Pi Synth continues to explore the Raspberry Pi
Fresh from the triumphs of Popcorn – the first Moog I ever heard as a 12 year old kiddie in 1972 – comes this, the first cool band in my lifetime to come from my home town, and still one of my all time synth classic tracks. So classic in fact that my sign-off test for this PIANA synth being done and dusted as a multi-part synthesizer was “it shall be capable of a halfway decent rendition of Being Boiled”. This is approaching a halfway decent version.
5 synths in total, which are –
Rattly snare thing – 2 note polyphony, it’s Fat Phil Collins with less echo, and it’s as close in spirit to the original Ian Marsh rhythm track as I could manage.
Kick – Fat Phil needed more bottom as he is bandpass filtered, so his bum gets removed. So he’s augmented by this monophonic resonant filter bass enhancer thing – sort of an 808 kick, it is just a resonant filter playing low notes.
GlamClap – S-L-A-D-E again!!!! THIS SONG IS WHAT THAT HANDLCAP WAS DESIGNED FOR ALL THOSE MONTHS AGO!!!!! W-H-O-O H-O-O!!!!!
Rezzy bass – a rezzy bass, with an actual 4th order filter on it
Reedy thing – a reedy thing, as seen yesterday on Popcorn
So, I still have 2 more synths of headroom on the Pi and already this is sounding pretty great. Amazing to know that the old Human League could gig for about a £50 equipment investment nowadays.
Yes, it’s not finished. Who cares. Just sit back and listen to the voice of Buddha, played on only 2 pitched synths and a bunch of percussive noises.
Martyn Ware, founding member of the Human League and Heaven 17, as well as the British Electric Foundation and Illustrious, demonstrates the Roland System 100 and the Korg 700S. These are the original instruments that he and Ian Craig Marsh wrote and performed the original version of Being Boiled on.
This was the climax to a 45 minute talk given by Martyn, accompanied by the great Peter Howell of the BBC Radiophonic Workshop, at the Queen Elizabeth Hall, Southbank Centre, London, on the night of November 30th 2013. It preceded a performance by the BBC Concert Orchestra in the main hall, as part of their “The Rest is Noise” season. They performed works by Andrew Poppy, Michael Nyman and commissions by Anne Dudley, which saw the orchestra take on reinterpretations, or “remixes” of Art of Noise’s “Into Battle” as well as a new work, Rhythm of a Decade, a mash up of themes from the decade, accompanied by a narration from Paul Morley.
All the other original members of the Art of Noise were present in the audience (Trevor Horn, JJ Jeczalik, Gary Langan), billed by them as a one off 30th anniversary reunion
The Human League – Black Hit Of Space (1980)
Music video by Orchestral Manoeuvres In The Dark performing Electricity. (P) 1980 The copyright in this audiovisual recording is owned by Virgin Records Ltd
The information comes from WIKIPEDIA
In March 1980, Vince Clarke, Martin Gore and Andy Fletcher formed a band called Composition of Sound, with Clarke on vocals/guitar, Gore on keyboards and Fletcher on bass.
Depeche Mode Shout! live in studio @ L’Écho Des Bananes, France, 1981 (2/3)
Official video for “Afraid” by The Mobile Homes.
This video has been authorized for upload by The Mobile Homes.
Scanned for themobilehomes.se
For more information, visit themobilehomes.se
British ‘boutique’ analogue synthesiser and accessory designer/manufacturer Analogue Solutions is proud to announce that bona fide synthpop pioneer Phil Oakey has added a Telemark V2 semi- modular analogue monosynth to the stunning synthesiser collection currently residing at The Human League’s legendary HL Studios in Sheffield…
Human League main man Phil Oakey needs little in the way of introduction. Having co-penned some of pop’s finest musical moments with memorable hits spanning several decades — notably 1981’s chart-topping perennial favourite ‘Don’t You Want Me’ (which sold well over a million copies in the UK alone, making it the 25th biggest-selling single of all time there, then shifted another million copies to secure the coveted US number one spot during the following year), he helped forge a popular music landscape-changing template for pre- programmed, synth-driven song structures that are still reverberating around the world today.
Back in the day, The Human League ‘Mk I’ co-founder Ian Craig Marsh wasn’t adverse to rhythmically riding a mid-Seventies-vintage Roland System 100 semi-modular analogue synthesiser’s resonance and filter faders to create a track’s Model 104 Sequencer-driven bass and snare drum on the fly! No need to do that today, of course, for HL Studios is packed floor to ceiling with old and new synths to die for. Indeed, it’s fair to say that what Phil Oakey doesn’t know about synths simply isn’t worth knowing!
Now something of a connoisseur, Oakey owns a considerable collection of synths, sequencers, and drum machines at HL Studios, many of which are analogue. Which is exactly why he has taken delivery of an Analogue Solutions Telemark V2, a dual-VCO, rack-mountable, semi-modular analogue monosynth with multimode VCF featuring lowpass, highpass, bandpass, and notch filter types, which will be perfectly at home there since the healthy socket selection dominating the right-hand side of its spacious control panel means it can comfortably be patched to work with other modular systems and analogue sequencers for added flexibility. Features like those, combined with a generous helping of modulation routing options, provide the Telemark V2 with an extraordinarily diverse range of sound possibilities, including leads, basses, effects, and percussion, as well as being able to be used as an effects processor thanks to its audio inputs (feeding audio signals directly into its mixer).
Another distinguishing feature of the Telemark V2 is its 100% analogue voice and modulation circuitry formed from discrete components. Nothing travels through digital circuitry here, so turning a knob directly affects the associated analogue circuitry to produce a characteristic sound straight from the Seventies/early-Eighties — albeit reliant on today’s reliable technology!
Improvements to Telemark V2 over and above the original version of the instrument include adding an octave divider (SUB-VCO/DIVIDER) — for creating a fuller, fatter sound or for use as a clock divider designed to be a source of lower frequencies (particularly suited to rhythmical usage) — and a ring modulator (RING MOD), typically used for fashioning metallic-type sounds (although it has other uses).
Little wonder, then, that the original Telemark and now its V2 successor are so sought after by those in the know. Chances are the characteristic sounds of Phil Oakey’s new and improved Telemark V2 — in limited-edition black, no less! — could well be being heard on some more memorable musical moments from The Human League in the not too distant future. We wish them well.
Telemark V2 is available to order online directly from Analogue Solutions (http://www.analoguesolutions.org.uk/concussor/telemark.htm) for £749.00 GBP (excluding VAT and delivery) or through one of their dealers. Alternatively, the keyboard- equipped Telemark-k V2 is available for £1,099.00 GBP (excluding VAT and delivery).
Filmed earlier this week at Bristol O2 Academy, Sonic talked to Martyn Ware from Human League BEF and Heaven 17, as well as a general chat about the tour, the band and synthesizers.
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.
Human League – Path of Least Resistance (live BBCtv 1979)
Top clip of the original line-up performing a song from the first album on some programme called “Mainstream”. Repeated as part of the “Sounds of the Seventies” series, hence the daft bookending with Paul Darrow and Patrick Troughton.
The Human League have announced their North American Tour plans for their upcoming release to be distributed this fall on EMI, titled “Credo”. This is the first tour in over 15 years that includes Canadian dates Vancouver and Toronto. They will be supported by special guests Canadian New Wave legends Men without Hats.
Here are the dates taking place in August:
- Thu 1st Alpine, CA – The DC @ Viejas
- Fri 2nd Hollywood, CA – The Hollywood Bowl
- Sat 3rd Sausalito, CA – Sausalito Arts Festival
- Sun 4th Las Vegas, NV – Mandalay Bay
- Wed 7th Sacramento, CA – Thunder Valley Casino
- Thu 8th Saratoga, CA – Mountain Winery
- Fri 9th Jacksonville, OR – Britt Festival
- Sat 10th Woodinville, WA – Chateau Ste. Michelle
- Sun 11th Vancouver, Canada – Rickshaw Theatre
- Thu 15th Denver, CO – Summitt Music Hall
- Fri 16th Kansas City, KA – Uptown Theater
- Sat 17th Chicago, IL – Oysterfest
- Sun 18th Toronto, Canada – Guvernment
- Tue 20th Buffalo, NY – Riviera Theater
- Wed 21st Philadelphia, PA – Keswick Theatre
- Thu 22nd Boston, MA – House of Blues
- Fri 23rd New York, NY – Best Buy Theatre
Out on Secret Records on 12th July 2011 is the “Live at the Dome” CD/DVD by The Human League. The set comes as a CD and DVD jewel cased double pack and includes their 2003 show at The Dome in Brighton. Featured are such tracks as “Love Action”, “Mirror Man”, Don’t You Want Me”, “Fascination” and “Together in Electric Dreams”.
The band’s most recent studio output is 2010’s “Credo”, their ninth studio album which was their first studio album since “Secrets” in 2001. It has been produced by fellow Sheffield act I Monster and was released on Wall of Sound. A first single from the album, “Night People”, was released on 22 November 2010. Follow up single “Never Let Me Go” was released on 1 March 2011.
“Egomaniac” is the second single in Germany, Austria and Switzerland because The Human League secured a slot on a major German TV show for a performance of “Egomaniac”. The TV programme aired on Friday 4 March and the single was released the same day.
In those three territories the album itself was released on Friday 11 March in order to narrow the gap between the TV airing and the album being available. In the rest of the EU the album was released on Monday 21 March in order to narrow the gap between the release in Germany, Austria and Switzerland and the rest of the continent.
“Credo” is not available domestically in the US or on iTunes until the band have secured a domestic label for the record in that territory.
Human League 1978, very much of a Kraftwerk influence going on. Just a little darker.