600 that I based my software around interfacing with
Come to Blip Festival Melbourne 2012!
ps. You can download a similar set to the one I played here at at: http://www.freemusicarchive.org/music/cTrix/Blip_Festival_2011-cTrix/cTrix_-_…
“A true classic for DIY synth makers & circuit benders, the Atari Punk Console can kick out some ear-catching square waves. It’s easy to build and a lot of fun to play around with. It may be challenging to make traditional music with an APC, but hey – there’s enough of that around already, right?”
Here’s a schematic for the APC I built in this video:
(The 556 timer chip is shown in two parts in order to emphasize the two separate timers included in the IC.)
Stereoklang talks to Welle:Erdball on gear, radio stations and the release of their new album “Der Kalte Krieg”
“Der Kalte Krieg” is the name of Welle:Erdball new album featuring covers of songs during the Cold War era. We wanted to know more of what has happened with the band since the DVD Zeitsturm was released and really understand what this Homo Futura project is all about. Honey and Freuline Plastique took some time to chat with us and transmit the latest buzz from the Funkhausstudio.
Why did you start Homo Futura and what is it that you can do there that you cannot do in Welle:Erdball?
In the begining it was “Das Präparat” that started as an official Welle:Erdball side project. However, when we split up there were still some shows to do, so we did them anyway with a different set up (F.Nstein & Plastique). This worked out really fine and was a lot of fun. So we decided to keep going and it was really fun to create a new band, new image, new stage show etc.
Official video of “homo~futura – Links-Rechts”
The Zeitmaschine played an important role in the DVD you released last year. Do you see yourself as time travellers when it comes to your music and the band image?
We’re traveling through time constantly – just take a look at your watch! Apart from that, music is definately a good way to travel through time with your mind.
You once said (some 10 years ago) that Welle:Erdball had a long way to go before reaching the goal of Welle:Erdball – The goal was to sound like Welle:Erdball. Have you reached that goal now and how is it shown in your music and visuals?
I think we are really close with the new album “Der Kalte Krieg”. But we haven’t really reached our goal yet. It might sound hard to believe, but since the start of Welle: Erdball, all the concepts and partly the names of the broadcasts and songs were already set. And we still have to accomplish a couple of things on this list.
So it won’t be over for a long time.
Could we expect a radio show by Welle:Erdball including only Gainsbourg song? We feel that the work of Serge matches the Welle concept very well. We’re sure he would approve of you bringing his work to a younger generation.
Probably not. We’re not a “cover band” although we appreciate Gainsbourg’s work a lot.
But actually the upcoming release “Der Kalte Krieg” will contain only cover versions of favorite songs from different artists about the cold war and others.
Serge Gainsbourg was a French singer-songwriter, actor and director. Gainsbourg’s extremely varied musical style and individuality make him difficult to categorize. His legacy has been firmly established, and he is often regarded as one of the world’s most influential popular musicians.
You have a lot of political and social ambitions with your songs, ranging from the criticism of gaming consoles to the man-machine integration. What areas are your main concerns today and why, and would you agree on the theories of a technological Singularity that has been put forward by e.g Kurzweil?
It is hard to comment on this. Since the opinion of Welle: Erdball not always is the personal opinion. I find it important that you first have an opinion at all and that there is a message in the music and in the lyrics. Not: “Come on, let’s have a party tonight!” . And we see it as our duty to have a social commitment but we are no judges, who tell the audience what to think.It is only important that you form your own opinion or that there is a chance to do so.”
What is it that you like about the 50′s sound?
Well we’re using 50s asthetics since the beginning and we’re all big fans of this aera. The sound of the 50s and the subculture behind it was one of the first “punk” movements in music history.
Probably the most charming way of going against the mainstream.
You describe yourself as hard working, keeping you self busy 28 hours a day. Is that just the German spirit and work morale showing or do you have an artistic fire burning inside?
I don’t know if it is the German mentality, maybe a little…But under any circumstances is it the Welle: Erdball-mentality.
Check out our NEW Arari Junk Console, true 8 bit video game sounds! Used in sync with our 16 step sequencer!
Tested with component placement and diagram. This APC board has been redesigned by Sythrotek to allow a Control Voltage Input.
Really neat software that you can download right here >>
A little background:
The Atari ST was a notable home computer, based on the Motorola 68000 CPU, with 512 KB of RAM or more, and 3½” floppy disks as storage. It was similar to other contemporary machines which used the Motorola 68000, the Apple Macintosh and the Commodore Amiga. Although the Macintosh was the first widely available computer with a graphical user interface (GUI), it was limited to a monochromatic display on a smaller built-in monitor. The Atari ST was the first computer with a fully bit-mapped color GUI. It had an innovative single-chip graphics subsystem (designed by Shiraz Shivji) which shared the full amount of system memory, in alternating clock cycles, with the processor, similar to the earlier BBC Micro and the Unified Memory systems that have become common today. It was also the first home computer with integral MIDI support.
The ST was primarily a competitor to the Apple Macintosh and the Commodore Amiga systems. This platform rivalry was often reflected by the owners and was most prominent in the Demo Scene. Where the Amiga had custom processors which gave it the edge in the games and video market, the ST was generally cheaper and had a high-resolution monochrome display, ideal for business and CAD. Thanks to its built-in MIDI ports it enjoyed success as a music sequencer and controller of musical instruments among amateurs and professionals alike, being used in concert by bands such as Tangerine Dream and 90s UK dance act 808 State. In some markets, particularly Germany, the machine gained a strong foothold as a small business machine for CAD and Desktop publishing work.
The ST was later superseded by the Atari TT and Falcon computers.
Since Atari pulled out of the computer market there has been a market for powerful TOS-based machines (clones). Like most “retro” computers the Atari enjoys support in the emulator scene.
Music / Sound
The ST’s low cost, built-in MIDI ports, and fast, low-latency response times made it a favorite with musicians.
The ST was the first home computer with built-in MIDI ports, and there was plenty of MIDI-related software for use professionally in music studios, or by amateur enthusiasts. The popular Windows/Macintosh applications Cubase and Logic Pro originated on the Atari ST. Even today some people (such as Fatboy Slim) are still using the Atari ST for composing music.
Music tracker software was popular on the ST, such as the TCB Tracker, aiding the production of quality music from the Yamaha synthesizer (‘chiptunes’).
An innovative music composition program that combined the sample playing abilities of a tracker with conventional music notation (which was usually only found in MIDI software) was called Quartet (after its 4-note polyphonic tracker, which displayed one monophonic stave at a time on colour screens).
Due to the ST having comparatively large amounts of memory for the time, sound sampling packages became a realistic proposition. The Microdeal Replay Professional product featured a sound sampler that cleverly used the ST cartridge port to read in parallel from the cartridge port from the ADC. For output of digital sound, it used the on-board frequency output, set it to 128 kHz (inaudible) and then modulated the amplitude of that.
In addition to the sound sampling functionalities, the availability of software packages with MIDI support for music composition and efficient sound analysis contributed to make the Atari ST a forerunner of later computer-based all-in-one studios.
circuit bent FM3 Gristleism with atari joystick control and light censer extra low pitch wobble wobble