Podcasts about korg ms

Una guía de escucha de Entre cérvols llauradors, Clara de Asís, Susan Droney Javier Piñango_____Has escuchadoI.R.REAL 10. Nave de motores (2022) / Javier Piñango. Javier Piñango, Korg MS 20 y edición digital. audiotalaia (2022)Stupor Mundi (2023) / Susana López, aka Susan Drone. Vestíbulo, Néxodos (2023)trist desert en mans de febre-Entre cérvols llauradors (2021) / Ferran Fages. Ferran Fages, guitarra eléctrica. Autoedición (2021)Uno todo tres (2016) / Clara de Asís. Clara de Asís, guitarra eléctrica extendida. Éditions Piednu (2016)_____ Selección bibliográficaPágina oficial de Clara de Asís, consultada el 22 de septiembre de 2023: [Web]Página oficial de Ferran Fages, consultada el 22 de septiembre de 2023: [Web]Página oficial de Javier Piñango, consultada el 22 de septiembre de 2023:[Web]Página oficial de Susana López, consultada el 22 de septiembre de 2023: [Web] *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March 

Episode 111 Before and After Ambient, Part 2 Playlist Midori Takada, “Mr. Henri Rousseau's Dream” from Through The Looking Glass (1983 RCA Red Seal). 高田みどり (Midori Takada) is a Japanese composer and percussionist. She was a key figure in the Japanese ambient movement of the 1980s. Composed, performed, produced, Marimba, Gong, Cowbell, Recorder, Wood Bell, Ocarina, Tam-tam, Midori Takada. She performed all of the instruments on this album. The album was not immediately popular but seeded the nascent ambient movement that was growing in Japan at the time. Midori Takada, “Trompe-l'œil” from Through The Looking Glass (1983 RCA Red Seal). 高田みどり (Midori Takada) is a Japanese composer and percussionist. She was a key figure in the Japanese ambient movement of the 1980s. Composed, performed, produced, Marimba, Gong, Cowbell, Recorder, Wood and clay Bells, Ocarina, Tam-tam, Cola Bottle, Reed Organ, Midori Takada. She performed all of the instruments on this album. Brian Eno and Harold Budd, “Their Memories” from The Pearl (1984 Editions EG). Composed by Brian Eno, Harold Budd; produced by Brian Eno and Daniel Lanois. David Behrman, “Interspecies Smalltalk Scene 2” (1984) from Leapday Night (1987 Lovely Music). Composed, produced, and computers by David Behrman; violin, Takehisa Kosugi. "Interspecies Smalltalk" (1984) is an interactive piece originally commissioned by the Cunningham Dance Company. Yutaka Hirose, “Light Which Shakes Quietly” from Nova+4 (2019 WRWTFWW Records). Bonus track on this reissued album that dates from 1986. Composed , Arranged and Computer by, Yutaka Hirose; Synthesizer, Jun Tohyama. Takashi Kokubo, “A Dream Sails Out To Sea - Scene 3” (2019 Light In The Attic). Originally released in 1987, this track was part of the new wave of Japanese ambient music. By that time, Kokubo was already reknown for his synthesizer skills on a part with Isao Tomita. He turned to sound design and ambient music and has been instrumental in addition to creating such sounds as the nationally-used mobile phone earthquake alert and credit card payment jingles. Yoichiro Yoshikawa, “Nube” from Cyprus (1988 Eastworld). Original sound track of Japanese TV program. Yoshikawa was already a reliable session musician when he acquired one of the first Phophet-5 synthesizers in Japan. He quickly became a go-to composer for television and other purposes, such as soundscapes for museum exhibitions. Tetsu Inoue, “Low of Vibration” from Ambiant Otaku (1994 Fax +49-69/450464). Before I met Tetsu around the year 2000, I was fascinated by music such as this which had all of the elements of ambient music—slow and forming harmonies, spatial rhythms rather than beats, and a sustained energy throughout—without sounding at all like something out of an Eno production. Produced and performed by Tetsu Inoue. Kenji Kawai, “Ghostdive” from Ghost in the Shell (Original Soundtrack) (1995 RCA). An ambient work from the popular movie soundtrack.Composed, Performed, Produced, Arranged, Keyboards, Instruments, Kenji Kawai; synthesizer, Hironori Houki. Waveform Transmission, “V 1.3” from V 1.0-1.9 (1996 Silent). Analog Tone Engineering and Realization, Recordings Of The Dead, Shortwave, Field Recordings Made During Periods Of Highly-charged Paranormal Activity, Korg MS 10, Korg MS 20, Korg MS 50, Roland System 100 Synthesizers, Home Built Analog Synthesizers, Tape, Loops, Chris Troy; Digital Audio Graphs, Granular Synthesis, Microwave Communications, Psycho-acoustics, Tape, Loops Otari MX 5050 loops, Rod Modell. Experimental Audio Research, “Automatic Music (For Oscillator, Ring Modulator & Filter Clusters)” from Pestrepeller (1999 Ochre Records). UK release, limited to 1000 copies. Engineer, Serge Modular Music System, Sonic Boom (Pete Kember). Some interesting modular synthesizer ambience. John Foxx and Harold Budd, “Raindust” from Translucence + Drift Music (2003 Edsel Records). Composed, produced, and performed by Harold Budd, John Foxx. John Foxx and Harold Budd, “Some Way Through All the Cities” from Translucence + Drift Music (2003 Edsel Records). Composed, produced, and performed by Harold Budd, John Foxx. Pete Namlook, Tetsu Inoue, “Ethereal Being” from 2350 Broadway 4 (2007 Fax +49-69/450464). Composed, produced, and performed by Pete Namlook, Tetsu Inoue. Recorded at Bretton Hall, New York and Klanglobor Hödeshof. Tetsu was an endless collaborator. Here he and the wondrous Pete Namlook wove some ambient magic. Tetsu Inoue, “Kaze” from Inland (2007 Fax +49-69/450464). Written, performed and produced by Tetsu Inoue. This was his post-glitch faze, which brought together, strangely enough, element so his earlier ambient work and glitch music for computers. Masuko Shinji, “Woven Music for Blue Steppe” from Woven Music (2011 Jagjaguwar). All music, vocals and guitar, 増子真二 (Shinji Masuko). This is a project by Masuko, who sometimes works with the Boredoms. It has a characteristic high but sustained energy level that flirts with the outer reaches of the ambient music concept. Caroline Park, “Grain 5” from Grain (2011 Private Chronology). This is a cassette release by Park, often known her for generative composition work and electronic improvisations based on parameters that she defines. Recorded, performed, and mixed between May 2010 and January 2011 in Los Angeles and Boston. Sarah Davachi, “First Cadence” from Antiphonals (2021 Late Music). Composed, Recorded, Performed, Mellotron (bass flute, recorder, oboe), Tape Echo, Sarah Davachi. A recent ambient work by this contemporary experimenter. In the background: An example of ambient music from the program Droneo by Henry Lowengard, which produces self-generating ambient music on a smart phone. “Droneo 1.5 vanDelay and Ape,” (5:25). Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.  

Google's 25th birthday Google killing off Google Podcasts Next week's Pixel hardware event Meta's VR/AR announcements and new Ray-Ban smartglasses with cameras Antitrust lawsuits against Google and Amazon AI voice cloning for automatic translation by YouTube, Spotify WGA writer's strike in Hollywood ending with AI concessions Meta adding AI bots everywhere Books scanned to train AI models in searchable database The viability of foldable laptop screens Premium $500/month Tinder subscriptions Picks: SummaryCat, GrapeGPT, Blackmagic Cinema camera 6K, Starter Villain book, Korg MS-20 Mini synth Hosts: Jason Howell, Jeff Jarvis, and Ant Pruitt Guest: Mike Elgan Download or subscribe to this show at https://twit.tv/shows/this-week-in-google. Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Sponsors: discourse.org/twit bitwarden.com/twit

Google's 25th birthday Google killing off Google Podcasts Next week's Pixel hardware event Meta's VR/AR announcements and new Ray-Ban smartglasses with cameras Antitrust lawsuits against Google and Amazon AI voice cloning for automatic translation by YouTube, Spotify WGA writer's strike in Hollywood ending with AI concessions Meta adding AI bots everywhere Books scanned to train AI models in searchable database The viability of foldable laptop screens Premium $500/month Tinder subscriptions Picks: SummaryCat, GrapeGPT, Blackmagic Cinema camera 6K, Starter Villain book, Korg MS-20 Mini synth Hosts: Jason Howell, Jeff Jarvis, and Ant Pruitt Guest: Mike Elgan Download or subscribe to this show at https://twit.tv/shows/this-week-in-google. Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Sponsors: discourse.org/twit bitwarden.com/twit

Google's 25th birthday Google killing off Google Podcasts Next week's Pixel hardware event Meta's VR/AR announcements and new Ray-Ban smartglasses with cameras Antitrust lawsuits against Google and Amazon AI voice cloning for automatic translation by YouTube, Spotify WGA writer's strike in Hollywood ending with AI concessions Meta adding AI bots everywhere Books scanned to train AI models in searchable database The viability of foldable laptop screens Premium $500/month Tinder subscriptions Picks: SummaryCat, GrapeGPT, Blackmagic Cinema camera 6K, Starter Villain book, Korg MS-20 Mini synth Hosts: Jason Howell, Jeff Jarvis, and Ant Pruitt Guest: Mike Elgan Download or subscribe to this show at https://twit.tv/shows/this-week-in-google. Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Sponsors: discourse.org/twit bitwarden.com/twit

Google's 25th birthday Google killing off Google Podcasts Next week's Pixel hardware event Meta's VR/AR announcements and new Ray-Ban smartglasses with cameras Antitrust lawsuits against Google and Amazon AI voice cloning for automatic translation by YouTube, Spotify WGA writer's strike in Hollywood ending with AI concessions Meta adding AI bots everywhere Books scanned to train AI models in searchable database The viability of foldable laptop screens Premium $500/month Tinder subscriptions Picks: SummaryCat, GrapeGPT, Blackmagic Cinema camera 6K, Starter Villain book, Korg MS-20 Mini synth Hosts: Jason Howell, Jeff Jarvis, and Ant Pruitt Guest: Mike Elgan Download or subscribe to this show at https://twit.tv/shows/this-week-in-google. Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Sponsors: discourse.org/twit bitwarden.com/twit

Google's 25th birthday Google killing off Google Podcasts Next week's Pixel hardware event Meta's VR/AR announcements and new Ray-Ban smartglasses with cameras Antitrust lawsuits against Google and Amazon AI voice cloning for automatic translation by YouTube, Spotify WGA writer's strike in Hollywood ending with AI concessions Meta adding AI bots everywhere Books scanned to train AI models in searchable database The viability of foldable laptop screens Premium $500/month Tinder subscriptions Picks: SummaryCat, GrapeGPT, Blackmagic Cinema camera 6K, Starter Villain book, Korg MS-20 Mini synth Hosts: Jason Howell, Jeff Jarvis, and Ant Pruitt Guest: Mike Elgan Download or subscribe to this show at https://twit.tv/shows/this-week-in-google. Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Sponsors: discourse.org/twit bitwarden.com/twit

Google's 25th birthday Google killing off Google Podcasts Next week's Pixel hardware event Meta's VR/AR announcements and new Ray-Ban smartglasses with cameras Antitrust lawsuits against Google and Amazon AI voice cloning for automatic translation by YouTube, Spotify WGA writer's strike in Hollywood ending with AI concessions Meta adding AI bots everywhere Books scanned to train AI models in searchable database The viability of foldable laptop screens Premium $500/month Tinder subscriptions Picks: SummaryCat, GrapeGPT, Blackmagic Cinema camera 6K, Starter Villain book, Korg MS-20 Mini synth Hosts: Jason Howell, Jeff Jarvis, and Ant Pruitt Guest: Mike Elgan Download or subscribe to this show at https://twit.tv/shows/this-week-in-google. Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Sponsors: discourse.org/twit bitwarden.com/twit

Google's 25th birthday Google killing off Google Podcasts Next week's Pixel hardware event Meta's VR/AR announcements and new Ray-Ban smartglasses with cameras Antitrust lawsuits against Google and Amazon AI voice cloning for automatic translation by YouTube, Spotify WGA writer's strike in Hollywood ending with AI concessions Meta adding AI bots everywhere Books scanned to train AI models in searchable database The viability of foldable laptop screens Premium $500/month Tinder subscriptions Picks: SummaryCat, GrapeGPT, Blackmagic Cinema camera 6K, Starter Villain book, Korg MS-20 Mini synth Hosts: Jason Howell, Jeff Jarvis, and Ant Pruitt Guest: Mike Elgan Download or subscribe to this show at https://twit.tv/shows/this-week-in-google. Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Sponsors: discourse.org/twit bitwarden.com/twit

Google's 25th birthday Google killing off Google Podcasts Next week's Pixel hardware event Meta's VR/AR announcements and new Ray-Ban smartglasses with cameras Antitrust lawsuits against Google and Amazon AI voice cloning for automatic translation by YouTube, Spotify WGA writer's strike in Hollywood ending with AI concessions Meta adding AI bots everywhere Books scanned to train AI models in searchable database The viability of foldable laptop screens Premium $500/month Tinder subscriptions Picks: SummaryCat, GrapeGPT, Blackmagic Cinema camera 6K, Starter Villain book, Korg MS-20 Mini synth Hosts: Jason Howell, Jeff Jarvis, and Ant Pruitt Guest: Mike Elgan Download or subscribe to this show at https://twit.tv/shows/this-week-in-google. Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Sponsors: discourse.org/twit bitwarden.com/twit

For episode 54, I'm joined by Dutch-Italian producer and sound designer Aimee Portioli, also known as @grandriver. After her celebrated first full length, Pineapple, which debuted on the iconic Spazio Disponible back in 2018, Grand River established herself within a world of cinematic sound, best loved for her narrative style which sees her experiment not only in electronic music, but also in acoustic instrumentation, sound installation, and beyond. Her latest record, All Above, effortlessly mutates from droney bass pieces to vaporous atmospheres — it was a particular pleasure to hear this album live at Berlin's Silent Green, in all its engulfing, enrapturing glory. This kind of deep experience is one of Grand River's specialities, as a performer of course, but also as a producer and composer, and in this conversation, we explore all the ways in which her music immerses the listener in her unique world. ++ Music: "Human" - Grand River (2023) "Side Lengths" - Grand River (2020) "Petrichor" - Grand River (2023) "Korg MS-20 1978 Classic" - Grand River (2016) "Recollection" - Grand River (2018)

Durante la década de los 80s la música electrónica vivió su madurez como género, se ramifico y llego a más oídos, durante los 70s fue surgiendo lentamente gracias a gente como Kraftwerk, Cerrone, DAF y varios más. Durante la explosión del Punk comenzaron a surgir movimientos electrónicos en distintos puntos del planeta, principalmente en Europa. El EBM (Electronic Body Music) surge a principio de década y se desarrolla principalmente en países como Inglaterra, Alemania y Bélgica. Influenciado por la música Industrial, el Post Punk y la electrónica pionera germana de la década anterior. Sus características son los golpes duros bailables en 4x4, voces claras mezcladas con gritos o gruñidos y líneas repetitivas de sintetizadores. En este Podcast podréis escuchar parte de aquel sonido, además de sus influencias en otros artistas. Los belgas Front 242, formados a principios de los 80s, aún siguen en activo, aunque actualmente son un grupo de culto. Su época de mayor reconocimiento y éxito fue a partir de mitad de década hasta entrados los 90s. Su mayor éxito fue “Headhunter”. Los alemanes D.A.F. o lo que es lo mismo “Deutsch Amerikanische Freundschaft” comenzaron a finales de los 70s experimentando con el Punk, la música Industrial y Experimental para volcarse principalmente al EBM con el cambio de década. Las dos canciones que suenan en el Podcast pertenecen a su tercer álbum “Alles Ist Gut” el mas exitoso de su carrera. Los británicos Nitzer Ebb (suenan a marca de helados) fueron posiblemente el grupo mas exitoso y famoso del circuito del EBM, con varios singles ubicados en los primeros puestos de las listas europeas. “Warsaw Ghetto (12inch Mix)” y “Let Your Body Learn” son las dos canciones elegidas para este Podcast. Cabaret Voltaire surgen durante los 70s, influenciados por el Dadaísmo cogieron el nombre de un club de Zúrich que fue el epicentro del movimiento Dadaísta. Con los años han logrado fusionar el EBM, House, Pop, Industrial, y la música de baile ochentera. Aquí escuchareis dos de sus canciones mas bailables “Yashar (John Robie Mix 1)” y “I Want You (7 inch Version)”. Liaisons Dangereuses grupo alemán que surgió a principio de los 80s. Su único disco nació a partir de 4 cintas de cassettes grabadas en 1981. El single “Los niños en el parque” fue de gran éxito en la escena Underground e influyo a muchos DJs del House de Chicago y el Techno de Detroit. Y fue sampleado centenar de veces gracias a su característica línea de bajo creada con una Korg MS-20. Tuvieron una carrera efímera. Procedente de la escena New Wave/Synth Pop tenemos a Grauzone y Fad Gadget. La efímera trayectoria de los suizos Grauzone con solo un disco y un puñado de singles fue mas que suficiente para convertir en culto la canción “Eisbär”, una mezcla de Industrial, New Wave y Synthpop. El musico y vocalista Fad Gadget, cuyo nombre real era Francis John Tovey, surgió de la escena New Wave de Gran Bretaña, sus actuaciones era muy teatrales a diferencia de otros artistas de la misma escena. Su sonido ha sido influenciado por la electrónica (Industrial, Synthpop, EBM). Aquí podréis escuchar su tema mas emblemático “Lady Shave”, que originalmente fue publicado como cara B del single “Make Room” del año '81. Robotoko Rejecto y Bigod 20 dos artistas alemanes surgidos en la segunda mitad de la década, procedentes de la escena, convulsionada en aquel momento, del EBM. En aquel entonces ya sonaba el New Beat procedente de Belgica, el Acid House de Chicago y el Techno de Detroit y su influencia se dejó notar. Ambos temas podrían clasificarse como Acid House tanto como EBM. Y para finalizar los Alien Sex Fiend que a pesar de ser un grupo procedente de la escena del Goth Rock siempre han coqueteado con los sintetizadores y las máquinas de ritmo, aquí tenemos una versión del “Under The Thunder (Ignore The Dub)” influenciada por el EBM y el Industrial, como mezclar a los Sex Pistols con Front 242. Espero disfrutéis con la selección. TRACKLIST: 01 - Nitzer Ebb - Let Your Body Learn (Instrumental Slow Version) 02 - A Split Second - Flesh (Slow Belgium Version) 03 - Cabaret Voltaire - Yashar (John Robie Mix 1) 04 - Liaisons Dangereuses - Los Niños Del Parque 05 - Nitzer Ebb - Warsaw Ghetto (Original 12 Mix) 06 - Fad Gadget - Lady Shave 07 - Grauzone - Eisbär 08 - Robotiko Rejekto - Rejekto (Presentation Mix) 09 - Bigod 20 - America 10 - Front 242 - Headhunter 11 - Alien Sex Fiend - Under The Thunder (Ignore The Dub) 12 - D.A.F. - Der Mussolini 13 - Cabaret Voltaire - I Want You (7 inch Version) 14 - D.A.F. - Als Wars Das Letzte Mal

Durante la década de los 80s la música electrónica vivió su madurez como género, se ramifico y llego a más oídos, durante los 70s fue surgiendo lentamente gracias a gente como Kraftwerk, Cerrone, DAF y varios más. Durante la explosión del Punk comenzaron a surgir movimientos electrónicos en distintos puntos del planeta, principalmente en Europa. El EBM (Electronic Body Music) surge a principio de década y se desarrolla principalmente en países como Inglaterra, Alemania y Bélgica. Influenciado por la música Industrial, el Post Punk y la electrónica pionera germana de la década anterior. Sus características son los golpes duros bailables en 4x4, voces claras mezcladas con gritos o gruñidos y líneas repetitivas de sintetizadores. En este Podcast podréis escuchar parte de aquel sonido, además de sus influencias en otros artistas. Los belgas Front 242, formados a principios de los 80s, aún siguen en activo, aunque actualmente son un grupo de culto. Su época de mayor reconocimiento y éxito fue a partir de mitad de década hasta entrados los 90s. Su mayor éxito fue “Headhunter”. Los alemanes D.A.F. o lo que es lo mismo “Deutsch Amerikanische Freundschaft” comenzaron a finales de los 70s experimentando con el Punk, la música Industrial y Experimental para volcarse principalmente al EBM con el cambio de década. Las dos canciones que suenan en el Podcast pertenecen a su tercer álbum “Alles Ist Gut” el mas exitoso de su carrera. Los británicos Nitzer Ebb (suenan a marca de helados) fueron posiblemente el grupo mas exitoso y famoso del circuito del EBM, con varios singles ubicados en los primeros puestos de las listas europeas. “Warsaw Ghetto (12inch Mix)” y “Let Your Body Learn” son las dos canciones elegidas para este Podcast. Cabaret Voltaire surgen durante los 70s, influenciados por el Dadaísmo cogieron el nombre de un club de Zúrich que fue el epicentro del movimiento Dadaísta. Con los años han logrado fusionar el EBM, House, Pop, Industrial, y la música de baile ochentera. Aquí escuchareis dos de sus canciones mas bailables “Yashar (John Robie Mix 1)” y “I Want You (7 inch Version)”. Liaisons Dangereuses grupo alemán que surgió a principio de los 80s. Su único disco nació a partir de 4 cintas de cassettes grabadas en 1981. El single “Los niños en el parque” fue de gran éxito en la escena Underground e influyo a muchos DJs del House de Chicago y el Techno de Detroit. Y fue sampleado centenar de veces gracias a su característica línea de bajo creada con una Korg MS-20. Tuvieron una carrera efímera. Procedente de la escena New Wave/Synth Pop tenemos a Grauzone y Fad Gadget. La efímera trayectoria de los suizos Grauzone con solo un disco y un puñado de singles fue mas que suficiente para convertir en culto la canción “Eisbär”, una mezcla de Industrial, New Wave y Synthpop. El musico y vocalista Fad Gadget, cuyo nombre real era Francis John Tovey, surgió de la escena New Wave de Gran Bretaña, sus actuaciones era muy teatrales a diferencia de otros artistas de la misma escena. Su sonido ha sido influenciado por la electrónica (Industrial, Synthpop, EBM). Aquí podréis escuchar su tema mas emblemático “Lady Shave”, que originalmente fue publicado como cara B del single “Make Room” del año ’81. Robotoko Rejecto y Bigod 20 dos artistas alemanes surgidos en la segunda mitad de la década, procedentes de la escena, convulsionada en aquel momento, del EBM. En aquel entonces ya sonaba el New Beat procedente de Belgica, el Acid House de Chicago y el Techno de Detroit y su influencia se dejó notar. Ambos temas podrían clasificarse como Acid House tanto como EBM. Y para finalizar los Alien Sex Fiend que a pesar de ser un grupo procedente de la escena del Goth Rock siempre han coqueteado con los sintetizadores y las máquinas de ritmo, aquí tenemos una versión del “Under The Thunder (Ignore The Dub)” influenciada por el EBM y el Industrial, como mezclar a los Sex Pistols con Front 242. Espero disfrutéis con la selección. TRACKLIST: 01 - Nitzer Ebb - Let Your Body Learn (Instrumental Slow Version) 02 - A Split Second - Flesh (Slow Belgium Version) 03 - Cabaret Voltaire - Yashar (John Robie Mix 1) 04 - Liaisons Dangereuses - Los Niños Del Parque 05 - Nitzer Ebb - Warsaw Ghetto (Original 12 Mix) 06 - Fad Gadget - Lady Shave 07 - Grauzone - Eisbär 08 - Robotiko Rejekto - Rejekto (Presentation Mix) 09 - Bigod 20 - America 10 - Front 242 - Headhunter 11 - Alien Sex Fiend - Under The Thunder (Ignore The Dub) 12 - D.A.F. - Der Mussolini 13 - Cabaret Voltaire - I Want You (7 inch Version) 14 - D.A.F. - Als Wars Das Letzte Mal

Episode 81 Psychedelic Japan, Part 1 Playlist Flower Travellin' Band, “Satori Part 2” from Satori (1971 Atlantic). Japanese rock band formed in 1970 which broke up in 1973 and reformed in 2008. Guitarist Hideki Ishima is a founding member. Moving from Sapporo to Tokyo in the mid-sixties, he played with the Group Sounds band The Outlaws from 1966 to 1969. Following that he joined The Flowers, who later became Flower Travellin' Band. He is also known for inventing the sitarla, a cross between an electric guitar and a sitar. 7:04 English translation of the lyrics: There is no up or down Your truth is the only master Death is made by the living Pain is only intense to you The sun shines every day The sun shines every day Freedom, freedom! The Taj-Mahal Travelers “Between 7:03~7:15P.M.” from July 15, 1972 (1972 CBS/sony). This album was recorded live at Sohgetsu Hall, Tokyo, Japan, July, 1972. Formed in 1969 this group produced entirely improvised music with a remarkably celestial sound. The ensemble regularly played throughout Japan. In 1971, on the way back from touring Europe, they financed a trip to India to see the Taj-Mahal. Upon returning, they played a benefit concert on July 15, 1972 to help pay for their return to U.K. The track heard hear was part of that live performance. Electronic Contrabass, Santoor (Suntool), Harmonica, Sheet Iron, Ryo Koike; Guitar, Percussion, Michihiro Kimura; Electronic Trumpet, Harmonica, Castanets, Seiji Nagai; Vibraphone, Santoor (Suntool), Yukio Tsuchiya; Electronic Violin, Radio Oscillators, Voice, Takehisa Kosugi; Vocals, Tokio Hasegawa. 11:17 Far East Family Band, “Entering/Times” from Parallel World (1976 Mu Land). Far East Family Band was a Japanese Psychedelic-Progressive-Rock band, founded 1975. Psychedelia with synths. Recorded November 15th to December 5th 1976 at the Manor Studio, UK. Music By, Arranged By, Far East Family Band; Music producer, Fumio Miyashita; Recording producer, Recorded and computer mix by, Klaus Schulze. Band included keyboardist Kitaro until this, their third album produced by Schulze. Kitaro was inspired to venture out into solo electronic work after this album. 15:26 Les Rallizes Denudes (Lay RAL-lees DEN-yoo-day) “Strung Out Deeper Than The Night,” recorded live in 1977. From a bootleg recording of “Heavier Than a Death in the Family” (2002 Not on Label). This Japanese experimental rock band formed in November 1967 at Doshisha University in Kyoto, moved to Tokyo, and was led by Takashi Mizutani (1948-2019). Performed their last gig in October 1996. 15:28 English translation of the lyrics for this song: Deeper than the night, darker than the darkness You woke up with blood and madness Spread your black wings under the burning sky You are what I want After the black sun rises I'll meet you every time I go in the flames of ice midnight white venom A white horse runs through my body The hungry beast that died in the rain fly out the window you shatter the mirror you shatter the night A whispering angel surrounds you I send my blue breath to your center You're what I want After the black sun rises Enveloping you, your breath send to your center Deeper than night and darker than darkness When you woke up, you took death and madness Fushitsusha, “3. すきにやればいい” (“Do It When You Want”) from Invincible (First Live)/不失者 (1989 P.S.F. Records). Guitarist Keiji Haino founded Fushitsusha in 1978. This undated track is probably from 1978 and is part of a double album of live performances spanning the previous ten years that he released in 1989. Guitar, harmonica, Keiji Haino; drums, Seijiro Muryama; drums, Akui; bass, Yasushi Ozawa; guitar, Maki Miura. 11:36 High Rise “Induced Depression” from Psychedelic Speed Freaks (1984 P.S.F. Records). First recording, bootleg album. Japanese psychedelic rock band. Formed in 1982 by Asahito Nanjo and Munehiro Narita under the name Psychedelic Speed Freaks. They changed their name to High Rise when the group released their debut album in 1984. Bass, Vocals, Asahito Nanjo; Guitar (Motorcycle Fuzztone), Munehiro Narita. 3:13 Ghost, “Escaped And Lost Down In Medina” from Hypnotic Underworld (2004 Drag City). Japanese experimental rock and improvisation group formed in Tokyo in 1984 and disbanded in 2014.Their gradual evolution from a guitar-based band with assorted acoustic instruments (e.g., oboe, cello, recorder) and atmosphere (e.g., water, wind) to the inclusion of electronics began in the early 2000s. I think this is their first album that actually credits synthesizers and other electronics. Acoustic Guitar (6- and 12-String), Vocals, Masaki Batoh; Drums, Tabla, Percussion, Junzo Tateiwa; Electric Bass, Contrabass, Cello, Takuyuki Moriya; Electric Guitar, Michio Kurihara; Piano, Mellotron, Korg MS-20 Synthesizer, Organ, Lute, Recorder, Celtic Harp, Kazuo Ogino; Theremin, Flute, Saxophone, Tin Whistle, Bouzouki, Other, Producer, Taishi Takizawa; Written by Ghost. 7:10 Ghost, “Aramaic Barbarous Dawn” from Hypnotic Underworld (2004 Drag City). 3:15 Acid Mothers Temple & The Melting Paraiso U.F.O., “In C” from In C (2001 Eclipse Records). Japanese psychedelic rock band founded in 1995 and which exists as a kind of collective with many guests. This unique entry in the Acid Mothers catalog feature an interpretation of the famous Terry Riley minimalist landmark “In C” (1968 Columbia). This version is full of the psychedelic appurtenances you would expect of Acid Mothers and somewhat follows the original score, though much of the scored piece serves as a bed for the other wonderful sounds that swirl about. Bass (Monster), Tsuyama Atsushi; Drums, Ichiraku Yoshimitsu; Electric Guitar, Synthesizer, Higashi Hiroshi; Electric Guitar, Violin, Zuruna, Synthesizer, Kawabata Makoto; Producer, Engineer, Kawabata Makoto; Vibraphone, Glockenspiel, Terukina Noriko; Voice, Cotton Casino. 20:28 Kikagaku Moyo, “Kodama“ from Forest Of Lost Children (2014 Beyond Beyond Is Beyond Records). Japanese psychedelic rock band formed by Tomo Katsurada and Go Kurosawa in 2012. Bass, Kotsuguy; Drums, Vocals, Go Kurosawa; Engineer, Yui Kimijima; Guitar, Daoud Popal; Sitar, Ryu Kurosawa; Theremin, Voice, Angie Gotopo; Vocals, Guitar, Tomo Katsurada; Written-By Go Kurosawa. Another one of the acclaimed bands in the Japanese progressive psych genre, the word is they are breaking up and play their last show in Tokyo in December 2022. 4:21 Opening background music: Les Rallizes Denudes, “Oz Days (1:33)” and “Wilderness of False Flowers”(7:36) from The Oz Tapes (1973 OZ Records). Recorded at OZ, Kichijoji, Tokyo 1973. Bass, Makoto Kubota; Drums, Shunichiro Shoda; Guitar, Takeshi Nakamura; Vocals, Guitar, Takashi Mizutani. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog, Noise and Notations.

The Korg MS-20 filter has so many clones that it's hard to count. So why make yet another one? Unless... It's not really a clone. If you want to release an instrument to the market you might want to think beyond a basic synthesis building block. Sure, designing a filter circuit, an oscillator or a wave folder is a fun exercise. But, with so many basic modules out there, it's hard to stand out. Steve's MS-22 from ThreeTom modular can serve as a good example here. Tom Verschooten from Threetom Modular took the MS-20 filter as a starting point and added a clever modulation matrix that makes it quite a unique filter that fits nicely under a 4HP panel. This is a good example of a worthy engineering and design challenge that pushes the modular space forward. In this interview, Tom explains the various phases that lead to Steve's MS-22. He also touches on the importance of clear documentation, as well as the personal touch that can make a small manufacturer stand out. Tom's process is quite unconventional (for instance, skipping the breadboard phase altogether). Listen in to learn more! Join our community: https://www.synthux.academy/join-discord Check out the website for prototype images and extra content: https://www.synthux.academy/blog/threetom-modular

Win an Uno Drum by IK Multimedia (details on Facebook Page): https://www.facebook.com/emlyninthemix Get Native Instruments Expansion: Concrete Sun: https://bit.ly/3QUnBjY Baby Audio Crystalline Sale: https://bit.ly/3pQLH3f Show your support for the Podcast and Shout me a Coffee!! https://buymeacoffee.com/emlyninthemix Rap Star by Emlyn (Podcast Intro): https://www.youtube.com/watch?v=BM7Oi89Mi5M Thank you to Arturia for letting is look at the Korg MS 20 V!!! goto: www.arturia.com and check out the V Collection 9 PLEASE LEAVE ME A REVIEW on THIS PODCAST!! 5 STARS BABY!!! I just set up an email to contact me on the Podcast!! - emlyninthemix@gmail.com P.S I love you

Win an Uno Drum by IK Multimedia (details on Facebook Page): https://www.facebook.com/emlyninthemix Get Native Instruments Expansion: Concrete Sun: https://bit.ly/3QUnBjY Baby Audio Crystalline Sale: https://bit.ly/3pQLH3f Show your support for the Podcast and Shout me a Coffee!! https://buymeacoffee.com/emlyninthemix Rap Star by Emlyn (Podcast Intro): https://www.youtube.com/watch?v=BM7Oi89Mi5M Thank you to Arturia for letting is look at the Korg MS 20 V!!! goto: www.arturia.com and check out the V Collection 9 PLEASE LEAVE ME A REVIEW on THIS PODCAST!! 5 STARS BABY!!! I just set up an email to contact me on the Podcast!! - emlyninthemix@gmail.com P.S I love you

Fevzi Turkalp, the Gadget Detective, joins Bill Buckley on BBC Radio Berkshire to discuss the latest tech news and reviews. This week; a gaggle of gadget ideas for Father's Day. 1st Gadget of the Week is the Ember Cup. This 178ml temperature controlled cup and saucer, available in black or bronze, allows you to set a desired temperature, which it will maintain for up to 90 minutes via the internal battery or indefinitely if left on the saucer. Scoring 4 out of 5, listen in for full details. 2nd Gadget of the Week is the Logitech MX Vertical Ergonomic Mouse. This wireless mouse is almost vertical in design, offering a more natural posture for the hand, and is available in left and right hand models, and in grey, white, and pink. Compatible with up to 3 different devices, switching between them, this scored 4 out of 5, full details in the show. 3rd Gadget of the Week is the Arturia V Collection 9 software synthesiser suite. A premium suite of software emulations of some 33 classic synths including _Jup-8 V, _Jun-6 V, _Prophet-5 V, _CS-80 V, _Korg MS-20 V, and many more. Scoring 4 out of 5, full details in the show. 4th Gadget of the Week is the Readly magazine subscription service. With access to over 6000 magazines and newspapers available via one monthly subscription, this service has something for everybody and environmentally, too, as you read on your device of choice, and many support text to speech. Scoring 3.5 out of 5, full details in the show. You can hear the Gadget Detective on BBC Radio Berkshire just after midday every Saturday and can follow and contact him on Twitter @gadgetdetective. If you enjoy these shows please consider subscribing and leaving a review, thanks! #Fevzi #Turkalp #Gadget #Detective #Tech #Technology #News #Reviews #Help #Advice #Bill #Buckley #BBC #Radio #Berkshire #Cake #GadgetoftheWeek #Fathers #Day #Ember #Temperature #Controlled #Cup #Saucer #Tea #Coffee #Heat #Battery #Black #Bronze #Logitech #MX #Vertical #Ergonomic #Mouse #Wireless #Left #Right #White #Grey #Pink #Arturia #ArturiaVCollection #V-Collection #VCollection #VCollection9 #Jup-8 #Jup8 #Jupiter #8 #Synth #Synthesizer #Music #Keyboard #Soft #Software #Sequencer #Composing #Readly #Magazine #Subscription #Service #Newspapers #Read #Online #App #Environmental

On this episode: TQ4 returns to jam w Man using his TQ404 synthesizer w influences from : Oberheim OB-Xa · 9. Roland JD-800 · 8. Yamaha CS-80 · 7. Korg Wavestation · 6. Yamaha DX7 · 5. ARP 2600 · 4. PPG Wave 2.2/3 · 3. Mini Moog · ARP 2600 · Korg MS-20 · Sequential Circuits Prophet 5 · Oberheim OB-Xa · Roland Jupiter 8 Roland TB-303 (1982) ; 5 & 6. Roland TR-808 TX81Z Garritan (Every ARIA based products) Makemusic (Finale 2009-v27) AVID Technologies (Sibelius 5-2021.12) Microsoft (Songsmith) SONY Creative Software (Acid Pro 7) AKAI (EWI-USB) Geniesoft (Overture 4.0) A Designs Reddi Moog Minimoog ARP Odyssey Farfisa Rhythm Unit 10 & Vox Percussion King (customised) Farfisa Professional Piano Schulte Compact Phasing A Mutron Biphase A Designs Pacifica ADT Toolkit x4 Akai S950HXC AKG Contact Mics Alice Mixer Allen Heath Mix Wizard Allen Organ Spring Reverb AMS RM16 API 3124+ API 550A API 550A orig API 550B API 560 API 8200A ARP 2500 Atari 1040 + Midi Expansions + HXC Avedis E27 Bode Vocoder Boss BX16 Boss BX8 Boss GE7 Buzz Audio Arc1.1 Calrec Minimixer Calrec RQP3200 Casio FZ10 + FZ20M + NXC Chandler Delay Black Chandler Delay Cream Chandler Zoner Limiter Cirklon Sequencer Court Acoustics Graphic Crumar Bit01 White Cwejman RES4 x3 Cwejman VC06 Disklavier MKIV Pro Custom DPA 4052 Drawner Stereo Gate Dytronics FS1 Elysia Mpressor EML 101. modded EMS 2000 Vocoder EMT 140 Plate/Stereo/Tube EMT 240 Gold Foil EMT 252 FX EMT 258 x4 Filters Ensoniq ASR10 Eventide DSP4000 Eventide H3000 DSE Eventide H949 x4 Focusrite ISA110 Orig x8 Focusrite ISA430 Fulltone Tape Echo Harrison 32EQ GR500 HAT Mechanical Drums Helios x2 Intellijel Rubicon JH ARP Quadra Phaser JH Storm Tide FLanger x2 JH Tau Phaser Jomox Sunsyn V1 x2 Kawai K5000R Klark Teknik DN780 Korg DS8 Korg Minipops7 Midi. sepouts Korg PS3200 Korg PS3300 x3 Lexicon 480L Lexicon PCM70 LPG Lynx Aurora 16 Make Noise DPO Marion PROSynth x2 Meinl Water UDU Micmix Dynaflanger Micmix Masteroom 2 Midas Venice Desk Midimoogs x2 Modular Systems/Eurorack Moog Memory Lintronics MIT Ensemble Mum & Dad Vocals Musicmaid Claptrap x4 Nagra IV-S Neotek Elite 64 Channel Custom Neumann V473 x2 Oberheim OBX, racked Oberheim Modular SEMs, racked Orla DSE24 Pearl SC40 Pearl Syncussion, racked/midi/mod x4 Plugins, various Pultec EQP-1A3 Quad Eight 248 x2 Quantec Room Simulator Retro Instruments Powerstrip Rhodes Chroma RME Fireface800 RMI Harmonic Synth Roland 101s, modded Roland CE1 Roland D550 Roland MK550 Roland MK570 Roland R8/ROM(?) Roland TR606 / 666?, modded Roland TR808 Sci Prophet VS Sci Prophet5, racked/keyboard Sennheiser VSM201 Serge Modular 9-panel Shure Auxpander Siemens V78 x2 Simmons SD53(??) SM Pro PEQ505 Songbird Tri Chorus x2 Sound Devices 772 Soundcraft Ghost Soundworkshop 262 SPL TD4 SSL 4000 Channel Strips x5 SSL X desk Studio Electronics Code8 Full Synthoma Elkorus Synton Syntovox 221 x2 Tantek Flanger/Delay TC1210 Tongue Drums TR727 TR9090 Valley People Gain Brains Valley People Kepex x10 Wildlife Yamaha CS80 Yamaha D5000 Yamaha DX100, modded Yamaha DX11 Yamaha EX42 Yamaha FS1R Yamaha RX11 Yamaha TX16W x2 Zither AFX-scale Nord Lead 2 synthesiser - Studio Electronics SE1 - optical drives - four Kawai K-5000 synthesisers - Quasimidi QM-309 Rave-o-lution synthesiser - Tascam DA-88 8-track digital audio recorder - 4 Roland mixers - Doepfer Regelwerk MIDI Fader Box / Sequencer - 2 Doepfer MAQ 16/3 sequencers - Doepfer Schaltwerk sequencer - Doepfer A-100 modular synthesiser - Doepfer MMR4/4 - miniature MIDI keyboard custom-made by Doepfer - Doepfer LMK2 master keyboard (customised) - Waldorf Microwave - Boss SE50 effects processor (at least 4 of these) - 4 Akai samplers - Robovox (see 1990 entry below) - laptop computer - Eventide effects processor - Sony disk drive

Bonjour my friends! Sorry for delay, but I so glad to represent for you super cool artist TKUZ! Juan Harrison from Mexico best known by his production moniker ‘Tkuz'. He began his musical career as a drummer in a band formed with group of friends, an experience that helped him acquire a good knowledge of electronic music and synthesizers. @TKUZ lists his influences: Paul Parker, Kano, Divine and more current artists like Aphex Twin, Ural 13 Diktators and David Carreta. These influences have done much to develop the trademark Tkuz sound. His production teeth were cut on softer, melodic edits, including his your first track ‘Specialist' for Black Leather Records, a track that put him in the crosshairs of many artists. The Scrap Mag magazine even chose to use Specialist in its first compilation. A year on from Specialist saw Tkuz receiving more recognition in the form of remixes for the likes of Adriano Canzian, Equitant and Nicolas Estany and Mexican. Fascinated by the Korg MS-20 and the sound of the TR 707 he also edits Morgan Hammer's ‘In the Box'. Tkuz has continually shaped his own sound, and it's a sound stamped firmly with ‘made in Mexico', much like his compatriots, Zombies Miami. Tkuz has built on his early success with cuts like ‘The Captive' and the much-lauded ‘Space Love', which was supported by artists such as Matt Walsh and the aforementioned Morgan Hammer. Also noteworthy is ‘Let's dance with the devil' which was aired in a compilation for Clouded Vision, and the Tkuz collaboration with Spanish artist Myriam Love of Beatlove for the label La Dame Noir. With ‘Night Heat' Tkuz also manages to attract the attention of The Hacker and this track is listed in one of the monthly charts of the French artist. TrackList of TKUZ (second hour) Tkuz - Lips  Order89 vs Deux Control - Te ete Blonde  Ackerman - Discoteca (Eliezer Rmx)  Roe Deers - Glass Around  Zyklus - Mxyzptlk  Fabio Me Llaman Soltero - Coco The Pinscher  Tkuz - The Boneless  Cute Heels - Night Libertine l  Davide Bisbal - l want You (Alixander lll Rmx)  Monk Ernie - Let It Go  Ítaloconnections - Neon Disco (Tkuz Rmx)  Tkuz - Sientelo  Tkuz - Electroloop  Meese X Hell - Dr No  also check his music on bandcamp: https://tkuz.bandcamp.com like his facebook: https://www.facebook.com/TkuzJuanHarrison follow his instagram: https://www.instagram.com/tkuz.music * First hour was recorded from Antenna Radio in Tel Aviv Watch Now: https://youtu.be/mC3pGKYoStw Oh, and don't forget about me! follow me for more amazing artists and party's www.instagram.com/vovajulev

Machine Music : with Man and TQ4 on the TQ404 synthesizer (unreleased) and my Ai that says : This music is pretty like a compiled machine. I have some of the best vintage computers and vintage synthesizers, and new programs for them, such as new programs for Roland JX3P, Yamaha DX7, Korg M1, Casio CT-1, Korg MS-20, Roland V-Synth, Roland VP-330, E-mu SP-1200, Synthogy Soundscape, Oberheim Xpander, and others. they used to create, but most programmers all have their legacy hardware first start, or has their first focus (eg Dos users influence, Win32 users influence, etc ) My MIDI CV Invoke synth still in work is good because I made it when it was big deal )) =D, more each new machine game I have find sweet ways from my machine (A89 etc hacked in MIDI messages from LP20 owned PC ) ) =D, Can you experience these cool imitative sounds examples maybe here, or should I link to youtube or some videos (cpsurreesey28 ) Some wav examples (cpsurre to help with my tunes and time-based music. Some programs will, which have since been edited out, created instabilization. All machines and the programs used are designed to ... Design, I'm really excited about helping Vission Golf with their wedding video. The corporate video was great. Imagine capturing history through a new kind of eyes. Not just imagery on a shoe cardboard. It's turned my hometown of Chapel Hill into a vivid fashion photo shoot. Watch out... I create on my PC. I think electronic music is difficult to define for new artists since I will be creating my own sound at first, it's difficult for me to communicate how I will make my music, this is the best way for me to describe it. Please be nice to me if you can because I'm a new artist and a lot of things can help me grow in the world and thank you very much for your attention. Hi sounds like what I do. I'll do beats on my Z80 so you can feel it. Nice to have you here in the community

Talking Synths is a weekly podcast where Syntaur's Sam Mims and Carlos Morales tackle your questions and chat about all manner of synthology. In this episode Carlos and Kenneth talk about using synthesizers as effect processors. Synths such as the Korg MS-20, Waldorf Quantum, Novation Summit and Moog Matriarch allow this feature. Linktree: Syntaur Instagram: @syntaursynths Facebook: Syntaur Twitter: @syntaursynths Tik Tok: @syntaur

Playlist Chamberlin Rhythmate Two Times The Trauma, “Freak Show” from I Fell In Love With An Ocean (2006 Starfly). There is an original Chamberlin Rhythmate at Roth Händle Studios in Stockholm, plus some other precious vintage equipment used in the making of the first album by Two Times The Trauma. Double Bass, Vocals, Magnus Eugensson; Drums, Percussion, Optigan, Mellotron, Tin Whistle, Turntables, Chamberlin Rhythmate, Mattias Olsson; Electric Guitar, Eric Fallope; Mellotron, Orchestron, Tobias Ljungkvist; Tuba, Fredrik Wennström; Vocals, Cecilia Åhlfeldt; Vocals, Acoustic Guitar, Mattias Eriksson; Xylophone, Daniel Kåse. Recorded at Roth Händle Studios 3 & 4, Stockholm. Mellotron bee tape set used with kind permission from Gaby Stenberg. Yamaha GX-1 used with kind permission from Benny Andersson. Orchestron French Horn disc on 'In Your Eyes' used thanks to Zac Rae. All Optigan, Mellotron and Chamberlin Rhythmate service and maintenance was performed way beyond the call of duty by Markus Resch. Wurlitizer Side Man and Swingin' Rhythm LCD Sound System, “Somebody's Calling Me” from This Is Happening (2010 Parlophone). Somebody's Calling Me; Finger Snaps Snaps, Matt Thornley; Finger Snaps Snaps, Synthesizer Casio MT-68, Wurlitzer Sideman, EMS VCS3 Putney, Korg Poly Ensemble, Bass, Piano Acoustic, Keyboards Roland System 100, Vocals, James Murphy; Mixed By, DS; Trombone, Jason Disu; Written-By, J. Murphy. Glenn Derringer, “The Girl From Ipanema” from Wurlitzer Swingin' Rhythm (1968 Wurlitzer). Glenn Derringer at the Wurlitzer electronic organ, demonstrating the Wurlitzer Electronic Swingin' Rhythm attachment with an unspecified Wurlitzer electronic organ. Each track on this demonstration disc explains the Swingin' Rhythm settings that were used. For “The Girl From Ipanema,” the settings were: “Moderate Bossa Nova. The Swingin' Rhythm was set at Latin, tempo control set to 1 o'clock.” What more can I say? Dick Hyman, “Strobo” from the single Strobo/Lay, Lady, Lay (1969 Command). Dick told me about this track, which was one of his Moog experiments that didn't make it onto his two albums around this time. Normally, he produced his Moog tracks with the help of synthesizer programmer Walter Sear. But in the case of this single, he did all the programming. For “Strobo,” he used a drum machine. It sounds like a Swingin' Rhythm. Jean-Pierre Sabar, “Fool on the Hill” from Super-Danse/Les Orgues Électroniques De Jean Pierre Sabar (1969 Sava). French LP of instrumental cover versions of popular music, all played on the Wurlitzer 4300 electronic organ with integrated Multi-Matic Percussion unit and Swingin' Rhythm, which was also sold as a standalone drum machine. In this case, I'm having a little trouble telling the difference between the drum machine and what sometimes sounds like a drum set with bass and toms. The settings on the organ indicate that the pedals can be used to play “drum” and “cymbal” sounds, and the Swingin' Rhythm unit had buttons for drum, brush, snare, block, and cymbal. Still, I can't account for the tambourine sound but so much of this rhythm section sounds like a drum machine repeating sounds robotically that I must assume that this is a combination of live drummer and drum machine. Jerry Styner And Larry Brown, “Dock of the Bay” from Orbit III (1971 Beverly Hills). Album produced to showcase the sounds of the Wurlitzer Orbit III organ, the “orbit” portion being a a third, two-octave keyboard that was a monophonic synthesizer. The instrument was equipped with the latest Wurlitzer rhythm machine built in. On this track, you not only hear sounds of a drum machine that sounds similar to the Wurlitzer Swingin' Rhythm machine introduced in 1969. Although the liner notes suggest that all of the sounds were created using the organ, there appears to be a regular human drummer playing along (probably percussionist and co-producer Larry Brown). I say this because there is a hit hat heard throughout and although Swingin' Rhythm had setting for a Snare, Brush and Cymbal sounds, as fills for the rhythm settings, they really did not reproduce the hit hat sound that is heard here. That and the miscellaneous drum fills added throughout sound more “played” than mechanized. Anyway, that's my take after examining this recording as compared to the actual sounds of the Swingin' Rhythm unit. Thomas Organ Byron Melcher, “Spanish Flea” from The Entertainers (1966 Thomas Organ Co.). Thomas Organ was one of the leading makers of electronic organs for the home. On this track, you can hear the Playmate rhythm component, a drum machine with 15 preset rhythms. The Thomas organ drum machine, circa mid-1960s. Thomas Organ was another maker of electronic organs for the home market. By 1966 they had created the Playmate rhythm component, a drum machine with 15 preset rhythms and a standalone device called the Band Box that had 10 preset rhythms. These were often sold as part of their Color-Glo line of transistorized organs. Color-Glo helped amateur musicians by lighting up the keys for preprogrammed melodies and chords to guide them along. Lowrey Organ Johnny Kemm “Taboo” from Latin Days (1970 Concert Recording). This album was created using the Lowrey Theater Console Deluxe organ model H25R-2 equipped with the built-in Automatic Rhythm drum machine feature. Not Sure Which Drum Machine Robin Gibb, “Mother and Jack” from the single Saved by the Bell/Mother and Jack (1969 Polydor). There was brief period in 1969 when the Brothers Gibb, otherwise known as the Bee Gees, had a sibling riff and Robin went off on his own to record some solo projects while Barry and Maurice completed a two-man Bee Gee album called Cucumber Castle. Perhaps because he was working along, Robin used a drum machine to mark time while recording various tracks and in the case of a few songs, he kept the mechanical rhythm as part of the finished recording. This might be the earliest purposeful use of a drum machine on a pop hit. I include it hear because it is probably a Swingin' Rhythm, although it might also be a Seeburg Select-A-Rhythm, also available at the time. Bruce Haack “Saint Basil” from The Electronic Record For Children (1969 Dimension 5). Tape composition, drum machine, and synthesis by Bruce Haack; Directed by P. Pandel; Performer, The Children Of Holy Trinity Cathedral School. Bruce used an unidentified drum machine on this album of children's music. Roland (Various) Michael Iceberg, “Mexican Hat Dance” from Does It Live: 100th Week At Walt Disney World (1977 Hihomusic). This album was only sold to tourists as a souvenir at Walt Disney World during the Michael Iceberg residency as a performer at Tomorrowland Terrace during the late 70's through the late 80's. Unknown drum machine, but likely a Roland Rhythm TR-55. Miha Kralj, “Apokalipsa” from Andromeda (1980 PGP). Yugoslavian record from synthesist Miha Kralj features a Roland CompuRhythm CR-78. Composer, producer, Synthesizer, Vocoder, Sequencer, Drum Machine, Effects, Miha Kralj. Gary Numan, “Slowcar To China” from Dance (1981 Atco). Bass , Mick Karn; Percussion, Gary Numan, Tim Steggles; Polymoog, Prophet 5, Roland JP 4, CP30, Claptrap, Electronic Drums Roland CR78, Gary Numan; Viola, Chris Payne. The Noyes Brothers, “Byte to Beat” from Sheep From Goats (1980 Object Music). Synthesizer and electronic drums, Solamar. The Noyes Brothers had two members, Steve Miro and Steve Solamar. They were from the UK and Solamar seems to be the only artist on this track and uses an non-specific Roland drum machine. This track is taken from a double LP, the only record I know of for the Noyes Brothers. Comateens, “Ghosts” from Comateens (1981 Cachalot Records). Here is a group who's unofficial fourth member was a Roland Compu-Rhythm CR-78. The inner notes for the album featured profiles of all of the artists, including Lyn Byrd on synthesizers and vocals, Oliver North on guitar and vocals, Nic North on bass, and vocals and the Roland machine, which was described as having a square black head, no body, with red, blue, and yellow buttons. In addition, the notes state that the Roland drum machine was born in Japan and existed as 3,468 separate pieces before assembled and called upon to serve with the Comateens. Joël Fajerman, “Espace – Oiseaux” from Azimuts (1981 PSA). French record by Fajerman featuring a Roland TR 808 Rhythm composer, and instruments such as the Multimoog, Prophet 5, Korg polyphonic 3100, Clavinet D6, ARP sequencer, Oberheim module. SPK (System Planning Korporation), “Emanation Machine R. Gie 1916” from Information Overload Unit (1981 Side Effects). Australian industrial sounds released in the UK. Guitar, Bass, Tape, Vocals, Mike Wilkins; Synthesizer, Roland Drum Programming, Effects, Vocals, Graeme Revell; Synthesizer, Effects, Dominic Guerin. Rüdiger Lorenz, “Out of the Past” from Invisible Voices (1983 Syncord). This late pharmacist/synthesist from Germany played all the instruments on this album, including Korg Polysix, Formant Synthesizer, Roland Vocoder VC 10, Roland TR-808 Rhythm Composer, Moog Sample & Hold, MXR Stereo Chorus, Electro-Harmonix Flanger, PPG Sequencer, Elektor Ringmodulator, and Pearl Vorg Echo-Orbit. Other analog drum machines Bob Hacker, “Careless Hands” from One Man Opry: Bob Hacker Plays The Yamaha Electone D (1980 Yamaha). This album, produced by Yamaha, features some of the wacky analog synth effects it could produce as well as its built-in drum machine. This was a spinet style organ, a small upright keyboard with pedals for the home market. Arthur Brown and Kingdom Come, “Time Captives” from Journey (1973 Polydor). Brown used Bentley drum machine to provide drums on this track. The Bentley was actually a UK version of the Roland TR-77 which was the very first product Roland released under they own name. In the US this same unit was sold by Hammond as the Auto-Vari 64. The unit has 5 faders for Volume, Tempo, Cymbal/HH/Maracas, Guiro, Snare, Bass Drum. The TR-77 has 6 faders for Tempo, Fade Time, Volume, Bass D, Snare D, Guiro & Hi-Hat/Cymbal/Maracas. Bass, Percussion, Vocals, Phil Shutt; Bentley Rhythm Ace, Vocals, Arthur Brown; Electric Guitar, Vocals – Andy Dalby; Mellotron, Synthesizer [Arp 2600, Vcs3], Piano, Theremin, Percussion, Vocals, Victor Peraino. Kraftwerk, “Radioactivity” from Kraftwerk – Radio-Activity (1975 Capitol).Electronics, Florian Schneider, Ralf Hütter; Lyrics by Emil Schult, Florian Schneider, Ralf Hütter; music by Florian Schneider, Ralf Hütter; Electronic Percussion Karl Bartos, Wolfgang Flür; Vocals, Florian Schneider, Ralf Hütter. Schoolly D, “P.S.K.-What Does It Mean? (instrumental version)” from‎ P.S.K.-What Does It Mean? / Gucci Time (1986 Schooly D Records). A remix of this track that features only the drum sounds of the The Roland TR-909 Rhythm Composer. This drum machine was one of the first Roland instruments to be equipped with MIDI, and was the first analog/digital hybrid machine, combining analog circuits for its drums with digital samples for its cymbal and hi-hat sounds. You can hear how Schooly D isolated the cymbals and drums on this track. Pixie Ninja, “Leng Plateau” from Colours Out Of Space (2020 Apollon Records). Another recording using the Chamberlin Rhythmate in the Roth Händle Studio in Stockholm. Roth Händle studios is run by producer and musician Mattias Olsson who collects, restores, and offers vintage musical gear for use by visiting bands. There is so much to listen to here with Pixie Ninja's hard-driving and somewhat deranged mix of vintage, cranky electronic instruments and modern guitars and synthesizers. You can hear the Chamberlin Rhythmmate in this track, a Bandmaster Powerhouse Drum Machine (the one that used 8-track tapes), and an Electro-Harmonix DRM-16 Drum Machine. Godin Shifter 4 Bass, Korg Krome 61, Korg Volca Keys, Korg Monotribe, Nord Lead A1, Glockenspiel, Polar Circle Bells, Kalimba, Marius Leirånes; Drums, Percussion, Mother Modular System, Mellotron M400, Philicorda Organ, Chamberlin Rhythmate, Fender Rhodes, Hohner Clavinet, Blind Typemachine, EMS VCS3, Casio PT-88, Roland JV-8080, Roland SH-101, Electro-Harmonix DRM-16 Drum Machine, Moog Taurus, Korg MS-10, Optigan, Roland VP-330+, Bandmaster Powerhouse Drum Machine, E-Bow (Bass Gizmotron), Jenco Celeste, Grand Piano, Mattias Olsson; Fender Stratocaster, Gretsch G5320T, TC Electronic AEON Infinite Sustainer, Korg Krome 61, Korg microKORG, Nord Lead A1, Arturia Microbrute, Stylophone 350s, Glockenspiel, Jostein Haugen; Rickenbacker 12 String Electric Guitar, Fender Rhodes, Philicorda Organ, Mellotron M400, Hampus Nordgren-Hemlin. Background Sounds Opening: Negativland, “Side 1, Track 3” from Negativland (1980 Seeland). An unidentified drum box is heard throughout this track. It sounds a lot like the Wurlitzer Swingin' Rhythm. Recorded Dec. 1979-April 1980. This privately release album had a hand-made sleeve made of cut-and-paste artwork assembled with xerox, wallpaper, black construction paper, and magazine photos. Beneath these pasted portions, the cover itself is spray painted and stenciled with parts of the band name, as well as hand-numbered. Synthesizer, edited by, voice, tape, David Wills; Tape, Electronics, drum machine rhythms, Booper (an electronic oscillator), Clarinet, Organ, Viola, Loops, Guitar, Mark Hosler, Richard Lyons. Description of previous way of producing drum sounds: George Wright, “Happy Talk” from Goes South Pacific (1958 HiFi Records). George Wright on the Mighty Wurlitzer theater organ, an electronic organ popular in the 1950s. Introductory dialog: Johnny Kemm “I Say a Little Prayer” from Latin Days (1970 Concert Recording). This album was created using the Lowrey Theater Console Deluxe organ model H25R-2 equipped with the built-in Automatic Rhythm drum machine feature. Description of Chamberlin Rhythmate: Audio track demo of the  Chamberlin Rhythmate  from the YouTube video posted by instrument collector Dan Hicks (aka Peahix), a collector in California. Description of Wurlitzer Side Man: Audio track demo of the Wurlitzer Side Man from the YouTube video posted by instrument collector Dan Hicks (aka Peahix), a collector in California. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog Noise and Notations.  

A solo night where JVonD does a massive amount of jams, over an hour, with the new set format of jam programming. Also new deeper kick drums and bass make this a back punching sonic experience. Moog Werkstatt-01, Korg MS-20, Roland System-8.

Stevie J Jones and Jules Maxwell's daily jam from their workspace in Brockley, London. A little piece for electric piano and Korg MS-20 in C minor.

#SUBTRACTIVESYNTHESIS Subtractive is the most common method that gave birth to the concept of sound synthesis. And is also one of the most popular synthesis types of all, perhaps due to its inherent simplicity and application. This type of synthesis is a very simple signal chain of an oscillator (or the combination of multiple oscillators) running through a filter (EQ curve) which is then sent to an amplifier for gain staging and ADSR (attack, decay, sustain and release) for controlling the envelope response. The harmonics present within the oscillators tones can be whittled into harmonic structures that mirror those of actual instruments. This method is very easy to achieve in both analog and digital realms and can be used to create numerous (possibly infinite) instruments, effects, and sounds. The analog subtractive synthesizer was initially designed for this purpose–as an alternative to hiring musicians to play on recordings, however, it quickly morphed into its own instrument, creating various sounds never before made by any acoustic instrument. Subtractive synthesis is the most closely associated with the analog synthesizers of the ‘60s and ‘70s. In which the harmonics of simple waveforms, such as the ones previously mentioned, are attenuated with a voltage-controlled resonant low-pass filter. Some of the Vintage synths most known in this type are the Minimoog, and the Korg Ms-20, maybe you recognize them! topmusicarts/4-main-types-of-synthesis-explained-wavetable-fm-additive-and-subtractive Figure 5.1 Sine, square, triangle, and sawtooth waveforms An oscillator is a repeating waveform with a fundamental frequency and peak amplitude and it forms the basis of most popular synthesis techniques today. Aside from the frequency or pitch of the oscillator and its amplitude, one of the most important features is the shape of its waveform. The time-domain waveforms in Fig. 5.1 show the four most commonly used oscillator waveforms. Although it is possible to use all kinds of unique shapes, these four each serve a range of functions that are suited to a range of different synthesis techniques; ranging from the smooth, plain sound of a sine wave, to the harmonically rich buzz of a sawtooth wave. Oscillators are generally controlled by a keyboard synthesiser or MIDI protocol device. A key press will result in a MIDI note value which will be converted to a frequency value (Hz) that the oscillator will accept as its input, and the waveform period will repeat accordingly to the specified frequency. From here, the sound can be processed or manipulated in a variety of ways in the synthesizer or program to enrich or modify the sound further. weki --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/vegansteven/message

We are pleased to announce a new album on Mysteries of the Deep from Brooklyn-based multidisciplinary artist and creative producer — Nathaniel Young (@nathanielyoung) Video: https://youtu.be/-nX8B8hWBck Artist: Nathaniel Young Album: Accosting Form, Pure Intent Cat No: MOTDLP005 Format: 12” White Vinyl LP, Limited Edition CD, Digital "Accosting Form, Pure Intent" — Nathaniel Young’s new album for Mysteries of the Deep — is a contradiction that makes sense. At once raw and elegant, it emerges from a place of constraint and desire. Its individual tracks reflect this paradox as the album unlocks itself like a koan: a riddle that, once solved, dawns on the listener like an epiphany. Despite the assorted elements at work, a visceral quality binds everything together. Even the record's more subdued works are textured and tangible, at times balancing or playing against the serrated edges of its more structured pieces. Like all compelling works, the sounds here exist in a liminal space that is not entirely classifiable. Still, it is wholly cohesive in both its moodiness and its adeptness. “The entirety of the LP was written using a Korg MS-20 Mini, Korg SQ-1 step sequencer, Korg Volca Beats, Korg Volca Kick, Behringer Model D, and a Zoom H4N. The core of each track was recorded live in one or two takes and subsequent synth parts were overdubbed after the fact. Since I was working solely with monophonic synths, I utilized a lot of panning in the overdubbing process to help create new harmonics, and even chords in some cases, which really helped flesh out the often extremely monolithic and singular sounding analog synths. Beyond that, as I mentioned, I really focused on creating sequences that I found I could listen to on repeat no matter their level of simplicity.” All songs written and produced by Nathaniel Young (@nathanielyoung) Mixed by Oliver Chapoy at Ohm Sweet Ohm, NY Mastered by Rafael Anton Irisarri at Black Knoll Studios, NY Photography by Candace Price Design by Gabriel Benzur Words by Taylor Bratches Worldwide Distribution: wordandsound → what people play

Limitation Without Distraction — from Nathaniel Young's debut album — Accosting Form, Pure Intent. Artist: Nathaniel Young Album: Accosting Form, Pure Intent Cat No: MOTDLP005 Format: 12” White Vinyl LP, Limited Edition CD, Digital "Accosting Form, Pure Intent" — Nathaniel Young’s debut album for Mysteries of the Deep — is a contradiction that makes sense. At once raw and elegant, it emerges from a place of constraint and desire. Its individual tracks reflect this paradox as the album unlocks itself like a koan: a riddle that, once solved, dawns on the listener like an epiphany. Despite the assorted elements at work, a visceral quality binds everything together. Even the record's more subdued works are textured and tangible, at times balancing or playing against the serrated edges of its more structured pieces. Like all compelling works, the sounds here exist in a liminal space that is not entirely classifiable. Still, it is wholly cohesive in both its moodiness and its adeptness. “The entirety of the LP was written using a Korg MS-20 Mini, Korg SQ-1 step sequencer, Korg Volca Beats, Korg Volca Kick, Behringer Model D, and a Zoom H4N. The core of each track was recorded live in one or two takes and subsequent synth parts were overdubbed after the fact. Since I was working solely with monophonic synths, I utilized a lot of panning in the overdubbing process to help create new harmonics, and even chords in some cases, which really helped flesh out the often extremely monolithic and singular sounding analog synths. Beyond that, as I mentioned, I really focused on creating sequences that I found I could listen to on repeat no matter their level of simplicity.” All songs written and produced by Nathaniel Young (@nathanielyoung) Mixed by Oliver Chapoy at Ohm Sweet Ohm, NY Mastered by Rafael Anton Irisarri at Black Knoll Studios, NY Photography by Candace Price Design by Gabriel Benzur Words by Taylor Bratches Worldwide Distribution: wordandsound → what people playy

Tim Webb has gone to great lengths to bring us the latest and greatest in iOS music making news. His site Discchord.com covers all the latest releases, updates, and relevant YouTube walkthroughs, jams, and reviews of music making software for iPhone and iPad. In a refreshing blast of honesty, Tim is not afraid to tell you what apps suck and are not worth your time. He has been a faithful supporter of developers and app users worldwide for the better part of the last decade. Tim was kind enough to sit down with me for a in-depth discussion about his work, developing apps, and creating and maintaining a one person business. He offers important lessons on discipline and sincerity that are applicable to all kinds of pursuits. Tim has been extremely supportive of my own work and the work of many creatives who put themselves and their art on the web. It was a pleasure to finally speak with him and learn some important lessons and viewpoints on running a successful music-based business. Listen on iTunes or Stitcher or Google Play Show Notes: Discchord - Tim's website, dedicated to covering all things iOS music making. Buy your apps through his affiliate links to help support Tim's work, at no cost to you. YouTube - Check out Tim's videos on iOS apps and music production tutorials. Twitter - Follow Tim's work on Twitter. Patreon - Support Tim on Patreon. Everyone Can Play Music - A great video series, and the one that helped me learn my Korg MS-20. Thanks Tim! Let's Play with Apps - Tim explores a variety of iOS music apps. API Hack - Tim's own app for doing things I don't understand! Cassini - One of Tim's favorite synth apps. Foodman - We spoke about this article on Ableton.com about Foodman's unique approach to music making. Expanding Sound - Music production tutorials, sound packs, and music from my good friend, Mike Longo. Thanks for listening! Be sure to head over to AfroDJMac.com to follow my work. If you’ve enjoyed the show, please consider leaving a review where you get your podcasts! Thanks, Brian

Gianluca Meloni, born in Rome , made his musical path trough different styles; has been studying Piano at “Conservatorio di Santa Cecilia in Roma” and played in various underground bands; his big passion about music starts back when he after being listening to Tangerine Dreams first album decides to buy his first synth: a Korg MS-10. He was a pioneer in the 90′s and was able to insert electronic seeds into an underground scene mainly ruled by Gianluca Meloni A.K.A. LAERTES progressive rock; his most important contribution in that period was to the album “Strani Sogni” of the band SIG V, CNI Music -Italy. His debut single “Perchè Non Parli” was a huge successs in Italy and was much more than often played in italians radio’s shows; Not that later he mets up with Dino Sabatini, still “just” a guitarist, after a studio session and a very solid friendship, based on their common passion for music, starts to grow between them; that amazing duo soon became the “Modern Heads” project, leading both of them to play in some of the most prestigious clubs around the globe as Panorama Bar in Berlin, Brancaleone in Rome and Macumba, Madrid, AIR Tokyo, FUSE in Bruxelles, just to list few. Some years later Gianluca together with Carlo Alfano became the founder of the project “notfromearth“, expanding his artistic view into a very well crafted new Audio & Video concept, revealing soon his high level of professionally and experience; his first e.p. on Prologue label, “Origin e.p.”, is indeed a big proof of that !. In 2015 Start new Solo project LAERTES his new solo project, Laertes, inspired by the research of electronic music through the modular synthesis and passion for live improvisation, in which reason in his live set will always find vintage analog instruments, and modern technology. Label : OUTIS MUSIC - CONCRETE RECORDS - MENTAL MODERN Laertes is inspired by the trip to Hades, a concept album where travel is in the music. FB : https://www.facebook.com/g.m.laertes/ SC : https://soundcloud.com/gianlucameloni-laertes Container brings our vision of clubbing around the city, proposing a journey through visual art and techno, exploring its Sub-genres, meeting step by step Italian and international artists. -FB : www.facebook.com/Container.project.Roma -YT : www.youtube.com/channel/UC4osKRARZ22dsu_pspg04PA -IG : www.instagram.com/containerproject/ -WS : containerprojectro.wixsite.com/container-project

Towa Tei - Technova Copacabana Edit By Petko Turner Towa Tei is a third-generation Korean-Japanese. Towa began making demo tapes at the age of 16 having bought his first synthesizer, a Korg MS-10. While studying at Musashino Art University Junior College of Art and Design he sent his tape to a radio program of Ryuichi Sakamoto titled "Sound Street". In 1987, Towa moved to the US to study graphic design and joined house act Deee-Lite, a trio with Supa DJ Dimitry and Lady Miss Kier, enjoying almost instant success after debuting in 1990 with their album World Clique and the single "Groove Is In the Heart". In 1991, Towa collaborated with his idol Ryuichi Sakamoto on Sakamoto's album Heartbeat. He also appeared on Sakamoto's follow up album Sweet Revenge. In 1994, Towa returned to Japan after seven years in New York. He hinted in a 2011 interview that his time with Deee-Lite made him ill, though he didn't expand on the reasons why. Towa debuted as a solo act with Future Listening! that same year, incorporating an array of musical styles, including electronic, bossa nova, house, jazz and pop. It featured collaborations with Joi Cardwell, Bebel Gilberto, MC Kinky, Hiroshi Takano, Ryuichi Sakamoto, Haruomi Hosono, Toshihiko Mori, Satoshi Tomiie, Yuichi Oki of Tokyo Ska Paradise Orchestra and Pizzicato Five vocalist Maki Nomiya. Sound Museum followed in 1997, then Last Century Modern in 1999. 2002 brought the album Towa Tei, under the pseudonym Sweet Robots Against the Machine. Flash surfaced in 2005 by which time Towa was DJing regularly in Japan. He has admitted though, that he doesn't enjoy performing and prefers producing and using computers. Big Fun, featuring Verbal and Mademoiselle Yulia was released in 2009 and was the third album to feature the artwork of San Franciscan painter and graffiti artist Barry McGee. For the album, Towa utilized MySpace to collaborate with artists from around the world even if he didn't know them, such as with German act Taprikk Sweezee.[1] Another collaborator he worked with for Big Fun was Miho Hatori of Cibo Matto, though they also only met on MySpace. Towa has also established his own creative company, hug inc, which among other things, manufactures his trademark sunglasses.

 Приветствую, друзья! Представляю вашему вниманию свою новую работу. Несмотря на обещание, что мой новый альбом будет ориентирован на Дарк-направление, композиция получилась.. Упс! ..а ля DM. Видно, всё-таки сказывается влияние отцов-основателей на моё музыкальное мировоззрение)) Основным стилем здесь выступил традиционный, можно сказать, классический синтипоп, а вспомогательным, минимал-техно с небольшой примесью дарк-эмбиента. (Для тех, кому интересно, небольшая техническая справка. Помимо современных прибамбасов в треке были задействованы три винтажных синтезатора: KORG MS-20, KORG Polysix и KORG Monopoly. Да, признаюсь, питаю слабость к винтажным синтезаторам за их глубокий и в то же время мягкий аналоговый звук)Идея трека была навеяна как-то поздно ночью, когда после очередного низко-температурно скачка, вдруг резко наступила оттепель, и у нас во дворе кошки устроили настоящую оргию, видимо решили, что уже наступила весна)) Вообщем вопли были ещё те)))Всем приятного прослушивания! Буду рад отзывам)) 

Synthesizer Workshop Track 3. Being Boiled from The Human League was the break from punk to electronic in 1978. Equipment used was Arp 2600 and Korg MS 20. Rebuilt and vocals by joya

Synthesizer Workshop trak 3. Being Boiled from The Human League was the break from punk to electronic in 1978. Equipment used was Arp 2600 and Korg MS 20. Vocals by Joya

I was working on a track that was using a large chunk of my anlogue synth hardware. Upon closing my DAW, a note got stuck and all of my synths starting doing crazy things at once. This inspried me to jam away live without any form of a sequencer. This is totally improvised, live and was recorded as you hear it. It's entirely imperfect, but perhaps that's the beauty of it? The pads and bell sounds are all provided by my Roland JX-8P. The bass sounds are my Korg MS-20 Mini. The oscillating synth sound is the Arturia MiniBrute and finally, the whine sound is my Oberheim SEM-Pro. They're all going through a Spirit FX-16 mixing desk that has an amazing built-in Lexicon reverb on it. Sadly, my MS-20 kept cutting out, so you get to hear that too!

The precipice between noise and melody, staring Brady Sharpe on guitar, Matt Hamilton on guitar, Dylan Simon on Arp Odyssey synth and Echoplex, and Bobobobobob on Korg MS-20.