A brief, stereotypical vocoder demo featuring the amazing Sennheiser VSM 201 Vocoder with an EML POLYBOX. These were both units that were in for repair at The Analog Lab in NYC. The tone generator is routed through the EML where it is divided into user selected pitches/chords. The chords remain static, but the pitch shifts with the change of the frequency of the tone generator.
Sennheiser Vocoder VSM201
made in 1978
this is a luxury 20bands vocoder
of course only the “creme de la creme” used THIS, because it is really not cheap.. Kraftwerk!
The vocoder was first a military device to encode speech signals
Out tomorrow is the debut album by the Kraftwerkian project Metroland. Based in Belgium the duo, Passenger A and Passenger S, the band will see their debut album “Mind the gap” released in 2 different versions, a normal CD format and a double CD box set featuring 11 remixes executed by the likes of Komputer, Celluloide, Franck Kartell, Keen K, Növö, Sophie Watkins, etc.
Make Noise Phonogene and Echophon manipulating a sample from Kraftwerk’s “Boing Boom Tschak”. Totally insane!
Phonogene output is routed to a doepfer A-119 which extracts the gate signal and then is fed back into the ping input on a 4ms PEG, then those env outs are fed recursively into the phonogene, final out into Echophon then Intellijel Mutamix.
Omnibus Press presents a new and major biography of the first-ever all-electronic pop group, Kraftwerk, one of the most influential bands in popular music history. David Buckley examines the cult enigma that is Kraftwerk! The inner workings of this most secretive of bands are revealed through interviews with friends and close associates. The story of their incredible impact on modern music is traced up to the present day using interviews with a host of musicians, from original electro pioneers such as Gary Numan and the Human League to contemporary acts still in awe of the original Man Machines.
3.5 ‘Tomorrow Belongs To Those Who Can Hear It Coming’
It wasn’t just young would-be musicians who were listening either. The old guard were listening too. In 1975, modern music’s most important icon, David Bowie, was listening hard to Kraftwerk. Receiving an endorsement from Bowie, at the time the most innovative and critically lauded rock star on the planet, was a big deal. It’s hard now to imagine how influential David Bowie was in the seventies and early eighties. Far and away the most sought after interviewee by the UK music press, his every move was scrutinised, his every word picked over by an adoring audience.
Not that 1975 was personally a good year for Bowie. Commercially, he had never been more popular. ‘Fame’, an unlikely collaboration with John Lennon, became his first US number one, and a re-released ‘Space Oddity’ from 1969 would top the UK charts later that autumn. But physically and emotionally, Bowie was a man of shellac, ready to shatter into pieces, addicted to cocaine and obsessed with the occult. However, amongst the nonsequiturs and ridiculous assertions in his interviews, Bowie was, once again, picking up on a massive shift within modern music. He felt that rock, as a statement, was over. His music of the time, dubbed by its creator ‘plastic soul’, was his first attempt to break free from rock cliché. His second attempt, more fully realised, and much more artistically successful, would be just around the corner. ‘Rock ’n’ roll certainly hasn’t fulfilled its original promise,’ he told Anthony O’Grady in August of that year. ‘The original aim of rock ’n’ roll when it first came out was to establish an alternative media speak voice for people who had neither the power nor advantage to infiltrate any other media or carry any weight, and cornily enough, people really needed rock ’n’ roll. And what we said was that we were only using rock ’n’ roll to express our vehement arguments against the conditions we find ourselves in, and we promise that we will do something to change the world from how it was. We will use rock ’n’ roll as a springboard.’ Bowie continues: ‘But it’s just become one more whirling deity, right? Going round that never-decreasing circle. And rock ’n’ roll is dead … It’s a toothless old woman. It’s really embarrassing.’
Kraftwerk collaborates with Japanese animation “K-ON!!”
A nice fan made tribute video using the Kraftwerk’s iconic track ‘Ohm Sweet Ohm’ from the ‘Radio-Activity’ album and clips from the Japanese Anime ‘K-On!’
‘K-On!’ centres around the story of HO-KAGO TEA TIME, a schoolgirl band getting to grips with playing their instruments of choice who become more confident both in music and in life. However, despite improving immensely in a short space of time, the girls do seem to spend most of their time consuming tea and cake! After all, this is a cartoon! It began as a Manga by creator Kakifly and was originally serialised as a 4-panel strip in magazines by publisher Houbunsha. A 13-part Anime was commissioned by Kyoto Animation and originally aired back in 2009.
KRAFTWERK’s legacy actually looms in the music of ‘K-On!’ via an authentic pastiche entitled ‘Virtual Love’ by HAJIME HYAKKOKU which is clearly based on ‘The Model’. There has also been mock ‘Trans-Europe Express’ based artwork featuring the main characters for an album called ‘Fuwa Fuwa-Time Express’ too…the phrase “Fuwa Fuwa” could be interpreted as “light and fluffy”!
London’s Vinyl Factory art gallery are putting on an exhibition of Kraftwerk’s iconic 7” single covers.
‘Kraftwerk. 45 RPM’ will run from September 13 to October 5, displaying 45 single covers and displaying the group’s unique minimalist sleeve art.
The Chelsea gallery are also publishing a limited edition book of the exhibition, with a print run of only 300 copies, which will catalogue the covers, as well as including an essay by collector Toby Mott and an exclusive 7” single of a rare Kraftwerk interview.
To pre-order a copy of the book, you can visit the VF Editions website right here.
More about the book:
As an introduction to METROLAND’s forthcoming album “Mind the gap”, you can now download the METROLAND single “The passenger” via iTunes, Amazon US, Amazon UK and Amazon DE.
Recommended to fans of KRAFTWERK, KOMPUTER and alike.
The EP features 3 tracks all especially edited for this single release – none of these versions appear on the album, so you are in for an exclusive treat.
Here’s the tracklist:
01 The Passenger (7″ Version)
02 Inner City Transport (7″ Version)
03 The Passenger (12″ Backside Version)
METROLAND’s debut album “Mind the gap” is available as CD/2CD via the Alfa Matrix webshop – pre-orders have been shipped out already but the album will only be officially available on September 7. The limited deluxe 2CD box edition of the album offers you an exclusive VIP audio pass to enjoy the sonic treasures hidden in Zone 2 of the “Mind The Gap” album reinterpreted by prestigious electronic artists in the likes of KOMPUTER, FRANCK KARTELL, KEEN K, NÖVÖ, STERNREKORDER, CELLULOIDE, SOPHIE WATKINS, DARANK, etc.
Order the full “Mind the gap” album directly at Alfa Matrix (free shipping worldwide):
- CD: http://www.alfa-matrix.com/shop_comments.php?id=2197_0_8_0_C
- 2CD: http://www.alfa-matrix.com/shop_comments.php?id=2198_0_8_0_C
for more info and audio clips, please visit my waldorf microwave webpage:
Nice Kraftwerk cover featuring the OTO Bisquit:
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The Stylophone is a miniature analog stylus-operated synthesizer invented in 1967 by Brian Jarvis and going into production in 1968. It consists of a metal keyboard played by touching it with a stylus — each note being connected to a voltage-controlled oscillator via a different-value resistor – thus closing a circuit. The only other controls were a power switch and a vibrato control on the front panel beside the keyboard, and a tuning control on the rear. Some three million Stylophones were sold, mostly as children’s toys.
The Stylophone was available in three variants: standard, bass and treble, the standard one being by far the most common. There was also a larger version called the 350S with more notes on the keyboard, various voices, a novel ‘wah-wah’ effect that was controlled by moving one’s hand over a photo-sensor, and two styluses.
In the mid-70s a new model appeared which featured a fake wooden effect on the speaker panel, and, more importantly, a volume control. (Previous Stylophones had been infamous for being too loud in quiet situations). This was shortly before the Stylophone ceased production altogether in 1975.
Rolf Harris appeared for several years as the Stylophone’s advertising spokesman in the United Kingdom, and appeared on many “play-along” records sold by the manufacturer.
To hear individual performances, click on the desired song/s at the end of this video.