Beach theme-tangerine dream

YouTube via graal7
"Beach theme-tangerine dream
clavia nordwave solo"
Moog Voyager
Nord Lead
Yamaha Motif ES

Cicuit Bent Drum Machines by wotatwaat

circuit bent alesis hr-16 drum machine

YouTube via wotatwaat
"4 6 position rotary switches with led indictaors, joystick to control other bends and a pitch control"

circuit bent yamaha rx 17 drum machine

"lots of bends"

circuit bent roland tr-505

Akai XR10 Circuit bent pt1

"Here's a bent XR10. It has 4 6 position rotatry switches all linked, so the capabilites are pretty broad. It's a cool machine without the bends."
"several bends, pitch and individual volume control"

Be sure to see wotatwaat's YouTube channel for more circuit bent goods.
via dylan

The Auteurs - Junk Shop Clothes - Tenori-on Cover

YouTube via newgirlintownvideo.
"www.myspace.com/newgirlintownm usic

A song from one of my favourite bands of all time, The Auteurs, from one of the best albums of all time, 'New Wave'."

Elbow - Powder Blue Cover on Tenori-on / Casio / Glock


Hello you. There is a reason why I covered this song, check out the blog on the above website to find out...

Also check out the Batgirl-style leap at the beginning of the video (I STILL haven't worked out how to edit properly) and the inability to play a simple glock. Those music lessons at primary school clearly paid off.

The Tenori-on here is brought to you in association with The Green Lady."

Modified Yamaha CS01 CS-01 Analog Synth

YouTube via rolandsh1000
"This is a brief video demo of a modified Yamaha CS-01 Mk1 battery-powered analog synth. I'm not going through the internal speaker here, but rather using the line-out to a Roland MicroCube amp.

The mods are:
1) expanded resonance and continuous control of the resonance
2) VCA drone mode

Except for the fact that the breath controller will no longer work on this unit (how many folks actually use it anyway?), both are 'non-destructive' mods, which means you can return to stock functionality if you want.

The 12dB low-pass filter on the CS-01 isn't terribly stable at high resonances, which is probably why Yamaha kept the stock setting to be a bit tame.

I make some odd comments here: why am I calling the footages "high sounds?" Please ignore some of the rambling!"

Studio, Feb 2009

flickr by solarisstudios

full size

Note the Crumar Stratus and the yellow and black synth above it. I've posted that one before but I forget what it is. Anyone remember?

Update via Heath: "The one above the Stratus is a Korg 900PS" You can find some prior posts including video on the KORG 900PS here.

Analog Shutdown - Muzik 4 Machines (d64)

YouTube via muzik4machines. MP3 here
"Korg ESX1: All Sequences/Drums
Yamaha TX81z: Reverby/Pumpy Sawtooth Bass (chain:TX81z-Boss V-Wha-Akai MFC42-Alesis Nanoverb-DBX266 ch1 (pump)-ch2 (Compression)-Mixer)
Roland MKS50: Hoover/Saw/Lead/Pumpy Synth (Chain MKS50-Boss SL20-DBX266-Zoom RFX2200-Mixer)
Redsound SoundBite Pro: Vocals/looping
Korg Kaoss pad 2: Tempo Delay
Korg Kaoss Pad 3: Loops, Looper(snare rolls), Grainshifter
Korg Kaossilator: Noise Sweeps (path: K01-Mini KP(Delay)-Mixer)
Korg ER1: Beatbox AND sidechain signal (Chain: left out-ProCo Turbo Rat-Boss V-Wha-Mixer)
DX200: Fm E-piano, pads, 303-esque sequences, etc (Chain: Left Out-Boss DD5 delay-Mixer)
Motu Midi Mixer 7s: My mixer, controlled by the BCF2000)
Kawai Midi Patchbay:Guess
DBX MC 6: Output Compressor
NOT used:
a computer, besides recording it"

Muzik 4 Machines - Electrocution (Electro Cushion)

An interview with James A. Moorer

This one sent in via fabio. You can find the full interview on Unidentified Sound Object. The below in quotes is some background info on James A. Moorer followed by a snip on how he used ASP for synthesis on Indiana Jones and the Temple of the Doom. Note the following is only an excerpt for the archives should the interview disappear. If you want to cut to the chase, just click through the above link for the full interview.

Image via James A. Moorer's personal website.

Background info for the interview.
"Matteo Milani had the pleasure of interviewing James A. Moorer, an internationally-known figure in digital audio and computer music, with over 40 technical publications and four patents to his credit. He personally designed and wrote much of the advanced DSP algorithms for the Sonic Solutions "NoNOISE" process which is used to restore vintage recordings for CD remastering.
Between 1980 and 1987, while Vice-President of Research and Development at Lucasfilm's The Droid Works, he designed the Audio Signal Processor (ASP) which was used in the production of sound tracks for Return of the Jedi, Indiana Jones and the Temple of Doom, and others.
Between 1977 and 1979, he was a researcher and the Scientific Advisor to IRCAM in Paris.
In the mid-seventies he was Co-Director and Co-Founder of the Stanford Center for Computer Research in Music and Acoustics. He received his PhD in Computer Science from Stanford University in 1975.
In 1991, he won the Audio Engineering Society Silver award for lifetime achievement. In 1996, he won an Emmy Award for Technical Achievement with his partners, Robert J. Doris and Mary C. Sauer for Sonic Solutions "NoNOISE" for Noise Reduction on Television Broadcast Sound Tracks. In 1999, he won an Academy of Motion Picture Arts and Sciences Scientific and Engineering Award for his pioneering work in the design of digital signal processing and its application to audio editing for film. He is currently working at Adobe Systems as Senior Computer Scientist in the DVD team."

snip from the interview:
"MM: Can you talk about the synthesized arrows in Indiana Jones and the Temple of the Doom?

JM: This was done by linear prediction. Ben had recorded the sounds of arrows going by, but they were too fast. I took 100 ms from the middle of one of those sounds and created a filter of order 150 from it. When driven by white noise, it made the same noise as the arrow, but continuing forever. He then put that sound in the doppler program to produce the sounds of the arrows flying by.

In addition to being a numbers prodigy, ASP is quite garrulous. It can synthesize speech, the sounds of musical instruments, and even special effects by the same mathematical techniques. In Indiana Jones, for example, there is a hang-onto-your-seat scene in which Jones and his pals, while dangling precariously from a rope bridge slung across a deep chasm, come under attack by a band of archers. Lucasfilm technicians had recorded the sound of a flying arrow in a studio, but they discovered that the whistling noise did not last long enough to match the flight of the arrow on the film.
ASP came to the rescue. Moorer copied 25 milliseconds from the middle of the one-and-a-half-second recording and spliced the duplicate sounds to both ends, all electronically. Then he manipulated the arrow's noise so that it faded as the missile moved from left to right across the screen. To ensure total accuracy, Moorer even used ASP to include a Doppler shift - the change in pitch from high to low heard when an object sweeps rapidly past. Thus, as the arrow flies by actor Harrison Ford's head the audience hears a subtle change of frequency in its noise. In this way the sound track dramatically increases the audience's sense of the hero's peril.
[excerpt from Discover Magazine, August 1984]"

Update via SteveL in the comments: "I had the pleasure of working with Andy Moorer while I was as a junior sales and QA engineer at Sonic Solutions from 1993-1996 during their peak years in the audio editing market. Andy is truly one of the legends of electronic music, a smart businessperson, and all around great guy. His development of NoNoise was groundbreaking at the time, and we also developed a fiber optic shared audio networking platform that was many years ahead of its time with features like bandwidth reservation. I will never forget figuring out that he was one of the people behind FM Synthesis- I told him I was fond of those old Yamaha TX-81Zs and he said 'I think I have a copy of the patent in my drawer'"

Maestro USS-1

flickr by zonkout

full size

"Universal Synthesizer System: the Oberheim effects in one box."

Anyone know if any of the filter design made it into the SEM? Curious how they compare.

Maestro Rhythm N' Sound G2 + pals below
"Yamaha YC-10
Multivox FR-13"

Tenori On sequencing Nord Modular G2 [v08]

YouTube via polishbroadcast
"All sounds from the Nord Modular G2. Drums are a patch by Roland Kuit on the electro-music.com board. This is probably the best virtual analog synth i have tried. It sounds so good. It is a shame they discontinued it. The Tenori-On is starting to open up as a more flexible sequencer as i use it more.

Excuse the quality. This was recorded with my Macbook Pro's iSight and 1/8" audio input."

Tenori On sequencing Access Virus TI Snow [v01]

Stereo version embedded. click here for all of the videos in this set.
"Trying to expand the internal sounds and get beyond that recognizable Tenori On sound and timing. I thought the 4 parts of the TI Snow would be limiting but the sounds can be so big it is a challenge to try and be simple. The Tenori On is in "Advanced" mode so i wasn't locked into score mode for the first 4 layers which was useful on my Nord Modular G2 (which i am also uploading)."

Treat Yourself :)