Darren's posts with tag: gears
 Wonderful ideas from KORG, specific for laptopist... the nanoPad and nanoKontrol looks nifty and handy. Not too sure about the keyboard though I suppose it will do great for non-pianist artists. KORG should then come up with a USB distro-port or something if not we are talking about 3 USB connections. Hmmm how about 3 USB to Firewire ... KORG can call it nanoUFIRE hurhurhur... Damn... Think it's only available in Japan for now. Read the full story on CREATEDIGITALMUSIC.
There are three different controllers in the line:
nanoKEY: 25 keys, transmitting either as MIDI notes or (via a separate mode) Control Change (CC) messages. Octave shift (natch). Pitch, modulation. And it’s supposed to be velocity-sensitive, too, although we’ll have to get our hands on one to see how sensitive it is.
nanoPAD: 12 pads, supposedly inheriting the terrific sensitivity and feel of the padKONTROL, which is pretty much the favorite pad controller round these parts. Chord Trigger. Control Change mode (as with nanoKEY). There’s even an X/Y touch pad with roll and flam mode, favorite features of the padKONTROL.
nanoKONTROL: 9 faders, 9 knobs, 18 switches, transport controls. (No, really.) MIDI notes, 168 CC messages. There are even attack and decay times for the switches, allowing them to work as faders, filter controls, effects settings, and the like – something I’d love to see on other (full-sized) controllers.
 Info via CDM
 Ok, I am darn broke now but this new thing from MFB screams "KICK ASS"... *slurps*. Via Matrixsynth:
* semi-modular, fully-analog * 3 VCOs, 24-dB-lowpass-filter * 37 patch connectors * integrated MIDI/CV-interface * MSRP: 580,- Euro
"MFB-SYNTH3 is the semi-modular version of MFB’s Synth-II. It trades memory locations and MIDI-control off for 37 patch connectors that allow breaking and modifying the internal routing. Put single MFB-SYNTH3 components under analog sequencer control or let the whole unit interact with your existing modular-synthesizer-system.
MFB-SYNTH3 works as a stand-alone synthesizer without the need to patch any cable. The classic formation of VCO-VCF-VCA is pre-wired internally, complete with essential modulations. Therefore, you can play the SYNTH3 just like any other synthesizer using its MIDI-input. In addition, it may integrate into a full analog environment using control voltages – and benefit, unlike MIDI, from infinite continuous parameter resolution.
MFB-SYNTH3 offers a complete set for powerful and versatile synthesis: three VCOs with hard-sync, 24-dB-lowpass-filter with resonance, noise generator, ring-modulator, two envelope-generators, two LFOs and VCA. Technically and soundwise SYNTH3 is identical to MFB’s euro-rack-modules. However, the MFB-SYNTH3 comes in a compact format that is easy to take with you and faster in use. Your ideal analog partner on stage!
MFB products are sold at your musical instruments dealer. If you can´t find any reseller closeby we will also sell the MFB-SYNTH3 directly within Germany. The price is 580 Euro (incl. VAT plus 10 Euro shipping, cash on delivery)."
Now, without MIDI? That kinda sux. But the whole concept is to integrate this into a modular system or on it's on... via CV I guess. But no MIDI? Come on! Yet again, I'm not really a MIDI person. "Semi-modular" but no patch points is slightly dodgy for me as well... Ok, about SGD$1200, that's definitely too much for me to spend on. But I'll hang on the thought. Perhaps one day, together with the gazillion gears I'm eyeing on.
|  | The KORG M3 pix will be up after Christmas once I've set up the studios... I am paying the Phatty by installment agreement ;) Really, it was unprecedented and unexpected that the LP now lies in my room... what a surprise.
UPDATES:
Well, finally the KORG M3-88 is here! And along came my MAGNUS vintage electric fan organ! Trust me, this thing sounds magical and very charming! And of course the KORG MR-1000 1bit portable recorder! :) Happy me... the mobile mixer rack is here too but no point taking pictures of an empty rack... |
 Well, when was the last time I post about my synths? Seems like a long time. Anyway, here's what's been going on and I felt it calls for some synths porn again. Mypapers interviewed me for having a fetish for collecting synthesizers... audiophile they call it. Well, not in the strict sense. It was, erm... a bit weird always to be in front of the cameras so again, I felt most uneasy. Anyway it went well though I was told that I mentioned too many technical stuffs and they might have to edit it away to make the programme more accessible. Well, we'll see. Not sure when this programme will be out but heard it will be in September... which episode I am not sure either but I will inform close friends of it when the time comes. Features about 80% of my synths collection (can't display all due to space constraints - about 6 synths not in), demonstrations, synths porn, modular synths and theremin (not in photo YET); getting shy, acting stupid, talking funny... and my fat face. Oh well.... Since it's all set up, I thought I might as well do some shots of them, anyway, what are the chances of putting them all together in a small house like mine? So here you go:        More photos will be updated soon (I hope!) Out!
 Well, it'd been awhile since I updated photos so finally got down to it. Getting my synths mojo back. There's a few updates: RaNdoM SyNtHs ShOtsDecided to start a new album that archives interesting synth shots that are slightly "more than just a normal shot"... I am not good at photography so such shots are hard to come by for me LOL. My HuMbLe sTuDiOAdded some updated studio shots and of course my Doepfer A100 Modular System racked. :) SoNiCbRaTUpdated Piana gig pictures and also HI.A.TUS album. I had a great day yesterday with my girlfriend. Though the time was short and we went to PS Spotlight, but we had so much fun. There were moments where we laughed till our tummy ache and I teared. She is so wonderful to be with. Love you baby. :) Attached picture shows my new rack arrangements. I've dedicated one flight case for the analogue stuffs: Akai MFC42 Filter, Doepfer A100 Modular System, Vermona RM-1, DeltaLab Effectron, Sherman Filterbank 2.
 Woke up with hyper-tension from a nightmare and I cun breathe properly, hyperventilating. :S Every breathe comes with a one tonne weight on my chest. In anycase, called my girlfriend (about the time she wakes for work) to find solace. She's always sweet to wake her pig boyfriend up, so I thought I'll do so at times since I am awake. And now online on Matrixsynth to try take my mind off it. And I saw this!!! Roland System 100m 182 Sequencer which brings you to the auction. Gasp! (I am already short of breathe) Did I see wrongly? USD$4500 for this single panel? Wow... but it will sure come in handy for me. Hah... consequently I thought about some must haves in my life or rather my wish list so here goes me gas'ing again: 1) Moog Voyager 2) KORG M3/ Oasys 3) Rhodes E Piano 4) Alesis Andromeda (I've heard so much good stuffs from it!) 5) Nord Modular G2 6) Roland TR-808 & TR-909 (now I have to use emulation) 7) French Connection Persephone 8) More Doepfer stuffs!!! 9) Zeroscillator 10) Serge Modulars (Edmund Eagan's one is monsterous) 11) Entire Moogerfooger collection (I know Bryan has it!!! woooooooo) 12) Lemur 13) Waldorf Blofeld 14) Access Virus TI Polar Woots... that's a lot for a wish list! LOL and I am sure there's more... Imagine Roland deciding to reproduce TR-808 and 909 I am sure the demand will be high! Anyway, I only see myself fulfilling a few of these list in my life. I don't think I can ever own all of these... :P Ah... OUT!
| | First 4 photos of me practicing courtesy of YW, which can be found HERE. The rest are me porning my gears at Victoria Theatre during 0501. [05042007 - 07042007]
Here's the setup list...
Instruments:
STEINWAY & SONS grand piano (not mine, venue supported)
J&D Humbucker
Transistor Radio
Equipments:
Mackie CFX12 MKII
Behringer Tube Composer T1952
BOSS RC-20 Phase Recorder Loop Station
PODxt Live
BOSS VF-1
MOOG Moogerfooger MF105 MurF
ZOOM RFX2200 Multi-Effects Processor
DeltaLab Effectron I ADM1020
Alesis Ineko
Rodes NT3 Condenser Microphone
NUMARK CDN-88
Yep, no synthesizers, no laptops... all live music except for a click track, voice over, efx and a couple of background soundscapes on CD... everything was organic and live...
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I've been spending these whole week finalizing the composition for my piece in 0501. From a C major piece it went to a G major piece and finally settling down on an A major piece. At first I wanted some key changes somewhere... but I thought I'll just keep it simple. Very simple concept, very direct layering... I hope it works with my piece in 0501. The track is "unfinished"... the piano is a mock up (as I am playing live, and much more variations than this version)... I am still thinking whether I should layer somemore analogue synth sounds... Not sure yet. So far this entire piece was done on my KORG Triton ST88... The track is unmastered and mixed badly. I wanted to cut it out to have a listen, let it settle in on me before I make any more changes tomorrow and do a mix down and mastering proper. So the entire mix and dynamics of this demo is quite inconsistent and ... erm... bad, especially for the drums. Forgive me. For the time being...   
| wkwDREAM | | | | | | | Peripherals | | | | | | | Stasis | | | | | |
| | OK, my guitar is in rehearsals so I can't use it to test the PODxt Live. So I used the Roland SH101 instead.
DEMO: [SH101]PODxtLive
Not a song but just a demo of what the PODxt Live can do to a sound. What you hear is a product of 4 tracks recorded using Roland SH101 with a square + saw wave sorta synth going on in C major. 3 tracks hold either C or G notes in different ranges while 1 track holds a C7 chord arpegiated. The effect used on the PODxt is a harmonic flange with effects. There's some filtering going on on the SH101 but minimal... What you hear is unprocessed after recording. Just SH101 through PODxt into my lap-top and mixed.
Just got this second hand off from a nice dude. I must say this is a heavy stomp, build like a tank. Controls are straight forward and interface is great. It allows you to design your own "effects chain" and the silver knobs allow you to have control over the tone of the output... It's my first impression from using it straight out without reading a manual. I can't wait to use it with my guitar and see what it can do... I don't suppose it will be revolutionary, but I am sure it will come in handy. |
| | Ok, so what happen when someone who doesn't know how to play the guitar and picked up an electric guitar for the first time and wanted to cut a track for an upcoming production? THIS:
W.K.W Dream[reject] (song number 7)
Supposed to have piano playing live on top, so this is like a backing track during performance. Yep, wanted to compose a track for Wong Kah Wai's Dream, TFP's production during arts festival. But after this track was done, I am having second thoughts so tentatively I've rejected this track myself. I am still a dummy when comes to guitar at the end of the day. Well, and I felt the song was inappropriate in a way. We'll see after tomorrow's meeting and hear what TC have to say to this.
Anyway, what's done is done, take it as an experience. It is afterall my first attempt on a guitar with no prior knowledge or training. Basically, I played by ear and loop it through EH2880 and RC20... effected through VF1 and ZebraVCF for different takes... kinda composed on the fly. For the synth parts, it was added in subtley and builds over time (JUNO106, AX60 and Radias). My favourite will have to be the SH101 (in about 03:43 and went on)... basically wanted to keep it as "acoustic" as it can be despite everything being electronic (well, analogue mostly)... have fun listening. Don't kill me if I've played the guitar really badly... It's my first time :P
Instrumentation:
Frigging brandless humbucker
Roland SH101
Roland JUNO106
KORG Radias
AKAI AX60
Looper: EH2880; BOSS RC20
Effects: BOSS VF-1; ZebraVCF
Omitted: Thingamagoop; Effector13 Synth Mangler |
| | Some 808 and 909 clone goodness added into my racks... sweet. |
| | Via Vintage Synth Explorer:
"The AX-60 is among some of the last true analog polysynths of the mid-eighties. It was Akai's answer to the hugely successful Roland Juno series and Yamaha's new digital DX-series. The AX-60 is a programmable six-voice synth with a nice LFO, lowpass VCF filter, envelope sections, and more. An eight-voice version, the AX-80, was already available.
Programming this synth is easy using dedicated sliders, knobs and/or buttons for its parameters. It also has a useful noise generator and some other cool functions that include auto-tuning, chorus, a multi-mode arpeggiator and a keyboard that can be split into two key-zones, making it somewhat bi-timbral. All six voices can be stacked in unison mode for a powerful and thick lead sound. Its features and sound make the AX-60 a worthy alternative to Roland's Juno 106. The AX-60 may have been used by Bjork."
This baby sounded old school... basic presets that sounded unexciting (not really phat) but a few gems within. Once you start screwing with the preset sounds with the VCO, LFO and VCF... the synth comes alive... the filters are not too bad at all... ranging from "woody" to "bubbly"... I can see this coming to use in some of my shows... and that's great! :)
Ignore the flowers if you must... my mom bought it for me for Chinese New Year... LOL! |
| | A new acquisition for my new direction; a midi to cv convertor :) a 1985 gear in mint "out of the box" condition.
For more info visit: HERE |
| | These are pictures taken whilst I compose and design for the play "Everything But The Brain" for Action Theatre. Now showing at the Esplanade Theatre. Here's the demo of three songs which I've picked out to upload (click on the title of the songs to listen):
EVER AFTER
This track, by approach was really simple. I mic'ed up a Hungarian Zither (CITERA) using a contact microphone and it's being fed into the KORG Radias audio in. Using a vocoder preset, I have made it to trigger a synth note (D flat) with a moderate attack and a long release. So everytime I plug a note, it will trigger the synth note. The signal is also routed through it's internal effects with delay and reverb. Another contact microphone was employed to sample the Citera with a BOSS RC-20 and the playback is reversed... This track was recorded live with me improvising on the Citera. (I have no idea how to play it so I just did what I think sound right) You can find a picture of the Citera below...
BEDTIME STORIES
A Plogue Bidule composition using a patch I've designed. The group has a couple of sequencers that triggers the risset bells and sine tones, which was passed through a rebuilder and some effects. Crytal Synths were employed for the generation of the glassy ambient. KORG Radias was used for a base drone...
EINSTEIN'S BRAIN
An abstract of the 10 minute long piece. The piano was from KORG Triton ST88. An improvisation based on the scenic mood was recorded and then reversed and picthed down to underlay the original recording. Another Plogue Bidule patch was designed to sound scape subtley underneath this track...
DISCLAIMER: There are pictures of other synths which was employed for the composition and design of other songs and sounds but I did not include the demo here... It's sad to see the way they treated my music in production... director's call, so what to do :/ |
| | THE VOTING HAS STARTED! Yes, voting will run till this Tuesday 12pm our time here in Singapore. I have provided the voting link so if you like what you hear here, do vote for me :D. THANKS! Stiff competition!
Okies, so here are the entries I submitted into the Cyndustries BUG OFF! aleatoric music contest:
d-DAY|h-HOUR
mo12seCODE
The theme of the contest is "WAR & PEACE"and we are suppose to use any kind of synthesis be it software or hardware based, digital or analogue. If you like it do go HERE to vote for me as your top three picks. Look for the titles. I will be really grateful! :P
NOTE: No looped samples were used and they are all original creations, played live, sequenced or programmed. No matter how aleatoric it is supposed to be, it can still fall under a familiar format of music. There are more aleatoric elements in mo12seCODE than d-DAY|h-HOUR. The random bleeps and glitches of the oscillating and filtering Sherman Filterbank II and also alot of "chance" music involved in this piece (eg. the transistor radio reacting with the MF105, etc). For d-DAY|h-HOUR, it's set to a more typical music track with the filtering algorithms random on the arpeggiating synths. Just because it says aleatorical doesn't mean it must sound weird and out of this world in my opinion.
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This album was taken post of recording the tracks. Here's the description of each piece:
d-DAY|h-HOUR
GEARS:KORG Triton ST88, KORG EM-1, KORG KP3, Sherman Filterbank II, MOOG MF105 Murf, MOOG Etherwave Theremin and ROLAND SH101.
DESCRIPTION: No software synthesis were used except for general effects during mixdown. Majority of the synthesis was from KORG Triton and composed on the fly. Drums were preprogrammed though on the EM1. The piano is from Triton and it was improvised on the spot. Not sequenced.
CONCEPT: I was pondering about war and peace and thought they are pretty dichotomous. The existence of one entails the existence of another. The meaning of peace would not be possible without the precedence of war or vice versa. Inspired by this notion, d-DAY|h-HOUR depicts the attack that ends war... with that, peace entails, but at much cost. Like my other entry, this song was cut in a about 4 hours. Hope you'll enjoy it. Cheers...
mo12seCODE
GEARS: Alesis ION, KORG EM-1, KORG KP3, KORG Triton ST88, Sherman Filterbank II, MOOG MF105 Murf and a small handhelf transistor radio.
DESCRIPTION: Composed and mixed on the fly with general effects passed post. Again this was done in about 4 hours as well. Special Notes: The Sherman Filterbank II was used as a self oscillating modular instead of processing sounds... it was patched for feedbacking itself. The transistor radio was used for creating the sweeping sounds (like wind)... achieved by feeding through MF105. Reaktor 5 was used for some sound designs as well as a simple drum sequence. Most drum sounds from EM1. Gun sounds were designed on Triton.
CONCEPT: "Morse code is the only digital modulation mode designed to be easily read by humans without a computer, making it appropriate for sending automated digital data in voice channels, as well as making it ideal for emergency signaling..." This piece is a stipulation of morse codes being sent amongst artificial intelligence during wars in the future... Resulting in a cacophony of electronic communication. Inspired by visuals of actual morse codes, I've derived patterns from some to enter it as sequenced patterns, repeating them and countering them against each other... and the outcome is rather musical, naturally...
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PHOTO DESCRIPTION
Well, these were taken during the session. The first few LED displays are from the Sherman Filterbank II. Playing around with movements and it's actually quite magical in my opinion. The rest are just straight forward gear slutting.
OUT
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Quite crap actually. This is my first attempt at video-making, from the demo I cut from my previous post SyNtH MaNtRa II. Amateurish stuff. Visual highlights shots from KORG EM1 and KORG KP3. Here's the original video on YoutubeThe song was cut from KORG EM1, KORG Prophecy, KORG KP3, BOSS VF-1 multi-effects processor and Moogerfooger MF105 MurF. For more shots of the session do visit HERE. Pretty lame but it's just out of pure fun.
| | "Cocktail-Patry Effect is the ability of the human ear to perceive a distinctive sound out of a collage of sounds. The ability to filter out a single sound from a collective of sounds. Sounds which are masked by a myriad of noised can be perceivable by the human ear through the exercise of this effect."
Audio Demo: | SyNtH MaNtRa II |
Music Concept:
Using the Cocktail Party Effect as a main driving concept, I composed a motive for the set. There are three tracks of micro-melodies playing the same motive at different tempos and in variations covering different frequency bands. Each track will take precedence at different times, sometimes clashing sometimes in sync. The four track is a shakuhachi-like synths that plays a distinctive melody at the beginning. The drum track is pre-programmed and sequenced prior the recording, acting as a base to mask micro-melodies to make them hardly perceivable, forcing one to engage the Cocktail Party Effect in order to make out the micro-melodies that weaved underneath the on-going drum track. With the ideology of Cocktail Party Effect, Synth Mantra II is a multi-tracked improvisation in the world of synths, filters and effects, melting the boundaries between analogue and digital as they fuse.
The song was composed, arranged and improvised on the fly less the sequenced drums. It's then mixed down minimally and with no effects added post. I did this track in about 2 hours so don't expect a professional mix. It's more for fun... my fun :P.
Technical Details:
All the synths sounds are from the KORG Prophecy, through the Moogerfooger MF105 MurF that changes rate of LFO as well as envelope. The Drum, which was pre-programmed and sequenced, is from KORG EM1, through BOSS VF-1 multi-effects processor and then through KORG Koass Pad III running a Grain Filter. The drum sequence was first passed through VF-1 on a violin filter, which resulted in a clicky metallic percussive sound. This was sampled into 3 banks on the KP3 in different variations. These sounds can be heard at the beginning of the track as it's morphed by the grain filter on KP3. During the actual recording, the drums were passed through a stereo vocoder on the VF-1 and then into the KP3 for the graining.
Photo Details:
The song was composed and played in the dark so that I indulge in the right mood. The LEDs really take on full effects in the dark so I took pictures of it after the recording and also with lights on later. The streaking LEDs happened when I took one accidentally because of unstable hands but it turned out pretty interesting. So I began to experiment and also changing camera mode. The result is some stunning LED displays.
UPDATES: Video is not available HERE. Or you can go direct to Youtube to view it. Don't expect too much :D. |
| | What does this man do in the middle of the night when he can't sleep and boredom sinks in?
"He let a transistor radio speak to a Moogerfooger"
Listen: C o N v E r S a T i O n S
An experimentation that took place when in need of a modular...
For those who are not atuned to experimental music, this piece is hardly musical and may not be assessible to you or may seemed abstract...
I didn't do much except passing the signal of a mini transistor radio with it's static noise running, through the MoogerFooger MF105 Murf... added some random patchings behind the Murf, routing "rate" to "envelop" and at times "mix". The rest is just knobbing, fading, sweeping the radio frequency band and stuffs. No effects or any EQ'ing added. What you hear is what MF105 did to the signal input. Pretty straight forward stuff...
The results? Ambient windy droney stuffs with spurts of crackly cranky random music and voices... Pretty interesting sounds. Musique Concrete?
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 Stayed up again for reasons of self indulgence... cut a demo using Kaoss Pad 3... here it is: | SyNtHiMoRpHoSiS |"...All is metamorphosis in life, from plants to animals and man, yes, even in the latter," Goethe wrote to Sulpiz Boisseree in 1815... Utilizing emptiness releases the intensity of the introspective experience - "Architecture of Silence" by Tadao Ando. This track was inspired by a research email sent my way via a friend.SyNtHiMoRpHoSiS is an improvisation on the KP3, nothing fanciful and it was composed on the fly... Basically I cut the demo using only KP3 (as a hardware) and nothing else. Recorded 4 tracks onto the sampler section of the KP3 from Little Talks, which is a generative patch I did using Plogue Bidule. With the four tracks of clicky bleepy stuffs done, I used a max/msp patch that generates random frequencies in harmonics input into the KP3 with grain filtering. Recorded the output and improvisation onto multi-track. Then I routed the recorded track back into KP3 for another round of filtering using other presets. Next I used the KP3 drum loops to cut another track and again, routed the recorded track back into KP3 for filtering between a filter preset and two grain presets... I "played" the filtering pattern/procedure on the KP3 rhythmically and recorded it on pad motion. The pad motion was triggered on time to the samples when we get nearer to the rhythmic section. At times it's reversed using the "reverse" function button [shift+pad motion]. I kept it going while "interrupting" the pad motion with new manipulations on the pad... did a quick mix down and mastering... The whole process took about an hour... rather ad-hoc so apologies for the bad mix in the whee hours... It's amazing to taste KP3's immaculate power as i was able, using different filters and effects from KP3, to change generative frequency tones into ambient drones. Again, just trying to see what KP3 can do for me with my limited skills... One special note to take is that there's no extra effects added to the tracks. Hope you'll enjoy the subtle nuances to the harsh and crude manipulation... check out the Photo Gallery for more pictures of KP3.
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