Giles Reaves: Space Music Improv on the Synapse Antidote Synthesizer.
“Testing my new Nikon D600, and the new Synthesizer from Synapse Audio: Antidote (for Reason 6.5). I created the patch from scratch in real time, as shown in the video. To keep in the “space music” theme, I used my night time time lapse footage from a recent trip through Southern Utah and Northern Arizona (including shots at Arcosanti, AZ).”
Background video description:
Recorded / improvised with my Roland CR-68 (Compu Rhythm) on minimal setting.
From the Polymoog I had the direct output and resonator outputs fed into my Behringer mixer while the VCF output was fed into my Ibanez UE 305 with Analog Chorus,Delay and Compressor all engaged and output back into my cruddy mixer.
I was obviously tweaking the sound in spots… Most notably the VCF Cutoff and sometimes S/H rate etc. Towards the end, or somewhere in the middle I brought down the release for a more plucky sound while the lower half of the Polymoog had a bit more sustain… Unfortunately I recorded this to digital (Tascam DP01FX) It sounded much nicer through my Tascam 688 Cassette 8-track but then I couldn’t transfer it to this media from there. Also, my Polymoog is only offering out Square waves at this time or else it would have sounded even way more complex and OTHERWORLDLY!!!
I have a feeling the Blondie and Gary Numan mostly used just Squarewaves anyway for their string sound… Though ealy 70’s Ultravox relied more heavily on the deeper and fat sounding Polymoog sawtooth waveforms…
Live Ambient Improv – Angstrom’s Looper VST w/ Waldorf Blofeld, Roland XV-5050, Roland Alpha Juno 1, Roland HS-60, MicroKorg, and Arturia Minibrute.
“The audio and video isn’t totally in sync – my camera doesn’t have an audio in, and without a beat, it’s hard to sync up. It’s close enough for ambient though.”
Somewhat on the ethnic side of things
‘An Evening with Hindole Majumdar and Kevin Schlei’ was a concert on August 19th, 2012 that explored electronics + tabla. This piece, ‘Idiom,’ is a fully improvised, on-the-spot composition by myself and Hindole. A basic rhythmic pattern forms that he and I use to ground ourselves, and we play off of each other’s accents and phrases.
I am using my iPad instrument TC-11 with three iPads, and Hindole is playing his D tabla set with an extra E dayan. You can find more information about Hindole at his website, sites.google.com/site/hindolemajumdar/, and about TC-11 at bitshapesoftware.com/instruments/tc-11
TC-11 is the only fully programmable, professional multi-touch synthesizer for the iPad. Choose from the 96 included presets, or build your own using touch controls, device motion, and on-board modules. Create music with the next evolution of synthesizer control!
iDesignSound App of the Week 12.17.2011
“This thing is ALIVE! TC-11 is really fascinating and I’m having some fun experimenting with it. It is very, very cool!”
– Jordan Rudess, keyboardist, Dream Theater
“TC-11 is making my jaw drop every few minutes; realizing new and increasingly complex routing options. Rating: Essential.”
– Tim Webb, discchord.com
“Creating, routing, configuring, and general tweaking is unbelievably robust and complex. This is a big leap forward in design. A madhouse of sonic possibilities at your touch.”
– David Israel, smitematter.com
√ 96 built-in presets
√ Unlimited user patches
√ Fully controlled by multi-touch / device motion
√ Built-in recording + AudioCopy
√ 23 modular synthesis objects
√ 22 oscillator waveforms
√ 3 controller modules: AHDSR, LFO, Sequencer
√ Email custom patches to your friends
√ Full display customization
√ Retina graphics
There are no on-screen knobs, keys, or sliders to fiddle with; all synthesis is driven by your multi-touch performance. Touch relationships like distances / angles / timings perform all the controller functions. It’s just you and the full screen multi-touch performance area.
EVERY synthesis parameter can be controlled by ANY multi-touch controller. The patch possibilities are limitless!
DEVICE MOTION CONTROL:
Use the iPad’s accelerometer, gyroscope, and even the compass to attack your synthesis patch! Tilt and move the iPad to change any filter, effect, or module. You can create real vibrato by moving the iPad during performance, or change the speed of a sequencer by tilting forward and backward!
TC-11 has 8 voice polyphony for full, real-time synthesis. The audio engine has been highly optimized to deliver crisp, responsive performance. Choose from 22 oscillator waveforms, 3 oscillator types, 3 filter types, 4 unique effects, amplitude modulation, and panning control.
Fully programmable AHDSR, LFO, and sequencer modules make TC-11 the most capable iOS synthesizer in the world.
Use TC-11 in your band during live performances. Add TC-11 into your laptop orchestra. Experiment and create with the next evolution of synthesizer control!
Download the complete user guide to read more:
Created using a custom-made patch on Bit Shape’s TC-11 multi-touch synth for the iPad. A teardown/rebuild of the original patch “Bundled Birch.”
More info here: http://www.bitshapesoftware.com/instruments/tc-11/
And here: http://www.jeffmcleod.net
Creation Time Since Previous Touch: Multi Oscillator Level & AHDSR-0 Scale
Touch Y Position: Panning
Distance To Center: SEQ-0 Add
Creation Time Since Previous Group: Mix LPF Frequency Cutoff
Group Count: LPF Frequency Cutoff
Touch Began: AHDSR-1 Start & SEQ-0 Step
Touch Ended: AHDSR-0 End & AHDSR-1 End
AHDSR-1: Waveshaper Mix
SEQ-0: Multi Oscillator Frequency & Mlit Oscillator Transpose
SEQ-0 Trigger: AHDSR-0 Start
Korg Prophecy + Access Virus Ti2 impro – performed by S4K (space4keys keyboard solo)
About the KORG:
Digital does analog! The Prophecy was among one of the first synthesizers to lead a revolution started in the mid-nineties by synthesizer makers to satisfy a growing segment of the market that was lusting after old-school vintage equipment in the pursuit of making electronica-style music, by providing a state-of-the-art retro synthesizer that could sound like a classic analog.
The Prophecy Solo Synthesizer was unveiled in 1995, and was a purely monophonic solo/lead synthesizer. It employed DSP synthesis first developed for the Korg OASYS synthesizer, with algorithms for producing realistic analog timbres, VPM (Variable Phase Modulation) tones similar to FM synthesis, and physically modeled brass, reed, and plucked string instruments. At your finger tips were tons of real-time control over traditional analog editing parameters like filter cutoff and resonance, envelopes and the arpeggiator. It had a pitch wheel, a mod wheel, an expressive dual action ribbon wheel, six effects processors and more!
Music video improvisation on a Yamaha SY85 with Korg Kaoss Pad (mini-KP) effects. Using the HOLD button on the Koass this is another way of connecting music gear together rather simply. If there is interest I might show how to connect the devices together and recording the audio. In this case I record to a Zoom H2n.
Live improv over a new Reverb And The Verse song.
This is meant as a demo video for “tap write mode” on the Autobot, which I can see using on lots of future tracks. This thing has totally changed my feeling towards my euro-rack, in that its now really inspirational tonally. Before, it was mostly an afterthought.
The Acidlab Autobot is a 303 sequencer for eurorack; it has no sound of its own. It is driving a Cwejman VM-1 on really basic settings using a lowpass and a Sawtooth wave. The cv/gate are driving the Cwejman, while the Accent out is sent to filter frequency.
I have intentionally turned down the song to showcase the Autobot better.
Signal path: eurorack to Speck Xtramix to RME Fireface 800.
An improvisation featuring the EMW-200 from Electronic Music Works. No external effects or processing was used. The main patch contains three sub-patches. The first is the S/H module controlling VCO2 and then fed to the delay module. The second has the triangle wave on the master oscillator and VCO 1 ring modulating in the wave shaper section. And finally the noise output is being low pass filtered and then being ring modulated by the dedicated LFO (which is also modulating the pitch of VCO 1). Each sub-patch is routed to the left and right channels of the six channel mixer.
“I am struck by the warm and organic tones that can be generated by this instrument, as well as the sometimes unexpected sounds that can result from very small changes in the controls. In an upcoming video I will be pairing the EMW-200 with some external effects.”
The EML-200 was designed primarily for electronic music courses at Universities. It had no keyboard and leaned in a more abstract direction from the start. The EMW-200 also has no keyboard and will not do 1 volt per octave. The only controls are knobs and one button that can trigger a simple envelope. Where the new version differs from the original is in size. The original was quite large, close to the size of an Arp 2600. The EMW-200 is 16 inches wide, a little over 8 inches tall and 6 inches deep. Nice and compact. The other two places where it differs is a delay unit where the original had a spring reverb, and an a dedicated LFO where once there was a microphone amp. It uses 3.5mm patch cables so if you own Euro Rack gear this will assimilate easily. With the right adaptors it was more than happy to take some modulation from various DotCom modules. This is an analog synth. It is sturdy, steel cased and the knobs do not wobble at all. Nice.
Allen Weldon takes us through the Leipzig-S analog synth:
This is the Analogue Solutions Leipzig-S Analogue Synthesizer and intergraded analogue sequencer. This is a synthesizer with pure voice and modulation circuitry featuring two voltage controlled oscillators w/4 types of selectable sync plus glide and PWM, a sub oscillator, 4 VCA Options EG 1&2,Gate and Thru, a noise source/ext in, LFO, a self resonating 24db voltage controlled low pass filter w/tracking, several cross modulation options for VCO 1 & 2 and Filter, 2 snappy ADSR’s w/selectable MIDI Trig Switches (very good for percussion) The intergraded 8 step analogue sequencer is what puts it into a league of its own. There are 8 clocking options including LFO, VCO2, MIDI Key, Accent, Ext 1, MIDI CV-2, MIDI Sync,-. There are also destination knobs on the sequencer for VCO1 VCO2 and Filter that provide voltage controlled modulation according to the destination source and amount from the modulation section. This is a badass synthesizer that is in a category of its own.
In this patch I’m using the intergraded sequencer clocked by VCO2. The sequencer is being triggered by EG 1+2 (I’m also using the MIDI Trigger switches from Envelope 1 & 2) VCO2 is synced to VCO1. The VCA mode is set to Thru. Towards the end I started clocking the sequencer using the switch provided in the mixer section. It clocks the sequencer at audio frequencies, then the sequencer becomes an audio freqeuncy.