Synthesizers

Health insurance rip off lying FDA big bankers buying
Fake computer crashes dining
Cloning while they're multiplying
Fashion shoots with Beck and Hanson
Courtney Love, and Marilyn Manson
You're all fakes
Run to your mansions
Come around
We'll kick your ass in

Postby Eugenics » Fri May 04, 2018 1:08 am

roland makes all of their money off of those totally ubiquitous only in every damn generic hip-hop, pop and country music studio workstations and massively overpriced digital sample based stage pianos.. they really dont give a shit about the niche analogue synth market since it's really still an illusion like how vinyl sales can be at an all time high but its still not feasible to build newer reliable and consistent presses, and only had their hand forced to make that boutique series to keep afloat in a market where the microkorg has been a top seller while being virtually unchanged since it was first released...Aira was an okay foray, and I enjoy playing my tr-8 and system-1, but I mean, I'm not doing anything new with them, but yeah sure I can pair them with my OG 303 and drive them through the mixer and tape and do that retro shit from acid to juke and cheesy house to gabber. lol Nothing fucking really new there, although the System-1 can achieve some really crisp and thick somewhat retro/future sounding stuff that will surprise you from time to time...Idano, It's cool having the hardware, but I can just get down with my laptop and plugins and my own samples and loops and atmospheric/field recorded processing these days...
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Postby animefilm » Fri May 04, 2018 3:31 pm

How feasible is it to build a shelf like this for a synth under your desk? Will it hold a 22 pound Prophet 600? I'm trying to figure out if I should go with a classic A or T frame stand, a wall mount, or shelfing it under the desk like below. I've been taught for classical piano, to always have the keys at a lower position... never have your arms elevated or arched upward to play (Blood flow). This seems like the most economical for a room with limited space as well.


Image
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Postby Classic Dog Avatar » Fri May 04, 2018 3:49 pm

It's pretty easy
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Postby Classic Dog Avatar » Fri May 04, 2018 3:55 pm

this is mine

Image
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Postby animefilm » Fri May 04, 2018 4:08 pm

. wrote:this is mine


Nice, did you make that?
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Postby Classic Dog Avatar » Fri May 04, 2018 4:49 pm

Yes
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Postby acidity regulator » Fri May 04, 2018 11:52 pm

kinda worried the hipinion servers are exposed like that
is our life entertainment to our evil mods?
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Postby Milquetoaster Strudels » Sat May 05, 2018 12:05 am

. wrote:this is mine

Image

I dare say that table looks...optimized
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Postby Classic Dog Avatar » Sat May 05, 2018 12:29 am

It's a shame that whole thing will be on the curb on three weeks, free wood for some lucky person
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Postby Milquetoaster Strudels » Thu May 10, 2018 11:32 am

Wow the latest Omnisphere update is incredible. The doubling of the LFOs and envelopes by itself is an incredibly sick development, but the hardware integration aspect takes it into an entirely new arena. I'm really glad I held onto my JP-08! This is going to make parameter adjustments so breezy

Here's the synths that are part of the beta (sounds like they'll continue expanding compatibility)

Code: Select all
• Sequential Prophet 6
• DSI OB-6
• DSI REV2
• Moog Voyager
• Moog Little Phatty
• Moog Sub Phatty
• Moog Sub 37
• Moog Subsequent 37
• Korg Minilogue
• Roland System 8
• Roland System 1
• Roland SE-02
• Roland SH-01A
• Roland JP-08
• Roland JU-06
• Roland JX-03
• Roland VP-03
• Novation Bass Station II
• Novation Peak
• Behringer Deepmind


Now I really wish I hadn't sold my Minilogue...
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Postby aububs » Thu May 10, 2018 2:37 pm

this is the end of a long Wendy Carlos letter published in the Whole Earth Catalog in 1971:

I wish the name "synthesizer" could vanish. Who wants synthetic
anything, especially music? The path we are on is (I hope) towards
a useful, convenient new musical instrument which employs electronic
components to do what physical.components have done for years. It
ought to be an outgrowth of the past; I see no skyhook to a totally
new music, and the attempts I've heard seem to prove this rigorously.
In the meantime I can only hope not too much damage to the
image & progress of Electronic Mmusic will be brought about by the "nonsense-
boys", and that some talented "saviors" will find the means & bread
to show the way & expose the bull-shit artists for what they are,
even to the uninitiated. So, there, my sermon is done. Sorry about
that. It's just so damned hard to be objective anymore.


can post the whole thing if anyone's interested. it's very snarky and a good take-down of the entire electronic music/synth scene at the time.
no buddy not really
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Postby Eugenics » Thu May 10, 2018 3:10 pm

Omnisphere is so fucking awesome. Almost feel guilty about using it, it's so powerful and versatile, it really feels like cheating. lol
I love that the daunting file size of thing pretty much makes you buy the thing. WHICH YOU SHOULD ANYWAYS. (but try before you buy, etc etc)
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Postby Milquetoaster Strudels » Thu May 10, 2018 3:41 pm

Yeah I've barely scratched the surface of the actual synth engine. The preset library is so vast and expansive that it feels like you have the world at your fingertips. Have you experimented with running samples through it? That's been on my checklist ever since I found out about it. It seems like a really useful tool in mastering external audio.
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Postby Eugenics » Thu May 10, 2018 3:56 pm

yep! These days I use it precisely for that purpose :)
(I've already wasted wayyy too many hours listening to a million damn presets when inspiration hit to create, rather than actually creating something myself)
lol
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Postby Buzz Fledderjohn » Thu May 10, 2018 4:12 pm

where the FUCK is overbridge

stupid novice question: if i want to record some drum machine tracks with my digitakt, is there a more perfect solution than just trying to sync the tempo exactly to the metronome on logic? or am i missing something obvious?

i've had it for 5 months but have mainly just been making beats and fiddling with it as opposed to recording and transferring tracks through my DAW. the few times i've tried to get something in logic the beat is like sliiiiiiiightly off from the metronome in logic.
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Postby Eugenics » Thu May 10, 2018 4:20 pm

maybe try a better, even shorter? USB cable, and definitely check your device's buffer settings in Logic's preferences. (obv, you want it as low as possible without it crackling out)
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Postby Buzz Fledderjohn » Thu May 10, 2018 4:24 pm

to clarify, it's less a latency issue and more just hitting PLAY on the digitakt on the exact right beat so it syncs up with the metronome in logic. like it'll go off the rails after a bunch of measures. seems like it could more latency on the digitakt itself perhaps.

maybe i'm not making sense
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Postby Eugenics » Thu May 10, 2018 4:44 pm

I doubt that, especially if the Digitakt is your main clocking source. Samplers are weird though - Like I use the Sp-404 and obviously it's made for a specific style of old school on the fly sampling/resampling, but you really can't perfectly quantize your beats/hits/loops to other hardware or software, it'll eventually go off the rails and you've got to either restart your loop in time, or nudge the tempo accordingly. I suspect the Digitakt is not supposed to be like that though. I wish I had one, so I could help you out, and well, because I also just want one. Not ready to sell my 404sx yet though. It's too much fun and i've gotten used to Roland's notoriously stupid function burying...like seriously, more than half of the cool shit you have to do is done with a weird ass not-in-the-manual - multi-button combo - which you have to figure out/look up online and then remember those functions and hit them all in time, if you want to play on the fly. Idano If you ever really heard or paid attention to say, Animal Collective, live MPP and before, but they are very bad at getting their samples and loops locked right on time.
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Postby Grey Poupon » Thu May 10, 2018 4:45 pm

That Wendy Carlos letter is cool and I would like to hear more of it can I get an amen friends
My listening experience in balanced mode reveals the great depth of EARTH
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Postby Buzz Fledderjohn » Thu May 10, 2018 4:46 pm

thanks sir

i may just forgo the metronome on logic, and record the digitakt beat first and layer the other instruments on top of that
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Postby aububs » Thu May 10, 2018 4:56 pm

Grey Poupon wrote:That Wendy Carlos letter is cool and I would like to hear more of it can I get an amen friends


Walter Carlos on Synthesizers

Hi— This is probably either too late to write you, or my own
personal ego trip, ergo: of no particular value to anyone, however.
I've gotten myself off my other projects/ass long enough to realize
that I've been wanting to write all of you for a long time. Also,
since all those cliche cats out there keep telling me I'm like the
ultimate sage in synthesizers, electronic music, and all that confetti,
and since you always find at least a page to devote to "synthesizers",
it does seem fair=right to. write, and here it is.

If you haven't already thrown this one in that appropriate round
recepticle provided for brokeri goods or boring papers and other
worldly goods, I'll pompously introduce myself:

I am Walter Carlos, creator of Columbia Record's Switched-on-
Bach, and the Well Tempered Synthesizer, currently composing
instead of merely performing up a 3rd & 4th album for Columbia
(since I was always s' posed to be a composer all along and those
two records are more or less "learning territories") . The next will
probably be titled The View Inside , but I'm not looking for plugs
or promos.

Actually, I know of no good lit. on electronic music, and I've been
stuck in it for at least a dozen years. And that's the problem. You
see, I'd kinda like to turn you on to some good text or paperback
on the subject, but, frankly (and excluding only the short-lived
Electronic Music Review, which had many shortcomings) they all
stink , are axe-grinding with a vengeance (like the latest stuffy,
fadist & sure-to-be-successful periodical Synthesis) and are few-
to-the-point of extinction.

Granted, I'm as prejudiced as anyone can be— I make my life in
the field— but hell. I've tried all the currently available synthesizers,
and none of them matches a decent Stein way or Baldwin when it
comes to subtlety. Sure, they've all got their own set of gimmicks,
but really— that ain't where music's at. What about nuancd,
phrasing, or that particular gripe of mine: control? Most of the
"magic boxes" purport to simplify electronic music. The ghastly
thing is that they, as a group, all do — simplify to the point of an
imbecilic device which is happy to engage in cranking-out a totally
unpredictable series of musical "notes", sounds, "exciting textures",
whatever— what a lot of bunk. After my first record gained all
its "fame" everyone was out there, hustling to either buy a Moog
(pronouncing it like a cow, to this day, despite the numerous
printed corrections I've only casually spotted) or to build a
"better synthesizer" & cut into this, quote: rapidly growing
field, unquote. The former hyped-up a bunch of fantastically dull
records, too eager to get out de produk', instead of payin' a little
dues, the latter glutted the market with that dusty heap of clatter
machines & wonder toys that even W.E.C. advertizes.

Unless "Music for Non-thinkers" (thank you, RCA Victor), is
your bag, it seems that warnings rather than plugs & puffs is the
all of the day. Sure, the pianola is lots of fun at the right party,
out Nancarrow notwithstanding, it might be healthier if we had a
little less, not more activity in E.M., at least for a period long
enough to let the smoke screens either vaporize or settle down into
a uniform dust film over all of musicland, ecology be damned!


Enough sour grapes. Of course none of my outrage is printable or
ought be. You could certainly "preach the good word: (5 letters,
first is "T") "Better than I in your beautiful "Bible-for-a-new-
day" (thank God even as the Bible ceased publication at some
point you choose to stop prior (by at least a margin of 5 yrs.
to atrophy-of-purpose settling in on yet another "groovy mag")
(remember Mad— the old ones, still in comic-book form—?)

Look, no real damage is going to come from a few sales of Moog,
Buchla, and Tonus synthesizers. Most of the "mini" versions are
simply cash-in-on ignorance rip-offs, including the Mini-Moog
(choke) and the Muse, and the Putney, (I've tried these toys, too)
although maybe these do serve a purpose, to groups as "local
color" items of the right fashionable kind. I still use a Moog.

Its grown since S-OB, and is basically bastardized to the extent
that, unlike the products for sale, itjs a crude but viable musical
instrument. Tonus will get there too, if they shake off the
cancer of advisory committees (formal or informal) which threaten
to turn their machines into versatile musical automatons ("Sing
Along with Hal," anyone?). Buchla is great for a certain limited
but beautiful ambience-oriented E.M. and Moog, in all standard
packaging, is workable, nasty to keep in tune (unlike Tonus ) and
ready for the right non-standard modifications if you're interested
and have the time & the bread to personalize same (ditto for
Tonus).

And, in the final analysis, it is time and bread that enable any
music to come out of these "instruments". A multi track-machine
(pref: 8-track or more) is, in all truth, essential... The would-be
synthesist had better invest in a good mixing console (size not too
important, quality 15.), I've used a home-made, "10-in", stereo
out one for many years, only now have I scraped up the bread for
an all-dolby, "18 in", "6 out" quadraphonic version & 16-track
3M to go with it. This E.M. business can be idiotically expensive.
(But 24-track machines still sound to me like a put-on). (Might
be good to put a Dolby-ad along with the synthesizer pix. Even
the small home "type-B" made by Advent will keep hiss down to
at least tolerable levels.) Both my old console & the new Biggy
used spectra sonic active components— they're in Ogden, Utah,
if you're interested.

Also, if you can find the space, I think it might be ultimately
best to list a few books on audio, acuostics,electronic organs, (even),
and perhaps speech & so-called "visible-speech". I'm copping-out on
you, since I honestly don't have the time to look up titles— so
send me no $, I insist. The point is, the very word "Synthesizer"
(which is otherwise full of unfortunate connotations) suggested
fertile investigation of the whole world of sound— like: why does a
trumpet sound like a trumpet & not a clarinet or a violin, etc. All
I can tell you is this kind of knowledge, more than any particular
hardware, is what enables me to obtain the sounds that I do.

Oh, a piece of philosophy here. Many people suggest to me that I
constantly "limit myself to imitating real (sic) instruments". They
say it is freer to invent "new, never-before-heard sounds". Bull shit.
The easiest to obtain sounds (3 or 4 patch cords on the Moog, for
ex.) are all those dreary "new" sounds. I've rarely tried to actually
"imitate" traditional musical instruments— I've always used them as
a point of departure & then veered off into subtlely different areas.
It's almost more fun to invent a new woodwind sound; one which


is, say, as flexible & musical as an oboe, but better , at least in
context, for what you are doing at that moment. And these, be
they obtained on Moog, Tonus, or whatever, are the very tedious,
time-consuming many-interconnection-types of sounds that lead
to my own bag (although to the average ear, they may be reinter-
preted as "sounding-like". . .a jet plane? a trombone? an electric
motor? "Gee, that Picasso paints weird "flowers" , don't he?1"

Ah well, ya can't work in a field and not get highly (or lowly)
opinionated & I have contracted the disease, doctor, and right
now it hurts to see charlatans show off how many suckers (gee
that word sounds up to date again) are born every 60 sec.

But, guess it's safe to say that although music performs no true
basic function, to wit: It don't plow the fields, it don't build
shelter, weave clothing, but it does sooth the human mind at times,
and during sex— enough, it shall endure, and no doubt not without
some electrical or electronical assist, so, E.M., be it virus or anti-
biotic, looks like it has sneaked-in the life bldg, door marked
"viva la" and thus my rapping here now, taking up your time &
totally ruining my dreams to obtain the worst-letter-writer award
for another year. But it's all your fault, you're the ones with the
irresistable threat of "last call", last issue, or whatever, and since
so many "blame" me & my big SOB for getting up all this E.M.
interest I feel like it's only fair that I con you, at this zero (18th?)
hour, to put aside a square inch or two of your valuable 500+
pages in service of this 4th or 5th order cause.

TELL THEM: That none of the existing hardware really does the
job. Tell them that they should expect to get more than casually
involved with the thinks behind schematic diagrams, those dumb
cylindrical-bored valved up clarinet & flute & on why the gods
decreed that medium-bright sounds with high energy content
around 5KC ( I refuse Khz. next thing rpm will be called, like
33 1/3 edisons, or eds for short; 15 ips will get 15 magnetophons
or mags, for short, humbugl) should sound louder to humans but
be more aurally fatiguing, and that they might prepare themselves
to dissect any given musical phrase & figure out how to play only
certain groups of the notes at a time, over & over into a sel-sync
Ampex or 3M (If this be eden) so that the final mix-down sounds
phrased & shaped with lots of timbral vibrations & tactile organic
electronicism, despite (oh shit) the preparation of many hours
for a mere handful of seconds of music (sure kills all the magic, I
think) but that in E.M. as all art, the quickest short cut is a short
circuit to: short on ideas but oh my long on wind (those monsters
don't have to stop to breathe, remember?) music, be it on record or
on stage. Of course on stage you could get away with less.

Probably have to, but if some cat & chick pluck down several of
those government issued rubber bands you'd better give them
something more than surface , unless proper chemical assists are
available to get them so high they think your yawns & electronic
pharts are sublime & majestically musical.

So, I sound square & stuffy. A regular put-down artist in cognito.
The W.E.C. is a "list of tools" and the tools are out there for those
who've got. I started with Viking tape recorders & Heathkit
oscillators, cause in those days I didn't have. But, with the two
best tools I've ever come across: my hands, I built dumb things
that got music (of sorts) down & done. A mention of all the
auxiliary hardware that the promising new E.M. enthusiast will
need would give a much more honest description of the game
than a few promo-photos of the big 5 (approx.). Good speakers
(I stubbornly build my own) & amps are, of course necessary if
your tape is to sound ',as good" on someone else's stereo hi-fi.

A friendship with an "edital" block will prove invaluable. It's
equiv. to the editor's blue pencil. Prior to the synthesizer every
note (yes, Virginia, even the 16th & 32nd kind) were assembled
by the edit block & by a musician/composer who either didn't
own a watch or had absolutely no regard for the units it indicated.

And, oh yes, it helps to be a bit crazy. No, let's say a lot crazy.

To be sitting here in my west side brownstone in upper 80's
Manhattan contemplating the multi-thousand dollars of equipment
Rae Elkind & I have been organizing into our new tempi studio
& then writing all these put-downs to you, in her home town, makes
me feel kinda strange (and being very broke helps). Perhaps that
will help the new album. I wish you were closer-by so that you could
see just how involved two "art with a capital (fingers crossed) A-
artists" can become in this medium. And our only hope right now?
Pay the bills & get ourselves a nice quiet geodesic dome (again,
thanks to you & Domebook I) down on St. Thomas & get out of
N.Y.C. except now and again when that urge/appetite for noise/
dirt/culture/thin king/books/concerts/activity calls.

Frankly, you all sound like our kind of people, or vice-versa if
thats more right-onish, we'll miss you. Many will. I hope determi-
nation, sweat, brains, adrenalin-push, etc. get that last one out. And,
if it's not too late, please help get the confusion out of the E.M.
scene. Objectivity here is mostly cop-out, but lack of time & help,
that I understand. If anything in this garbled mess of a rap is useful,
it's yours, no strings— first time I've ever left my hermiting to do it—
so; but do credit it with a simple : W. Carlos. Otherwise, all warmest
regards from but two more of your fansl

W. Carlos


she goes on to give a (very!) critical overview of some of the current synths on offer

A P.S. page of specifics

THE MOOG— I know this unit the best— first met Bob (R.A.
Moog's "R") at 1963 AES show. Purchased a small collection of
his first 900 series modules & combined into my 1st prototype
synthesizer. Paid most of the bill by doing a demo record for Bob
& doing music & efx for T.V. commercials. Developed several ideas
many now part of standard Moog units which are packaged with
(sadly) no choice of compoents except on special order. The pix
of the Moog III you show is 3-4 yrs old. Newer IV is more compact
& less blank panels. Portamento & hold circuit originally my
concept, but Bob improved it greatly. He built my two touch-sensi-
tive keyboards to spec, and together we got them to work. They're
far from good, but do allow the pressure (depth) and momentum
(speed) touch of the performer to be used to give feelings of ex-
pressive & phrasing, either of the traditional kind or other kind
(timbral-vibroto expressivity, for ex.) unfortunately, his keyboard
supplier changed and the new kinds don't lend themselves to
token sensitivity except in the horrid way th e Putney does it
(more on that later). He uses good controls (ohmite or AB "pots")
and sturdy construction, but relies on patch cords except for a few
basic switch available internal connections (keyboard pitch to
voltage-control input on an oscillator, for ex.) in the toxic &
polluted N.Y. air the cumbersome patch cords are more reliable
than switches, making a Moog for city use a better choice than the
Tonus which is nearly all crossbar/matrix switch- interconnected-
neater but fail unsafe. Moog's 904 filter best voltage controlled
version around. I have 3. Also his envelope generators are great,
but he underestimates their need. His largest Mark III has but 3
envelope generators on it. I use 8 & still run short. Also, he's
great even if slow on custom gadgets; I've got several foot buttons
and toe pistons/expression pedals that he built— all good stuff.
Logical layouts, too. I also am a nut about all that pretty real
walnut for everything, even the custom gadgets. We also concocted
a "polyphonic" generator bank, an outgrowth of one of his earlier
educational contracts. It's got 49 separate little oscilators-filters-
envelopers & permits chords, arpeggios, and the like. It's another
one-of-a-kind thing, although he now also supplies a bank of fixed
oscillators with no voltage control or enveloping or the like, but
it's good for pop-style "vamping" of chords, and at least he has it
up for sale. I have two keyboards but despite the 6' x 6' mass of
my machine I usually use up nearly all the components on one
sound leaving the 2nd keyboard without any resources, so I almost
always work one-note at a time. It does give the best control— you
can concentrate on one part, like a soloist, and let multi-tracking
provide the chords, the density, the orchestration, etc. so far,
with only an 8-track I've gotten to 32 parts, with but a few "pre-
mixes". That should be enough for anyone, but I'm still eager
to work on 1 6 tracks, more for convenience than thickness.

THE TONUS has much better oscillators than the Moog & gives
you 2 notes at a time, with reservations. Otherwise it isn't too
different from the Moog. Al Perlemon admits being influenced by
Bob Moog. I already mentioned the hazzards of Tonus’ switching—
"caveat emptor". Also, his walnut formica is a bit less "classy"
than Bob s walnut wood veneers. He has a few new ideas — some-
what better wave shape variety, but his filters are not so great, and
his envelopers have a more limited range than I could work with,
although throughout that range they are good. The Arp, then,
could be better than Moog but is not yet, and is about the same
price. But again, the biggest is about seven grand and by now my
unit is worth over double that, and Tonus doesn't grow larger as
conveniently as Moog, so again compromises. But, for concert use,
it's probably the best choice & operates about as easily as a Moog,
and is quickly learnable (basic techniques, not philos., natch).

The “BUCHLA Box” was built mainly to Morton Subotnick's specs
& his group originally at San Francisco. It's better suited to that
type of partially aleatoric/partially contrived— planned music that
Mort writes. The Electric Circus in town here uses one for ambience,
and, with all its automated sequencers it's good for that. The
construction and looks are good, but his patching is flimsy and
breaks under less-than-cautious handling. Prices are reasonable.
However, there is no playing-keyboard of the more or less tra-
ditional type, and along with oscillators less stable & less easy-to-
tune than Moogs, is not a good device for traditionally oriented
melody/harmony/rhythm. Also, unlike Moog’s and Arp’s
sequencers, his are usually evenly spaced leading to, for my ears,
a rigid, mechanical rhythmic quality which some people seem to dig.


The PUTNEY is a real toy. It's components are highly unstable/
unpredictable, and the selection made is highly gimmick oriented,
and does not by any stcetch of the mind permit any subtle sounds &
exp. to be constructed. It also has a so-called touch-sensitive key-
board, which has to be tried to be believed, it's that awfull No
feel or physical feedback at all (as there is on a piano, for example);
again, another great concept worked out in ignorance (and the one
I tried worked backwards: softer touch=louder soundsl) But it is
small & portable & groups might like it for special effects.

The same for several other mini-synthesizers. I won't go into details,
but it is sufficient to say that they are not aiming at any degree of
sophistication or control. I find the lot of them dull & not worth
even their modest costs. Better to save up for a Moog or Arp of
moderate size & build it up with time to as large a complexity (or
compoundity) as you desire.

Most of these units are not easily compatible with one another,
although the hybrid idea can be made to work if one has the
necessary knowledge. I'm still waiting for a better state-of-the-art
before I part with any more of my bread, however.

On top of this, one must realize that the money trip has just begun,
even a used Ampex 4 track costs nearly 3 grand, and another 2
track (preferably) is usually necessary, for at least half that. Most
home machines fall flat on their capstans in this kind of work.

Perhaps the small Dolby-B could help out the limited budget.

There is still a lot of garbage-talk out. The "technical— snow-
session" is sadly typical. But who am I to put down folks who dig
the magic/mysticism of what I feel is downright quackery? I was
sorry to see that new publication jump into that fire. It’s like
everyone wants to join this or that "avant garde" movement,
complete with secret-code type jargon & mathematics of the most
pitiful sort (my B.A. in physics-math-music is showing) to "prove"
that such and such a dull work is "really interesting". I'd like to
see more pioneers of the independent sort, striking out with even
makeshift gear to find some personal statement of truth, be it
fashionable stylistically or not, but then this seems to be the
problem of all music & all the arts in general; electronic music has
no monopoly here.

I wish the name "synthesizer" could vanish. Who wants synthetic
anything, especially music? The path we are on is (I hope) towards
a useful, convenient new musical instrument which employs electronic
components to do what physical.components have done for years. It
ought to be an outgrowth of the past; I see no skyhook to a totally
new music, and the attempts I've heard seem to prove this rigorously.
In the meantime I can only hope not too much damage to the
image 8t progress of E.M. will be brought about by the "nonsense-
boys", and that some talented "saviors" will find the means & bread
to show .the way & expose the bull-shit artists for what they are,
even to the uninitiated. So, there, my sermon is done. Sorry about
that. It's just so damned hard to be objective anymore.

W. Carlos
no buddy not really
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Postby bongo » Thu May 10, 2018 4:57 pm

thats sick. i like the buchla owns
yeaaaaaaaaaaaa american nostalgia love it suburban living civilized families this could be my life
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Postby Milquetoaster Strudels » Thu May 10, 2018 5:01 pm

Grey Poupon wrote:That Wendy Carlos letter is cool and I would like to hear more of it can I get an amen friends

Amen to that!

Buzz Fledderjohn wrote:where the FUCK is overbridge

stupid novice question: if i want to record some drum machine tracks with my digitakt, is there a more perfect solution than just trying to sync the tempo exactly to the metronome on logic? or am i missing something obvious?

i've had it for 5 months but have mainly just been making beats and fiddling with it as opposed to recording and transferring tracks through my DAW. the few times i've tried to get something in logic the beat is like sliiiiiiiightly off from the metronome in logic.

Wish I could help ya, but I've only used it to sequence outboard gear. I've never really noticed any sync issues with Ableton, but my exposure to that aspect is limited.

It would be great if they got Overbridge released, though! I would love it if I could just recall the patterns I was using simply by opening an Ableton project (although it's helped me be much more deliberate in organizing pattern and project names within the internal Elektron architecture)
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Postby bongo » Thu May 10, 2018 5:07 pm

i sometimes wonder if id even use overbridge lol
yeaaaaaaaaaaaa american nostalgia love it suburban living civilized families this could be my life
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Postby Milquetoaster Strudels » Thu May 10, 2018 5:35 pm

bongo wrote:i sometimes wonder if id even use overbridge lol

Do you program sequences internally on each device, or do you sequence from the Digitakt? I haven't fully committed to a workflow, or experimented enough yet, but I'm assuming you can only utilize parameter locks on internal sequences
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Postby Eugenics » Thu May 10, 2018 6:51 pm

bongo wrote:thats sick. i like the buchla owns



cannot believe the schmuck that runs Foxtone music, formerly a small guitar shop in Minneapolis, that completely ditched selling guitars in lieu of synth modules, not because he liked them or knew anything about them other than it was the cool new thing, acquired enough capital in these recent few years, to actually purchase Buchla Co. shits fucked, yo.
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Postby Milquetoaster Strudels » Thu May 10, 2018 7:30 pm

The relationship between the local synth community and Foxtone seems to be varying shades of non-existence and adversarial. I had no idea that the dude wasn't even involved in synths 6 years ago, but that certainly explains a lot. Sad to see someone like that in control of such a legendary brand
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Postby Eugenics » Thu May 10, 2018 7:51 pm

Yeah, my brother's friend aka Low-Gain, started working for the dude doing repairs and such since he's an EE and makes modules himself and knows them all pretty much inside and out - like at one point he's probably owned one of each module and traded it off, but the FT dude dicked him around with pay and shit, so he bailed on the guy. It's still kinda rad though that MPLS is basically becoming thee Modular city in the states and in that conversation, and i guess good or bad, Foxtone is in the mix w/ it...I think it's really cool tho that my lil brother and his friends really kicked things off like throwing some of the first all modular shows and synth meets and stuff when there wasn't any sort of scene and modular popularity was in its infancy.
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Postby bro tones » Mon May 14, 2018 12:24 pm

benj wrote:rest in peace luggii dead ass
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Postby acidity regulator » Fri May 25, 2018 8:29 am

i want a moog subharmonicon. i think that and lyra 8 + effects could be the best bang for real estate for my band setup
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