Podcasts about sequential circuits

From his pioneering work in vector synthesis with Sequential Circuits and beyond to his sonic endeavors with modular synths, Chris Meyer has been a major force in the evolution of electronic music. We caught up with him at his home in New Mexico.

Джефф Бек и Джонни Депп записали совместный альбом. 29 мая Депп неожиданно присоединился к Беку на концертах последнего, и они вместе исполнили каверы на песни Джона Леннона (John Lennon), Марвина Гэйя (Marvin Gaye) и Джими Хендрикса (Jimi Hendrix). Позднее Депп ещё несколько раз составил Беку компанию на его концертах. При этом мало кто знал, что Джонни Депп и Джефф Бек в течение трёх последних лет работали над совместным альбомом. Пластинка получила название "18": по словам самих музыкантов, совместные импровизации вызвали у них ощущение, что им обоим снова по 18 лет. Альбом выйдет 15 июля. Пилотный сингл - это песня "This Is a Song for Miss Hedy Lamarr", которую Джонни Депп написал в память об австрийско-американской актрисе и изобретательнице Хеди Ламарр, голливудской звезде 1930-1950-х. Депп известен прежде всего как актёр, однако на гитаре он играл ещё до начала своей звёздной карьеры. В 1980-х он был членом группы The Kids, с которой выступал на разогреве у Игги Попа (Iggy Pop), Ramones, Pretenders и Talking Heads; уже будучи состоявшимся киноактёром он записывался с Oasis и выступал со многими другими музыкальными знаменитостями. В фильмах "Шоколад" и "Однажды в Мексике" он участвовал не только как актёр, но и как музыкант (и композитор). C 2012 года Депп - участник супергруппы Hollywood Vampires, которую создал вместе с Элисом Купером (Alice Cooper) и Джо Перри (Joe Perry). В 2015 и 2019 годах они выпускали студийные альбомы, для которых Депп записывал вокал и партии слайд-, ритм- и лид-гитары. В записи второго альбома - Rise - отметился и Джефф Бек. Panic! At The Disco возвращаются с новым альбомом и ретро-видео. Брендон Ури (Brendon Urie) анонсировал скорый выход седьмого альбома "Viva Las Vengeance", поделился заглавным треком и видео на него, а также объявил о туре 2023 года. 1 июня герои инди-поп презентовали клип на "Viva Las Vengeance". Добро пожаловать в Viva Las Vengeance", - приглашает группа в анонсе. Альбом "Viva Las Vengeance", релиз которого ожидается 19 августа, выйдет на лейбле Fueled By Ramen. - Это история о взрослении в Лас-Вегасе. О любви, славе, выгорании и обо всем, что происходит между этими событиями. "Viva Las Vengeance" - это взгляд на то, кем я был 17 лет назад, и кем я являюсь сейчас, - говорит Брендон Ури. В клипе он исполняет роль тапера, играющего на пианино на сцене прокуренного ретро-TV. Ури говорит, что альбом будет посвящен "тонкой грани между молодостью и взрослением". Музыканты попытались дать в нем "интроспективный взгляд на более чем десятилетнюю карьеру Panic! At The Disco". В возрасте 72 лет умер Дэйв Смит, создатель MIDI и синтезаторов Prophet. Музыкальный мир постигла ещё одна огромная потеря: 31 мая скончался Дэйв Смит (Dave Smith), инженер, чьи разработки во многом определили развитие отрасли электронных музыкальных инструментов на протяжении последних сорока с лишним лет. Родившийся в 1950 году, Смит окончил Университет штата Калифорния в Беркли, получив степени в области информатики и электроники. В 1974 году он основал фирму Sequential Circuits: его первой разработкой стал аналоговый секвенсор. В 1977 Смит создал инструмент Prophet-5. Это был первый в истории аналоговый синтезатор на базе микропроцессора и первый программируемый полифонический инструмент. В 1981 году Смит представил на съезде американского Общества аудиоинженеров (Audio Engineering Society - AES) научную работу, где предлагалось создать универсальный интерфейс, который позволил бы электронным музыкальным инструментам обмениваться взаимопонятными данными друг с другом. Из этой идеи родился протокол MIDI (Musical Instruments Digital Interface - цифровой интерфейс музыкальных инструментов), который позволял, в частности, управлять сразу несколькими электронными инструментами с одной клавиатуры (или другого управляющего устройства). Это очень упростило жизнь музыкантам и на сцене, и в студии. MIDI позднее многократно совершенствовался, получал множество надстроек, но его основной принцип остаётся неизменным и сегодня. Подавляющее большинство синтезаторов, сэмплеров, секвенсоров, драм-машин и других инструментов, выпущенных позднее 1985 года, оснащены характерными MIDI-разъёмами (или беспроводными модулями аналогичного назначения). В январе 1983 года на выставке NAMM MIDI был впервые продемонстрирован публике: синтезатор Prophet-600 и Roland Jupiter 6 были подключены друг к другу и воспроизводили звук одновременно. В 2013 году Смит и инженер Roland Икутаро Какехаси (Ikutaro Kakehashi), вдохновивший Смита на создание MIDI, получили за эту технологию давно заслуженную "Грэмми". К сожалению, уже в середине 1980-х Sequential Circuits оказалась в сложном финансовом положении. К моменту выхода своей компании из бинеса, однако, Смит успел разработать инструмент под названием Prophet VS, в котором впервые была представлена технология "векторного синтеза". Это был первый цифровой инструмент Sequential Circuits - и последний. Каждый патч синтезатора формировался четырьмя цифровыми осцилляторами (источниками звука), а джойстик позволял динамически регулировать их соотношение, плавно меняя характер звучания "на лету". В 1987 году активы Sequential выкупила Yamaha. Технологию "векторного синтеза" она адаптировала для своих синтезаторов серии SY, но в остальном Yamaha использовала эту технологию в своих синтезаторах серии SY, но это оказалось единственной пользой, которую компания смогла извлечь из покупки Sequential Circuits. Сам Смит вскоре оказался в Korg, и технология "векторного синтеза" составила основу серии синтезаторов Korg Wavestation. В 1994 году Смит стал президентом молодой компании Seer Systems и подключился к созданию программных синтезаторов. В 1996 году компания заключила контракт с Creative Labs, и в комплекте с картами SoundBlaster AWE64 стал поставляться программный синтезатор Creative WaveSynth, разошедшийся в итоге 10-миллионным тиражом. Эта разработка была тесно интегрирована с аппаратной частью аудиоинтерфейсов, но уже в 1997 году Seer выпустили разработанный первый профессиональный программный синтезатор - Reality. Отраслевая пресса моментально назвала продукт революционным, и небезосновательно. Специально под него даже был выпущен патент 5,886,274 ("Система и метод генерации, распространения, хранения и воспроизведения файлов, содержащих музыкальные работы"). Патент был выдан на имя основателя Seer Стэнли Юнглайба (Stanley Jungleib), который также был сооснователем MIDI Manufacturers Association и сам был тесно связан с разработкой MIDI. Тем не менее можно смело сказать, что направление программных синтезаторов, в итоге получивших колоссальное распространение и в профессиональной сфере, возникло при прямом участии Смита. К началу 2000-х Смиту, видимо, надоело возиться с программными синтезаторами и он создал Dave Smith Instruments, новую компанию по разработке аппаратных инструментов. На свет появилась линека инструментов Evolver. А в 2008 году он выпустил на рынок Prophet'08, обновлённую версию своего классического инструмента - как раз снова в моду вошли аналоговые синтезаторы. За этим последовали Prophet X, Prophet-6 и OB-6, совместная разработка с другим корифеем синтезаторостроения - Томом Оберхаймом (Tom Oberheim). В 2018-м Yamaha безвозмездно передала Смиту права на исторический бренд, и он переименовал Dave Smith Intsruments в Sequential. Уже под этим названием продолжал выпускать новые вариации на тему Prophet, а заодно перевыпустил оригинальные версии Prophet-5 и Prophet-10. В 2021 году Sequential была продана британской компании Focusrite, но с сохранением операционной и инженерной независимости. Последним инструментом, над которым успел поработать Смит, стало их новое совместное с Оберхаймом детище OB-X8, впервые представленное несколько недель назад на выставке Superbooth 2022. "С тяжёлым сердцем мы извещаем, что Дэйв Смит скончался, - говорится в опубликованном на сайте Sequential сообщении. - Мы опустошены, и нас лишь немного утешает тот факт, что он до конца занимался тем делом, которое любил, вместе с членами семьи, друзьями и артистами". Информации о причинах смерти пока нет. В наследии Смита самое поразительное - это то, насколько устойчивыми и долгоиграющими оказались его разработки и достижения. Синтезаторы Prophet, и классические, и новые, до сих пор пользуются немалым спросом. И, скорее всего, ещё долго будут сохранять популярность. Протокол MIDI, как уже сказано, до сих пор является магистральной технологией, и за 40 с лишним лет никто так и не предложил сколько-нибудь значимой альтернативы, только дополнения и расширения. Сегодняшние вездесущие программные синтезаторы фактически ведут свой "род" от Reality. Журнал Electronic Musican в 1998 году присудил ему награду "Выбор редакции", а в 2017-м - когда, казалось бы, уже все забыли, что это такое, - снова присвоил ему эту награду в ретроспективе, как разработке, которая в конце 1990-х "определила способ создания музыки". Наконец, Korg продолжает использовать принцип векторного синтеза в своих синтезаторах и рабочих станциях: например, совсем недавно свет увидел Korg Wavestate, обновлённая версия Wavestation. Кроме того, этот же метод используется во множестве программных синтезаторов от самых разных разработчиков. Смит и его соратники действительно во многом определили, как именно выглядит вся отрасль музыкальных инструментов с технической точки зрения. И в плане звучания тоже. Как заявил глава Focusrity Тим Кэрролл (Tim Carroll), в последнее время Смит занимался разработкой синтезаторов следующего поколения. Остаётся надеяться, что эта работа будет продолжена в память о нём.

This week we pay our respects to Dave Smith and Darwin Grosse by re-airing their Pod Mod episodes.

Happy Monday, buddies! Who's ready to talk about some new NAMM gear?Your favorite neighborhood Gearbuds are, that's who, and that's what we do this week. We also dig into a few of our favorite brands, Gibson and Dean, who have resolved their lawsuit… but who really won?Also discussed: Ernie Ball teaming up with Tosin Abasi for a new line of guitars, Focusrite's new Vocaster and Clarett+ Octopre, Bluguitar AMP-X, the Hercules “Saved by Hercules giveaway, the Artiphon Orba 2, Taylor shaking up their leadership team, the passing of Dave Smith from Sequential Circuits, and Bleeding Audio - a documentary about The Matches.Have you ever tried Miracle Berry?

NI Summer of Sound 2022 deals: https://bit.ly/3mffOPUShow your support for the Podcast and Shout me a Coffee!!https://buymeacoffee.com/emlyninthemix** Today we dedicate this Podcast to Mr Dave Smith - RIP 06/03/22 **PLEASE LEAVE ME A REVIEW on THIS PODCAST!! 5 STARS BABY!!! (god I ask a lot of you) Haha.I just set up an email to contact me on the Podcast!! - emlyninthemix@gmail.comP.S I love you

Music Tech Pioneers III : Sequential Circuits : Rise, Fall, Return ! Hosted by Vin Curigliano of AAVIM Technology, I am joined by guest co-host Pete Brown of Microsoft and special guest Dave Smith, who is the founder of Sequential Circuits. We discuss Daves early history with music and technology , and how that lead a path to founding Sequential Circuits, the early days exploring analog synths and creating tools to expand their usability, to his work with microprocessors and the eventual development of the revolutionary Prophet 5 Polyphonic synth. We cover his involvement in the development of MIDI and the paradigm shift that created in the industry, the challenges of staying ahead of an ever increasing competitive market, the damage caused by being too early to market with evolving technologies , the fall of the company and his work with other companies in the late 80's and 90's. We also cover Daves return to hardware synthesisers with DSI - Dave Smith Instruments in the 00's, the eventual return of the Sequential brand name, his ongoing work with continuing to deliver analog synth mastery, 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 Sequential : https://www.sequential.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 2022

Playlist ARP demonstration. Roger Powell and Harry Coon, the ARP 2600—How it Works, side 1 from The Electronic Sounds Of The Arp Synthesizer 2600 And 2500 (1972 ARP Instruments). Vinyl, 7", 33 ⅓ RPM. Narrated and all music by Roger Powell. 7:38 ARP demonstration. Roger Powell and Harry Coon, the ARP 2500—How it Sounds, side 2 from The Electronic Sounds Of The Arp Synthesizer 2600 And 2500 (1972 ARP Instruments). Vinyl, 7", 33 ⅓ RPM. Music by Harry Coon and an improvisation by Roger Powell. 6:20 ARP demonstration, Dave Fredericks, “I Can See Clearly Now” from The ARP Pro Soloist Synthesizer (1973 ARP Instruments). Vinyl, 7", 33 ⅓ RPM, EP. 2:24 ARP demonstration, unknown artists, The First Symphonic Keyboard - ARP Omni (1976 ARP Instruments). Flexi-disc, 7", Promo, 33 ⅓ RPM, Single Sided. 5:05 ARP demonstration, Dave Fredericks, “Zarathustra” from The ARP Pro Soloist Synthesizer (1973 ARP Instruments). Vinyl, 7", 33 ⅓ RPM, EP. 2:58 ARP demonstration, Music and Narration By Roger Powell from side 1 of The ARP Family Of Synthesizers (1973 ARP Instruments). Vinyl, 7", 33 ⅓ RPM, Stereo Music By Dave Fredericks, Harry Coon. The narrator is credited as being musician Roger Powell, but I don't think that's true. Powell was an ARP sponsored artist around this time and some of his works from Cosmic Furnace are played on the disc, though. 7:08 PAiA Synthesizers demonstration. “Selections From Epsilon Boötis” by Richard Bugg from PAiA Synthesizers (1974 PAiA Electronics, Inc.). Flexi-disc, 7", 33 ⅓ RPM, Single Sided, Promo, Red.Uses the Paia 2720 and Paia 4700 synthesizers. Interesting demonstration that also includes instruments being processed through PAiA modules. PAiA demonstration record which included an 18-page booklet with pictures and schematics of the featured composition. 6:17 Electro-Harmonix demonstration of guitar pedals and effects. The Electro-Harmonix Work Band. “Fame and Fortune” from State-Of-The-Art Electronic Devices (1976 Electro-Harmonix). Vinyl LP. Directed by Elliott Randall who organized a band of studio musicians recruited to play a variety of Electro-Harmonix effects boxes and pedals. Bass, Will Lee; Drums, Gary Mure; Engineer, Joe Vanneri; Guitar, Dan White, Jim Miller; Producers, Dan Gershon, Elliott Randall, Mike Matthews; Vocals, Piano, Philip Namanworth. Record was basically made to feature and promote high-end electronic guitar/bass/voice effect devices by Electro-Harmonix. Detailed explanations of each device and its role in each given track are given in the liner notes on the sleeve. This track features the Golden Throat, a mouth filter device running guitar sound through a tube into the player's mouth; and Octave Multiplexer, a downward octave displacer with tone control possibilities, used here on voice. 5:08 Electro-Harmonix demonstration of guitar pedals and effects. The Electro-Harmonix Work Band. “I Am Not a Synthesizer” from State-Of-The-Art Electronic Devices (1976 Electro-Harmonix). Vinyl LP. Directed by Elliott Randall who organized a band of studio musicians recruited to play a variety of Electro-Harmonix effects boxes and pedals. Bass, Will Lee; Drums, Gary Mure; Engineer, Joe Vanneri; Guitar, Dan White, Jim Miller; Producers, Dan Gershon, Elliott Randall, Mike Matthews; Vocals, Piano, Philip Namanworth. This track features the Hot Foot universal pedal, “allowing real-time foot control of any potentiometer (knob) on any other device; Frequency Analyzer, or ring modulator; Memory Man, a solid state echo/analog delay line; Electric Mistress, a flanger; Doctor Q, an envelope follower and voltage controlled filter; and Big Muff Pi, a harmonic distortion and sustain device. Not synthesizer was used in the making of these sounds. 8:19 The Elektor Music Synthesiser demonstration , no artist, (1977 ESS). Flexi-disc, 7", 33 ⅓ RPM, Single Sided. This was a small, analog synthesizer with 3 VCO's, 1 VCF, and a dual VCA.The Elektor Formant had a three octave keyboard and was made in the Netherlands and available by kit. From the manual: “Formant is not a suitable project for the beginner. The complexity of the synthesiser demands a high degree of competency in soldering p.c. boards and interwiring if an unacceptably large number of faults are not to arise.” 7:35 RMI Keyboard Computer demonstration. Mike Mandel, “Mandel Does it” from RMI Harmonic Synthesizer And Keyboard Computer (1976 Rocky Mount Instruments, Inc.). Vinyl LP. Mike Mandel, RMI Keyboard Computer. 1:58 RMI Keyboard Computer demonstration. Clark Ferguson, “Voices” from RMI Harmonic Synthesizer And Keyboard Computer (1976 Rocky Mount Instruments, Inc.). Vinyl LP. Clark Ferguson, RMI Keyboard Computer. 1:38 RMI Keyboard Computer demonstration. Clark Ferguson, “Strings” from RMI Harmonic Synthesizer And Keyboard Computer (1976 Rocky Mount Instruments, Inc.). Vinyl LP. Clark Ferguson, RMI Keyboard Computer. 3:00 Prophet 5 demonstration. Part 1, Performed by John Bowen from The Prophet (1978 Sequential Circuits). Flexi-disc, 7", 33 ⅓ RPM, Two Sided. Recorded at Music Annex, Menio Park, CA. 3:27 Prophet 5 demonstration. Part 2, “Sinfonia No. 11 in G minor” (Bach) performed by Dan Wyman from The Prophet (1978 Sequential Circuits). Flexi-disc, 7", 33 ⅓ RPM, Two Sided. John Bowen, Recorded at Sound Arts, Los Angeles, CA. 2:23 Synclavier demonstration. Denny Jaeger and Patrick Gleeson, side 1 from The Incredible Sounds Of Synclavier II (1981 New England Digital Corp.). Vinyl, LP, Compilation, Stereo, Blue Translucent. Demonstration disc for Synclavier sampling system. Includes “Untitled,” composed, programmed, and performed by Denny Jaeger; additional programming, composition, and performances by Bill Keenan. 14:23 Equinox 380 MusiComputer demonstration , Bob Snyder, “Heaven Came Down” from Equinox - Featuring The Amazing Equinox 380 MusiComputer Electronic Keyboard (1982 CBS). Vinyl LP. Equinox 380.” All selections were recorded 'Live" with a standard production model of the Gulbransen Equinox 380 MusiComputer. No "over-dubbing" was utilized in the production of this album.” Snyder himself recorded the following demo tracks that are different than the album I am sourcing for this podcast, Here is that recording of a YouTube video that demos this organ synthesizer with added narration and audience clapping. 2:46 Equinox 380 MusiComputer demonstration, Danny Saliba, “Runaway” from Equinox - Featuring The Amazing Equinox 380 MusiComputer Electronic Keyboard (1982 CBS). Vinyl LP. Equinox 380.”All selections were recorded 'Live" with a standard production model of the Gulbransen Equinox 380 MusiComputer.” 2:18 LinnDrum demonstration. Side 1 from The Ultimate Drum Machine (1982 Linn Electronics, Inc.). Red Flexi-disc, 7", 33 ⅓ RPM, Single Sided, Promo. 2:25 Emulator Demonstration, Side 1, “The Andrew Wilson Emulator Demo” (written by Andrew Thomas Wilson); and “Batteries Not Included” (written by Marco Alpert); narrated by Marcus Hale from Emulator Demonstration (1982 E-mu Systems, Inc.). Flexi-disc, 8.” Featuring the E-mu Emulator sampler. 6:51 Fairlight Computer Music Instrument demonstration. Don Blacke, narrator. Side 1 of the cassette, Just Fairlight - Number Three (1982 Fairlight Instruments Pty Ltd). Cassette. “Cassette released by Fairlight Instruments Pty Ltd promoting the Fairlight Computer Musical Instrument - the first polyphonic digital sampling synthesizer. Cassette was available when purchasing the synthesizer from the company. Printed information and tracklisting included on a separate sheet of paper. Side A includes informative narration explaining the Fairlight CMI and features various samples and short compositions. The last quarter of Side A includes recording of a presentation by Dr Robert Moog commenting on the Fairlight CMI. Side B contains all musical extracts from Side A, though without the commentary.” 20:02 Yamaha Electone demonstration. Claude Dupras, “Pulstar” from Interface Yamaha FX-1 (1983 Yamaha). Vinyl LP. Dupras, a longtime Yamaha Electone user, recorded this album for Yamaha to showcase the features of the latest model, the digital Electone FX-1. Here he plays the Vangelis piece “Pulstar.” 3:21 Yamaha DX7 demonstration. Side 1 from DX7 Sound Sensation (1983 Yamaha). Flexi-disc, 33 ⅓ RPM, Stereo. Tracks: Bell, Female Voice (2); Bagpipe, Snare Drum, Footsteps (3); Stardust (1); Harp, Cello (2); Electric Guitar (2); Church Organ (1); Violin (1); Train, Banjo, Fiddle, Honky-Tonk Piano (4); Volcano (1); Pan-Flute, Timpani, Shimmer, Chinese Organ (4). Notes on DX7 settings per track: (1) Signal processors used on this recording: Reverb, Delay, Graphic Equalizer, Parametric Equalizer, Flanger (used on 'Guitar'); (2) Number in parentheses indicate the number of overdubs used for the corresponding voice; (3) The entire recording was made with a single Yamaha DX7." 6:37 Background Music Excerpts from the Moog 900, RCA Music Synthesizer, Sound of Moog, ARP family of instruments, E-mu Emulator, demonstration recordings. Blue Marvin, “Release Time” from the album With Arp Sinthesyzer 2600 (1973 Joker). Blue Marvin is Alberto Baldan Bembo in this Italian release of ARP Odyssey tracks. 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.

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.

PLEASE LEAVE ME A REVIEW on THIS PODCAST!! 5 STARS BABY!!!I just setup an email to contact me on the Podcast!! - emlyninthemix@gmail.comP.S I love youCheck out Emlyn in the Mix on YouTube!!https://www.youtube.com/c/EmlynInTheMix

Feeling fresh, folks. This week your newly coiffed buds have themselves a freewheeling grab bag of an episode that is better listened to than described; example content: a vintage Martin is simply the hillbilly Stradivarius.Main topics this week also include Hank and Dave’s haircuts, getting overexcited about the LR Baggs Para Acoustic DI, diving deep into video synthesis via the Sleepy Circuits Hypno (a magical Eurorack and standalone visual device), the value of learning an entirely foreign discipline, and gear rental services like Pedal Genie.Also discussed: ASMR (aka forehead feeling), DODfather updates, Apple Airtags, What Drives Us by Dave Grohl, Focusrite acquiring Sequential Circuits, the 60th Anniversary of the Gibson SG, Ableton packs, viking funerals vs. modern musician funerals, Spotify patenting really some invasive technology, RHCP selling out (lol), and stupidly expensive fader covers.Wear your pirate earrings like Morgan Freeman.

NEWS The new trend of making different versions of the same song Focurite Group acquires legendary synth manufacture Sequential Circuits GUEST Composer and music licensing expert Michael Elsner Master Music Licensing Michael Elsner started playing sessions for a multitude of television, album and film projects, which eventually led to his own music appearing on TV and film as well.  As a songwriter and composer, his songs have been placed in over 180 individual television series, accounting for over 800 individual episodes. Some of these include American Idol, The Voice, Amish Mafia, Cold Case, EXTRA, The Sing-Off, The Ellen DeGeneres Show, Hannah Montana, and High School Musical 2. He’s also composed music for commercials for Audi, Mazda, Skechers and Verizon, as well as trailers for Cinderella (Disney), Ocean's 8, Narcos, Sneaky Pete, and Better Call Saul. Michael has taken his knowledge and experience of music licensing and created the Master Music Licensing Program, which provides a first-hand look on how to obtain sync placements in film and television. During the interview we spoke about growing up in Woodstock, making the jump to writing for television, the 4 step process to licensing, and much more. On the intro I’ll take a look at singles that won’t die, and Focusrite acquiring Sequential Circuits. var podscribeEmbedVars = { epGuid: 'https://bobbyoinnercircle.com/?p=2833', rssUrl: 'https://bobbyoinnercircle.com/feed/podcast/', backgroundColor: 'white', font: undefined, fontColor: undefined, speakerFontColor: undefined, height: '600px', showEditButton: false, showSpeakers: true, showTimestamps: true };

El primer capítulo de Nueva Onda, donde hablamos de tecnología musical, sintetizadores y música electrónica. En este episodio hablamos de lo nuevo de Ableton 11, el adiós del Prophet 12, los sintetizadores de Daft Punk. Nothing.Tech y Teenage Engineering. Sequential Circuits Prophet 6 ahora con MPE. Suzanne Ciani lanzó un disco cuadrafónico.

Chapters00:00 - Introduction00:43 - Education and Beginnings02:35 - Developing The First Product, Storm04:35 - Making Music Tech More Accessible06:52 - The Challenges Of Selling Early Software Products09:04 - Recreating Classic Synths in Software11:43 - Important Moments in Arturia's History14:11 - Making Soft Synths For iOS16:48 - The Move Into Hardware Instruments18:38 - Origin Modular System20:33 - Developing The MiniBrute23:08 - The Steiner-Parker Filter25:05 - MatrixBrute and PolyBrute27:37 - Breaking Into The Interface Market31:14 - Creating Tactile Instruments34:10 - The Future Of Arturia35:52 - Utilising New Technology36:57 - Developing For The End User38:39 - EndingArturia BiogBased in the French city of Grenoble, Arturia have built on their roots as pioneering developers of virtual instruments to become one of the world's leading manufacturers of analogue, digital and software synthesizers, controller keyboards and audio interfaces.Launched in 1999 by college friends Frédéric Brun and Gilles Pommereuil, the company initially started out by developing software that could accurately emulate retro analogue synths. In 2003 they started to work with some of the major manufacturers, turning out softsynth versions of classic Moog, Roland, Yamaha and Sequential Circuits synths.In 2012 they launched their first hardware range with the MiniBrute, later followed by the MicroBrute, MatrixBrute and PolyBrute.20 years after launch, the company continues to grow and their product line now includes a wide range of softsynths, apps, controllers, audio interfaces and hardware synths.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).

On this bonus episode inspired by this week's guests, Shiro Schwarz, we talk about analog synthesizers and one of Rafael Marfil's favorite entries to the catalog.Listen to my interview with Shiro Schwarz from earlier this week.Subscribe to the podcast and follow Nonethelesser on Instagram.The theme for this episode was produced by Cro_ft.Sourcing:A history in analog synthesizers.The Prophet 5 by Sequential Circuits.

PEG talks up Expansive Sensuality in Sound with the track: "25 Wild & A FREAK". We also talk about the new Prophet 5 and Prophet 10 from Sequential Circuits. Please support Phantom Electric Ghost by clicking the "Paypalme" link or the Anchor support links. Soundcloud link: https://found.ee/BF4t Twitch https://www.twitch.tv/videos/752674440 Check out the review on Music Gateway of a new track to be released on Swedish PR Label on 09/18/2020: https://found.ee/AUbB Get the new Release: Phantom Electric Ghost "The EP" here on Apple Music https://music.apple.com/us/album/ep-single/1528183691 On Spotify: https://open.spotify.com/album/5Gyd7PkrVYVJPHw8dHUQNa?si=uJindKEnSAGtSSQCkGGMdA We are a devotee of hardware DAWless recording. Check out our music on all Streaming services. If you are an independent artist, musician and/or creative and want to be interviewed on a podcast-- leave us a voice memo on Anchor.fm with your Instagram UserName and we will send you a direct message regarding scheduling a podcast interview. Alternatively you could send an email at PhantomElectricGhost@gmail.com or a Direct Message on Facebook @phantomelectricghost Podcast Interview options: Free Audio interviews via Anchor.fm Paid real time Video Interviews via Streamyard and Facebook Live -- Video interviews are also published as audio interviews after broadcast only $25.00 USD Send a direct message to our Instagram for details: expansive_sound_experiments PEG on Twitter: https://found.ee/phantom_electric_ghost_twitter Book Phantom Electric Ghost for a concert here: https://kangainspace.com/artist.php?phantomelectricghost We can do online concerts **************************************************************************************** Influence Marketing with Intellifluence -- Work Safely from home https://bit.ly/3fLLkkh PayPal Me Support 4 Phantom Electric Ghost https://www.paypal.com/paypalme/PhantomElectric?locale.x=en_US%5C --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app · Charity Promotion: Democracy Works: This advertisement is part of a charitable initiative in partnership with Democracy Works. howto.vote --- Send in a voice message: https://anchor.fm/phantom-electric/message

Chapters00:00 - Introduction00:31 - Peter Vogel and the Fairlight CMI01:51 - First Fairlight in the UK03:25 - That Fairlight sound05:32 - Stravinsky Firebird Suite, London Philharmonia06:38 - The KPM albums08:25 - Working with Delia Derbyshire11:15 - Early technological limitations13:20 - Sequential Circuits14:56 - 12 bit sampling16:27 - The Kaleidophon18:40 - Interlude19:05 - The Maniac sequencer21:59 - Modern sampling24:35 - Using Reaktor25:50 - Sample libraries vs sound design28:17 - Creating something unique30:00 - EndingPhotographs on our website.https://www.soundonsound.com/people/david-vorhaus-podcastDavid Vorhaus BiogAn experimental electronic musician with a background in Physics and Electronic Engineering, David Vorhaus has been a pioneer of electronic music in Britain for over 30 years. In 1968 he formed the band White Noise with Delia Derbyshire and Brian Hodgson of the Radiophonic Workshop. Their debut release, An Electric Storm, has since garnered cult status and is recognised by Island Records as being an important album in its genre. One of his early samples on the Fairlight CMI was of an orchestral stab, taken from a recording of Stravinsky's Firebird by the Philharmonia Orchestra, that has since become the most used sample in music history. As a bassist with no interest in playing keyboards, David developed the Kaleidophon ribbon controller and the Maniac analogue sequencer, something he has since rebuilt in digital form using Reaktor.https://en.wikipedia.org/wiki/White_Noise_(band)Rob PuricelliRob Puricelli is a Music Technologist and Instructional Designer who has a healthy obsession with classic synthesizers and their history. In conjunction with former Fairlight Studio Manager, Peter Wielk, he fixes and restores Fairlight CMI's so that they can enjoy prolonged and productive lives with new owners.He also writes reviews and articles for his website, failedmuso.com, and other music-related publications, and has guested on a number of music technology podcasts and shows. He can often be found at various synthesizer shows demonstrating his own collection of vintage music technology.www.failedmuso.com

We're proud to present to you our first episode of Fault Radio Talks podcast with Grammy winner and the founder of Sequential circuits - Dave Smite. As part of International Synth Day that took place on May 23rd last year, Arushi Jain AKA Ose, caught up with Dave in his office in San Francisco to learn more about his personal and professional journey. Dave founded Sequential Circuits in 1974 and may be best known for the creation of the Prophet 5 - the world's first fully programmable polyphonic synth that has been used by artists such as David Bowie, Depeche Mode, Madonna, The Pet Shop Boys and more. He graduated from UC Berkeley and among his accolades, he's been nicknamed the Father of MIDI.

This is a re-posting of sorts. I was going through old mixes trying to figure out which ones had not been posted to Mixcloud. I plan on posting some of those old mixes as-is to Mixcloud in the coming months.  One of the mixes I dug up is Sequential Circuits, originally posted 12 years ago. Yikes! I've been doing this for a long time. I really like this mix but while listening to it I decided to give it one little tweak. I dropped two tracks by Detroit Escalator Co. & Geometric Farms and replaced them with a cut from Ash Ra Tempel called "Slightly Delayed." My favorite tunes in this mix are the Richard Pinhas tracks, "Sundial" from Steve Roach * "Hyperborea" by Tangerine Dream. I've been rediscovering Hyperborea lately and I think it's one of my top three TD albums. All this berlin school music has got me thinking about doing another sequencer mix using classic tunes like this one. I hope you enjoy this resurrected mix. Cheers! T R A C K L I S T : 00:00    Arp - St. Tropez 05:00    Solvent - wig $1 07:15    Richard Pinhas - la ville sans nom 10:30    Steve Roach - Sundial 17:30    Klaus Schulze - Euro Caravan 25:15    Richard Pinhas - Melodic Simple Transition 28:20    Tangerine Dream - No Man's Land 33:20    Robert Rich and Ian Boddy - Chamber 37:18    Ash Ra Tempel - Slightly Delayed 43:30    Richard Pinhas - Home ''ruitor'' 46:57    Steve Roach - Arc of Passion 56:59    Tangerine Dream - Hyperborea 61:27    end  

About: Chris Meyer first learned how to play modular synthesizers as a teenager in the 1970s. He went on to be an engineer at Sequential Circuits (where he created Vector Synthesis), Digidesign, Marion Systems (Tom Oberheim), and Roland R&D US, teach synthesis at UCLA Extension, and write for magazines including Music Technology and Keyboard. More recently, he started Learning Modular as a way to teach others how to use modular synthesizers, and co-wrote the recent modular synthesis book Patch & Tweak with Kim Bjørn. Chris freely mixes samples and synthesis, creating a hybrid blend of electronic music with influences from world music and spoken word. He previously released the ensemble album “Alias Zone: Lucid Dreams”, which won the AFIM award for best independent electronic instrumental/ambient album of 2002. After a long detour in the video and film industry, he is now making music again, both as a solo artist and with the ensemble Meridian Alpha.  His Data Cult Audio set consists of a series of solo works Chris performed on his modular-based live performance system. There are four distinct sections: 00:00 Sleepless in Niger 11:45 Buddha of Compassion 24:43 The Train to Berlin 34:30 I Have Tried The solo on “I Have Tried” was played by Jim Coker of Meridian Alpha. Links: https://learningmodular.com/ https://www.youtube.com/learningmodular

How do you describe a person that was apparently born to be an engineer, but also born to be an educator - and born to be a musician, too? I don't know either, so I'll just point at Chris Meyer and say "That guy!" Chris Meyer is currently putting together some of the strongest instructional information on modular synths in the business; his "Learning Modular" is a great way to dig deep into the modular business, and figure out everything from basic voice creation to all of the subtleties of a Random Source DUSG. He's found a way to communicate the necessary details without totally sucking the creativity out of the process. As a result, there are a lot of people that have come to depend on his work in order to get the most out of their modular. He has an amazing history in the music instrument industry (most notably as an engineer at Sequential Circuits) and the media education world (where he did heavy-duty visual work and instructional videos). All of this has come together to his current work, and his experience and sensibility helps bring home some otherwise abstract details. As he says in the interview, you can find his work almost anywhere by searching for "Learning Modular". Check it out and you're sure to learn something new and important. Enjoy!

Today I am joined by Ellison Wolf of Waveform magazine. We sat down with Dave Smith of Sequential Circuits in his San Fransisco office and had ourselves a lovely chat. Sequential Circuits: https://www.sequential.com/about/ WAVEFORM: https://www.waveformmagazine.com/ SPONSORS Omiindustriies: https://www.omiindustriies.com/ SSF: http://www.steadystatefate.com/stereodipole Pittsburgh Modular: https://pittsburghmodular.com/ Recovery Effects: https://recoveryeffects.com/ Crema Caffe: https://cremacaffe.shop/products/spikexl Alright Devices: https://www.alrightdevices.com/ Patchwerks: https://patchwerks.com/ One Million Tampons: https://www.onemilliontampons.com/

Apollo 440 - Ain't Talkin' 'Bout Dub An Extended Edit By The Lovely Mrs & Mr Turner Apollo 440 (alternately known as Apollo Four Forty) are an English electronic rock band formed in Liverpool in 1990. Apollo 440 have written, recorded and produced five albums, collaborated with and produced other artists, remixed as Apollo 440 and as ambient cinematic alter-ego Stealth Sonic Orchestra, and created music for film, television, advertisements and multimedia. During their eleven years at Sony, 1993–2004, they notched up 11 Top 40 UK singles with three Top 10s and had a chart presence worldwide. The name comes from the Greek god Apollo and the frequency of concert pitch — the A note at 440 Hz, often denoted as "A440", and the Sequential Circuits sampler/sequencer, the Studio 440. They changed the writing of their name from Apollo 440 to Apollo Four Forty in 1996, though they switched back for their latest album. To date, Apollo's remixes number around 60 - from U2 in the early 1990s to Puff Daddy/Jimmy Page and Ennio Morricone a decade later. Apollo's mix of Puretone's "Addicted to Bass" was made a lead track and became a hit in 2002. Among their Stealth Sonic Orchestra remixes are a series of Manic Street Preachers singles.

This is the last podcast supporting our Kickstarter campaign for a new recording chain. The campaign runs through December 11th - please help out the podcast: https://www.kickstarter.com/projects/823319547/mic-pre-update-for-art-music-technology Paul Birken's name has come up in a few previous podcasts - he was one of the people pushing the techno envelope in the widespread and influential Midwest techno scene. He's still working his ass off; according to him, music remains an 'everyday practice' for him. And his output would back that up, between the massive amount of work available on his Bandcamp site and all of the live tracks he has on the Tonewrecker Soundcloud site, he remains one of the hardest working guys in electronic music. But the interesting thing is that he balances this all with a job and a family - he's been vocal about not needing (or even necessarily wanting) to be a full-time musician. How can this be? Well, he's got some unique insights about musicianship that are quite interesting and inspiring, and I'll have to say that I now have a broader vision of what a creative life can look like. We also took the chance to stroll down Vintage Gear Lane, covering everything from old Kawai sequencers to Sequential Circuits samples. And how you travel to gigs when you are hardware focused. And how you don't take crazily-valuable vintage gear on the road. The reality of life for a techno performan (not DJ) means some compromise - while still maintaining a purity of purpose. Enjoy!

I don't really like berlin school music much anymore. I used to love that style. The first electronic music that I bought was Tangerine Dream & Jean Michel Jarre. I liked both of those artists for a long time. Eventually I think I just became bored with that style of electronic music. Recently, however, I've been listening to some berlin-type music. It started with the latest Steve Roach release, Arc of Passion. I was enjoying the album quite a bit so I dug up some other berlin school or nearly berlin tunes to throw into a mix. Of course there is a cut from Arc of Passion as well as another Roach tune, "Sundial", which I absolutely love. Add in some old T-Dream, Klaus Schulze, Richard Pinhas(3 tunes) and I'm good to go. The Tangerine Dream cuts are from an old cassette that I had of "Hyperborea" which I used to play constantly 10 to 15 years ago. I'm sure I'll pass out this phase soon. But for now the bouncing sequencers of berlin school are getting plenty of airtime at home & at work. t r a c k l i s t : 00:00    Arp - St. Tropez 05:00    Solvent - wig $1 07:15    Richard Pinhas - la ville sans nom 10:30    Steve Roach - Sundial 17:30    Klaus Schulze - Euro Caravan 25:15    Richard Pinhas - Melodic Simple Transition 28:20    Tangerine Dream - No Man's Land 33:20    Robert Rich & Ian Boddy - Chamber 37:30    Detroit Escalator Co. - city lights 41:00    Geometric Farms - The Chemist's Lullaby 45:15    Richard Pinhas - Home ''ruitor'' 48:40    Steve Roach - Arc of Passion 59:30    Tangerine Dream - Hyperborea