Podcasts about oberheim

Play Episode Listen Later May 15, 2025 110:07

Episode 173 Chapter 32, Other Analog Synthesizers. Works Recommended from my book, Electronic and Experimental Music Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 32, Other Analog Synthesizers from my book Electronic and Experimental music. Playlist: OTHER EARLY SYNTHESIZER RECORDINGS (PRE-MIDI AND NOT MOOG) Time Track Time Start Introduction –Thom Holmes 01:36 00:00 1. Raymond Scott, “Space Mystery” (1963). Used Scott's Electronium, a custom-made analog synthesizer/sequencer. 05:08 01:42 2. Pauline Oliveros, “Alien Bog” (1967). Used a prototype Buchla 100 modular synthesizer at Mills College. 33:13 06:53 3. John Eaton, “Soliloquy For Syn-Ket” (1973) from Electro-Vibrations (The Music Of John Eaton). Used the Synket, an Italian-made modular synthesizer of which only six were ever made. 06:38 40:06 4. John Keating, “Earthshine” (1975) from Space Experience 2. Featured the ARP 2600 and Pro- Soloist. 04:09 46:46 5. Patrick Gleeson, “Saturn, The Bringer Of Old Age” (1976) from Beyond The Sun: An Electronic Portrait Of Holst's The Planets. Used Eµ Systems Polyphonic synthesizer. 09:31 51:02 6. Jean Michel Jarre, “Oxygene, Part IV” (1976) from Oxygene. Used the ARP Odyssey, EMS Synthi AKS, EMS Synthi VCS3, and RMI Harmonic Synthesizer and Keyboard Computer. 03:07 01:00:34 7. Bennie Maupin, “Crystals” (1978) from Moonscapes. Featured the E-mu Modular Synthesizer programmed by Patrick Gleeson, who owned Different Fur Studios in the San Francisco area and owned E-mu synthesizers (see previous track for an example of the E-mu Systems Polyphonic synthesizer). Here, we have a different treatment of the same instrument by jazz woodwind player Maupin, who played Soprano Saxophone, Tenor Saxophone, Bass Clarinet, Flute, Marimba, Glockenspiel, E-mu Synthesizer, and Computone Synthesizer Winddriver on this album. I picked this track because this is most stripped-down arrangement featuring only Maupin playing the E-mu synthesizer and other instruments. 01:18 01:03:44 8. Pere Ubu, “On the Surface” (1978) from Dub Housing. Allen Ravenstein used the EML Electrocomp 101 modular synthesizer as a member of this band. 02:37 01:05:02 9. Sylvester, “You Make Me Feel (Mighty Real)” (1978) from Step II. One of the few albums to feature EML (Electronic Music Laboratories) Modular Synthesizer plus String synthesizer, Electro-comp 101 synthesizer and 200 expander unit, Oberheim DS-2 Sequencer, Effects, Pat Cowley; organ, Electric piano, Clavinet, Michael C. Finden; Percussion, David Frazier; Producer, Lead Vocals, Piano, Sylvester. EML was a Connecticut-based synth maker that was around from about 1970 to 1984. They were best-known for their Electro-comp modular synths. The 101 was a duophonic semi-modular 44-note synth and the model 200 was an expander unit that added ring modulation, spring reverb, and high and low filters to the setup. It was interesting to hear this Moroder-like pulsating synth sound coming from something other than a Moog. 06:34 01:07:40 10. Isao Tomita, “The Sea Named Solaris” (1978) from Kosmos. Used the Roland System 700, Roland Strings RS- 202, Roland Revo 30, in addition to Moog Modular III, Moog System 55, and Polymoog synthesizers. 12:28 01:14:11 11. Moebius, “Song For Lya” (1979) from Moebius. Serge, Oberheim, and Minimoog synthesizers, vocals, Bryce Robbley; Serge, Oberheim synthesizers, Doug Lynner; Violin, John Stubbs. Listen closely to tune-out the parts by the Odyssey and Minimoog and you will experience a lovely bed laid down by the Serge. Moebius had three members, one a violinist, heard in this tune blending with the Serge. Although the group used a Sennheiser vocoder on another track, the vocal distortion on this track may have actually been the voice processed with the Serge. 03:15 01:26:42 12. Pascal Languirand, “O Nos Omnes” (1980) from De Harmonia Universalia. Features the Farfisa Synthorchestra, the famous Italian's company entry into the string synthesizer fray. The Syntorchestra was split into two keyboard sections, strings (polyphonic), and mono synth voices. It was a hybrid organ and synthesizer and used much by Klaus Schulze and other German electronic musicians for the short time that it was available from 1975 to 1978. Nine slider controls were positioned next to a 3-octave keyboard and provided some “chaotic” control episodes for this much beloved and rare keyboard. 07:15 01:29:56 13. Henry Kucharzyk, “Play Dot Sam” (1981) from Walk The Line - Three New Works By Henry Kucharzyk. This work is performed at the Samson Box at the Center for Computer Research in Music and Acoustics (CCRMA), Stanford University, Palo Alto, California. This track is an escapee from the 1970s but nonetheless fills a void in that period when commercial synthesizers were moving to digital technology and were quite expensive. The Samson Box was a computer-based digital synthesizer created in 1977 by Peter Samson, who worked at the university. “Samson” was formally known as the “Systems Concepts Digital Synthesizer. It was a one-off special-purpose dedicated audio computer designed for use by student composers at Center for Computer Research in Musical and Acoustics (CCRMA) at Stanford University. 03:05 01:37:08 14. Terry Riley, “The Ethereal Time Shadow” (1981-82) from Music from Mills. Used two Prophet V synthesizers, tuned to just intonation and employing sequencing. 08:51 01:40:12 Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

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Chapter 28, Moog Analog Synthesizers, Part 2

Play Episode Listen Later Apr 26, 2025 58:53

Episode 169 Chapter 28, Moog Analog Synthesizers, Part 2. Works Recommended from my book, Electronic and Experimental Music Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 28, Moog Analog Synthesizers, Part 2 from my book Electronic and Experimental music. Playlist: CLASSIC SYNTHESIZER ROCK— FROM TAPE COMPOSITION TO SYNTHESIZERS Time Track Time Start Introduction –Thom Holmes 01:34 00:00 1. The Beatles, “Tomorrow Never Knows” (1966). Tape loops and Lennon's voice fed through the rotating Leslie speaker of a Hammond organ. 02:57 01:42 2. Spooky Tooth and Pierre Henry, “Have Mercy” (1969). Featured tape composition by the French composer of musique concrète as part of a collaborative rock opera. 07:55 04:40 3. Emerson, Lake, & Palmer, “Lucky Man” (1971). Featured the Moog Modular played by Keith Emerson; one of the first rock hits in which a Moog was the featured solo instrument. 04:39 12:34 4. Yes, “Roundabout” (1971). Featured the Minimoog, Mellotron, Hammond Organ and other electronic keyboards played by Rick Wakeman. 08:33 17:10 5. Elton John, “Funeral for a Friend/Love Lies Bleeding” (1973). Featured the ARP 2600 played by Dave Henschel. 11:10 25:42 6. David Bowie, “Speed of Light” (1977). Produced by Brian Eno. Used an EMS AKS synthesizer and Eventide H910 harmonizer for the electronic effects and sounds. 02:47 36:46 7. Gary Wright, “Touch and Gone” (1977). Used Polymoog, Clavinet, Oberheim, and Fender-Rhodes electronic keyboards. 03:58 39:32 8. Gary Numan, “Cars” (1979). Early synth-rock success using electronic keyboards without guitar. Multiple Polymoog synthesizers. 03:52 43:28 9. The Art of Noise, “(Who's Afraid Of?) The Art of Noise” (1984). Art rock devised by Anne Dudley and Trevor Horn exploring the sampling capabilities of the Fairlight CMI. 04:23 47:20 10. Grace Jones, “Slave to the Rhythm” (1985). Featured the Synclavier programmed and played by Trevor Horn. 09:39 51:43 Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

03-07-25 8am Stevie Jay & Diane Ducey with IL tennis coach Brad Dancer on games at Atkins, Amber Oberheim (APRN) OSFhealthcare.com then trending stories with Jonny in studio

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Play Episode Listen Later Mar 7, 2025 61:57

Insights In Sound #161 - Tom Oberheim, Inventor/Synthesizer Pioneer - Part One - S17 E1

Insights In Sound

Play Episode Listen Later Dec 6, 2024 50:46

He's one of the founding fathers of electronic instruments, a legendary name in synthesizer history, and a most humble and unassuming genius. We sat down with Tom Oberheim to learn about his personal history, and that of the company that bears his name. Part One of our two-part interview.

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Insights In Sound #162 - Tom Oberheim, Inventor/Synthesizer Pioneer - Part Two S17 E2

Insights In Sound

Play Episode Listen Later Dec 6, 2024 52:53

Part Two of our in-depth conversation with the legendary Tom Oberheim.

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12-06-24 8am Stevie Jay & Diane Ducey with Jimmy Failla with Fox doing comedy show 12/12, OSFhealthcare.org with new location in Monticello as Amber Oberheim MSN, APRN, FNP-BC

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Play Episode Listen Later Dec 6, 2024 63:10

An Electronic Music Mixed-Bag

Play Episode Listen Later Oct 19, 2024 103:12

Episode 135 An Electronic Music Mixed-Bag Playlist Time Track Time Start Introduction –Thom Holmes 06:28 00:00 John Bischoff, “The League Of Automatic Music Composers: Recording, December 17, 1978” from Lovely Little Records (1980 Lovely Music Ltd.). Tracks from this six-EP collection of new music from a variety of Lovely Music artists. Computer, David Behrman, Jim Horton, John Bischoff, Rich Gold; Mixing, "Blue" Gene Tyranny. “The League Of Automatic Music Composers makes music collaboratively by forming microcomputer networks. … For this performance, “each composer independently created a music program for his own microcomputer; we then mutually designed ways to internconnect our computers, and modified our programs to enable them to send data back and forth.” 08:40 06:58 Frankie Mann, “I Was a Hero” from “The Mayan Debutante Revue” (1979) from Lovely Little Records (1980 Lovely Music Ltd.). Tracks from this six-EP collection of new music from a variety of Lovely Music artists. Organ, bass guitar, voice, composed by Frankie Mann. “The Mayan Debutante Revue” is a reinterpretation of religious history. The work is a performance piece involving tape, slides, and one female performer.” 09:22 15:38 Frankie Mann, “How to be Very Very Popular” (1978) (excerpt) from Lovely Little Records (1980 Lovely Music Ltd.). Tracks from this six-EP collection of new music from a variety of Lovely Music artists. Tape editing, organ, synthesizer, voice, composed by Frankie Mann; voices, Julie Lifton, Ellen Welser, and unknown others. “How to be Very Very Popular” began as a letter-tape to my best friend. … Later I began composing electronic music, initially using homemade circuits and later using expensive synthesizers in college electronic music studios. My friend and I continued to send each other letters cross-country in tape form.” 08:49 24:58 Maggi Payne, “Lunar Dusk” from Lovely Little Records (1980 Lovely Music Ltd.). Recorded at the Center for Contemporary Music, Mills College, February 4, 1979. Composed, electronic music by Maggi Payne. This piece was “composed using the Moog and Aries synthesizers and the twelve-track recording studio at” Mills College. “Major concerns … are spatial location of sounds and complex timbral changes.” 07:59 33:46 The Commodores, “Machine Gun” from Machine Gun/There's a Song in My Heart (1974 Motown). Single release featuring the early Commodores on this instrumental with Lionel Richie wailing along on the ARP Odyssey. 02:42 41:42 Billy Preston, “Space Race” from Space Race/We're Gonna Make It (1973 A&M). Single release. Preston was best known for his piano, Hammond, and Fender Rhodes work on Beatles' records and his early solo work. By this time, he had picked-up on the unique sounds that synthesizers could conjure. He was inspired to create this song while experimenting with the ARP Pro-Soloist synthesizer. 03:26 44:24 George Duke, “Part 1 - The Alien Challenges The Stick / Part 2 - The Alien Succumbs To The Macho Intergalactic Funkativity Of The Funkblasters” from Master Of The Game (1979 Epic). Written by Byron Miller, David Myles, Ricky Lawson; Producer, Acoustic Guitar, Arranged By, Bells, Clavinet, Composed By, Fender Rhodes, Keyboards, Organ, ARP Odyssey, ARP String Ensemble, Minimoog, Oberheim, Prophet-5 and Crumar synthesizers, written by and vocals, George Duke; Bass, Byron Miller; Drums, Ricky Lawson; Guitar, David Myles. 09:21 47:46 Steve Roach, Side 2, “T.B.C.” (5:06); Canyon Sound (2:58); Time For Time (3:33); Reflector (6:50) from Traveler (1983 Domino). All music composed and performed on synthesizers by Steve Roach. American Roach has such a great legacy of electronic music that is clearly distinguishable from the German wave of the 1970s. This is from his first, official album released in 1983. 17:56 57:02 Reynold Weidenaar, “Twilight Flight” (6:56) (1977), “Close Harmony” (4:44) (1977), and “Imprint: Footfalls to Return” (5:04) (1981) from Reynold Weidenaar / Richard Brooks Music Visions (1986 Capstone Records). Weidenaar was formerly the editor of Bob Moog's Electronic Music Review journal (1968-70) and an early user of the Moog Modular synthesizer. He was director of the electronic music studio at the Cleveland Institute of Music and at the time of this recording was on the faculty of the NYU films and television department. Twilight Flight” for electronic sounds was composed in 1977. “Close Harmony” for electronic sounds was composed in 1977. “Imprint: Footfalls to Return” for soprano voice and electronically modified sounds of the bare feet of Bharata-natyam Indian dancer was composed in 1981. 16:50 01:14:58 Eric Siday, three short works, “Night Tide” (2:56), “Communications No. 2” (0:24); and “Threat Attack” (2:05) from Musique Electronique (1960 Impress). Hard to find original disc by Siday, before he ventured into commercial recording using the Moog Modular synthesizer. His intereste in electronic music was deep, and he was one of the first customers of Robert Moog when his synth became available. 05:28 01:31:58 Hans Wurman, “Etude In C Minor, Op. 10, No. 12” (1:54) and “Waltz In D-Flat OP, 64, No. 1 (1:24) from Hans Wurman – Etude In C Minor, Op. 10, No. 12 (1970 RCA). Arranged and performed on the Moog Modular synthesizer by Hans Wurman. Brilliant interpretations of two classical pieces. 03:22 01:37:14 Opening background music: Einstürzende Neubauten [ein-sturt-zen-deh noy-bau-ten], “Der Tod Ist Ein Dandy” from Halber Mensch (1985 Some Bizarre). Noise metal from this dependable source of industrial music. (06:39) Introduction to the podcast voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

Track 233: Go With Droopy

Demolisten

Play Episode Listen Later Sep 17, 2024 102:23

So happy we're turning over a new leaf. This is an exciting new chapter in the Demolisten story. Intro Music: Risky Business- Loosen Up https://demolisten.bigcartel.com/product/thought-control-sick-tired-of-the-talking-heads-cassette Submit music to demolistenpodcast@gmail.com. Become a patron at https://www.patreon.com/demolistenpodcast. Leave us a message at (260)222-8341 https://www.youtube.com/watch?v=N4yd8qgffzo Queue: Self Neglect, Method, Groin, Rejoice, W.M.D.s, Missouri Executive Order 44, Oberheim!, Mob 47, Insecticide, Fell Off https://selfneglect.bandcamp.com/track/saying-goodbye-twice https://methodiahc.bandcamp.com/album/nothing-you-can-do https://groinaz.bandcamp.com/album/paid-in-flesh https://rejoiceohio.bandcamp.com/album/all-of-heavens-luck https://qualitycontrolhq.bandcamp.com/album/front-toward-enemy https://meo44.bandcamp.com/album/salt-sermon

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Oberheim - 50 Years Of Synth Design

Electronic Music

Play Episode Listen Later Jun 25, 2024 36:27

In an impromptu chat, Tom Oberheim tells Sam Inglis about his early years as an engineer and his accidental route into creating electronic musical instruments. As he celebrates his 50th year since the launch of the SEM, Tom talks about the rise of digital, the resurgence of analogue and the launch of the new TEO-5.Chapters00:00 - Introduction00:26 - An Accidental Engineer02:46 - Building For Musicians06:34 - Becoming a Distributor For The ARP 260011:05 - Designing The SEM12:43 - The Filter Design15:03 - The OB-1 And Patch Memories16:36 - OB-X - Polyphony And Programmable Presets19:35 - The Oberheim Sound22:37 - The Digital Takeover24:40 - The Resurgence Of Analogue28:01 - Launching The OB-X8 With Focusrite29:23 - The Oberheim TEO-530:37 - Utilising New TechnologyOberheim BiogOberheim is the 21st century return of the legendary company that helped fuel the original electronic music revolution in the 1970s. Now, just as then, Oberheim is guided by the vision of engineer and inventor, Tom Oberheim. Tom's genius for innovation introduced the world to the first commercially available poly synth and other groundbreaking electronic instruments that literally changed the sound of music.Today, Oberheim reawakens this extraordinary legacy by bringing the famed Oberheim sound to a new generation of instruments and artists. The company's passion remains unchanged by time or technology — to once again provide the world with the finest-sounding analog synthesizers ever made.https://oberheim.com/Sam Inglis BiogEditor In Chief Sam Inglis has been with Sound On Sound for more than 20 years. He is a recording engineer, producer, songwriter and folk musician who studies the traditional songs of England and Scotland, and the author of Neil Young's Harvest (Bloomsbury, 2003) and Teach Yourself Songwriting (Hodder, 2006).

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Francis Preve: The Man in the Synth

Music Production Podcast

Play Episode Listen Later Jun 21, 2024 133:33 Transcription Available

Francis Preve is a sound designer, producer, and synthesizer programmer. He programs factory presets for the leading synthesizer manufacturers including Sequential, Roland, Korg, Oberheim, Serum, and many more. He is the Section Lead of Digital Composition at Austin Community College. Francis releases sound packs through his company SympleSound. His latest release, Serum Models, turns the popular synthesizer into a hyper-realistic physical modeling synth. In our 4th conversation on the Music Production Podcast, Francis discusses his new pack, Serum Models, and explains how physical modeling synthesis works. We go deep into his work as a sound designer and Francis gives thorough explanations of a variety of synthesis concepts. We also talk about his work as an educator and some student success stories, along with the traits those students exhibit in his classes. It's a wide-ranging and deep conversation with one of the world's best sound designers! Listen on Apple, Spotify, YouTube Takeaways: The development of new Serum models and physical modeling and sound design. The process of creating and marketing sound packs. The psychology of sound creation involves a deep connection to the subtleties of music and the ability to differentiate musical elements. Learning to differentiate musical elements is a transformative experience that opens up new dimensions in music appreciation and understanding. The impact of music theory on creativity and the ability to enjoy music without over-analyzing it. The role of technology in music education and the importance of learning by playing and experimenting. The differences between analog and digital synthesis and the unique characteristics of each. The concept of aliasing in sound and its impact on audio quality. The use of images to create wavetables in synthesizers and the exploration of sound design through experimentation. The significance of presets in synthesizers Passion is a key factor in determining success in a career. Limitations can enhance creativity and problem-solving in music production. Technology, such as AI and software, has both benefits and ethical considerations in music creation. Teaching and mentorship play a significant role in shaping the future of music production and the industry. Links: Francis' Site - https://www.francispreve.com Symplesound - https://www.symplesound.com Francis' Serum Preset Collections including Models- https://xferrecords.com/preset_packs/manufacturers/francis-preve Synthtopia on Serum Models - https://www.synthtopia.com/content/2024/05/06/francis-preve-releases-serum-models-preset-expansion-library/ Francis on MPP #38 - https://brianfunk.com/blog/2017/10/30/38-francis-preve-sound-designer-educator Francis on MPP #98 - https://brianfunk.com/blog/2019/1/29/98-francis-preve-2-sound-design-synthesis-vanlife Francis on MPPP #273 - https://brianfunk.com/blog/francis-preve-3 Francis' Clients (wow!) - https://www.francispreve.com/clients Sara Landry - https://djmag.com/features/sara-landry-hard-technos-high-frequency-priestess Shadowstar - https://www.beatport.com/artist/shadowstar/873086 CHKLTE - https://ra.co/dj/chklte/biography Shreddward - https://www.shreddward.com/ Josh Davidson (Kepler North)- https://www.instagram.com/kepler_north Jeff Rona - https://liquidcinema.com/ Brian Funk Website - https://brianfunk.com Music Production Club - https://brianfunk.com/mpc 5-Minute Music Producer - https://brianfunk.com/book Intro Music Made with 16-Bit Ableton Live Pack - https://brianfunk.com/blog/16-bit Music Production Podcast - https://brianfunk.com/podcast Save 25% on Ableton Live Packs at my store with the code: PODCAST - https://brianfunk.com/store Thank you for listening. Please review the Music Production Podcast on your favorite podcast provider! And don't forget to visit my site https://BrianFunk.com for music production tutorials, videos, and sound packs. Brian Funk

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Probe Podcast 76 Superbooth Nachlese (so halb)

Probe Podcast

Play Episode Listen Later Jun 17, 2024 146:46

Ist zwar knapp n Monat her, aber da war ja noch so ne Veranstaltung in Berlin, worüber sie mit den Kollegen vom SequencerTalk eh mal reden wollten, weil die waren (im Gegensatz zu unseren Podcastern) immerhin vor Ort. Hat nicht so ganz geklappt, aber auch ein halber Sequencertalk ist eine ganz(e) (gute) Folge Probe Podcast. Zu viert heute aufm Programm also: Booth, Booth, Booth – übersehene News, überteurtes Essen und überaltertes Publikum. Ausserdem (und mit "ausserdem" meine ich; den Löwenanteil des Podcasts): Amphibien, Tim Pritlove, Marxismus, Elektron, Oberheim und irgendwann auch noch die gerade erst vorgestellte Obst-KI. Viel Spass damit.

Love Spells in Electronic Sound

Play Episode Listen Later May 3, 2024 113:04

Episode 123 Love Spells in Electronic Sound Playlist Track Time Start Time Introduction –Thom Holmes 06:48 00:00 1. Mystic Moods Orchestra, “Love Token” from Love Token (1969 Philips). Sound Effects, producer, sound director, Brad Miller; Vocals and vocal effects, The Mystic Moods. 04:33 06:48 2. Four Tet, “Love Cry” from There Is Love In You (2010 Domino). Written, produced, and performed by Kieran Hebden. 09:06 11:14 3. Deborah de Luca, “Love is a Losing Game (Mix Raw)” from Nina (2015 Sola_mente Records). Written, produced, and performed by Deborah de Luca. 07:14 20:16 4. Steven Halpern, “Hot Chakra” from Enhancing Sensual Pleasure (1993 Sound Rx). Bass, Marc Vanwaginengen; Silver Flutes, Emerald Web; Grand Piano, Electric Piano, Producer, Trumpet, Steven Halpern; Harp, Susan Mazer; Lyricon, Dallas Smith; Percussion, Kenneth Nash. 06:48 27:26 5. Steven Halpern, “Thigh Chi” from Enhancing Sensual Pleasure (1993 Sound Rx). Bass, Marc Vanwaginengen; Flute, Paul Horn; Silver Flutes, Emerald Web; Grand Piano, Electric Piano, Producer, Trumpet, Steven Halpern; Harp, Susan Mazer; Lyricon, Dallas Smith; Percussion, Kenneth Nash. 05:31 34:08 6. Klaus Schulze, “Moogetique” from Body Love, Vol. 2 (1977 Island). Producer, Composer, instruments, Klaus Schulze; Drums, Harald Grosskopf. Original electronic music for a film by Lasse Braun. 13:12 39:34 7. Klaus Schulze, “Stardancer II” from Body Love, Vol. 2 (1977 Island). Producer, Composer, instruments, Klaus Schulze; Drums, Harald Grosskopf. Original electronic music for a film by Lasse Braun. 14:13 52:44 8. Eberhard Schoener, “Events - A La Recherche Du Temps Perdu” from Events (1980 Harvest). Mellotron, Violin, Piano, Moog, Oberheim, Fairlight CMI, Liner Notes, Eberhard Schoener; Fairlight CMI, Morris Pert; Fender Rhodes, Roger Munnis; Tenor Saxophone, Olaf Kübler; Vocals, Clare Torry. 10:56 01:06:50 9. Nora En Pure, “Norma Jean” from Come With Me (2013 Enormous Tunes). Written, produced, and performed by Nora En Pure. 05:48 01:17:45 10. Art Linkletter, “Narrates The Story Of Where Did You Come From?” (side 1) from Narrates The Story Of Where Did You Come From? (1963 20th Century Fox). This was an early 60s sex-education LP. Linkletter was a Canadian-American radio and television personality. I've intermixed this disc with tracks of rolling white sound (by me) and a track by Kazumoto Endo, “Falling In and Out of Love” from Never Gonna Make You Cry (1999 Kling Film-Records). Written, produced, and performed by Kazumoto Endo. All to present a slightly odd view of love. 19:12 01:23:32 11. Donna Summer, “Summer Fever” from Four Seasons Of Love (1976 Casablanca). Written-By Donna Summer, Giorgio Moroder, Pete Bellotte; accompanied by The Munich Machine; recorded in MusicLand Studios, Munich; mixed and produced by Giorgio Moroder. 08:12 01:42:44 Opening background music: The Love Symphony Orchestra, “Let's Make Love in Public Spaces” from Penthouse Presents The Love Symphony Orchestra (1978 Talpro). Keyboards, Synthesizer, Clifford Carter. (03:12) Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations.

03-19-24 8am Stevie Jay & Diane Ducey with trending topics & sports, then Amber Oberheim describes the 3/23 "Battle of the Badges" event at the U of I Ice Arena

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Play Episode Listen Later Mar 19, 2024 59:37

Electronic Keyboards in Jazz, A Recorded History, Part 2 of 2

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Play Episode Listen Later Feb 24, 2024 181:44

Playlist Track Time Start Time Opening and Introduction (Thom Holmes) 11:57 00:00 1. Herbie Hancock, Herbie Hancock Demonstrates The Rhodes Piano (1973 Rhodes). A terrific flexi-disc produced by Rhodes and narrated by Hancock who tells an interesting story about his first encounter with the instrument on a Miles Davis session and then he walks the keyboard through a series of effects. He speaks with the authority of a proud electronics tinkerer who understands the nuances that make this instrument so beloved by jazz musicians. This flexi-disc was originally delivered in the November 8, 1973 issue of Down Beat magazine. I provide both sides of the disc, in entirety. Tunes included during the demonstration include parts of Watermelon Man, Maiden Voyage, and The Spook. Soloist, Rhodes Electric Piano, Voice, Herbie Hancock. I thought it would be wisest to lead off this podcast with an overview of the Rhodes even though it is out of chronological sequence, being from 1973. We then go back a few years to hear tracks in proper time order. 12:48 11:57 2. The Don Ellis Orchestra, “Open Beauty” from Electric Bath (1967 Columbia). Alto Saxophone, Flute, Soprano Saxophone, Joe Roccisano, Ruben Leon; Baritone Saxophone, Flute, Bass Clarinet, John Magruder; Bass, Dave Parlato, Frank De La Rosa; Bass, Sitar, Ray Neapolitan; Congas, Bongos, Chino Valdes; Drums, Steve Bohannon; Leader, Trumpet, Don Ellis; Percussion, Alan Estes; Piano, Clavinet, Fender Electric Piano Fender, Mike Lang; Tenor Saxophone, Flute, Clarinet, Ron Starr; Tenor Saxophone, Flute, Piccolo Flute, Clarinet, Ira Schulman; Timbales, Vibraphone, Percussion , Mark Stevens; Trombone, Dave Sanchez, Ron Myers, Terry Woodson; Trumpet, Alan Weight, Bob Harmon, Ed Warren, Glenn Stuart. 5:33 24:44 3. Miles Davis, “Stuff” from Miles In The Sky (1968 Columbia). I think this was Miles' first album recorded using the Fender Rhodes, played by Herbie Hancock. See the opening tracks from this podcast for a story about this session from Hancock. Bass, Ron Carter; Drums, Tony Williams; Piano, Fender Electric Piano, Herbie Hancock; Tenor Saxophone, Wayne Shorter; Trumpet, Miles Davis. 16:59 30:14 4. Joe Zawinul, “The Soul Of A Village (Part II)” from The Rise & Fall Of The Third Stream (1968 Vortex). Zawinul, along with Hancock, was an early adopter of the Fender Rhodes. Cello, Kermit Moore; Double Bass, Richard Davis; Drums, Freddie Waits, Roy McCurdy; Percussion, Warren Smith; Piano, Fender Electric Piano, Joe Zawinul; Tenor Saxophone, Arranged by, William Fischer; Trumpet, Jimmy Owens; Viola, Alfred Brown, Selwart Clarke, Theodore Israel. 4:16 47:10 5. Oliver Nelson and Steve Allen, “Go Fly a Kite” from Soulful Brass (1968 Impulse). Another Steve Allen record, whom we heard from in part 1 playing the Wurlitzer Electric Piano. Here is a selection from an album on which he plays the Rock-Si-Chord and occasional piano. Arranged by Oliver Nelson; Rock-Si-Chord, piano, Steve Allen; Drums, Jimmy Gordon; session musicians, Barney Kessel, Bobby Bryant, Larry Bunker, Roger Kellaway, Tom Scott; Produced by Bob Thiele. 2:30 51:24 6. J & K “Mojave” from Betwixt & Between (1969 A&M, CTI). “J” is J.J. Johnson (trombonist) and “K” is Kai Winding (trombonist). Their ensemble included Roger Kellaway playing the electric clavinette. An example of using the clavinet in jazz. This was most likely a Hohner Clavinet Model C which had just been introduced in 1968. Recorded at Van Gelder Studios during late 1968. 2:31 53:54 7. Albert Ayler, “New Generation” from New Grass (1969 Impulse). An electric harpsichord played by Call Cobbs adds some subtle comping to this buoyant tune written by Ayler, Mary Parks, Rose Marie McCoy. Baritone Saxophone, Buddy Lucas; Design Cover And Liner, Byron Goto, Henry Epstein; Drums, Pretty Purdie; Electric Bass, Bill Folwell; Piano, Electric Harpsichord, Organ, Call Cobbs; Producer, Bob Thiele; Tenor Saxophone, Flute, Seldon Powell; Tenor Saxophone, Vocals, Albert Ayler; Trombone, Garnett Brown; Trumpet, Burt Collins, Joe Newman; Vocals, The Soul Singers. 5:06 56:22 8. Bill Evans, “I'm All Smiles” from From Left To Right (1970 MGM). Piano, Rhodes Electric Piano, Bill Evans; Bass, John Beal; Conducted, arranged by Michael Leonard; Double Bass, Eddie Gomez; Drums,Marty Morell; Guitar, Sam Brown; Liner Notes, Harold Rhodes, Helen Keane, Michael Leonard; Produced by Helen Keane. For his 24th solo album, the long-established jazz pianist Evans took his turn playing both the Fender Rhodes and Steinway acoustic piano on this album, as two-handed duets no less. Liner notes were written by Harold Rhodes, inventor of the Rhodes Electric Piano. 5:42 1:01:24 9. Sun Ra And His Intergalactic Research Arkestra, “Black Forest Myth” from It's After The End Of The World - Live At The Donaueschingen And Berlin Festivals (1971 MPS Records). You can hear Sun Ra enticing other-worldly sounds from a Farfisa organ beginning at about 1:35. Recorded in 1970. Of the many electronic keyboards heard elsewhere on this album (and occasionally on this track), here the Farfisa is heard the most. Farfisa organ, Hohner Electra, Hohner Clavinet, Piano, Performer, Rock-Si-Chord, Spacemaster, Minimoog, Voice, composed by, arranged by, Sun Ra; ; Alto Saxophone, Clarinet, Flute, Abshlom Ben Shlomo; Alto Saxophone, Flute, Clarinet, Danny Davis; Alto Saxophone, Flute, Oboe, Piccolo Flute, Drums, Marshall Allen; Baritone Saxophone, Alto Saxophone, Flute, Danny Thompson; Baritone Saxophone, Tenor Saxophone, Alto Saxophone, Clarinet, Bass Clarinet, Flute, Drums, Pat Patrick; Bass, Alejandro Blake Fearon; Bass Clarinet, Robert Cummings; Drums, Lex Humphries; Drums, Oboe, Flute, James Jackson; English Horn, Augustus Browning; Mellophone, Trumpet, Ahk Tal Ebah; Oboe, Bassoon, Bass Clarinet, Leroy Taylor; Percussion African, Other Fireeater, Dancer , Hazoume; Percussion Hand Drums, Nimrod Hunt; Percussion, Other Dancer, Ife Tayo, Math Samba; Photography By, Hans Harzheim; Producer, Liner Notes, Joachim E. Berendt; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Kwame Hadi; Violin, Viola, Cello, Bass, Alan Silva; Voice, June Tyson. 9:07 1:07:05 10.Joe Scott And His Orchestra, “Raindrops Keep Fallin' On My Head” from Motion Pictures - The NOW Generation (1970 Mainstream). Listen for the Rock-Si-Chord in electric harpsichord mode. Bass, Charles Rainey; Cello, Charles McCracken, Gene Orloff, George Ricci, Maurice Bialkin; Drums, Alvin Rogers, Joe Cass; Flute, Alto Flute, Bassoon, Tenor Flute, George Dessinger, Joe Soldo, Joseph Palmer, Philip Bodner; Flute, Flute Tenor, Alto Flute, Bassoon, Walt Levinsky; French Horn, Donald Corrado; Guitar, Jay Berliner, Stuart Scharf; Keyboards Rock-Si-Chord, Frank Owens; Mastered By Mastering, Dave Crawford (2); Percussion, Joseph Venuto; Piano, Frank Owens; Producer, Bob Shad; Trombone, Buddy Morrow, Tony Studd, Warren Covington, Wayne Andre; Trumpet, Bernie Glow, James Sedlar, John Bello, Mel Davis; Viola, Emanuel Vardi, Harold Coletta, John DiJanni, Theodore Israel; Violin, Aaron Rosand, Arnold Eidus, Emanuel Green, Frederick Buldrini, Harold Kohon, Harry Lookofsky, Joseph Malignaggi, Jules Brand, Leo Kahn, Lewis Eley, Mac Ceppos, Max Pollikoff, Paul Gershman, Peter Buonoconsiglio, Raymond Gniewek, Rocco Pesile, Winston Collymore. 2:28 1:16:12 11.The Phoenix Authority, “One” from Blood, Sweat & Brass (1970 Mainstream). Note the Rock-Si-Chord. Arranged by Ernie Wilkins; Bass, Charles Rainey; Drums, Grady Tate, Herbie Lovelle; Flute, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Chris Woods, Hubert Laws; Guitar, David Spinosa, Kenneth Burrell; Organ, Piano, Rock-Si-Chord, Frank Anderson, Frank Owen; Producer, Bob Shad; Trombone, Benny Powell, George Jeffers; Trumpet, Joseph Newman, Lloyd Michaels, Ray Copeland, Woody Shaw. 2:43 1:18:38 12.The Phoenix Authority, “Sugar, Sugar” from Blood, Sweat & Brass (1970 Mainstream). Listen for the Rock-Si-Chord. Arranged by Ernie Wilkins; Bass, Charles Rainey; Drums, Grady Tate, Herbie Lovelle; Flute, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Chris Woods, Hubert Laws; Guitar, David Spinosa, Kenneth Burrell; Organ, Piano, Rock-Si-Chord, Frank Anderson, Frank Owen; Producer, Bob Shad; Trombone, Benny Powell, George Jeffers; Trumpet, Joseph Newman, Lloyd Michaels, Ray Copeland, Woody Shaw. 3:34 1:21:20 Sun Ra's flare for electronic sound in performance is demonstrated in the following three tracks that make excellent use of the several keyboards, the Farfisa organ, Minimoog, and Rock-Si-Chord. 13.Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “Discipline No. 11” from Nidhamu (Live In Egypt Vol. II) (1974 El Saturn Records). Recorded at Ballon Theater, Cairo, Egypt December 17, 1971. Sun Ra playing several electronic keyboards in turn, the organ, Minimoog, and Rock-si-Chord. What I hear is some organ (Farfisa?) in the opening, then Sun Ra turns to a wild exchange between the Minimoog (monophonic) and Rock-Si-chord (polyphonic) during the second half of the track. Alto Saxophone, Congas, Larry Northington; Alto Saxophone, Flute, Danny Davis, Hakim Rahim; Alto Saxophone, Flute, Oboe, Marshall Allen; Baritone Saxophone, Pat Patrick; Baritone Saxophone, Flute, Danny Thompson; Bass Clarinet, Elo Omoe; Composed By, Arranged By, Piano, Organ, Minimoog, Rock-Si-Chord, Sun Ra; Engineer Recording Engineer, Tam Fiofori; Percussion, Lex Humphries, Tommy Hunter; Photography By, Sam Bankhead; Photography Liner Photo, Mike Evans; Producer, Infinity Inc. And The East; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Congas, Kwame Hadi; Vocals, June Tyson. 9:31 1:24:52 14.Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “Cosmo-Darkness” from Live In Egypt Vol. I (Nature's God) (Dark Myth Equation Visitation) (1972 Thoth Intergalactic). Beginning around 0:26, you get an example of Sun Ra's rhythmic, trace-like playing of the Rock-Si-Chord. Alto Saxophone, Congas, Larry Northington; Alto Saxophone, Flute, Danny Davis, Hakim Rahim; Alto Saxophone, Flute, Oboe, Marshall Allen; Baritone Saxophone, Pat Patrick; Baritone Saxophone, Flute, Danny Thompson; Bass Clarinet, Elo Omoe; Composed By, Arranged by, Piano, Organ, Minimoog, Rock-Si-Chord, Sun Ra; Engineer Recording Engineer, Tam Fiofori; Percussion, Lex Humphries, Tommy Hunter; Photography By, Sam Bankhead; Photography Liner Photo, Mike Evans; Producer, Infinity Inc. And The East; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Congas, Kwame Hadi; Vocals, June Tyson. 2:05 1:34:25 15.Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “Solar Ship Voyage” from Live In Egypt Vol. I (Nature's God) (Dark Myth Equation Visitation) (1972 Thoth Intergalactic). This track features Sun Ra and the Minimoog in an extended solo. Alto Saxophone, Congas, Larry Northington; Alto Saxophone, Flute, Danny Davis, Hakim Rahim; Alto Saxophone, Flute, Oboe, Marshall Allen; Baritone Saxophone, Pat Patrick; Baritone Saxophone, Flute, Danny Thompson; Bass Clarinet, Elo Omoe; Composed By, Arranged by, Piano, Organ, Minimoog, Rock-Si-Chord, Sun Ra; Engineer Recording Engineer, Tam Fiofori; Percussion, Lex Humphries, Tommy Hunter; Photography By, Sam Bankhead; Photography Liner Photo, Mike Evans; Producer, Infinity Inc. And The East; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Congas, Kwame Hadi; Vocals, June Tyson. 2:40 1:36:30 Herbie Hancock mastered an array of keyboards, including the Fender Rhodes and several ARP models in the next three tracks tracing only two years in his musical journey. 16.Herbie Hancock, “Rain Dance” from Sextant (1973 Columbia). Patrick Gleason provides beats and beeps using the ARP 2600 and ARP Soloist. Bass Trombone, Tenor Trombone, Trombone Alto Trombone, Cowbell, Pepo (Julian Priester); Congas, Bongos, Buck Clarke; Drums, Jabali (Billy Hart); Effects Random Resonator, Fundi Electric Bass Fender Electric Bass With Wah-Wah And Fuzz, Double Bass, Mchezaji (Buster Williams); Electric Piano Fender Rhodes, Clavinet Hohner D-6 With Fender Fuzz-Wah And Echoplex, Percussion Dakka-Di-Bello, Mellotron, Piano Steinway, Handclaps, Songs by Mwandishi (Herbie Hancock); Synthesizer, Mellotron, John Vieira; Soprano Saxophone, Bass Clarinet, Piccolo Flute, Afoxé Afuche, Kazoo Hum-A-Zoo, Mwile (Benny Maupin); ARP 2600, ARP Soloist, Dr. Patrick Gleeson; Trumpet, Flugelhorn, Mganga (Dr. Eddie Henderson). 9:19 1:39:08 17. Herbie Hancock, “Palm Grease” from Thrust (1974 Columbia). Hancock himself plays all the keyboards and synthesizers on this album. Drums, Mike Clark; Electric Bass, Paul Jackson; Electric Piano Fender Rhodes, Clavinet Hohner D-6, Synthesizer Arp Odyssey, Arp Soloist, Arp 2600, Arp String, written by Herbie Hancock; Percussion, Bill Summers; Producers, David Rubinson, Herbie Hancock; Soprano Saxophone, Tenor Saxophone, Bass Clarinet, Alto Flute, Bennie Maupin. 10:36 1:48:18 18.Herbie Hancock, “Nobu” = ノブ from Dedication = デディケーショ(1974 CBS/Sony). Fascinating recording because it is Hancock solo with an assortment of keyboards, including the Fender Rhodes and multiple ARP models. Piano, Fender Rhodes, Arp Pro Soloist, Arp Odyssey, Arp 3604, Arp 2600, Arp PE-IV String Ensemble, composed by Herbie Hancock; Engineer, Tomoo Suzuki; Producer, David Rubinson. 7:33 1:58:46 The analog synthesizer became a regular companion of the Fender Rhodes in jazz, leading up to the end of the 1970s. 19.Bobbi Humphrey, “My Little Girl” from Satin Doll (1974 Blue Note). The great jazz funk flutist Bobbi Humphrey released a series of albums around this time that often-featured fantastic synthesizer players. Here you can pick out the Minimoog by Don Preston and the ARP (Odyssey?) by Larry Mizell. The synths included here are in contrast to the more experimental sounds that Herbie Hancock was issuing at the same time. Flute, Vocals, Bobbi Humphrey; ARP Synthesizer, Larry Mizell; Minimoog, Don Preston; Bass, Chuck Rainey; Congas, King Errison; Drums, Harvey Mason; Electric Piano Fender Rhodes, Fonce Mizell, Larry Mizell; Guitar, John Rowin, Melvin "Wah Wah" Ragin; Percussion, Roger Sainte, Stephany Spruill; Piano, Jerry Peters; Produced by Chuck Davis, Larry Mizell; Trumpet, Fonce Mizell. 6:39 2:06:19 20.Ramsey Lewis, “Jungle Strut” from Sun Goddess (1974 Columbia). Another mainstream jazz artist who found many interesting sounds to accompany his electric piano. ARP, ARP Ensemble, Piano, Fender Rhodes, Wurlitzer electric piano, Ramsey Lewis; Congas, Drums, Derf Rehlew Raheem, Maurice Jennings; Electric Upright Bass Fender, Cleveland Eaton; Guitar, Byron Gregory; Synthesizer Freeman String, Ramsey Lewis; Tambura, Percussion, Maurice Jennings; Vocals, Derf Rehlew Raheem; Written by, R. Lewis. 4:40 2:12:54 21. Ramsey Lewis, “Tambura” from Sun Goddess (1974 Columbia). ARP, ARP Ensemble, Piano, Fender Rhodes, Wurlitzer electric piano, Ramsey Lewis; Drums, Tambura, Congas, Percussion, Maurice Jennings; Electric Upright Bass Fender, Cleveland Eaton; Guitar, Byron Gregory; Written by R. Lewis. 2:52 2:17:32 22.Clark Ferguson, “Jazz Flute” from RMI Harmonic Synthesizer And Keyboard Computer (1974 Rocky Mount Instruments, Inc.). Not an instrument often used in jazz, so I turn to the company's demonstration album for a sample of this more advanced in the RMI keyboard family. RMI Harmonic Synthesizer, Clark Ferguson. 2:43 2:20:24 23. Fernando Gelbard, “Sombrero De Flores” from Didi (1974 Discos Redonde). A straight-up jazz track from Argentine musicial Gelbard that features both the Fender Rhodes and the Minimoog. Fender Rhodes, Minimoog, Fernando Gelbard; Bass, Ricardo Salas; Congas, Vocals, Ruben Rada; Drums, Norberto Minichillo; Fender Rhodes, Minimoog, Fernando Gelbard; Percussion, Effects, Miguel "Chino" Rossi; Producer, Alberto M. Tsalpakian, Juan Carlos Maquieira; Tenor Saxophone, Horacio "Chivo" Borraro. 7:25 2:23:04 24. Fernando Gelbard, “Mojo Uno” from Didi (1974 Discos Redonde). This track features an outrageously unique Minimoog part that is akin to something you would hear from Sun Ra. Fender Rhodes, Minimoog, Fernando Gelbard; Bass, Ricardo Salas; Congas, Vocals, Ruben Rada; Drums, Norberto Minichillo; Fender Rhodes, Minimoog, Fernando Gelbard; Percussion, Effects, Miguel "Chino" Rossi; Producer, Alberto M. Tsalpakian, Juan Carlos Maquieira; Tenor Saxophone, Horacio "Chivo" Borraro. 2:00 2:30:28 25.Jan Hammer “Darkness / Earth In Search Of A Sun” from The First Seven Days (1975 Atlantic). On this track you get to hear (I think) three different synthesizers all fit for Hammer's purpose, the solo Moog, Oberheim fills, and Freeman strings. Producer, Engineer, Piano, Electric Piano, Moog, Oberheim, and the Freeman string synthesizer; digital sequencer, Drums, Percussion, Composed by, Jan Hammer. 4:29 2:32:26 26.Larry Young's Fuel, “Moonwalk” from Spaceball (1976 Arista). CDX-0652 Portable Moog Organ, Minimoog , FRM-S810 Freeman String Symphonizer, Organ Hammond B-3, Fender Rhodes, Piano, Larry Young Jr.; Bass Rickenbacker, Dave Eubanks; Hohner Clavinet , Piano, Minimoog, Julius Brockington; Drums Ludwig Drums, Zildgian Cymbals, Percussion, Jim Allington; Guest Special Guest Star, Larry Coryell; Guitar, Danny Toan, Ray Gomez; Percussion, Abdoul Hakim, Barrett Young, Clifford Brown, Farouk; Producer, Terry Philips; Tenor Saxophone Selmer, Soprano Saxophone Selmer, Flute Armstrong, Vocals, Al Lockett; Vocals, Paula West. 5:32 2:36:52 27.Larry Young's Fuel, “Startripper” from Spaceball (1976 Arista). CDX-0652 Portable Moog Organ, Minimoog , FRM-S810 Freeman String Symphonizer, Organ Hammond B-3, Fender Rhodes, Piano, Larry Young Jr.; Bass Rickenbacker, Dave Eubanks; Hohner Clavinet , Piano, Minimoog, Julius Brockington; Drums Ludwig Drums, Zildgian Cymbals, Percussion, Jim Allington; Guest Special Guest Star, Larry Coryell; Guitar, Danny Toan, Ray Gomez; Percussion, Abdoul Hakim, Barrett Young, Clifford Brown, Farouk; Producer, Terry Philips; Tenor Saxophone Selmer, Soprano Saxophone Selmer, Flute Armstrong, Vocals, Al Lockett; Vocals, Paula West. 4:44 2:42:22 28.Wolfgang Dauner, “Stück Für Piano Und Synthesizer Op. 1” from Changes (1978 Mood Records). Dauner is one of the only jazz players to utilize the massive EMS Synthi 100. Written, produced, recorded, Steinway C-Flügel piano, EMS Synthi 100, Oberheim 4 Voice Polyphonic Synthesizer, Wolfgang Dauner. 9:51 2:47:04 29.Wolfgang Dauner, “War Was, Carl?” from Grandison - Musik Für Einen Film (1979 Zweitausendeins). More analog synthesizer jazz from Germany. C-flute, Alt-flute, Baß-flute, Manfred Hoffbauer; Oboe, English Horn, Hanspeter Weber; Percussion, Drums, Jörg Gebhard; Piano, Synthesizer, Percussion, Conductor, Wolfgang Dauner. 1:12 2:56:54 30.Wolfgang Dauner, “Intellektuelles Skalpell” from Grandison - Musik Für Einen Film (1979 Zweitausendeins). C-flute, Alt-flute, Baß-flute, Manfred Hoffbauer; Oboe, English Horn, Hanspeter Weber; Percussion, Drums, Jörg Gebhard; Piano, Synthesizer, Percussion, Conductor, Wolfgang Dauner. 1:26 2:58:06 Opening background music: 1) Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “The Light Thereof” from Live In Egypt Vol. I (Nature's God) (Dark Myth Equation Visitation) (1972 Thoth Intergalactic) (5:14). Farfisa organ playing from Sun Ra. 2) Oliver Nelson and Steve Allen, “Green Tambourine” from Soulful Brass (1968 Impulse) (2:28). Steve Allen plays the Rock-Si-Chord. 3) Oliver Nelson and Steve Allen, “Torino” from Soulful Brass (1968 Impulse) (2:02). Steve Allen plays the Rock-Si-Chord. 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 a transcript, please see my blog, Noise and Notations. I created an illustrated chart of all of the instruments included in this podcast, paying special attention to the expressive features that could be easily adopted by jazz musicians. You can view it on my blog, Noise and Notations.

history rock voice germany blood leader songs jazz atlantic effects columbia sugar engineers fuel hammer bass evans piano guitar dedication mainstream electronic sweat freeman alt producers impulse fascinating dancer trumpets rhodes performer drums organ tunes mgm new generation brass argentine vortex hancock miles davis conductor torino violin kite vocals flute cello mike evans percussion spaceballs spook herbie hancock composed chord thrust trombone arranged keyboards blue note moog conducted arp bill evans sun ra clarinet maiden voyage moonwalk cti synthesizer liner nobu steve allen wayne shorter cowbell oboe arista soloist downbeat steinway ron carter bongos tom scott tony williams sitar sam brown betwixt paul jackson raindance french horns wurlitzer james jackson mike clark rmi ramsey lewis richard davis mark stevens ed warren bassoon farouk danny davis warren smith oliver nelson liner notes double bass go fly mellotron fender rhodes clifford brown frank anderson gebhard danny thompson watermelon man marshall allen joe zawinul chris woods jan hammer larry coryell sextant larry young vibraphone joe newman albert ayler patrick gleason eddie henderson harvey mason john gilmore raindrops keep fallin' newgrass sun goddess michael leonard einen film congas electric bass woody shaw barney kessel mike lang bass clarinet infinity inc alto saxophone minimoog bill summers cdx flugelhorn eddie gomez robert cummings don ellis chuck davis notations bennie maupin timbales tommy hunter bobbi humphrey oberheim chuck rainey farfisa grady tate english horn kai winding ray copeland john beal pat patrick ayler handclaps tambura joseph palmer all smiles zawinul alan silva arp odyssey ron starr jules brand marty morell startripper rose marie mccoy buddy morrow william fischer

Twitter: @podgaverockInsta: @podgaverockSpecial Guest Host: Aaron RennerPrince “I Feel For You" from the 1979 album "Prince" released on Warner Brothers. Written and produced by Prince.Personel:Prince - lead and backing vocals, electric guitars, clavinet, Oberheim 4 voice, bass, drums, Pollard Syndrums, handclapsCover:Performed by Josh BondIntro Music:"Shithouse" 2010 release from "A Collection of Songs for the Kings". Written by Josh Bond. Produced by Frank Charlton.Other Artists Mentioned:James TaylorMarvin Gaye

I Feel For You/Scrabble Rock

Pod Gave Rock'N Roll To You

Play Episode Listen Later Oct 3, 2023 49:25

Twitter: @podgaverockInsta: @podgaverockSpecial Guest Host: Aaron RennerPrince “I Feel For You" from the 1979 album "Prince" released on Warner Brothers. Written and produced by Prince.Personel:Prince - lead and backing vocals, electric guitars, clavinet, Oberheim 4 voice, bass, drums, Pollard Syndrums, handclapsCover:Performed by Josh BondIntro Music:"Shithouse" 2010 release from "A Collection of Songs for the Kings". Written by Josh Bond. Produced by Frank Charlton.Other Artists Mentioned:The Rolling Stones “Angry”Stevie WonderLady GagaU2Mick JaggerDavid Bowie “Black Star”Bob DylanRusted Root “Send Me On My Way”Battle TapesDreamgirlsBeyonceRandy SpendloveRandy QuaidChaka KhanJason MrazJimi HendrixThe Beatles “While My Guitar Gently Weeps”Prince “1999”Steely MacFleetwood MacTom PettyRadioheadThom YorkePatrice RushenPrince “Purple Rain”Wham! “Wake Me Up Before You Go-Go”The Dave Matthews BandCurtis MayfieldThe Beatles “Please, Please Me”Culture ClubParliament FunkadelicSinead O'ConnorSly and the Family StoneThe CommodoresMadonna “Express Yourself”The Pointer SistersRebbie Jackson

rock kings songs collection warner brothers scrabble oberheim

Francesco Calembrun, ricerca del suono e la modulazione di frequenza.

Rumore Bianco - Sintetizzatori modulari e ricette sonore

Play Episode Listen Later Aug 10, 2023 44:38

In questo episodio ho il piacere di presentarvi Francesco Calembrun, all'interno della rubrica Storie ci racconta come ha iniziato a fare musica con i synth e ci ha spiegato il suo approccio creativo. La musica di Francesco va oltre i confini del conosciuto, è sperimentale ma è sempre tutto sotto controllo, i suoi lavori ti portano su altri pianeti e poi ti riaccompagnano sulla terra in modo molto naturale. Francesco inoltre ci racconta in maniera molto tecnica come è stato composto il primo dei due brani che vi faccio ascoltare. Seguitelo su Instgram @Calembrun e sul suo profilo band camp, Calembrun.Nell'ultima parte dell'episodio, per la rubrica Tecnicamente parlo brevemente di FM ovvero di modulazione di frequenza, una tecnica di sintesi per creare suoni complessi. Ricordate, il piacere sta nell'esplorazione.

musica francesco storie modular ricerca vangelis moog arp synthesizer filtro suono suoni elettronica ricordate vca sintesi frequenza tecnicamente eurorack buchla vco oberheim

VINILOS PARA GATOS - Ep.: 71 - Jeff Lorber Fusion - Soft Space (1978)

Música para Gatos

Play Episode Listen Later Jun 15, 2023 39:50

Hoy os vamos a acercar el segundo trabajo de Jeff Lorber Fusion, una formación mítica liderada por uno de los más grandes teclistas de los últimos años, Jeff Lorber. El disco se llamó Soft Space y fue editado en el año 1978. En el participan, además de la banda de Lorber, dos músicos esenciales para entender el desarrollo del jazz en los años 70s y 80s, el pianista y teclista Chick Corea y el saxofonista y flautista Joe Farrell. Esperamos que lo disfrutéis. TRACKS 1-The Samba 2- Katherine 3- Black Ice 4- Curtains 5- Proteus 6- Soft Space 7- Swing Funk CREDITS Jeff Lorber - piano acústico, Fender Rhodes, sintetizador Moog, Oberheim 4 Voice Lester McFarland - bajo eléctrico Dennis Bradford - batería Terry Layne - flauta, saxofón alto, saxofón tenor Dean Reichert - guitarra acústica, guitarras eléctricas Bruce Smith - congas, percusión Ron Young - congas, percusión Chick Corea - Minimoog solo (1), Minimoog (5) Joe Farrell - saxofón soprano (2), flauta (3)

space soft gatos moog chick corea fender rhodes lorber vinilos jeff lorber joe farrell minimoog oberheim jeff lorber fusion

Etiqueta negra n.4 rainbow straight between the eyes

LHDR CON PACO JIMENEZ

Play Episode Listen Later Feb 26, 2023 66:30

Straight Between the Eyes es el sexto álbum de estudio de la banda de hard rock, Rainbow, lanzado en el año 1982. La formación del grupo es la misma que había grabado el anterior disco Difficult to Cure, con la excepción de David Rosenthal, quien reemplazó a Don Airey en los teclados para este trabajo. Para la canción "Death Alley Driver" se realizó un videoclip, en el cual aparece un primitivo videojuego (el "Turbo") de la compañía Sega. #rainbow #ritchieblackmore #joelynnturner #hardrock #heavymetal #82 #etiquetanegra #lahoradelrock #radio #internet Lado A "Death Alley Driver" (Blackmore, Turner) – 4:42 "Stone Cold" – 5:17 "Bring on the Night (Dream Chaser)" – 4:06 "Tite Squeeze" – 3:15 "Tearin' Out My Heart" – 4:03 Lado B "Power" – 4:26 "MISS Mistreated" (Blackmore, Turner, David Rosenthal) – 4:27 "Rock Fever" (Blackmore, Turner) – 3:50 "Eyes of Fire" (Blackmore, Turner, Bobby Rondinelli) – 6:37 Ritchie Blackmore - guitarra (Fender Strat, Marshall) Joe Lynn Turner - voz Roger Glover - bajo (Hondo Longhorn 4 & 8 string) Bobby Rondinelli - batería (Yamaha Corporation, Sonor & Paiste) David Rosenthal - teclados (Oberheim, Moog, Roland, Hammond & Hohner) Ingeniero: Nick Blagona (asistido por Robbie Whelan) Grabado en Le Studio, Morin Heights, Canadá Mezcla digital por Roger Glover y Nick Blagona Masterización digital por Greg Calbi, Sterling Studios, New York SINGLES 1982 - Stone Cold/Rock Fever 1982 - Death Alley Driver/Power (Japón).

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Episode 1: Amber Oberheim

Word Pictures with Meredith

Play Episode Listen Later Feb 16, 2023 61:45

"Blessed are the peacemakers, for they will be called children of God." Matthew 5:9 Join Amber Oberheim and I for this meaningful conversation about family, the peace that surpasses all understanding and how God has been present in her life. On May 19th, 2021 life changed drastically as Chris Oberheim, beloved husband, father and police officer with 20 years of experience was shot and killed while on duty and responding to a call for help. Amber and her daughters created a God-serving foundation in Chris' honor called the Peacemaker Project 703 where they proactively support law enforcement officers and their families through community outreach, reform, and education. To learn more about Peacemaker Project 703 visit www.peacemakerproject703.com Connect with Amber on Facebook at Amber Dobson Oberheim or on Instagram @aboberheim To learn more about the Word Pictures with Meredith merchandise visit www.millsclothingco.com

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Episode 22 : Music Tech Pioneers IV : Marcus Ryle : 4 Decades of Music Tech Innovation !

DAWbench Radio Show

Play Episode Listen Later Feb 9, 2023 147:59

Music Tech Pioneers IV : Marcus Ryle : 4 Decades of Music Tech Innovation ! Hosted by Vin Curigliano of AAVIM Technology, I am joined by guest co-host Pete Brown of Microsoft and special guest Marcus Ryle , whose career spans over 4 decades on the front line of Music Tech Innovation. We discuss Marcus' early history with music and technology , and how that lead a path to starting his career at Oberheim. We cover his involvement in the development of some of the final iconic products at Oberheim, including the OB-Xa, Expander and Matrix 12. We discuss the fall of the company and his co-founding of Fast Forward Designs, which was a design and engineering company that was involved in the development of numerous revolutionary products and technologies for several companies, including the Alesis ADAT. We also cover his co-founding of Line 6 and how those products launched the modeled guitar amp era, and revolutionized the paradigm of guitar production and live performance. We discuss Marcus' new company WRiiG and his involvement with the return and revival of both Sequential and Oberheim, how he has come full circle with the development of the new Oberheim OB-X8, and much, much more. Host & Guest Links : AAVIM Technology : www.aavimt.com.au DAWbench : www.dawbench.com Microsoft : www.microsoft.com Pete Brown : https://twitter.com/Pete_Brown WRiiG : www.wriig.com VO : Andrew Peters : www.andrewpetersvo.com Music Themes : Original DAWbench VI Theme Music composed by Rob John : Independent Music Productions : http://www.indmusicprods.com DAWbench Radio Show ReMix by Erin McKimm : www.erinmckimm.com All Rights Reserved : © AAVIMT 2023

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IIS 106 - Marcus Ryle

Insights In Sound

Play Episode Listen Later Feb 3, 2023 77:47

Insights In Sound - Marcus Ryle, Inventor - Season 11, Episode 6 (#106) He's made a career of pushing the envelope, contributing to technologies that have shifted the paradigms of creative tools. We chat with Marcus Ryle about his early days with Oberheim, the development of the ADAT, the birth of Line6, and his ongoing fascination with technology.

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Música para Gatos - Ep.: 104 - MASTERPIECES: Heavy Weather (1977) de Weather Report

Música para Gatos

Play Episode Listen Later Dec 15, 2022 64:36

Hoy en el tejado os vamos a ofrecer uno de aquellos programas a los que llamamos Masterpieces, espacios en los cuales pretendemos recuperar un trabajo que creemos ha sido esencial en el desarrollo del jazz. Y nos hemos decidido por el octavo trabajo de una banda mítica, los Weather Report de Josef Zawinul, Wayne Shorter, Jaco Pastorius, Alex Acuña y Manolo Badrena. El disco, Heavy Weather, editado en el año 1977. Os explicaremos la historia de la banda desde sus inicios y profundizaremos en el disco de hoy ofreciendo opiniones y comentarios de los artistas involucrados y numerosas anécdotas que nos ayudaran a entender todo el proceso de génesis de esta histórica grabación. Estamos seguros de que vais a disfrutar. TRACKS 1-Birdland Zawinul 2-A Remark You Made Zawinul 3-Teen Town Pastorius 4-Harlequin Shorter 5-Rumba Mamá Badrena, Acuña 6-Palladíum Shorter 7-The Juggler Zawinul 8-Havona Pastorius CREDITS Joe Zawinul ARP 2600, Rhodes electric piano, Yamaha grand piano, Oberheim polyphonic synthesizer, vocal, melodica, guitar, tabla Wayne Shorter Soprano and tenor saxophones Jaco Pastorius Electric bass, mandocello, vocals, drums, steel drums Alex Acuña Drum set, congas, tom-toms, handclaps Manolo Badrena Tambourine, congas, vocal, timbales, percussion

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Ep 4 - The Mifflinburg Wildcat Football Podcast (Jon Melendez, Trevon Simpson, Christian Oberheim, and Zack Wertman)

The Mifflinburg Wildcat Football Podcast

Play Episode Listen Later Sep 29, 2022 24:38

Hey Cats fans, welcome back to another episode of the Mifflinburg Wildcat Football Podcast. Today, the boys talk game day rituals, music, future plans, hobbies, and even compare themselves to NFL players! The boys gear up to play Selinsgrove in a clash of 4-1 teams. Produced by SBC Media Partners.

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Strange Synths

Play Episode Listen Later Aug 27, 2022 105:18

Episode 78 Strange Synths Little Heard Sounds from Unique Synthesizers Playlist David Behrman, “Pools Of Phase Locked Loops,” from My Dear Siegfried (2005 XI Records). Synthesizers (homemade), David Behrman, Katharine Morton Austin. Recorded live at Radio Bremen in May 1972 and commissioned by Hans Otte. At a time when commercial models of analog synths were widely available, Behrman and other musicians such as Gordon Mumma and David Tudor insisted on creating purpose-built instruments using the same principles. Behrman explains, “The homemade synthesizers had 32 voltage-controlled triangle-wave generators built around a chip utilizing a circuit design called the Phase Locked Loop. The chip made smooth glides possible from one pitch to another. The homemade synthesizers also had voltage-controlled amplifiers, rows of small knobs and frequency counters with the aid of which the performers could retune individual oscillators during a performance.” 14:00 John Ridges, “Fugue In G” (Bach) from Computer Controlled Synthesizer Performances (1977 Tesseract Records). This work was made using a computer-controlled music synthesizer which its makers dubbed Mesmerelda. It was comprised on 200 integrated circuits that could create 96 different pitches assigned to six separate channels. Only one waveform was used, a square wave, and there was no envelope control. Hence, the simple organ-like tone of the piece. 4:49 John Ridges, “Ruffles” (Ridges) from Computer Controlled Synthesizer Performances (1977 Tesseract Records). From the same album comes “Ruffles” performed by composer John Ridges. This track featured a slightly more advanced computer music synthesizer they called the AD8. It featured up to eight synthesis boards each one relating to a single channel. So, eight pitches could be played at a time and there was filtering, waveform generation other than square waves, and simple envelope generation to provide a slightly more advanced sound. As Ridges wrote in the liner notes, with pride, “these pieces are generally free of the bizarre noises usually found on electronic synthesizer albums.” The pieces were recorded in real time without overdubs. 2:36 Patrick Gleeson, “Star Wars Theme (Luke's Theme)” (Williams). (1977 Mercury). Recorded and mixed at Different Fur, San Francisco, July 1977. The piece showcases various beds, rhythms, and sounds made using the E-mu modular synthesizer, also known as an Eµ synthesizer (it's original name). "Selections from the film performed on the world's most advanced synthesizer." Drums, Billy Cobham, Harvey Mason, James Levi, Ronnie Beck; Lyricon, Lenny Picket; Vocals, Sarah Baker; keyboards, performer (Breath Controller), engineered, produced, arranged, and conducted by Patrick Gleeson. 5:36 Bennie Maupin, “Crystals” from Moonscapes (1978 Mercury). Eµ synthesizer (E-mu Modular Synthesizer) programmed by Patrick Gleeson, who owned Different Fur Studios in the San Francisco area and owned an Eµ modular synthesizer (see the earlier Star Wars album which also featured this same synth.) Here, we have a different treatment of the same instrument by jazz woodwind player Maupin, who played Soprano Saxophone, Tenor Saxophone, Bass Clarinet, Flute, Marimba, Glockenspiel, Eµ Synthesizer, and Computone Synthesizer Winddriver on this album. I picked this track because this is most stripped-down arrangement featuring only Maupin playing the Eµ synthesizer and other instruments. 1:19 Sylvester, “You Make Me Feel (Mighty Real)” from Step II (1978 Fantasy). One of the few albums to feature EML (Electronic Music Laboratories) Modular Synthesizers. String synthesizer, Electro-comp 101 synthesizer and 200 expander unit, Oberheim DS-2 Sequencer, Effects , Pat Cowley; organ, Electric piano, Clavinet, Michael C. Finden; Percussion, David Frazier; Producer, Lead Vocals, Piano, Sylvester. EML was a Connecticut-based synth maker that was around from about 1970 to 1984. They were best-known for their Electro-comp modular synths. The 101 was a duophonic semi-modular 44-note synth and the model 200 was an expander unit that added ring modulation, spring reverb, and high and low filters to the setup. It was interesting to hear this Moroder-like pulsating synth sound coming from something other than a Moog. 6:34 Pere Ubu, “I Will Wait” from Dub Housing (1978 Chrysalis). This second album from this Ohio group always figured high on my playlist of favorites. I was mostly fascinated by the synthesizer fills and hijinks by Allen Ravenstine that punctuated much of the group's music with the quirkiest of sounds, all blended and mixed to provide many weird hooks and twists. This is another example of the EML, Electro-comp duphonic modular synthesizer although almost used in a polar opposite way than Sylvester. This is a unique sound from the time. Performers, Allen Ravenstine, David Thomas, Scott Krauss, Tom Herman, Tony Maimone. Engineered by Ken Hamann at SUMA Studios, Painesville, Ohio, 8-9/78. Ravenstine is still active and an electronic musician although he has left the EML for other synthesizer frontiers. He remains very much the experimental improviser. 1:45 Pere Ubu, “Navvy” from Dub Housing (1978 Chrysalis). Performers, Allen Ravenstine, David Thomas, Scott Krauss, Tom Herman, Tony Maimone. Engineered by Ken Hamann at SUMA Studios, Painesville, Ohio, 8-9/78. Features sounds of the EML Electro-comp modular synthesizer by Allen Ravenstine. 2:40 Pere Ubu, “On the Surface” from Dub Housing (1978 Chrysalis). Performers, Allen Ravenstine, David Thomas, Scott Krauss, Tom Herman, Tony Maimone. Engineered by Ken Hamann at SUMA Studios, Painesville, Ohio, 8-9/78. Features sounds of the EML Electro-comp modular synthesizer by Allen Ravenstine. 2:37 Pascal Languirand, “O Nos Omnes” from De Harmonia Universalia (1980 Polydor). I am featuring a track that uses, among other instruments, the Farfisa Synthorchestra, the famous Italian's company entry into the string synthesizer fray. The Syntorchestra was split into two keyboard sections, strings (polyphonic), and mono synth voices. It was a hybrid organ and synthesizer and used much by Klaus Schulze and other German electronic musicians for the short time that it was available from 1975 to 1978. Nine slider controls were positioned next to a 3-octave keyboard and provided some “chaotic” control episodes for this much beloved and rare keyboard. 7:16 Moebius, “Clone Zone” from Moebius (1979 Plastic Poison). Yes, a progressive rock group that utilized the modular synthesizers developed by Serge Tcherepnin, Rich Gold, and Randy Cohen at CalArts in late 1972. By the mid-1970a, Tcherepnin left CalArts and began to manufacture his instruments in Hollywood. Serge modules were designed to bring many elements of the circuits controllable by the performer, patching them in unusual ways beyond what was considered normal for a given module. The model used on this album probably had a 16-stage sequencer introduced by the company, and I think you can hear such patterns in this song. Listen for the bubbling, sequenced sounds that are contrasted to the monophonic solos of the Minimoog and patch sounds of the ARP Odyssey. I think the track opens with the Serge pattern. Drums, Evan Kaplan; Minimoog synthesizer, Bruce Courtois; Roland Sh3a, AP 2600 synthesizers, Steve Roach; Serge modular, Minimoog synthesizer, vocals, written by, Bryce Robbley; Serge modular synthesizer, Doug Lynner. 4:55 Moebius, “Song For Lya,” from Moebius (1979 Plastic Poison). Serge, Oberheim, and Minimoog synthesizers, vocals, written by, Bryce Robbley; Serge, Oberheim synthesizers, written by, Doug Lynner; Violin, John Stubbs. Listen closely to tune-out the parts by the Odyssey and Minimoog and you will experience a lovely bed laid down by the Serge. Moebius had three members, one a violinist, heard in this tune blending with the Serge. Although the group used a Sennheiser vocoder on another track, the vocal distortion on this track may have actually been the voice processed with the Serge. 3:15 Henry Kucharzyk, “Play Dot Sam” from Walk The Line - Three New Works By Henry Kucharzyk (1985 Artifact Music). This work is performed at the Samson Box at the Center for Computer Research in Music and Acoustics (CCRMA), Stanford University, Palo Alto, California. This track is an escapee from the 1970s but nonetheless fills a void in that period when commercial synthesizers were moving to digital technology and were quite expensive. The Samson Box was a computer-based digital synthesizer created in 1977 by Peter Samson, who worked at the university. Samson stands for the “Systems Concepts Digital Synthesizer. It was a one-off special-purpose dedicated audio computer designed for use by student composers at Center for Computer Research in Musical and Acoustics (CCRMA) at Stanford University. 3:06 Salvatore Martirano, “The SalMar: Part One” from The SalMar Construction (2014 Sub Rosa). Another escapee from the 1970s was this performance at IRCAM in Paris in 1983. Salvatore Martirano, an American composer, invented the one-of-a-kind Sal-Mar Construction designed for real-time performance of electronic music. It was created from 1969 to 1972 at the University of Illinois. The analog synthesizer looked like a large drawing table with an array of 291 touch-sensitive connections to enable the sound generating circuits. Behind it all were some computer circuits salvaged from the Illiac II computer music system and they generated random sequences with which the performer could interact while managing four parallel processes governing the 16 oscillators, applying pitch, timbre, amplitude and envelope parameters to the sound. Martirano toured the world with the performing/composing music machine and described his live performances in the following manner: “The composer, in performance, interacts with the machine as it composes, creating spontaneously four melodic lines which move throughout the concert space via a network of 24 overhead speakers.” This performance was by Martirano while in Paris at IRCAM. 18:59 Herbie Hancock, “Rough” from Future Shock (1983 Columbia). Hancock was well known as an experimenter of new synthesizer technology. During the early stages of the home computer revolution, Hancock used an AlphaSyntauri synthesizer as part of his ensemble of instruments. The AlphaSyntauri was an add-in synth for the Apple II computer, with its own sound-generating circuit board. The company was around from about 1980 to 1985. Its claim to fame what that it was much more affordable than the digital synthesizers made by New England Digital and Fairlight, each of which cost in the $30,000 to $50,000 range. The AlphaSyntauri was $1500. At this price you got 16-voice polyphony, 16 digital oscillators, and envelope generator, keyboard, and a sequencer capable of storing up to 7000 notes. It's affordable sequencing was a major attraction. This was before the Apple Macintosh was introduced, and with that the AlphaSyntauri was made immediately obsolete. But not before Hancock was able to work it into some of his electronic jazz tracks. If you listen carefully you can pick-out the sounds of the AlphaSyntauri because of all of the other synths and instruments on this track. Backing Vocals, Bernard Fowler, Grandmixer D.ST., Nicky Skopelitis, Roger Trilling; Bass, Bill Laswell; Drums, Sly Dunbar; Lead Vocals, Lamar Wright; Fairlight CMI Synthesizer, AlphaSyntauri Synthesizer, Emulator Synthesizer, Herbie Hancock; Prophet-5 Synthesizer, Michael Beinhorn; Turntables, Voice, Grandmixer D.ST. 6:55 Opening background music: P.F.M. (Premiata Forneria Marconi), “Storia In "LA"” from Jet Lag (1977 Asylum Records). Italian progressive rock band founded in 1970. Album recorded at Kendun Recorders, Burbank, California, January, 1977 and Scorpio Sound Studio, London, February, 1977. Mixed at Scorpio Sound Studio, February 1977. Mastered at RCA Studio, London. Bass, Moog B12 Synthesizer, Patrick Djivas; Drums, Percussion, Franz Di Cioccio; Electric Piano, Organ, Moog Synthesizer, Flavio Premoli. 6:28 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.

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BeatPPL Podcast 70 - Rossum - Electro's Dave Rossum & Marco Alpert

BeatPPL Podcast

Play Episode Listen Later Jul 22, 2022 87:34

Dave Rossum & Marco Alpert of Emu Systems & Rossum-Electro join the podcast for a conversation about the EMU legacy, SP1200, and their current eurorack projects. Like, Subscribe and share. About Dave... Starting with his co-founding of E-mu Systems, Dave provided the technological leadership that resulted in what many consider the premier professional modular synthesizer system. The E-mu Modular System combined superlative analog design, innovative use of digital technology, and unparalleled physical construction and reliability. In the following years, Dave and E-mu turned their attention to affordable professional digital sampling with the Emulator keyboards and racks. The Emulator II in particular established sampling as the leading music technology of its time, becoming a standard fixture in professional studios worldwide and appearing on innumerable hit records and film soundtracks. SP-1200It was followed by the Emax samplers, the legendary SP-12 and SP-1200 sampling drum machines, the Proteus sound modules and the Morpheus Z-Plane Synthesizer. In addition, Dave also developed and licensed technology that enabled the creation of many iconic synthesizers, including the Oberheim 4-Voice, the Sequential Circuits Prophet 5 and, via his design of many of the SSM music ICs, instruments from Korg, Kawai, and many more.

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07/06/22 8am hour with Stevie Jay & Diane Ducey talking trends, then from VisitIndy.com Nate Swick talks events. Amber Oberheim and Kim talk about a ILcops.net cycling event

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Play Episode Listen Later Jul 6, 2022 60:00

Amber Oberheim. Widowed and Fighting Back.

HyperLocal(s)

Play Episode Listen Later Jun 28, 2022 47:23

I reached out. She graciously answered. Amber Oberheim, wife of the tragically slain Police Officer Chris Oberheim, rehashes the details of her husband's death-one year later. Amber talks openly and honestly about life before May 19, 2021, the details of the domestic disturbance that Chris responded to, the early morning knock on the door, writing eulogies and why she won't listen to any 911 calls or video from that night. Listen as this empowered advocate explains how and why she has taken the lead and stage in the wake of a heart wrenching loss, turning tragedy into an opportunity to proactively support law enforcement and their families. Amber details her and her four daughter's creation of Peacemaker Project 703 to continue and honor Chris's legacy.I'd like to send a big thank you to this episode's sponsor, Sun Singer Restaurant providing Wine, Spirits, Beer, Gourmet Deli & Gifts. As mentioned in multiple episodes Sunsinger, located at 1115 Windsor Road in Champaign, is our favorite spot to eat in town. Call and book a reservation today. You don't want to miss OYSTER week September 16 to 24. Visit sunsinger.com for more information.

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The Polyphonic Synth Journey of Fusion Jazz

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Play Episode Listen Later Jun 28, 2022 92:36

Episode 74 The Polyphonic Synth Journey of Fusion Jazz Playlist Jan Hammer, “Darkness / Earth In Search Of A Sun” from The First Seven Days (1975 Atlantic). I am including two versions of the same track from Jan Hammer, a master synthesist who moved from monophonic to polyphonic synths gradually, making the best used of the expressive qualities of each technologh. This track is from 1975 and uses Oberheim modules, probably the 2-voice or even 4-voice, but along with the Minimoog and what sounds like an uncredited Mellotron. Hammer was insistent in the notes for this solo album that none of the sounds were made with the guitar. This makes the contrast of this track with the next version performed live with Jeff Beck and even more interesting contrast. Producer, Engineer, Piano, Electric Piano, Moog and Oberheim synthesizers, Drums, Percussion, Composer, Jan Hammer. 4:30 Jeff Beck With The Jan Hammer Group, “Darkness/Earth In Search Of A Sun” from Live (1977 Atlantic). Here is the same tune written by Hammer for his solo album, now performed live with Jeff Beck. I think one can assume that all soloing in done on a Minimoog while all other synth sounds, including strings, are provided by the Oberheim modules and Freeman string synth. Bass, Fernando Saunders; Drums, Tony Smith; Guitar, Effects, Jeff Beck; Moog, Oberheim, and Freeman synthesizers, Electric Piano, Timbales, Jan Hammer; violin, string synthesizer, Steve Kindler. 7:55 Billy Cobham, “Leaward Winds” from Magic (1977 CBS). Early days of the Oberheim polyphonic, used again as background comping and fills to back-up the guitar and piano leads. Bass, Randy Jackson; Guitar, Peter Maunu; Piano, Oberheim Synthesizer, Mark Soskin; drums, producer, Billy Cobham. 3:38 Herbie Hancock, “Hang Up Your Hang Ups” from Man-Child (1975 Columbia). Along with Jan Hammer, Herbie Hancock was an early pioneer of using polyphonic synths in his ensemble. While I don't hear the Oberheim module being played until about the 5:30 mark in this track, I wanted to include it because Hancock uses many synths at his disposal to achieve the overall sound. The next two tracks from the Eddie Henderson album Mahal used a similar but updated keyboard ensemble, including the Oberheim 8-voice polyphonic and Prophet 5 synths. Bass, Henry Davis, Louis Johnson, Paul Jackson; Drums, Harvey Mason, James Gadson, Mike Clark; Guitar, David T. Walker, Blackbird McKnight; Guitar, Synthesizer, Melvin "Wah Wah" Watson; Percussion, Bill Summers; Piano, Fender Rhodes, Arp Odyssey, Pro Soloist, 2600, String Ensemble, Oberheim Polyphonic Synthesizer, Hohner D6 Clavinet, Herbie Hancock; Saxophone, Flute, Ernie Watts, Jim Horn; Soprano Saxophone, Wayne Shorter; Soprano Saxophone, Tenor Saxophone, Saxello, Bass Clarinet, Bass Flute, Alto Flute, Bennie Maupin; Trombone, Garnett Brown; Trumpet, Bud Brisbois, Jay DaVersa; Tuba, Bass Trombone, Dick Hyde. 7:27 Eddie Henderson, “Cyclops” from Mahal (1978 Capitol). Bass, Paul Jackson (2); Congas, Percussion, Bill Summers; Drums, Howard King; Fender Rhodes, Clavinet, ARP 2600, Oberheim 8 Voice Polyphonic, Prophet-5, ARP Strings Ensemble, Minimoog, Yamaha CS-80 Polyphonic synthesizers, Herbie Hancock; Flute, Hubert Laws; Guitar, Ray Obiedo; Piano [Acoustic], Mtume; Prophet-5 Programming, John Bowen; Tenor Saxophone, Saxophone [Saxello], Bennie Maupin; Trombone, Julian Priester; Trumpet, Flugelhorn, Eddie Henderson. 5:19 Eddie Henderson, “Prance On” from Mahal (1978 Capitol). Bass, Paul Jackson (2); Congas, Percussion, Bill Summers; Drums, Howard King; Fender Rhodes, Clavinet, ARP 2600, Oberheim 8 Voice Polyphonic, Prophet-5, ARP Strings Ensemble, Minimoog, Yamaha CS-80 Polyphonic synthesizers, Herbie Hancock; Flute, Hubert Laws; Guitar, Ray Obiedo; Piano [Acoustic], Mtume; Prophet-5 Programming, John Bowen; Tenor Saxophone, Saxophone [Saxello], Bennie Maupin; Trombone, Julian Priester; Trumpet, Flugelhorn, Eddie Henderson. 5:17 Rolf Kühn. “Cucu Ear” from Cucu Ear (1980 MPS Records). This German disc features keyboardist Rolf Kühn and highlights the Roland Jupiter 4, a 4-voice polyphonic synth. Bass, N.-H. Ø Pedersen; Clarinet, Roland Sting Synthesizer, Roland Jupiter 4 Synthesizer, Roland Amps, Rolf Kühn; Drums, Alphonse Mouzon; Engineer, Walter Quintus; Guitar, Peter Weihe, Philip Catherine; Steinway Acoustic, Fender Rhodes pianos, Roland Amps and Echoes, Joachim Kühn; Reeds, Charlie Mariano, Herb Geller; Trombone, Egon Christmann, Wolfgang Ahlers; Trumpet, Klaus Blodau, Larry Elam, Mannie Moch, Paul Kubatsch. 5:05 Rolf Kühn. “Key-Alliance” from Cucu Ear (1980 MPS Records). On this track the Roland Jupiter 4 is played by Joachim Kühn, brother of Rolf. Bass, N.-H. Ø Pedersen; Clarinet, Roland Sting Synthesizer, Roland Amps, Rolf Kühn; Drums, Alphonse Mouzon; Engineer, Walter Quintus; Guitar, Peter Weihe, Philip Catherine; Steinway Acoustic, Roland Jupiter 4 Synthesizer, Fender Rhodes pianos, Roland Amps and Echoes, Joachim Kühn; Reeds, Charlie Mariano, Herb Geller; Trombone, Egon Christmann, Wolfgang Ahlers; Trumpet, Klaus Blodau, Larry Elam, Mannie Moch, Paul Kubatsch. 5:41 Didier Lockwood, “Ballade Des Fees (Quartet Without Drums)” from Live In Montreux (1980 Disques JMS). Look who's featured on this album by French violinist Dider Lockwood—it's Jan Hammer again. Only this time he's using an unnamed “polyphonic synthesizer.” Your guess is as good as mine on this one, although he was using Oberheim and Yamaha CP70 keyboards around this same time. Bass, Bo Stief; Drums, Gerry Brown; Rhythm Guitar, Marc Perru; Polyphonic Synthesizer, Jan Hammer; Tenor Saxophone, Bob Malach; Violin, Didier Lockwood. 4:50 Didier Lockwood, “Fast Travel” from Live In Montreux (1980 Disques JMS). Another track with Jan Hammer using an unnamed polyphonic synth. There is a really smart Minimoog solo beginning as about 1:21, polyphonic fills are most apparent around beginning around 4:08. Bass, Bo Stief; Drums, Gerry Brown; Rhythm Guitar, Marc Perru; Polyphonic Synthesizer, Jan Hammer; Tenor Saxophone, Bob Malach; Violin, Didier Lockwood. 7:06 Georges Acogny, “Karimagie” from First Steps In (1981 String). This track uses a Polymoog effectively for some nice runs and comping, beginning around 3:40. I do not know what instrument was used to create the the white noise heard in the opening and throughout since I don't believe you could do that with the Polymoog. Bass, Dominique Bertram; Composed By, Khalil Chahine; Drums, Paco Sery; Guitar, Georges Acogny, Kamil Rustam; Percussion, Sydney Thiam; Piano, Patrick Gauthier; Soloist [Acoustic Guitar], Larry Coryell; Soloist [Bass], Nicolas Fizman; Soloist [Electric Guitar], Kamil Rustam; Polymoog synthesizer, Rachid Bahri. 8:30 Georges Acogny, “1st La Rosée” from First Steps In (1981 String). Acogny is a guitar player so the polyphonic synth tends to play a supporting role to the string work on this track. In this case, the Prophet 5 is used, most notably at about 30 seconds into the track. Bass, Nicolas Fizman, Electric Piano [Fender Rhodes], Olivier Hutman, Guitar, Kamil Rustam, Guitar [Ovation], Georges Acogny, Piano, Jean-Pierre Fouquey, Soloist [Trombone], Hamid Belhocine, Prophet 5 Synthesizer, Didier Egea. 4:37 Combo FH, “Zelený Muž (Green Man)” from Věci (Things) (1981 Panton). Here is a short track that uses the Italian-made Farfisa Syntorchestra, a rare keyboard made in 1978 that had a split keyboard, part polyphonic string synthesizer and part monophone synth section. Mostly used on European tracks by German composers including Klaus Schulze, here is an unusual jazz fusion example from a group in the Czechoslovakia. This group was known for its unusual instrumentation, including lead bassoon heard on this track. Bass Guitar, Václav Pátek; Bassoon, Percussion, Milan Sládek; Percussion, Richard Mader; Organ, Farfisa Syntorchestra synthesizers, Percussion, Leader, Daniel Fikejz; Percussion, Bořivoj Suchý. 1:48 String Connection, “Quasi String Waltz” from Workoholic (1982 PolJazz). Recorded in Poland and distributed by the Polish Jazz Society. This album features some strings sounds played on the Polymoog, which was still being used for its unique sounds even by this late date, because the Polymoog had been retired by this time. Listen for fills and chords beginning around 1:08. Bass Guitar [Gitara Basowa], Krzysztof Ścierański; Drums [Perkusja], Zbigniew Lewandowski; Piano [Fortepian Akstyczny], Violin [Skrypce], Polymoog Synthesizer, Krzesimir Dębski; Piano, Hammond Organ , Polymoog Synthesizer, Trombone [Puzon], Janusz Skowron; Tenor Saxophone [Saxoton Tenorowy], Soprano Saxophone [Saxofon Sopranowy], Andrzej Olejniczak. 3:19 Mike Elliott, “For Janny” from Diffusion (1983 Celebration). Another interesting album of guitar-based fusion jazz with synthesizer touches. Seemingly self-produced in Minnesota. Although the Minimoog is also used on this recording, I selected a track that was primarily using the Polymoog, beginning around 50 seconds. Fender Bass, Rick Houle; Drums, Gordy Knudtson; Flugelhorn, Bobby Peterson; Gibson ES-347 guitar, Ryoji Matsuoka Flamenco guitars, solid body kalimba; Mike Elliott; grand piano, Polymoog and Mini-Moog synthesizers, Ricky Peterson; Producer, Mike Elliott. 4:42 Martin Kratochvíl & Jazz Q, “Trhanec (The Muffin)” from Hvězdoň Asteroid (1984 Supraphon). From Czechoslovakia, a brilliant ensemble of musicians led by keyboardst Martin Kratochvíl. Here is another mix of monophonic synths and the polyphonic Oberheim 4-voice, heard in the opening riff that's repeated throughout. Bass Guitar, Přemysl Faukner; Drums [Bicí Nástroje], Pavol Kozma; Electric Guitar [El. Kytara], Twelve-String Guitar, Fender Rhodes, Minimoog, ARP Omni, Oberheim 4-Voice Polyphonic synthesizers, Leader [Vedoucí], Engineer [Recording], Recording Supervisor [Recording Director], Martin Kratochvíl. 4:34 Opening background music: Short piece by Thom Holmes using the Arturia Prophet 5 plug-in. 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.

live magic french european german leader italian minnesota celebration cbs atlantic effects columbia poland engineers prophet capitol hammer bass programming piano guitar freeman composer echoes trumpets drums asteroids organ string hancock violin rolf flute pedersen synth cyclops percussion herbie hancock jeff beck diffusion czechoslovakia saxophone trombone tuba krzysztof moog mahal arp reeds clarinet synthesizer manchild hv wayne shorter randy jackson bass guitar tony smith paul jackson mike clark billy cobham bassoon mellotron fender rhodes mtume jan hammer larry coryell john bowen polyphonic klaus schulze panton hammond organ eddie henderson fast travel harvey mason mike elliott joachim k congas louis johnson rhythm guitar ernie watts bass clarinet minimoog bill summers flugelhorn notations gibson es bennie maupin timbales alphonse mouzon oberheim didier lockwood supraphon jim horn rolf k james gadson fusion jazz gerry brown julian priester roland jupiter arp odyssey david t walker charlie mariano yamaha cs fender bass hang up your hang ups

Ep. 160 - Three Years

Gearhunks

Play Episode Listen Later May 16, 2022 77:51

We did it buddies! Three years of this ding dang show!After talking a brief trip down memory lane, the main story today is about a recently unearthed Burst found in the UK - they still exist friends. What a gem.Also discussed: Hank's secret Reverb deal, Apple's final iPod, Fender NFTs (big groan), George Harrison the Formula 1 stan, Alice in Chains, our neighbors at Harden, Roland's AIRA Compact series, new Seymour Duncan pickups, Oberheim's OB-8X, and the MINIM Sand Caster.Should Gearbuds make a book? “A thick book for thick boys.”

123: Episode: 123 Oberheim OB-X8

RackAddicts After Hours

Play Episode Listen Later May 14, 2022 44:05

Plus lots and lots of other synth news !

oberheim

Une très grosse semaine : Oberheim, Roland, Eventide et Teenage Engineering - Épisode #77

La matinale dâ€™AF : lâ€™actu des instruments de musique et du matÃ©riel audio

Play Episode Listen Later May 13, 2022 11:27

Cette semaine dans la matinale, Red Led nous parle :✔️ Roland sort une nouvelle série de petits synthés AIRA Compact✔️ Eventide annonce Misha, et ce n'est pas une pédale✔️ L'OP-1 Field fera-t-il aussi bien que l'OP-1 ?✔️ Découvrez l'OB-X8 d'Oberheim

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Sonic TALK 710 - Oberheim, Spitfire Polaris, UA Spark, Ed Sheeran, Wingie 2

SONIC TALK Podcasts

Play Episode Listen Later Apr 14, 2022 66:32

Guests Gaz Williams - Producer, bassplayer, music technologist Rich Hilton - Nile Rodgers Studio guy, keyboards for Chic Video version on Youtube: https://youtu.be/nTs9wY4EkSw Ad Free Version on Patreon: http://patreon.com/sonicstate Sign up for iZotope's Music Production Suite Pro for 24.99 a month, or Producers Club for $19.99 a month, and you get access to the most up-to-date versions of our plug-ins as well as the latest features and updates as they are released. No upgrade fees. And, you can tap into iZotope's expert knowledge with exclusive product tutorials and videos on mixing, mastering, and more. Head over to iZotope.com now to get a 7-day free trial. 00:10:58 UA Goes Native 00:21:19 Spitfire and BT Polaris 00:28:14 AD: iZotope Music Producers Club 00:30:07 Soundwide Umbrella Company 00:37:46 Wingie2 Resonator 00:45:29 NAMM 2003 Archives 00:51:18 Edd Sheeran And The Plagiarism Case 00:57:31 Oberheim Welcome Back Where to Watch/Listen - We now stream the live show to Youtube Live, Facebook Live as well as at Sonicstate.com/live every Weds at 4pm UK time- please do join in. Preshow available on Twitch. You can also download the audio version from RSS FEED

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National Police Association Podcast #136 with guest Amber Oberheim, founder of Peacemaker Project 703, supporting officers & families

National Police Association Podcast

Play Episode Listen Later Mar 20, 2022 23:00

National Police Association

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Naked Lunch - The Soundtrack

Gas Giants

Play Episode Listen Later Feb 25, 2022

Subscribe on Spotify ∙ Stitcher ∙ Apple ∙ Pocket Casts ∙ Google ∙ TuneIn ∙ RSS A slow afternoon in the Interzone… We talked about A LOT of music on this episode…all of it is worth further investigation, but if you just need a place to start, here's a playlist.Ornette Coleman talks about sound as language.The Other's Language: Jacques Derrida interviews Ornette Coleman, 23 June 1997. In this fascinating conversation, Ornette Coleman asked Jacques Derrida “Do you ever ask yourself if the language that you speak now interferes with your actual thoughts? Can a language of origin influence your thoughts?”Just by the way, does Derrida here explain why the French can't do jazz?Revisiting the Master Musicians, a very interesting article on the blog On An Overgrown Path.Ornette Coleman and the Circle With a Hole in the Middle, by Robert Palmer, in The Atlantic 1972.Tom mentioned this 2xLP recorded in 1971 in the ep, finally got a copy and made a digital transfer available here…Beginnings…Howard Shore gets his first break…The first stirrings of Free Jazz?Does this explain anything?Brion Gysin's Dream Machine with the Master Musicians of JajoukaInterestingly, just as we were about to drop the episode, this happened...Brion Gysin doing scary Be-Bop with Steve Lacy. Everything is connected.In 2010 Ornette was a surprise guest at Sonny Rollins 80th birthday party concert in Now York, heard here in a 20-minute long workout of Rollin's Sonnymoon For Two.Ornette jams with The Greatful Dead in 1993 (The Internet Archive)…How this all started…This sparked off a search for alternatives..This is Buchla 200e synthesizer…Morton Subotnick made Silver Apples of the Moon in 1967 using the older Buchla 100 instrument. Sam Shepard made Promises in 2021 using Pharoah Sanders, the strings of the London Symphony Orchestra, a Piano, a Harpsichord, a Celesta, a Fender Rhodes, a Hammond B3, an Oberheim 4 voice, an Oberheim OB-Xa, a Solina String Ensemble, a Therevox ET-4.3, an EMS Synthi, an ARP 2600, and a Buchla 200e, ffs.This was one…Frank Zappa reads the man who taught his a*****e to talk, the very same that Bill Lee recites in the movie.Just for the Hell of it (!) here's Burroughs narrating a Swedish Movie with a great Jazz Soundtrack about witchcraft.The fascination for a particular author's typewriter is explored futher in this extremely imaginative and well crafted Hörspiel from the WDR...and here's a typewriter that could have kicked the s**t out of all the othersTom's specific Naked Lunch special interestSubscribe to Gas GiantsRSS https://api.substack.com/feed/podcast/311033.rss22 This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit gasgiants.substack.com

Ep. 148 - The Gear Secret

Gearhunks

Play Episode Listen Later Feb 21, 2022

Ever find yourself in a gear rut? Experiencing gear stagnation? You're not alone, friend.This week we talk through the ebbs and flows of collecting via Hank's Oberheim synth and a controller from Alpes Machines. We also shine a light on the untold dirty little secret of broadcast microphones.Also discussed: the new Fender Rosewood George Harrison Telecaster, Line 6 and the new Catalyst amps, Guitar Solo the book, the new Boss Space Echo, Universal Audio diving deeper into the microphone game, Super Bowl with a chromed Silver Sky, Zakk Wylde being a good guy, Jonny Greenwood joining Radiohead, and Billy Idol getting kicked out of Thailand.Something big is just over the horizon.

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An Imaginary Movie in Sound

Play Episode Listen Later Oct 17, 2021 75:54

Episode 56 An Imaginary Movie in Sound Playlist John Carpenter, “Opening sequence” from Dark Star (1980 Citadel). This record contains incidental music, sound effects and dialogue from the motion picture. Electronic music by John Carpenter. Completed in 1974, the film wasn't released until 1979 following the success of Carpenter's Halloween. The soundtrack followed in 1980. Early synth music from Carpenter for which he used the EMS VCS3 synthesizer. 3:30 Dick Maas, “Main Title” and “Out of Breath” from L'Ascenseur Bande Originale Du Film (The Lift) (1984 Milan). Composed by, Roland synthesizers, Dick Maas. 5:11 Mike Oldfield, “Pran's Departure,” “Worksite,” “The Year Zero,” “Blood Sucking” from The Killing Fields (1984 Virgin). Composed by, guitar, Fairlight Computer, Mike Oldfield; Choral & Orchestral Arrangements, edited by, David Bedford; Choir, Tölzer Boys Choir; Composed by David Bedford (“Worksite”), Mike Oldfield; Conductor, Eberhard Schoener; Orchestra Of The Bavarian State Opera; Asian Percussion, Preston Heyman (“The Year Zero”). 6:56 David Holmes, “You're Going To Belfast,” “The Hunt,” and “'71” from '71 (2014 Touch Sensitive Records). 10:01 Arthur B Rubinstein, “Video Fever” plus dialogue from Wargames (1983 Polydor). Composer, Arthur B Rubinstein; Synclaver II Digital Music System; Linndrum Drum Machine; Roland System 100 Analog Synthesizer, programmed and performed, Anthony Marinelli, Brian Banks. 3:30 Michael Stearns, “Meditation 1” from Chronos (1984 Sonic Atmospheres). Created for the Ron Fricke film and produced for the six-channel discreet surround sound system of the OMNIMAX IMAX theaters. Stearns plays synthesizers made by Serge Modular, Oberheim, Yamaha, and EMU. Constance Demby plays “space” bass. 8:36 Cliff Martinez, “I Drive” from Drive (2011 Lakeshore Records). Composer, performer, Baschet Crystal, Cliff Martinez; Guitar, Mac Quayle; Lute, Sitar, Gregory Tripi. The Cristal Baschet is a contemporary musical instrument developed in 1952 by the brothers Bernard and François Baschet. To play, musicians rub the rods with wet fingertips. Martinez was also known as the drummer for the early Red Hot Chili Peppers. He uses the Baschet Cristal, a kind of glass harmonica, for many of the sustained, ambient tonalities, plus vintage synths and percussion devices to create these beautiful textures. 2:04 Cliff Martinez, “My Name on a Car” from Drive (2011 Lakeshore Records). Composer, performer, Baschet Crystal, Cliff Martinez; Guitar, Mac Quayle; Lute, Sitar, Gregory Tripi. 2:19 Cliff Martinez, “On the Beach” from Drive (2011 Lakeshore Records). Composer, performer, Baschet Crystal, Cliff Martinez; Guitar, Mac Quayle; Lute, Sitar, Gregory Tripi. 6:35 Cliff Martinez, “Rubber Head” from Drive (2011 Lakeshore Records). Composer, performer, Baschet Crystal, Cliff Martinez; Guitar, Mac Quayle; Lute, Sitar, Gregory Tripi. 3:09 Michael Stearns, “Meditation 3” from Chronos (1984 Sonic Atmospheres). Stearns plays synthesizers made by Serge Modular, Oberheim, Yamaha, and EMU. Constance Demby plays “space” bass. 5:05 Popol Vuh, “Sieh Nicht Überm Meer Ist's” from Cobra Verde (1987 Milan). Piano, Synclavier, vocals, Florian Fricke; Synclavier programming, recording and digital mastering by Ralph Graf; Guitar, percussion, vocals, Daniel Fichelscher; Vocals, Renate Knaup. 1:23 Popol Vuh, “Nachts: Schnee” and “Der Marktplatz” from Cobra Verde (1987 Milan). Piano, Synclavier, vocals, Florian Fricke; Synclavier programming, recording and digital mastering by Ralph Graf; Guitar, percussion, vocals, Daniel Fichelscher; Vocals, Renate Knaup. 4:24 Christopher Spelman, “The Final Journey” from The Lost City of Z (2017 Filmtrax). Composed, Arranged, Christopher Spelman; Conductors, Adam Klemens, Pejtsik Péter, Richard Hein; Drum, Jim Berenholtz; Flute, Jim Berenholtz; additional music, Kent Sparling; FILMharmonic Orchestra, The Budapest Film Orchestra, orchestrated by Daniel Halle. 7:51 Background Music, Introduction Vangelis, “Blade Runner Blues” from Blade Runner (1994 EastWest). "Most of the music contained in this album originates from recordings I made in London in 1982, whilst working on the score for the film Blade Runner. Finding myself unable to release these recordings at the time, it is with great pleasure that I am able to do so now. Some of the pieces contained will be known to you from the Original Soundtrack of the film, whilst others are appearing here for the first time. Looking back to Ridley Scott's powerful and evocative pictures left me as stimulated as before, and made the recompiling of this music, today, an enjoyable experience." Vangelis (Athens, April 1994). 8:54 Opening: 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.

Drum Machines: A Recorded History, Part 2, Digital Drum Machines

Play Episode Listen Later Oct 11, 2021 113:02

Episode 55 Drum Machines: A Recorded History, Part 2: Digital Drum Machines Playlist Linn Drum Gary Numan, “My Brothers Time” from Dance (1981 Beggar's Banquet). Early use of the Linn LM-1 by John Webb on this track. Note the sound of the claves, played by Numan but not digital. Bass, Saxophone, Mick Karn; Linn LM-1 drum machine, John Webb; Piano, Claves, Gary Numan. 4:37 Rajie, “ストーミー・ナイト (Stormy Night)” from Acoustic Moon (Sony 1981). Early recognition in Japan of the original Linn LM-1 drum machine. Rajie, vocals; Guitar, Mikihiko Matsumiya; Bass, Tsugutoshi Goto ; Chorus, Hiroshi Koide, Raji ; Composed By, Akira Inoue ; Drums, Tatsuo Hayashi ; Electric Guitar-Tsuyoshi Kon; Flute, Motoya Hamaguchi ; Lyrics By, Etsuko Kisugi ; Percussion, Motoya Hamaguchi ; Prophet-10, Linn LM-1, Electric Piano, Akira Inoue. Early Linn Drum Computer. 5:08 Herbie Hancock, “The Twilight Clone” from Magic Windows (1981 Columbia). If you want to study the latest in emerging electronic music instruments, just listen to the many albums by Herbie Hancock throughout the 1970s and 1980s. He was an early adopter of the Linn LM-1, heard here and played by Hancock. Bass, Louis Johnson; Linn LM-1 Drum Machine, Herbie Hancock; Ghanian Drums, Moody Perry III; Ghanian Drums, Bells, Kwasi Dzidzornu, Kwawu Ladzekpo; Lead Guitar, Adrian Belew; Percussion, Paulinho Da Costa; Rhythm Guitar, George Johnson; Written by, A. Belew, H. Hancock. 8:16 Don Henley, “The Boys of Summer” Linn Drum demo version (excerpt) (1984 private). Guitar and Linndrum, Mike Campbell; Synthesizer, Steve Porcaro; Synthesizer, Guitar, Danny Kortchmar. Bass, Larry Klein; vocals, lyrics, Don Henley. The instrumental part of the song came first and was put together by Tom Petty bandmate Mike Campbell who had just purchased a LinnDrum machine which was a more affordable model than the original LM-1 released in 1980. Campbell put together a rhythm track and played some guitar. Tom Petty wasn't interested in the song at that time, so it went to Henley, who wrote the lyrics. This demo was close to the final version. The final mix of the song also included some human drumming, as did live performances where a human drummer tried to replicate the sound of the original Linndrum. 0:42 Jean Michel Jarre, “Zoolookologie” from Zoolook (1984 Disques Dreyfus). A fascinating exploration of samples both of voice and drums. This is the later version of the Linn Linndrum machine, just before the introduction of the Linn 9000. There is pure joy in this track as Jarre uses the Linndrum to create many unexpected sounds and atypical rhythms. Bass, Marcus Miller; Composer, Producer, Ethnic Vocals Processing, Keyboards, Electronics, Jean-Michel Jarre; Drums, Yogi Horton; Daniel Lazerus; Guitar Ira Siegel; Guitar, Effects, Adrian Belew; Keyboards, Frederic Rousseau. 4:13 David Van Tieghem, “In-A-Gadda-Da-Vida” from In-A-Gadda-Da-Vida (1986 Wide Angle). Drummer and percussionist Van Tieghem created this version of the Iron Butterfly song using electronic drums (Octapads) and digital drums. Engineer, Programmed By Fairlight Programming Assistance, Eric Liljestrand; Guitar, Larry Saltzman; Vocals, Synthesizer Digital, Analog, Percussion Acoustic, Electronic, Mixed By, Producer, David Van Tieghem; Written-By, Doug Ingle. Basically a one-person performance aside from guitarist Saltzman. Van Tieghem was using both hand played electronic drums (the Octapads) plus some digital drum machines. 5:36 Suzanne Ciani, “Mosaic” from Neverland (1988 Private Music). Composed, Arranged, Performed, Produced by Suzanne Ciani. Among the many electronic instruments used by Ciani were keyboards made by Yamaha, Roland, and Bode (vocoder). For drum programming, she turned to the Linn 9000. This track has some decidedly simple, yet complex rhythms using the Linn 9000 that are truly nuanced and more jazz like. The care with which she programmed this track is in contrast to the typical drum machine beats you hear on records. Ciani also used a Roland TR-707 on this album, which you may also detect on this track. 4:37 Oberheim DMX Todd McKinney, “Kimberlite” from The Sound Of The System (1982 Oberheim). This 7-inch demo disc includes music created by Todd McKinney and Daniel Soger, two Oberheim employees. “Kimberlite” was composed and performed by McKinney using the DMX Programmable Digital Drum Machine, the DSX Digital Polyphonic Sequencer, and the OB-Xa Polyphonic Synthesizer. 2:28 Tangerine Dream, “Poland” from Poland (The Warsaw Concert) (1984 Jive Electro). You can hear the Bohn Digital Drums in the first half of the song and the Oberheim DMX in the second half. But that's a bit of a guess. Dr. Böhm DIGITAL DRUMS was a rhythm machine made in Germany from 1982-83, also known as ''the German Linndrum.'' Composed, performed, and produced by Tangerine Dream. Jupiter 8, PPG Wave 2.3 Waveterm, Minimoog, Korg Monopoly, Sequenced by EEH CM 4 Digital Sequencer, Bohm Digital Drums, Roland Tr 808 Drums, Roland SDE 3000 Delay, MXR 01 Digital Reverb, MXR Digital Delay, Johannes Schmoelling; Prophet 5, Prophet 600, Prophet 1, E-mu Custom Programmable Synth, Moog Custom Programmable Modular Synth, MTI Synergy, Sequenced by the PE Polyrhythmic Sequencer, Compulab Digital Sequencer, Syntec Custom Digital Drum Computer, Electronic Drums Simmons Drum Modules, Effects Quantec Room Simulator, Roland SDE 3000, Electronics Hill Multi-mixer, Chris Franke; Yamaha DX 7, Yamaha YP 30, Jupiter 8, Jupiter 6, Prophet 5, PPG Wave 2.2, Sequenced By Pe Polyrhythmic Sequencer, EEH Cm 4 Digital Sequencer, PE Custom Trigger Selector, DMX Oberheim Digital Drum machine, Edgar Froese. 8:43 Herbie Hancock, “Earth Beat” from Future Shock (1983 Columbia). In addition to the DMX, this track includes evidence that Garfield Electronics Dr. Click Rhythm Controller was a much-needed rhythm device for wrangling the otherwise incompatible signals prior to the introduction of MIDI a few years later. Craig Anderton wrote the following about Doctor Click in an article in Keyboard from 1983: "Doctor Click is not a keyboard instrument, not a drum machine, and not a signal processor: What it does is synchronize and interface these three families of devices together. Not only can it interface to existing sync tracks, it can build up click tracks from incomplete click tracks, and even create sync and/or click tracks which are referenced to a live musician." Hancock masters Dr. Click on this album. Fairlight CMI, Yamaha GS-1, Yamaha CE-20, Dr. Click Rhythm Controller, Herbie Hancock; DMX Drum Machine, Synare Electronic Drums, Memory Moog Programming, Michael Beinhorn; Bass, Bill Laswell; Bata, Daniel Ponce; Turntables – Grandmixer D. ST. 5:09 Herbie Hancock, “Hardrock” from Sound System (1984 Columbia). The sound of the Oberheim DMX digital drum machine as used by Herbie Hancock. This album was his follow-up to the album Future Shock on the DMX made a famous appearance in the song Rockit, which was unusually a top-selling hit for Hancock. The DMX is played here by non-other than Bill Laswell. Note that Simmons electronic drums are also being played on this track by Anton Fier, but I think you can tell the difference. Bass, Drum Machine DMX, Tape, Bill Laswell; Bata, Daniel Ponce; Simmons electronic drums, Sound Plates, Cuica, Anton Fier; Guitar, Henry Kaiser, Nicky Skopelitis; Fairlight CMI Programming, Will Alexander; Fairlight CMI, Rhodes Chroma, Apple IIe, Yamaha DX7, Emu 4060 Digital Keyboard, Herbie Hancock; Synthesizer (XMD), Rob Stevens; Turntables, D. St; Written-By, B. Laswell, D. Showard, Herbie Hancock. 6:10 Davy DMX, “Bonus Beats” from One For The Treble (Fresh) (1984 Tuff City). Davy DMX when he first met the Oberhheim DMX digital sampling drum machine. He is also known as David Franklin Reeves, Jr. Here is a bonus track of only drum machine and turntable. 1:47 Davy DMX, “One For The Treble (Fresh) (Instrumental)” from One For The Treble (Fresh) (1984 Tuff City). Davy DMX when he first met the Oberheim DMX digital sampling drum machine. Another track from that same 12-inch. 7:31 Movement MCS Drum Computer John Foxx, “Pater Noster” from The Garden (Virgin 1981). This album was produced after Foxx left Ultravox. It is another example of the MCS Drum Computer. This track only features Foxx on synthesizers, voice, drum programming, and a manually struck Tom Tom. 2:30 Roland El Escuadrón Del Ritmo, “Las Cucarachas” from Back Up: Mexican Tecno Pop 1980-1989 (2021 Dark Entries). I discovered this wonderful collection of Mexican synth-pop tracks, some never before heard, and immediately dug-out a track using a drum machine. This track is from 1982. In this case, the drum machine is the Roland Compu-Rhythm CR-78, which was a transitional analog device with analog drum sounds and digital control for programming patterns. 3:44 Nahtabisk, “La Dama De Probeta” from Back Up: Mexican Tecno Pop 1980-1989 (2021 Dark Entries). Another hidden gem from Mexico. This track is from 1984 and features the Roland drumTR-606 Drumatix. The TR-606 featured PCM-encoded sounds of real drums. This small device, that ran on batteries, helped define the sound of early techno. 3:20 E-mu Joe Mansfield, “Drumulator (Instrumental)” from Drumulator (2014 Get On Down). This is a track featuring the sounds of the E-mu Drumulator that was sold from 1983 to 1985. It had twelve, 8-bit sampled sounds of real drums and at about $1000 was more affordable that drum machines like the Linndrum and Oberheim DMX. It was created on the heels of the sample synthesizers they made under the Emulator name. It also had a relatively short life so few recordings from the time were made. This demo is an example of what could be done with the Drumulator and Herbie Hancock took a liking to it prior to switching to the Oberheim DMX. 2:02 Richard Souther, “Uncharted Waters” from Innermission (1986 Meadowlark Records). Music and realization by Richard Souther. Includes synthesizers from Roland, PPG, Sequential Circuits, and Casio. He also used both the Linn 9000 and E-mu SP-12 drum machines, which are both heard on this track. You can clearly hear the Linn 900 and its distinctive snare and bass sounds, while the E-mu, which was built around the circuits in the company's popular keyboard samplers, provided some of the more unusual, even exotic, percussion sounds. 3:23 Alesis Slant, “Sheep” and “Ducks” from Hive (1989 These Records). This amazing group, although short-lived, was a British experiment in rock with noise elements that included Cris Cheek, Philip Jeck, Sianed Jones, and Osian Tam. Cross used an Alesis HR-16, which is showcased in the second of two tracks, “Ducks.” I think that is probably the same drum machine in the first track, “Sheep” so I thought this represented some good contrast in the way that the sound could be treated. This had 49 digital samples of drums that could be programmed in real-time by playing the velocity sensitive drum buttons. Double Bass Julia Doyle; Guitar, Cabasa, Engineer, Co-producer Maciek Hrybowicz; Keyboards, Accordion, Synthesizer DX7; Piano, Clarinet, Voice, Marimba, Goblet Drum Darabouka, Tambourine, Bells Agogo Bells, Sampler Cassette Samples, Flute Souffara, Rattle Seed Pod Rattles, Performer Emax, Alesis HR-16, Breath Rhythms, Face Slap, Mixed By, Co-producer Cris Cheek; Turntables, Radio Philip Jeck; Violin, Piano, Vocals, Organ, Fife, Viol Viola Da Gamba, Harmonium, Claves, Performer Emax, Breath Rhythms, Mixed By, Co-producer Sianed Jones; Voice Osian Tam. 4:31 Closing, Linn LinnDrum Mikel Rouse, “Quorum part 2” from Quorum (1984 Club Soda Music). It was inevitable that a composer would create an extended piece of music using only the Linn Linndrum. Mikel Rouse was that person. Listen to the hypnotic patterns of this work. From the composer's notes: “Quorom is a piece for LinnDrum machine (or 18 percussion players) in 9 parts running approximately 1 hour and 45 minutes in length. Though the sequence of parts 1 through 9 must be maintained, the parts may be divided into sections, or run continuously. Themes are produced through the synchronization of the 3 generators, 3-5-8, and their complimentary factors yield counterthemes. Power series are then applied to produce harmonic contrasts from the original themes. Thematic material is developed through multiple variation techniques (circular permutations, accents through superimposition of an additional component, natural growth through the summation series). I decided to undertake the programming myself and, with the aid of Jim Bergman, successfully completed the programming in about 5 hours. I would like to stress that all programming was done through the step-by-step process provided in the operator's manual for construction “songs” from “patterns”. No special treatments or extensions (including cassette interfaces) were required.” Such was the versatility of the Linn Linndrum. 11:16 Background Sounds Volti, “Corazón” from Back Up: Mexican Tecno Pop 1980-1989 (2021 Dark Entries). Mexican electro-pop group. This track is from 1986 and features unknown drum programming. vocals, synthesizer, Lyndell Brookhouse; bass, synthesizers, drum programming percussion, Eddie Rubello; Backing Vocals, Katie Taylor; Congas, Edgar Herrera; Piano, Vincent Kenis; Timbales, Pedro Ortiz. 3:45. Adams and Fleisner, tracks “a1, a2, b1, b2, b3” from Modern Digital Recorded Drumcomputer Rhythm Tracks (1983 Break Records). I think this track of library digital drum samples from the Netherlands was made with the Drum Computer MCS II (or Percussion Computer) from Movement Computer Systems, a rare British made-drum machine circa 1983. It had an integrated CRT monitor and had an orange (or black) case. It used 8-bit samples of drums and featured 14 voices and programmable patterns. Opening: 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. There are dozens of drum machines that dot the history of electronic music. For an encyclopedic list of almost every drum machines ever made, and there were dozens of variations and models up until around 1985, check-out the excellent books by Alex Graham, a UK-based drum machine collector and specialist.

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Drum Machines: A Recorded History, Part 1, Analog Drum Machines

project peacemakers champaign oberheim

Play Episode Listen Later Sep 28, 2021 126:10

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.

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Amber Oberheim, Peacemaker Project 703

AM Springfield

Play Episode Listen Later Sep 7, 2021 13:33

Amber discusses the foundation begun in honor of her husband, Champaign police officer Chris Oberheim, who was killed in the line of duty earlier this year. See omnystudio.com/listener for privacy information.

Podcast #383 – Drummer Matt Sorum, Streaming Marketshare, And Oberheim Gets His Trademark Back

Bobby Owsinski's Inner Circle Podcast

Play Episode Listen Later Aug 24, 2021 47:03

NEWS More people are streaming music than you might have thought The legendary synth developer Tom Oberheim gets his worldwide trademark back and will start making synths again GUEST Rock and Roll Hall Of Fame Drummer Matt Sorum Rock and Roll Hall of Fame drummer Matt Sorum held the drum chair for Guns N' Roses for 7 years, as well as stints with The Cult and Velvet Revolver. Matt's reputation as a musician's musician has placed him squarely at the center of Hollywood's A-list community of artists, working on projects with legends like Alice Cooper, Steven Tyler and Joe Perry (Aerosmith), Billy F Gibbons (ZZ Top), Joe Elliott (Def Leppard), Robin Zander (Cheap Trick) and Brian May (Queen). Quite the entrepreneur as a founder of 6 startup companies, Matt sits on the Global Blockchain Business Council at UCLA, and has spoken at the World Economic Forum in Davos, Switzerland. He's even created his own beer line, appropriately named The Drummer. Matt's autobiography, Double Talkin' Jive: True Rock ‘n' Roll Stories from the Drummer of Guns N' Roses, The Cult, and Velvet Revolver, is available soon wherever books are sold. During the interview, we spoke about Matt's contribution to the Buddy Rich tribute album, getting his first big break, Lemmy and Motorhead stories, his entrepreneurship and charitable causes, his new autobiography, and much more. On the intro I'll take a look at the streaming marketshare, and Tom Oberheim gets his worldwide trademark back. var podscribeEmbedVars = { epGuid: 'https://bobbyoinnercircle.com/?p=2944', rssUrl: 'https://bobbyoinnercircle.com/feed/podcast/', backgroundColor: 'white', font: undefined, fontColor: undefined, speakerFontColor: undefined, height: '600px', showEditButton: false, showSpeakers: true, showTimestamps: true };

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Ep. 121 - Signed, Sealed, Delivered

Gearhunks

Play Episode Listen Later Aug 16, 2021 74:58

What's in a signature? This week your buds ruminate on what it means to have a signature guitar and who deserves one that doesn't have one. We also spend some time thanking our friends and listeners (keep it coming), ponder the versatility of the Black Beauty, and yes, there's a bunch of baseball talk too.Also discussed: Behringer's new XL interface and returning Oberheim's name, jamming remotely without lag via the Elk Audio LIVE Bridge, tips when shipping instruments in extreme heat, Dave Mustaine's new Gibson, The American Music Fairness Act, and Peter (fucking) Frampton.If the case is cold, the guitar is cold.

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ProDJ On Air

Play Episode Listen Later Aug 15, 2021 0:49

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Talking Studio Heads - Episode 63

Talking Studio Heads

Play Episode Listen Later Aug 15, 2021 12:11

Welcome to the 63rd episode of Talking Studio Heads while we're in musical lock down without my good friend and colleague Gai Barone, he couldn't make it this week. We'll be talking about Oberheim! Also check our website https://www.talkingstudioheads.com or subscribe to our podcast on Apple Podcasts & Spotify. If you have any questions or comments, then don't hesitate to send it to us. We'll gladly answer them in the comments and some we'll discuss in the next episode.

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Nueva Onda Ep 24 - Klaus Schulze | Tom Oberheim | Pro-16 Behringer | Spectral Shiatsu

Nueva Onda

Play Episode Listen Later Aug 10, 2021 63:05

Nueva Onda Ep 24 - Klaus Schulze Tom Oberheim Pro-16 Behringer Spectral Shiatsu

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Pat Metheny Group - Pat Metheny Group (1978)

MUSICOFILIA

Play Episode Listen Later Jul 26, 2021 59:30

Pat Metheny Group (1978) ECM Records 1 - San Lorenzo 2 - Phase Dance 3 - Jaco 4 - Aprilwind 5 - April Joy 6 - Lone Jack Pat Metheny - Voz de 6 e 12 cordas Lyle Mays - Piano, Oberheim, Sintetizador e Autoharp Mark Egan - Baixo Dan Gottlieb - Bateria

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Nueva Onda Ep 20 - Tom Oberheim | Korg ModWave | VCO 2600

Nueva Onda

Play Episode Listen Later Jul 16, 2021 65:52

Nueva Onda Podcast 20 - Tom Oberheim | Korg ModWave y más Hoy hablaremos de 85 años de innovación por parte de Tom Oberheim, lanzamientos como el Modwave de Korg, la caja de ritmos LXR y de un blog que se ha dedicado a hacer ingeniería inversa para emular sintes virtual analógicos de los 90's.

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33: Jonray Higginbotham of Moonlab Studios

Talking Synths

Play Episode Listen Later May 28, 2021 31:16

Talking Synths is a weekly podcast where Syntaur's Sam Mims and Carlos Morales tackle your questions and chat about all manner of synthology. This episode, we have Jonray Higginbotham as a special guest, and we pepper him with questions about Moonlab Studios, the synthesizer wonderland that he and his wife own.

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Officer Chris Oberheim, 'domestic' calls, and police academy students with Bruce Ramseyer

Holstein and Company

Play Episode Listen Later May 20, 2021 15:20

In the early morning hours of Wednesday, May 19, 2021 Champaign police officer Chris Oberheim was shot and killed in the line of duty. In this special episode of the podcast I speak with friend and retired Champaign police officer Bruce Ramseyer about the day, how his students at the police academy reacted to the news, and how police approach a "domestic" 911 call.Email Steve at steve@holstein.co or visit holstein.co/contact/Get the newsletter at holstein.co/newsletter

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Listening to Malcolm Cecil and T.O.N.T.O.

Bobby Owsinski's Inner Circle Podcast

Play Episode Listen Later Apr 4, 2021 109:00

Episode 36 Listening to Malcolm Cecil and T.O.N.T.O Malcolm Cecil's synthesizer setup was known as T.O.N.T.O., an acronym meaning The Original New Timbral Orchestra. Playlist Caldera, “Share With Me the Pain” from A Moog Mass (1970 Kama Sutra). Synthesizer programming and engineering by Malcolm Cecil and Robert Margouleff; spoken vocals, Malcolm Cecil; tenor vocals, Robert White; harpsichord, John Atkins; synthetic speech effects, Robert Margouleff' cello, toby Saks. 4:31 Tonto's Expanding Head Band, “Timewhys” from Zero Time (1971 Atlantic). Written by, programmed, engineered, produced and performed by Malcolm Cecil and Robert Margoulff. Lyrics by Tama Starr. Recorded with an expanded Moog Modular III synthesizer. This was prior to expanding their system into what would become T.O.N.T.O.. 5:03 Tonto's Expanding Head Band, “Cybernaut” from Zero Time (1971 Atlantic). Written, programmed, engineered, produced and performed by Malcolm Cecil and Robert Margoulff. Recorded with an expanded Moog Modular III synthesizer. A nice demonstration of what they could accomplish with the Moog. 4:31 Stephen Stills/Manassas, “Move Around” from Manassas (1972 Atlantic). Synthesizer, electric guitar, organ, vocals, producer, Stephen Stills; keyboards, Paul Harris; drums, Dallas Taylor; guitar, Chris Hillman. Synthesizer programming, Malcolm Cecil. 4:17 Stevie Wonder, “Keep on Running” from Music Of My Mind (1972 Tamla). Synthesizers, ARP and Moog, Piano, Drums, Harmonica, Organ, Clavichord, Clavinet, Stevie Wonder. Engineering and synthesizer programming, Malcolm Cecil and Robert Margouleff. Adds the ARP and another Moog to the T.O.N.T.O. setup. 6:38 Stevie Wonder, “Evil” from Music Of My Mind (1972 Tamla). Synthesizers, ARP and Moog, Piano, Drums, Harmonica, Organ, Clavichord, Clavinet, Stevie Wonder. Engineering and synthesizer programming, Malcolm Cecil and Robert Margouleff. 3:31 Pat Rebillot, “The Naked Truth” from Free Fall (1974 Atlantic). Synthesizer and electric piano, Pat Rebillot. Engineering and synthesizer programming, Malcolm Cecil and Robert Margouleff. 3:28 Tonto, “The Boatman” from It's About Time (1974 Polydor). Written, programmed, engineered, produced, and performed by Malcolm Cecil and Robert Margoulff. Features the expanded analog version of T.O.N.T.O. featuring ARP, Moog, and Oberheim equipment. Note the rain and thunder sounds created using the synthesizer. Reminds me of Beaver and Krause from this era. 5:04. Tonto, “Tonto's Travels” from It's About Time (1974 Polydor). Written, programmed, engineered, produced, and performed by Malcolm Cecil and Robert Margoulff. Features the expanded analog version of T.O.N.T.O. featuring ARP, Moog, and Oberheim equipment. I think you can hear the joystick that Cecil created. 8:25 Mandrill, “Peaceful Atmosphere” from Beast From The East (1975 United Artists Records). T.O.N.T.O. played by Claude “Coffee” Cave, Carlos Wilson; electronic music programming, Malcolm Cecil. From the liner notes: “T.O.N.T.O. The Original New-Timbrel Orchestra. This instrument consists of twelve synthesizers linked together and played simultaneously. A polyphonic touch-sensitive also plays also plays an essential role in the creation of sound when the instrument is played. We thank you Malcolm Cecil for the creation of T.O.N.T.O. 3:19 Mandrill, “Honey-Butt” from Beast From The East (1975 United Artists Records). T.O.N.T.O. played by Claude “Coffee” Cave, Carlos Wilson; electronic music programming, Malcolm Cecil. 4:58 Stairsteps, “Theme Of Angels” from 2nd Resurrection (1976 Dark Horse Records). Synthesizer, T.O.N.T.O., Billy Preston; T.O.N.T.O. programmed by Malcolm Cecil and Robert Margouleff; produced and engineered by Robert Margouleff. Music By, Lyrics By, Lead Vocals, Lead Guitar, Bass, Kenneth Burke; Backing Vocals, Ivory Davis; Backing Vocals, Stairsteps; Drums, Alvin Taylor; Guitar, Dennis Burke; Keyboards, Billy Preston. 3:18 Stairsteps, “Salaam” from 2nd Resurrection (1976 Dark Horse Records). Synthesizer, T.O.N.T.O., Billy Preston; T.O.N.T.O. programmed by Malcolm Cecil and Robert Margouleff; produced and engineered by Robert Margouleff. Music By, Lyrics By, Lead Vocals, Lead Guitar, Bass, Kenneth Burke; Backing Vocals, Ivory Davis; Backing Vocals, Stairsteps; Drums, Alvin Taylor; Guitar, Dennis Burke; Keyboards, Billy Preston. 4:26 Quincy Jones, “I Heard That” from I Heard That!! (1976 A&M). Synthesizer, Dave Gruisin. Synthesizer programming by Malcom Cecil, Robert Margouleff, Paul Beaver. 2:12 Quincy Jones, “Theme from ‘The Anderson Tapes” from I Heard That!! (1976 A&M). Synthesizer, Dave Gruisin. Synthesizer programming by Malcom Cecil, Robert Margouleff, Paul Beaver. Synthesizer, Ed Kalehoff. Also features a vibraphone solo by Milt Jackson, a trumpet solo by Freddie Hubbard, Toots Thielemans on harmonica, and Bobby Scott on piano. 5:05 Steve Hillage, “Octave Doctors” from Motivation Radio (1977 Virgin). Producer, Engineer, Synthesizer T.O.N.T.O., Malcolm Cecil; Synthesizer & Saucersizer, Vocals, Lyrics, Miquette Giraudy; Composed, Arranged, Lyrics, Guitar, Guitar Synthesizer, Voice, Shenai; Steve Hillage. 3:30 Steve Hillage, “Radio” from Motivation Radio (1977 Virgin). Producer, Engineer, Synthesizer T.O.N.T.O., Malcolm Cecil; Synthesizer, Vocals, Lyrics, Miquette Giraudy; Composed, Arranged, Lyrics, Guitar, Guitar Synthesizer, Voice, Shenai; Steve Hillage. 6:11 Gil Scott-Heron & Brian Jackson, “1980” from 1980 (1980 Arista). Produced by Brian Jackson, Gil Scott-Heron, Malcolm Cecil; engineered and mixed by Malcolm Cecil; Synthesizer (T.O.N.T.O.), piano, electric piano, keyboard bass, Brian Jackson; composer, guitar, piano, vocals, Gil Scott-Heron; horns, Bill Watrous, Denis Sirias, Gordon Goodwin; drums, Harvey Mason; guitar, Marlo Henderson. 5:59 Gil Scott-Heron & Brian Jackson, “Late Last Night” from 1980 (1980 Arista). Produced by Brian Jackson, Gil Scott-Heron, Malcolm Cecil; engineered and mixed by Malcolm Cecil; Synthesizer (T.O.N.T.O.), piano, electric piano, keyboard bass, Brian Jackson; composer, guitar, piano, vocals, Gil Scott-Heron; horns, Bill Watrous, Denis Sirias, Gordon Goodwin; drums, Harvey Mason; guitar, Marlo Henderson. 4:24 Malcolm Cecil, “Gamelonia Dawn” from Radiance (1981 Unity Records). Composed, Performed, Produced, Engineered by Malcolm Cecil. Recorded at T.O.N.T.O. studios in Santa Monica, California. From the liner notes: “The Original New Timbral Orchestra is the world's largest privately built and owned synthesizer standing some six feet high and twenty feet in diameter. It was designed and built by Malcom Cecil.” In addition to Cecil on T.O.N.T.O., this track features Paul Horn on “golden” flute. 4:35 Malcolm Cecil, “Dance of the Heart” from Radiance (1981 Unity Records). Composed, Performed, Produced, Engineered by Malcolm Cecil. Recorded at T.O.N.T.O. studios in Santa Monica, California. 3:28 Background music: Caldera, “Make Me Carry The Death Of Christ” from A Moog Mass (1970 Kama Sutra). Synthesizer programming and engineering by Malcolm Cecil and Robert Margouleff; spoken vocals, Malcolm Cecil; tenor vocals, Robert White; harpsichord, John Atkins; synthetic speech effects, Robert Margouleff' cello, toby Saks. Tonto's Expanding Head Band, “Riversong” from Zero Time (1971 Atlantic). Written by, programmed, engineered, produced and performed by Malcolm Cecil and Robert Margoulff. Lyrics by Tama Starr. Recorded with an expanded Moog Modular III synthesizer. This was prior to expanding their system into what would become T.O.N.T.O.. 8:01 Here is the video produced with Malcolm Cecil by the National Music Centre of Canada. This short history of T.O.N.T.O. at Rolling Stone magazine is also of interest. Introductory and background music by Thom Holmes unless otherwise indicated. Opening and closing sequences were voiced by Anne Benkovitz. For episode notes, see Noise and Notations. For more information about the history of electronic music, see Electronic and Experimental Music, sixth edition, published by Routledge.

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Episode #360 – Viberate Co-Founder Vasja Veber, Best Social Networks, And Behringer Oberheim Trademark War

Play Episode Listen Later Mar 9, 2021 41:43

NEWS The 8 best social networks to promote your music Behringer loses trademark battle over Oberheim GUEST Viberate co-founder Vasja Veber Vasja Veber co-founded Viberate, a platform that gives artists important analytics about musical trends, events, venues and festivals. It makes performing acts life easier by giving them a better version of an EPK or even a traditional website. Viberate features over a million profiles of musicians, venues, events and festivals and employs over 100 people all over the world, Vasja is also the manager of techno artist UMEK. In his spare time he consults with the government of Slovenia in the field of sharing economy legislation. During the interview we spoke about the importance of clean data, the latest way for artists to get to their fans, pitching his idea to Silicon Valley, and much more. On the intro I’ll take a look at the 8 best social networks to promote your music, and the trademark battle between Behringer and Oberheim. var podscribeEmbedVars = { epGuid: 'https://bobbyoinnercircle.com/?p=2785', rssUrl: 'https://bobbyoinnercircle.com/feed/podcast/', backgroundColor: 'white', font: undefined, fontColor: undefined, speakerFontColor: undefined, height: '600px', showEditButton: false, showSpeakers: true, showTimestamps: true };

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Nueva Onda Ep 02 - 303Day, Oberheim, DongleFree

Nueva Onda

Play Episode Listen Later Mar 8, 2021 49:25

Estrenamos nuevo episodio de #NuevOnda hablamos del 303Day el día para celebrar el legado de la icónica máquina de "Bassline", Tom Oberheim nos sorprende con un nuevo TVS y Music Tribe no pudo registrar el nombre, desde Canada llega el Therevox una actualización del famoso Electro Theremin, Steinberg está pensando en como mejorar su sistema de licencias y hablamos de los parches generativos tipo Krell.

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#206 - Toutes les applis IOS sur Apple M1 ?

Play Episode Listen Later Mar 8, 2021

Etant donné que le nouveau Apple M1 est capable d'accueillir les applications iOS, on se demandait si on pouvait utiliser des logiciels STAN (comme Cubasis) dessus. Bon deal ? Et sinon rien. Non vraiment, nothing. On vous promet. Distribuez votre musique en ligne via iMusician pour vos sorties sur Spotify, Apple Music, Deezer et des centaines d'autres en utilisant notre lien d'affiliation : https://bit.ly/3pxCNFR Réduction de 10% sur le tarif de votre première sortie avec le code LESSONDIERS ! Teenage Engineering s'associe avec Nothing : https://www.blog-nouvelles-technologies.fr/196682/nothing-et-teenage-engineering-sassocient-pour-creer-futurs-produits/ Nothing : https://nothing.tech/pages/newsroom Novation Launchkey : https://novationmusic.com/en/keys/launchkey Arturia Keystep 37 : https://www.arturia.com/products/hybrid-synths/keystep-37/overview Tom Oberheim TVS Pro sur Synth Anatomy : https://www.synthanatomy.com/2021/03/tom-oberheim-announces-tvs-pro-two-voice-special-edition.html Site de Oberheim : https://www.tomoberheim.com/products De l'audio sur votre GPU : https://www.braingines.com/ Superbooth 2021 : https://www.superbooth.com/en/ Vidéo Andrew Huang Apple/iOS Vs PC/Android for music : https://www.youtube.com/watch?v=-sPbcTcUmcI Moog Model 15 app : https://www.moogmusic.com/products/model-15-modular-synthesizer-app Hitmaker : Synthwave gratuit jusqu'au 31/03 : https://www.ikmultimedia.com/news/?item_id=10477 00:00 Intro 00:54 Début de l'émission 10:29 AskSondiers (Clavier pour Studio One) 17:57 Résultat du concours Michenaud 25:07 Moog Model 15 sur Mac M1 43:22 Oberheim TVS Pro 48:55 De l'audio sur GPU avec Braingines 53:24 News Superbooth 21 55:34 Hitmaker Synthwave 59:27 sponsor (iMusician) 01:01:48 Steinberg et les dongles USB 01:10:30 Non rien (Nothing) avec Teenage Engineering ---- SOUTENEZ NOUS ---- Tipeee ! Même de petites sommes nous aident ! http://tipeee.com/les-sondiers Rejoignez-nous sur Discord avec ce lien : https://discordapp.com/invite/Bk9RV4T Achetez votre matos chez Michenaud, auquel nous sommes affiliés via ce lien : http://bit.ly/2EEI0rC Ca nous rapporte un peu d'argent et ça ne vous coûte rien du tout Les Sondiers - Une émission live lundimadaire Et en podcast via http://lessondiers.com Suivez nous sur Twitch : https://www.twitch.tv/lessondiers Twitter : https://twitter.com/lessondiers Instagram : https://instagram.com/lessondiers Facebook : https://facebook.com/lessondiers

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[29] Frederike Oberheim #außerhaus (feat. Matze Rossi)

Podkiosk

Play Episode Listen Later Feb 27, 2021 73:53

Bremens Frau des Jahres 2020, Frederike Oberheim, läutet die neue Rubrik im Podkiosk – #außerhaus – ein. Bei einem Sonntagsspaziergang erzählt mir die 21-Jährige, wie es um unseren Planeten steht. Frederike organisiert die Großdemonstrationen für Fridays for Future in der Ortsgruppe Bremen seit März 2019. Als ständige Gästin der Enquete-Kommission für die Klimaschutzstrategie weiß sie genau, wie bedrohlich die Lage ist. Wir sprechen über die Abstraktheit des Klimawandels, über den Kohleausstieg, über erneuerbare Energien, über Forderungspapiere und vieles mehr. Und dann ist da noch Matze Rossi, der mit seiner Akustikversion von „Milliarden“ am Ende ordentlich Mut macht :) Trailer zur Folge mit Frederike und Matze auf Instagram: @clipkiosk Alle Infos zu FFF unter: www.fridaysforfuture.de Foto von Frederike: Benedict Neugebauer Foto von Matze: Sebastian Madej Und wer den Podkiosk freiwillig unterstützen möchte, kann das hier gerne tun :)

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Music of the Body

Play Episode Listen Later Feb 21, 2021 98:42

Episode 30 Music of the Body Playlist The Heart Orphx, “Biorhythm” from The Living Tissue (2001 Hands Productions). Rich Oddie and Christina Sealey, modular and analog synthesizers, software, location recordings and feedback circuits. Includes the modified sounds of the heartbeat, breath and synthesizer. The Brain Alvin Lucier, “Music for Solo Performer” from Music for Solo Performer (1982 Lovely Music). Performance by Pauline Oliveros. Percussion Arrangement, Ron Kuivila; Engineers, Jack Stang, Nicolas Collins; Producer, Alvin Lucier. Recorded January 21-24, 1982 at Nickel Recording, Hartford, CT. Reportedly, the first musical work in history to use brain waves to generate sound (whereas the sonification of brain waves has been around since the 1930s). Composed by Lucier during the winter of 1964-65 and first performed with the help of physicist Edmond Dewan on May 5, 1965. Lucier had the brilliant idea to let the amplified brain wave signals create music through sympathetically vibrating various percussion surfaces and objects through loudspeakers. For this recording, Nic Collins also created a number of voltage-driven solonoids to act as “electric drumsticks” to play various metal instruments and small drums, all controlled by the Alpha waves generated by the brain of the performer. Pierre Henry, “Levitation” from Mise En Musique Du Corticalart De Roger Lafosse (1971 Philips). Live improvisations recorded Feb. 15-21, 1971 by Pierre Henry from Roger Lafosse's Corticalart device, allowing to transcribe the electric cortex waves in electronic signals for further raw manipulations. The Human Voice Orphx, “Mother Tongue” from The Living Tissue (2001 Hands Productions). Rich Oddie and Christina Sealey, modular and analog synthesizers, software, location recordings and feedback circuits. Includes the modified sounds of the human body and voice. Ben Patterson, “A Fluxus Elegy” (excerpt) from A Fluxus Elegy (2006 Alga Marghen). Limited edition of 345 copies. Patterson, a double bass player, was an original member of the Fluxus movement of the 1960s. This elegy to Fluxus artists consists of the initials of the names of key Fluxus artists, encoded into basic Morse code and then performed using a Yamaha DJX keyboard (voice pattern setting) connected to a Digitech JamMan Looper (over-dub setting) connected to a Eurorack MX 602 mixer. The Breath, Lungs Johan Timman, “The Windpipe” and “The Lungs” from Trip Into the Body (1981 Fleet). Composed, performed, recorded, and mixed by Johan Timman. Timman had a massive private studio consisting of Moog synthesizers, some privately made, plus other electronic music instruments. Brands represented include Moog, Oberheim, Roland, EMS, and Synton (vocoder). His was an elaborate analog studio on the eve of the digital revolution. Roger Waters and Ron Geesin, “Body Transport” from Music From the Body (1970 Harvest). Roger Waters and Ron Geesin, guitars, body sounds, field recordings, tape composition. Geesin was a composer and tape music technician who worked with Pink Floyd on 1970's Atom Heart Mother. He collaborated with Waters on this set of songs inspired by the human body, the most tuneful of which were used in a 30-minute television production. The rest of the material not used for the TV production included this piece for clapping, vocal and other sounds. Endoscopy Teresa Rampazzi, “Musica Endoscopica” (1972/2008 Die Schachtel) in entirety. Teresa Rampazzi was an Italian pianist and composer of electronic music. After meeting John Cage in 1958 she devoted herself to developing electronic music. In 1965 she founded the Gruppo NPS (Nuove Proposte Sonore) in Padua which also experimented with computer music. This is a soundtrack made in 1972 for a documentary film called Gastroscopia. Rampazzi wove the actual sound of “gloomy sound blocks and textures of convulsive rhythms” into electronic works for each stage of the digestive system. The sequence is named after sections of the digestive tract: Fibre Ottiche, Laringe, Stomaco, Esofago, Stomaco, Esofago, Stomaco, Stomaco Più Esofago, Stomaco Operato, Duodeno Normale, Duodeno Patologico, and Papille Di F. E Altro (optical fibres). The Archive Mix—where two tracks are played at the same time to see what happens. Frank Zappa and the Mothers of Invention, Nasal Retentive Caliope Music (1968 Verve). Johan Timman, “Heart” from Trip Into the Body (1981 Fleet). Composed, performed, recorded, and mixed by Johan Timman. Other Notes Opening track: Roger Waters and Ron Geesin, “Our Song” (excerpt) from Music From the Body (1970 Harvest). Roger Waters and Ron Geesin, guitars, body sounds, field recordings, tape composition. Also heard from time to time, excerpts from Auscultation Of The Heart (1966 London) by J. B. Barlow* & W. A. Pocock, narration by Stephen O'Reilly. A medical reference recording with discussion and examples of various heartbeats and pathologies. “Provided as a service to medical students as a part of the Medical School Program of Warner-Chilcott Laboratories.” I encourage you to pick up a copy of Alvin Lucier's Music 109: Notes on Experimental Music. This is the most digestible and thoughtful book about the avant garde since Cage's Silence and it is grounded by Lucier's real-world experience teaching and mentoring musicians for his many years at Wesleyan. Opening and closing sequences were voiced by Anne Benkovitz.

Symphonic Rock with Electronic Keyboards

My Life In The Mosh Of Ghosts

Play Episode Listen Later Feb 7, 2021 77:04

Episode 28 Symphonic Rock with Electronic Keyboards Playlist Emerson, Lake & Palmer, “Trilogy” from Trilogy (Island 1972). Keith Emerson, Moog Modular and Minimoog synthesizers, Hammond organ, piano; Carl Palmer, drums; Greg Lake bass, guitar, vocals. Patrick Moraz, “The Conflict” from Patrick Moraz (1978 Charisma). All instruments played by Patrick Moraz, Djalma Correia and the Percussionists of Rio de Janeiro. Electronic keyboards by Moraz include grand piano, Hammond C3 organ, Minimoog, Polymoog, Oberheim 4- and 8-voice synthesizers (custom), Computron, Yamaha CS80, Micromoog, Mellotron, ARP Pro Soloist. King Crimson, “Cirkus (Including: Entry Of The Chameleons),” from Lizard (1970 Island). Guitar, Mellotron, EMS VCS 3, electronic devices, Robert Fripp; bass guitar, vocals, Gordon Haskell; cornet, Marc Charig; drums, Andy McCulloch; flute, saxophone, Mel Collins; oboe, cor anglaise, Robin Miller; piano, electric piano, Keith Tippet; trombone,Nick Evans. Listen to the signature sound of the Mellotron in this track. SFF, “Sundrops” from Symphonic Pictures (1976 Brain). Bass guitar, Mellotron, Heinz Fröhling; drums, percussion, synthesizer (Minimoog), Eduard Schichke; grand piano, Moog String Ensemble, Clavinet, Mellotron, Gerhard Fü Produced by Dieter Dirks. The Mellotron is also outstanding in this track. Linda Cohen, “Nouveau Riche,” from Lake of Light (1973 Poppy). Classical guitar, Linda Cohen; acoustic guitar, bass, piano, Polytonic Modulator, Jefferson Cain; flute, Stan Slotter; producer, composer, electric guitar, electronic Matrix Drums; modulator, sitar, synthesizer, Craig Anderton; Minimoog, Theremin, Charles Cohen; trumpet, Stan Slotter. James Newton Howard, “Six B's” from James Newton Howard (1974 Kama Sutra). Composed, arranged, piano and synthesizers by James Newton Howard; drums, Brie Howard. Film and TV composer in an early solo album. Can you guess the synthesizers? I think he is playing an ARP Odyssey. The Pink Mice, “Ouvertüre ‘Dichter Und Bauern,'" from In Synthesizer Sound (1973 Europa). Arranged and played by Rainer Hecht. Seventh Wave, “Sky Scraper” and “Metropolis,” from Things To Come (1973 Gull). Piano, electric piano, Clavinet, ARP, Moog, and EMS synthesizers, Mellotron, glockenspiel, chimes, vocals, Ken Elliott; drums, congas, bongos, bells [sleigh], cymbal [finger, crash], castanets handclaps, claves, xylophone, vibraphone, Kieran O'Connor. An early mashup of many synthesizers. Symphonic Slam, “Universe” from Symphonic Slam (1976 A&M). Polyphonic Guitar Synthesizer, vocals, Timo Laine; keyboards, backing vocals, David Stone; drums, backing vocals, John Lowery. The fully polyphonic guitar synthesizer developed by Bob Easton, 360 Systems L.A., contained six synthesizers, one for each string. Alan Parsons Project, “I Robot” from I Robot (1977 Arista). Producer, engineer, guitar, keyboards, Projectron, vocoder, backing vocals, Alan Parsons; executive-producer, keyboards, synthesizer, vocoder, backing vocals, Eric Woolfson; drums, percussion, backing vocals, Stuart Tosh; guitar, backing vocals, Ian Bairnson; keyboards, Duncan Mackay. Chorus: The New Philharmonia Chorus, The English Chorale. The Projectron was a Mellotron-like device built by Alan Parsons. It was a 24-track tape device with each playback channel addressable by a keyboard. Parsons could easily switch-out the sounds for whatever effect he wanted and play them repeatedly as a sound loop. Alan Parsons Project, “Nucleus” from I Robot (1977 Arista). Producer, engineer, guitar, keyboards, Projectron, vocoder, backing vocals, Alan Parsons; executive-producer, keyboards, synthesizer, vocoder, backing vocals, Eric Woolfson; drums, percussion, backing vocals, Stuart Tosh; guitar, backing vocals, Ian Bairnson; keyboards, Duncan Mackay. Chorus: The New Philharmonia Chorus, The English Chorale. The Archive Mix included the following two tracks played at the same time: Symphonic Slam, “Summer Rain” from Symphonic Slam (1976 A&M). Munich Machine (Giorgio Moroder), “A White Shade of Pale” from A White Shade of Pale (1978 Oasis). Vocals, Chris Bennett; electronics, synthesizers, Giorgio Moroder. Also from Thom Holmes: My Book: Electronic and Experimental Music, sixth edition, Routledge 2020. My Blog: Noise and Notations. Music used for background in this episode: Emerson, Lake & Palmer, “When The Apple Blossoms Bloom In The Windmills Of Your Mind I'll Be Your Valentine,” from Works (Volume 2) (1977 Atlantic).

My Life In The Mosh Of Ghosts - Gig 42. Killing Joke, Kilburn National Ballroom, London, 28th April 1981 & the Tower Ballroom, Birmingham, 30th April 1981.

Play Episode Play 30 sec Highlight Listen Later Dec 10, 2020 15:07

The worst April snows in living memory are no deterrent to those ambassadors of abnegation Killing Joke, ever eager to share their forewarning of the imminent global apocalypse. Roger gets close to the belly of the beast in London and Birmingham, and finds it in need of a bath. Intro and outro music - Simon Elliott-Kemp.Artwork - Rionagh.Guest voice - Paul Widger.Sound FX courtesy of Freesound.orgWith particular thanks to:Pub ambience - Yap Audio Productions.Club ambience - Rikus246.Backstage - Freqman.Oberheim synth bass - Walter Odington-Reece.Gnarly Oberheim - Analogist.Tribal Beat - Xhale 303.Power chords - Clem.Blizzard - Stormpetrel.Cassette - Pogotron.Ford Transit - LG.Applause - Recording Hopkins.

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Der Oberheim OB - 8

Stadtfilter Podcasts

Play Episode Listen Later Dec 2, 2020 3:06

Anlässlich zur Tastenwoche 2020 hat sich Stadtfilter Musikredaktor mit Musiker & Produzent Ruedi Tobler (Playmob.il)nach Fribourg ins SMEM (swiss museum for electronic music instruments) begeben und präsentieren für das Radio alte Tasten-Schätze. Mehr Infos zum SMEM: http://www.smemmusic.ch/ Mehr Info zu Playmob.il: https://soundcloud.com/playmob-il

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Electronic Jazz, Part 2: Gadgets and Modifiers

apple created pieces synth moog long beach city college oberheim

Play Episode Listen Later Nov 15, 2020 94:21

Episode 14 Electronic Jazz, Part 2: Gadgets and Modifiers Electrifying the jazz instrument. Playlist: Sonny Stitt, “What's New” from the album What's New!!! Varitone tenor saxophone by Selmer. 1966. Players: Baritone Saxophone - George Berg Bass - George Duvivier, Jan Arnet Drums - Walter Perkins Guitar - Les Span Organ - Ernie Hayes Piano - Ellis Larkins Saxophone [Varitone] - Sonny Stitt Tenor Saxophone - Illinois Jacquet Trombone - J.J. Johnson Trumpet - Eddie Preston, Joe Wilder Vibraphone - Mike Mainieri Buddy Terry, “Electric Soul,” from the album Electric Soul, Varitone tenor sax. 1967. Players: Bass - Ron Carter Drums - Freddie Waits Electric Piano - Harols Maber Jr. Flugelhorn - Jimmy Owens Tenor Saxophone - Edlin "Buddy" Terry Trumpet - Jimmy Owens Clark Terry, “Electric Mumbles” from the album It's What's Happening. Varitone trumpet. 1967. Bass - George Duvivier Drums - Dave Bailey Piano - Don Friedman Trumpet [Varitone] - Clark Terry The Cannonball Adderly Quintet, “Gumba Gumba” from Accent On Africa, Selmer Varitone saxophone. 1968. Alto Varitone saxophone --Cannonball Adderley, Cornet --Nat Adderley – Drums --Earl Palmer - drums Brass, reeds and vocals, piano, harpsichord, guitar, bass-- Uncredited Melvin Jackson, “Funky Skull” from the album Funky Skull. String bass modified with: Maestro G-2 filter box for guitar, Boomerang and Echo-Plex and Ampeg amplifier. 1969. Acoustic Bass, Effects – Melvin Jackson Alto Saxophone, Bass Saxophone, Flute – Roscoe Mitchell Baritone Saxophone – Tobie Wynn Drums – Billy Hart, Morris Jennings Guitar – Pete Cosey Lead Guitar, Rhythm Guitar, Bass [Fender] – Phil Upchurch Piano, Organ [Hammond], Effects [Echo Plex] – Jodie Christian Tenor Saxophone – James Tatum Tenor Saxophone, Flute – Byron Bowie Tenor Saxophone, Soloist [Solos] – Bobby Pittman Trombone – Steve Galloway Trumpet – Donald Towns, Tom Hall Trumpet, Flugelhorn – Lester Bowie, Leo Smith Vocals – The Sound of Feeling Eddie Harris, “Electric Ballad,” from the album Silver Cycles. Maestro amplifier and Echoplex, 1969. Bass – Melvin Jackson Drums – Bruno Carr Percussion – Marcelino Valdes Tenor Sax (Maestro, Echoplex)—Eddie Harris John Klemmer, “Excursion #2” from Blowin' Gold, 1969, horn effects begin at about 1:11 into the track, probably the Conn-Multivider. Also some interesting effects added on Hey Jude, a excerpt which is also played. Bass - Phil Upchurch Drums - Morris Jennings Guitar - Pete Cosey Piano, Organ - Richard Thompson Tenor Saxophone, Other [Electronic Horn Effects] - John Klemmer John McLaughlin, “Marbles” from the album Devotion. Echoplex and guitar distortion effects. 1970. Bass – Billy Rich Drums, Percussion – Buddy Miles Organ, Electric Piano – Larry Young Guitar – John McLaughlin Miles Davis, “Bitches Brew” (opening) from Bitches Brew. Amplified trumpet with Maestro ring modulator and Echoplex. 1970. Bass – Dave Holland Bass [Fender] – Harvey Brooks Bass Clarinet – Bennie Maupin Trumpet[amplified] – Miles Davis Drums – Don Alias, Jack DeJohnette, Lenny White Electric Guitar – John McLaughlin Electric Piano – Chick Corea, Joe Zawinul Percussion – Jim Riley Soprano Saxophone – Wayne Shorter Miles Davis, “Nem Um Talvez” from the album Live-Evil. Echoplex and percussion. 1971. Bass –Ron Carter Drums –Jack DeJohnette Keyboards –Herbie Hancock, Keith Jarrett Saxophone –Steve Grossman Trumpet – Miles Davis Vocals – Hermeto Pascoal Gil Melle, “The Love Song” from the album Waterbirds. Handmade electronic instruments plus echo, fuzz, and other effects. 1970 Bass [Fender] – Dave Parlato Soprano Saxophone, Other [Special Electronic Musical Instruments] – Gil Mellé Drums – Fred C. Stofflet Electric Piano [Fender] – Pete Robinson Guitar – Art Johnson, Joe Cinderella The Fourth Way, “Spacefunk” from the album Werwolf. Fender Rhodes electric piano using an Oberheim ring modulator, Recorded live at the Montreux Jazz Festival, June 19, 1970. Drums – Eddie Marshall (2) Electric Bass – Ron McClure Electric Piano [Fender Rhodes Electric Piano], Effects [Oberheim Ring Modulator] – Mike Nock Electric Violin – Michael White Don Ellis, “Hey Jude” (opening), from Live at the Fillmore, 4-valve, quarter tone electric trumpet, Echoplex, Conn-Multivider, Oberheim ring modulator– Don Ellis. 1970. Bass - Dennis Parker Bass Trombone - Don Switzer Congas - Lee Pastora Drums - Ralph Humphrey Guitar - Jay Graydon Percussion, Drums - Ron Dunn Piano - Tom Garvin Saxophone - Fred Selden, John Klemmer, Jon Clarke, Lonnie Shetter, Sam Falzone Trombone - Ernie Carlson, Glenn Ferris Trombone, Contrabass, Tuba - Doug Bixby Trumpet - Glenn Stuart, Jack Coan, John Rosenberg, Stu Blumberg Trumpet, Drums - Don Ellis Eddie Harris, Why Don't You Quit, from the album Eddie Harris ‎– Come On Down! In 1970. Used the Hammond Innovex Condor SSM guitar synthesizer with the tenor saxophone. Bass – Donald "Duck" Dunn Drums – Tubby Ziegler* Guitar – Cornell Dupree (tracks: A1, A2, B1 to B3), Jimmy O'Rourke (tracks: A1, A2, B1 to B3), Joseph Diorio* (tracks: A3) Organ – Billy Carter Piano – Dave Crawford Tenor Saxophone [Electric] – Eddie Harris Trumpet – Ira Sullivan The Archive Mix in which I play two additional tracks at the same time to see what happens. Here are two additional tracks of electronic jazz and amplified instruments: Moe Koffman, “Funky Monkey” from the album Turned On. Varitone flute and Varitone dual alto saxophones. 1968 Miles Davis, “Stuff” (excerpt) from Miles in the Sky, 1968. Bass – Ron Carter Drums – Tony Williams* Piano, Electric Piano – Herbie Hancock Tenor Saxophone – Wayne Shorter Trumpet – Miles Davis Read my book: Electronic and Experimental Music (sixth edition), by Thom Holmes (Routledge 2020). Also see my paper, Thom Holmes (2018): The Roots of Electronic Jazz, 1950–1970, in Jazz Perspectives

Faith in the Darkest Times - Chrissy Oberheim

Turn Your Ears Up

Play Episode Listen Later Oct 4, 2019 8:59

darkest oberheim

Polyptych Podcast | Episode #043 - Solink

Polyptych Podcast

Play Episode Listen Later Jan 26, 2019 59:35

Mixed by @solinkk Tracklist: 1. Ivan Masa - Muto (Bebetta & Cioz Remix) 2. rue vs Alastor - Contact (Original Mix) 3. Sean & Dee - Dragonfly (Original Mix) 4. Kevin de Vries - Aurora (Original Mix) 5. Township Rebellion - Monocloque (Original Mix) 6. Jiggler - Wideness (Original Mix) 7. Teenage Mutants feat. Sezer Uysal - Dominate (Original Mix) 8. Brigado Crew & Crisstiano Feat. Haptic - Burning (Original Mix) 9. Louis & Clark - Liquid Code (Original Mix) 10. John Monkman - Mad Hatter (Original Mix) Enjoy the Listening. Grab Your Copy of "Oberheim" EP by Solink: fanlink.to/PLT063 | @Beatport Exclusive

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Programa 487 - BIRKINS rinden homenaje a Ziggy Stardust

Bienvenido a los 90

Play Episode Listen Later Jan 24, 2019 74:10

Con motivo del lanzamiento (doble) que realiza la banda BIRKINS de 'You are not alone' repasamos la historia y gestación de 'The Rise and Fall of Ziggy Stardust and the Spiders from Mars' de 1972. Birkins recrea el disco con un montón de músicos nacionales e internacionales que os detallamos abajo. Por favor, visita birkins.bandcamp.com y hazte con tu copia de 'You are not alone' . 01- Five Years (con Álvaro Suite) Álvaro Suite, voz y coros Alby Ramírez, guitarra barítono, Farfisa, Polysix, Omnichord, trompas, Theremin Rafa Daza, bajo Sergio Miró, batería Grabaciones adicionales en El Nido del Cuervo, Sevilla, por Álvaro Suite. 02- Soul Love (con Pablo Errea) Pablo Errea, voz y coros Alby Ramírez, guitarras acústicas y eléctricas Rafa Daza, bajo Sergio Miró, batería Elio Moreno, saxo tenor Grabaciones adicionales en el Puerto de Santa María, Cádiz, por Pablo Errea. 03- Moonage Daydream (con Julián Maeso) Julián Maeso, voz, Hammond b3, Moog, clavinet y calabaza africana Carolina García, coros Rami Jaffee, piano, Mellotron Alby Ramírez, guitarras eléctricas, guitarra barítono Rafa Daza, bajo Sergio Miró, batería Totó Noriega, congas, pandereta, shaker Grabaciones adicionales en el Hospital Psiquiátrico por Julián Maeso. Grabaciones adicionales en Fonogenic Studios, Van Nuys, California, y en East West Studio, Studio 1 lounge, Hollywood, California por Rami Jaffee Grabaciones adicionales en Las Palmas de Gran Canaria, por Totó Noriega. 04- Starman (con Ran Pink) Ran Pink, voz Tal Pink, coros Joaquín Pascual, piano, sinte Chris Carmichael, cuerdas Alby Ramírez, guitarras acústicas y eléctricas, piano “gimmick”, sinte “gimmick” Rafa Daza, bajo Sergio Miró, batería Grabaciones adicionales en Fonogenic Studios, Van Nuys, California, por Ran Pink. Grabaciones adicionales en Albacete, por Joaquín Pascual Grabaciones adicionales en Stonehurst, Bowling Green, Kentucky, por Chris Carmichael. 05- It Ain't Easy (con Mikel Erentxun) Mikel Erentxun, voz Cristina Santana, coros Rami Jaffee, Mellotron Alby Ramírez, guitarras acústicas y eléctricas, coros Rafa Daza, bajo Sergio Miró, batería César Martel, trompeta Elio Moreno, saxo tenor Grabaciones adicionales en Fonogenic Studios, Van Nuys, California, por Rami Jaffee. Grabaciones adicionales en Moon River Studio, Santander, por Fernando Macaya 06- Lady Stardust (con Muni Camón) Muni Camón, voz y coros Alby Ramírez, guitarras acústicas y eléctricas, Mellotron y vibráfono Rafa Daza, bajo Sergio Miró, batería César Martel, trompeta Elio Moreno, saxo tenor Grabaciones adicionales en Paco Loco Studio, Puerto de Santa María, Cádiz, por Paco Loco 07- Star (con Ken Stringfellow) Ken Stringfellow, voz Sari Montelongo, coros Alby Ramírez, guitarras eléctricas, guitarra de 12 cuerdas, Vox Continental Rafa Daza, bajo Sergio Miró, batería Grabaciones adicionales en Le Son du Blé, Tours, Francia, por Ken Stringfellow 08- Hang On To Yourself (con Paco Loco) Paco Loco, voz Cristina Santana, voz Justin Adams, solo de guitarra final Alby Ramírez, guitarras acústicas y eléctricas, lap steel Rafa Daza, bajo Sergio Miró, batería César Martel, trompeta Elio Moreno, saxo tenor Grabaciones adicionales en Paco Loco Studio, Puerto de Santa María, Cádiz, por Paco Loco Grabaciones adicionales en Black Earth, Bath, Inglaterra, por Justin Adams 09- Ziggy Stardust (con Javier de Torres) Javier de Torres, voz y coros Sergio Casquero, voz y coros Alby Ramírez, guitarras acústicas y eléctricas, Vox Continental, cuerdas Rafa Daza, bajo Sergio Miró, batería Grabaciones adicionales en Audiomatic, Madrid, por Manuel Pájaro 10- Suffragette City (con Luis Prado) Luis Prado, voz y coros, piano Alby Ramírez, guitarras eléctricas Rafa Daza, bajo Sergio Miró, batería César Martel, trompeta Elio Moreno, saxo tenor Grabaciones adicionales en RPM Estudios, La Cañada (Paterna), Valencia, por Roger García 11- Rock 'n' Roll Suicide (con Jonathan Donahue y Lyla Foy) Jonathan Donahue, voz Lyla Foy, voz ‘wonderful’ Alby Ramírez, guitarras eléctricas, guitarra barítono, piano, Oberheim, Polysix, Mellotron, Omnichord, trompas, arpegiadores, Theremin Rafa Daza, bajo Sergio Miró, batería Grabaciones adicionales en Woodstock, Nueva York, por Jonathan Donahue Grabaciones adicionales en Londres, Inglaterra, por Lyla Foy

california hollywood rock fall mars kentucky madrid studio torres londres suite bath tours woodstock francia spiders inglaterra nueva york sevilla hammond tot joaqu homenaje santander puerto la ca bowling green gran canaria starman santa mar pascual martel las palmas ziggy stardust moog noriega cuervo albacete le son van nuys moonage daydream paterna el nido grabaciones 'the rise soul love manuel p mellotron justin adams birkins black earth hospital psiqui maeso ken stringfellow suffragette city omnichord chris carmichael oberheim farfisa roll suicide paco loco lady stardust audiomatic vox continental it ain't easy jonathan donahue

Programa 487 - BIRKINS rinden homenaje a Ziggy Stardust

Bienvenido a los 90

Play Episode Listen Later Jan 24, 2019 74:10

Con motivo del lanzamiento (doble) que realiza la banda BIRKINS de 'You are not alone' repasamos la historia y gestación de 'The Rise and Fall of Ziggy Stardust and the Spiders from Mars' de 1972. Birkins recrea el disco con un montón de músicos nacionales e internacionales que os detallamos abajo. Por favor, visita birkins.bandcamp.com y hazte con tu copia de 'You are not alone' . 01- Five Years (con Álvaro Suite) Álvaro Suite, voz y coros Alby Ramírez, guitarra barítono, Farfisa, Polysix, Omnichord, trompas, Theremin Rafa Daza, bajo Sergio Miró, batería Grabaciones adicionales en El Nido del Cuervo, Sevilla, por Álvaro Suite. 02- Soul Love (con Pablo Errea) Pablo Errea, voz y coros Alby Ramírez, guitarras acústicas y eléctricas Rafa Daza, bajo Sergio Miró, batería Elio Moreno, saxo tenor Grabaciones adicionales en el Puerto de Santa María, Cádiz, por Pablo Errea. 03- Moonage Daydream (con Julián Maeso) Julián Maeso, voz, Hammond b3, Moog, clavinet y calabaza africana Carolina García, coros Rami Jaffee, piano, Mellotron Alby Ramírez, guitarras eléctricas, guitarra barítono Rafa Daza, bajo Sergio Miró, batería Totó Noriega, congas, pandereta, shaker Grabaciones adicionales en el Hospital Psiquiátrico por Julián Maeso. Grabaciones adicionales en Fonogenic Studios, Van Nuys, California, y en East West Studio, Studio 1 lounge, Hollywood, California por Rami Jaffee Grabaciones adicionales en Las Palmas de Gran Canaria, por Totó Noriega. 04- Starman (con Ran Pink) Ran Pink, voz Tal Pink, coros Joaquín Pascual, piano, sinte Chris Carmichael, cuerdas Alby Ramírez, guitarras acústicas y eléctricas, piano “gimmick”, sinte “gimmick” Rafa Daza, bajo Sergio Miró, batería Grabaciones adicionales en Fonogenic Studios, Van Nuys, California, por Ran Pink. Grabaciones adicionales en Albacete, por Joaquín Pascual Grabaciones adicionales en Stonehurst, Bowling Green, Kentucky, por Chris Carmichael. 05- It Ain't Easy (con Mikel Erentxun) Mikel Erentxun, voz Cristina Santana, coros Rami Jaffee, Mellotron Alby Ramírez, guitarras acústicas y eléctricas, coros Rafa Daza, bajo Sergio Miró, batería César Martel, trompeta Elio Moreno, saxo tenor Grabaciones adicionales en Fonogenic Studios, Van Nuys, California, por Rami Jaffee. Grabaciones adicionales en Moon River Studio, Santander, por Fernando Macaya 06- Lady Stardust (con Muni Camón) Muni Camón, voz y coros Alby Ramírez, guitarras acústicas y eléctricas, Mellotron y vibráfono Rafa Daza, bajo Sergio Miró, batería César Martel, trompeta Elio Moreno, saxo tenor Grabaciones adicionales en Paco Loco Studio, Puerto de Santa María, Cádiz, por Paco Loco 07- Star (con Ken Stringfellow) Ken Stringfellow, voz Sari Montelongo, coros Alby Ramírez, guitarras eléctricas, guitarra de 12 cuerdas, Vox Continental Rafa Daza, bajo Sergio Miró, batería Grabaciones adicionales en Le Son du Blé, Tours, Francia, por Ken Stringfellow 08- Hang On To Yourself (con Paco Loco) Paco Loco, voz Cristina Santana, voz Justin Adams, solo de guitarra final Alby Ramírez, guitarras acústicas y eléctricas, lap steel Rafa Daza, bajo Sergio Miró, batería César Martel, trompeta Elio Moreno, saxo tenor Grabaciones adicionales en Paco Loco Studio, Puerto de Santa María, Cádiz, por Paco Loco Grabaciones adicionales en Black Earth, Bath, Inglaterra, por Justin Adams 09- Ziggy Stardust (con Javier de Torres) Javier de Torres, voz y coros Sergio Casquero, voz y coros Alby Ramírez, guitarras acústicas y eléctricas, Vox Continental, cuerdas Rafa Daza, bajo Sergio Miró, batería Grabaciones adicionales en Audiomatic, Madrid, por Manuel Pájaro 10- Suffragette City (con Luis Prado) Luis Prado, voz y coros, piano Alby Ramírez, guitarras eléctricas Rafa Daza, bajo Sergio Miró, batería César Martel, trompeta Elio Moreno, saxo tenor Grabaciones adicionales en RPM Estudios, La Cañada (Paterna), Valencia, por Roger García 11- Rock 'n' Roll Suicide (con Jonathan Donahue y Lyla Foy) Jonathan Donahue, voz Lyla Foy, voz ‘wonderful’ Alby Ramírez, guitarras eléctricas, guitarra barítono, piano, Oberheim, Polysix, Mellotron, Omnichord, trompas, arpegiadores, Theremin Rafa Daza, bajo Sergio Miró, batería Grabaciones adicionales en Woodstock, Nueva York, por Jonathan Donahue Grabaciones adicionales en Londres, Inglaterra, por Lyla Foy

california hollywood rock fall mars kentucky madrid studio torres londres suite bath tours woodstock francia spiders inglaterra nueva york sevilla hammond tot joaqu homenaje santander puerto la ca bowling green gran canaria starman santa mar pascual martel las palmas ziggy stardust moog noriega cuervo albacete le son van nuys moonage daydream paterna el nido grabaciones 'the rise soul love manuel p mellotron justin adams birkins black earth hospital psiqui maeso ken stringfellow suffragette city omnichord chris carmichael oberheim farfisa roll suicide paco loco lady stardust audiomatic vox continental it ain't easy jonathan donahue

Podcast 179: Tom Oberheim

Art + Music + Technology

Play Episode Listen Later Jun 11, 2017 46:01

NOTE: This podcast is presented as a collaboration with Synthtopia.com for the presentation of people designing the synthesizers we love. You can listen to the podcast here, on the synthtopia website (in an embedded player) or on iTunes. But you can also read the article as well as search for information by viewing the transcription available here: http://www.synthtopia.com/content/2017/06/11/tom-oberheim-on-the-art-of-synthesizer-design/ In this first podcast in our series on Synth Designers, we talk to one of the people that was at the forefront of synth design - so much so, that his original synth design is still at the heart of his work! Tom Oberheim and the Synthesizer Expander Module (or SEM) is widely known for its rich, smooth and musical sound, and Tom's work has been featured on recordings by almost anyone that has used a synthesizer. In our chat, Tom talks about how he got started in both electronics and music, and how he stumbled upon musical electronics. We also talk about how the SEM has been able to endure despite all the changes in backing technology, and how it differs from most of the synths that were its contemporaries. It's also interesting to hear about how the resurgence of analog culture and the emergence of DJ/producer culture caught him by (pleasant) surprise, and have set the stage for his future work. You can see what he is up to by checking out his site: http://tomoberheim.com/, or just by talking to anyone that is a synth fanatic - they (or you...) will know his work well. Enjoy!

dj sem oberheim synthtopia

Found: 80’s Synth Pieces Created at Long Beach City College

Sander Roscoe Wolff

Play Episode Listen Later Aug 25, 2015

In the early 80s, I spent quite a bit of time in the Synth Lab at Long Beach City College. It was a fairly small room, packed with two Moog 15 racks, a 35 rack, a sequencer, and a keyboard. There were also two Oberheim 4 voice synthesizers, an Apple 2e system with an AlphaSyntauri […]

TorTR #79 - Razed and Confused

Trick or Treat Radio

Play Episode Listen Later Jan 30, 2014 175:24

This episode starts out of control and gets worse as it goes on! We review the Zoe Bell women in prison flick, Raze. The most electrifying man in podcasting stops by to confront our resident Monster about his idiotic take on last week’s film. Bill By Force and Mr. Chris from Outside the Cinema stop by unexpectedly to crash the party and we have a sing-a-long voicemail. Grab the nearest tentacle, stick it where it doesn't belong and try to keep up because it's going to be a bumpy ride!Topics discussed: 3 Ninjas Kick Back, ditching Ravenshadow, cooties, wrestling fans mad at WWE, Equestria Girls, Are You Serious’ best Sci Fi films, Rose McGowan's boobies, Father's Day, Incubus, bad editing, Monster Brawl, Wednesday night wars, Star Blazers, The Espresso Bar, telegraphed endings, Jujitsu, misogyny in films, Monster Squad, scrunchies, clandestine organizations, Kill Bill, Leger’s hot tub, Manborg, Tim Roth & Tim Robbins, Raze, handicap bathroom stalls, Gordon Hessler, The Oberheim, Eazy-E, clowns, high and tight, KISS Meets the Phantom of the Park, OTC's 6th year anniversary, House of Wax remake, Master of The Flying Guillotine, Doug Jones, The Battery, tentacle porn fetish, Robotech, Drive, Mini Ash, Rosario Dawson, Hostel, Doom Generation, Ustream, Captain Kronos - Vampire Hunter, Hawk the Slayer, Temple of Doom, women in prison films, The Kardashians, DTF, Zoe Bell vs. Ravenshadow, The Cube, Bloodsport, Sherilyn Fenn, Barbicide, Contracted, Dawn and Night of the Living Dead, DSL, Hentai, Ray J's dick, Dynamo's rest stop Yelp review, The Bling Ring, prison fashion, Blueberries, Anime, Force Five, Urotsukidoji, The Girl Who Walked Home Alone, Stitches, Paris Hilton, R.O.T.O.R, fake monsters, imaginary bullets, Despicable Me 2, James Bond intros, My Neighbor Totoro, Ninja Scroll, the gapes, Fist of the North Star, Dynamo’s bathroom story, Justin.TV, No Holds Barred, nervous I love you, MonsterZero's Vegas trip, Ravenshadow’s fan and Yahoo Serious.Support the show (https://www.patreon.com/trickortreatradio)

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Episode 3 - Oberheim

Pushing the Envelope

Play Episode Listen Later Jan 29, 2011 15:49

Adam Png and Dan Kiener offer a surprisingly sober insight into the history of Oberheim, followed by the obligatory drunken interview with Peter Chapman and his Oberheim OB-8. Music by Nik Lust, with additional research, transport and good vibes by Trent Scott.

music lust sem chapman nik synth png envelope voltage halen synthesizer lfo vca vcf oscillator peter chapman vco oberheim adsr kiener

#254 - Le dernier Oberheim OB-X8 (ft. Airwave & Deep Forest)

twitch discord suivez airwaves concours le dernier participez offrez deep forest oberheim superbooth

Play Episode Listen Later Jan 1, 1970

En approche du Superbooth, plusieurs annonces très intéressantes, et aussi de moins bonnes nouvelles. Merci à Synthanatomy pour les infos toujours à la pointe :) Leak Oberheim OB-X8 : https://gearspace.com/board/showpost.php?p=15981178&postcount=1012 IK Multimedia iRig Pro Quattro I/O : https://www.ikmultimedia.com/products/irigproquattroio/index.php?p=info Polyend Play :https://www.synthanatomy.com/2022/05/leak-polyend-play-new-groovebox-or-drum-machine-for-superbooth-22.html et https://polyend.com/ La fin du Sensel Morph : https://morph.sensel.com/blogs/news/sensel-morph-sunset La fin de Enhancia : https://sites.google.com/view/enhancia-website/home L'émission lundimadaire en live avec toute l'équipe, Airwave et Deep Forest (Eric Mouquet). Participez au concours en nous rejoignant sur Discord : https://lessondiers.com/discord Ce soir, tentez de remporter... un cadeau mystère ! Offrez nous un café, ça nous met la patate ! https://tipeee.com/les-sondiers Soutenez nous sur Patreon, parce qu'on le vaut bien ! https://patreon.com/lessondiers D'autres moyens de nous soutenir : https://lessondiers.com/soutien TOUT SAVOIR SUR LES SONDIERS : https://lessondiers.com/links Pour vos besoins en matériel, vous pouvez passer par notre lien affilié chez Michenaud, un super magasin pas cher, sérieux et sympa : https://lessondiers.com/michenaud Les Sondiers - Une émission live lundimadaire Et en podcast via http://lessondiers.com Suivez nous sur Twitch : https://twitch.tv/lessondiers Twitter : https://twitter.com/lessondiers Instagram : https://instagram.com/lessondiers Facebook : https://facebook.com/lessondiers YouTube : https://youtube.com/lessondiersFR 00:00 Intro 01:00 Début de l'émission 06:10 Concours du cadeau mystère 10:38 AskSondiers (cablâge) 29:40 OB-X8 46:18 IK Multimedia iRig Pro Quattro I/O 01:06:20 Polyend Play 01:14:15 Sensel Morph sunset 01:17:29 La fin de Enhancia

#251 - On a failli oublier de parler du Novation FLKey !

twitch discord parler suivez raspberry pi oublier novation participez tirage behringer fl studio suzanne ciani podrennes badgeek oberheim

Play Episode Listen Later Jan 1, 1970

C'est vrai qu'on ne parle pas souvent de FL Studio, mais une fois n'est pas coutume, et en plus maintenant il y a des contrôleurs ! L'émission lundimadaire en live avec toute l'équipe ! Participez au concours en nous rejoignant sur Discord : https://lessondiers.com/discord Korg Prophecy https://korg.shop/software/korg-collection-prophecy.html Volca FM 2 : https://www.korg.com/fr/products/dj/volca_fm2/ (vidéo sur la chaîne : https://youtu.be/b2AWqeF7jLM) Podrennes : https://www.badgeek.fr/podrennes/ La chaîne Twitch de Badgeek : https://www.twitch.tv/badgeek FLKey : https://novationmusic.com/fr/keys/flkey Moog Etherwave Theremin : https://www.moogmusic.com/news/meet-new-etherwave-theremin Azarty Piano : https://www.azartypiano.com/ Arturia Augmented Strings Intro : https://www.arturia.com/products/software-instruments/augmented-strings-intro/overview Soundwide : https://blog.native-instruments.com/fr/soundwide Oberheim est de retour : https://www.youtube.com/watch?v=yIDsupuqz7c 8 DX7 dans un Raspberry PI : https://www.youtube.com/watch?v=Z3t94ceMHJo Minidexed : https://github.com/probonopd/MiniDexed Suzanne Ciani en concert (Buchla System 200e): https://www.youtube.com/watch?v=M_q3dnrQus4 Behringer Wave : https://www.facebook.com/Behringer/photos/pcb.10159998069773914/10159998037328914/ Behringer Enigma : https://www.facebook.com/Behringer/photos/a.10152059078118914/10159989944623914/ ---- SOUTENEZ NOUS ---- Offrez nous un café, ça nous met la patate ! https://tipeee.com/les-sondiers D'autres moyens de nous soutenir : https://lessondiers.com/soutien TOUT SAVOIR SUR LES SONDIERS : https://lessondiers.com/links Pour vos besoins en matériel, vous pouvez passer par notre lien affilié chez Michenaud, un super magasin pas cher, sérieux et sympa : https://lessondiers.com/michenaud Les Sondiers - Une émission live lundimadaire Et en podcast via http://lessondiers.com Suivez nous sur Twitch : https://twitch.tv/lessondiers Twitter : https://twitter.com/lessondiers Instagram : https://instagram.com/lessondiers Facebook : https://facebook.com/lessondiers YouTube : https://youtube.com/lessondiersFR 00:00 Intro 01:00 Début de l'émission 05:50 Concours Korg Prophecy 08:20 PodRennes 16:05 Azarty Piano DOJO 21:40 Novation FLKey37 et FLKey Mini 31:27 Behringer Wave 34:28 Behringer Enigma 40:20 Suzanne Ciani et son Buchla System 200e 47:00 Arturia Augmented Strings Intro 54:15 Soundwide 01:07:39 Tirage au sort du concours KORG 01:08:50 Moog Etherwave Theremin 01:15:25 Oberheim est de retour 01:18:35 Minidexed (sur Raspberry PI)

#244 - La nouvelle Smartwatch de Blast (le ZOOM F3) ! (ft Toxic Avenger)

Play Episode Listen Later Jan 1, 1970

L'émission lundimadaire en live avec toute l'équipe et Toxic Avenger ! Participez au concours en nous rejoignant sur Discord : https://lessondiers.com/discord Ce soir, tentez de remporter 1 an d'abonnement à Presonus Sphere ! PreSonus Sphere: https://shop.presonus.com/PreSonus-Sphere Abonnez-vous / suivez PreSonus: YouTube: https://bit.ly/32DCnrx Tiktok: https://bit.ly/3sfvplp Instagram: https://bit.ly/3ADGhwT Documentaire MOOG "GIANTS" : https://www.youtube.com/watch?v=5hTyTHm1J_c Documentaire GForce Software sur Tom Oberheim : https://www.gforcesoftware.com/blog/bright-sparks-tom-oberheim/ Kontakt 6.7 (Apple Silicon) : https://www.native-instruments.com/en/products/komplete/samplers/kontakt-6/ Zoom F3 : https://zoomcorp.com/en/us/field-recorders/field-recorders/f3/ Bitwig Studio 4.2 : https://www.bitwig.com/overview/ Error Instruments Velix : https://www.errorinstruments.com/a-70561431/new-synthe-noise-instruments-for-sale/velix-the-sonic-shaper/ Macro Multi-Model Synthesizer pour Reason : https://www.reasonstudios.com/shop/rack-extension/macro-multi-model-synthesizer/ ---- SOUTENEZ NOUS ---- Offrez nous un café, ça nous met la patate ! https://tipeee.com/les-sondiers D'autres moyens de nous soutenir : https://lessondiers.com/soutien TOUT SAVOIR SUR LES SONDIERS : https://lessondiers.com/links Pour vos besoins en matériel, vous pouvez passer par notre lien affilié chez Michenaud, un super magasin pas cher, sérieux et sympa : https://lessondiers.com/michenaud Les Sondiers - Une émission live lundimadaire Et en podcast via http://lessondiers.com Suivez nous sur Twitch : https://twitch.tv/lessondiers Twitter : https://twitter.com/lessondiers Instagram : https://instagram.com/lessondiers Facebook : https://facebook.com/lessondiers YouTube : https://youtube.com/lessondiersFR 00:00 Intro 01:03 Début de l'émission 06:15 Concours Presonus 10:50 Documentaires Moog et Gforce Software (sur Oberheim) 13:25 AskSondiers (Gapless) 34:20 Kontakt 6.7 (Native Apple Silicon) 40:50 Zoom F3 56:30 Error Instruments Velix 01:04:40 Macro multi-model synthesizer pour Reason 01:11:25 Tirage du concours Presonus Sphere 01:14:00 Bitwig 4.2 01:22:00 Fin débile

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#206 - Toutes les applis IOS sur Apple M1 ?