These gentlemen are great artist with a prolific portfolio of electronic music. This is a great video and there is lots of electronic goodness discussed in this video. There is plenty of the Mouse On Mars studio for all of you too. Enjoy!
Andi Toma and Jan St. Werner let us know what they have been doing for the past 20 years together on October 10th at CDR Berlin.
More here: cdr-projects.com
Its simple Techno but one can’t help but watch all the lovely electronic gear and appreciate the organization, deliberate gestures, and the overall presentation of it all. All that classic Japanese gear in one video is juicy good.
We’re always fans of girls with synthesizers. Japanese girls with synthesizers get extra points. Enjoy!
I will be seeing Thomas Dolby once again at the Rio Theater in Vancouver, BC. He was great the last time and I’m sure this tour will be no different. In other words, its going to be great show! Looking forward to that VIP experience too. Check this out…
A trailer for the upcoming live performance US tour by Thomas Dolby, playing and narrating the soundtrack to his self-made film debut The Invisible Lighthouse, with special guest Blake Leyh on live Foley sound effects.
I’m liking this teaser video of this upcoming tour!
Make sure to read more here and here too.
The Artie Lange Show – Thomas Dolby — Excerpt from “The Invisible Lighthouse (Medley)”
Etienne De Crécy -Beats N Cubes Studio Tutorial: A Presentation of the Gear Etienne De Crécy uses inside The Cube.
This is a great little overview of his set-up. Filled with fx routing, foot controllers, layering and lots of synthesizer goodness for you to enjoy. And yes, that machine is indeed magic!
Check out this live performance of Robert Lippok (of To Rococo Rot fame) live at L.E.V.(Laboratory of Visual Electronica) Festival. This was recorded in 2012.
Take a listen and if you are a fan of Robert Lippok like I most certainly am, you will enjoy this.
You will more than likely recognize many of these tracks. The performance starts out with a version of Unfold from his Redspuperstructure LP(2011) and builds from there. You can definitely hear the Yamaha Tenori-On on there. Enjoy!
Total running time: 51:21
About L.E.V.
Stands for Laboratorio de Electrónica Visual or, in English, Laboratory of Visual Electronica, is a project that tries to show a panoramic, eclectic and qualitative vision of the ample spectrum of current genres that come from connecting visual arts and electronic music.
A physical and ephemeral space, concerned specifically with four themes: the natural synergy between image and sound, the live presentation, the relationship established between audience, artist connection and public space, and the new artistic tendencies that constantly emerge on a global level.
L.E.V., co-produced by Principado de Asturias Goverment, LABoral’s Centre of Art and Industrial Creation and Datatron 0x3F, honors by its acronym to Lev Thermen.
For more on L.E.V. go here.
Gavin Russom walks through the process of creating a track for Moog Music and self-titled magazine.
To see the video go here.
GAVIN RUSSOM || SPECTRUM ANALYSIS|
From Moog Music
Drawing the ‘Spectrum Analysis’ card and armed with a battery of Moog gear, Gavin Russom set off crafting what he calls a “holistic workout”: an organic opus that grows and evolves over the course of 11 minutes. Learn about his process here.
“I found interesting ways to use the new Moog gear, playing the knobs live and thinking of ways to use each piece that might not be the standard “set and forget” approach. Keeping everything moving like that made each sound feel alive.”
I am in the Bellingham International Airport waiting to catch a quick flight and this song popped up on one of my playlist. I dig it and I think you will too.
From the Ableton.com site:
Nosaj Thing & Chance the Rapper – collaboration from scratch, with Push
As part of Yours Truly’s ongoing Songs from Scratch series, LA mainstay Nosaj Thing collaborated with rising star Chance the Rapper, making a track, “Paranoia”, in one long and creative session. Watch for Nosaj on Push in the mini-documentary about the making of “Paranoia”, below:
I like Purity Ring and Jon Hopkins is just about collaborating with everyone right now too. Breathe This Air is a great track. Check it out…
Having recently announced a return to Los Angeles to play two special shows with special guest and long-standing friend Jon Hopkins later this month (Henry Fonda Theatre on August 27 and 28), we’re excited to announce that at each performance, the two artists will give away 175 copies of a very limited edition 12” vinyl single.
The record will contain the previously aired Jon Hopkins remix of Purity Ring’s song ‘Amenamy’ (taken from their debut album, Shrines, and streaming below) and a new version of Jon Hopkins’ ‘Breathe This Air’ that features Megan on vocals and was premiered last night by Huw Stephens standing in for Zane Lowe on his BBC Radio 1 show.
The 12”s will be distributed at the show on a first-come-first-serve basis.
I was on Benge’s blog- It’s Full of Stars and saw this great little video of a Buchla 700. A synthesizer which I didn’t even know existed. Enjoy!
Benge is no stranger on this blog either and you can find more content here. For more on Benge & his Buchla go here.
An excerpt of the Buchla 700. For more visit Buchla here.
A direct descendent in a prestigious line of electronic musical instruments, the Buchla 700 continues a tradition of combining inventive musical.and instrumental concepts with state-of-the-art electronics technology.
THE 700’S ARCHITECTURE includes four dedicated computers, each of a different nature, and each optimized to its particular function. The nerve center of the instrument is a general purpose digital computer. Responsible for user communication, data processing, and supervisory control, this “host” computer can be programmed to accommodate varied musical needs.
A second computer “massages” incoming data. It directs conversion of analog voltages into digital form, discards redundant information, and transmits essential data to the host computer.
Receiving instructions and data from the host, a third computer (called the multiple arbitrary function generator) directs the instantaneous progress of 190 acoustic variables, each with a time resolution of 1/2000 of a second. This facility enables specification of complex sonic detail and extends the possibilities for expressive control.
A fourth computer, essentially a pipelined digital signal processor (DSP), is responsible for producing the 700’s twelve voices. Built into this computer are unusually powerful algorithms for sound generation, including frequency modulation, waveshape interpolation, and timbre modulation (unique to the Buchla, this technique significantly augments the electronic vocabulary.
Custom analog circuitry, with a dynamic range of 100 dB, is used for metering and control of dynamics. Specialized phasing and location circuitry provides unusual depth and imaging in the resultant acoustic field and enables independent location of each voice in stereo space.
Based on sealed membrane technology, the 700’s input structure provides a comprehensive interactive editing and mode selection facility. Position-sensitive transducers are used to implement conceptual potentiometers, flywheels, switches, ribbon controllers, and other gesture-sensitive paraphernalia. Light emitting diodes display the status of touch sensitive keys, and a super-twisted liquid crystal display indicates the functions and settings of touch sensitive controls.
Three MIDI ports comprise the 700’s primary performance inputs. Under software control, MIDI channels from any port(s) can be assigned to any of the 700’s voices, thus enabling simultaneous control from multiple MIDI devices (which might include keyboards, guitar controllers, drum machines, pitch followers, space wands or personal computers). Other inputs accept control voltages, pulses, foot pedals, and SMPTE time code. Two RS232 ports provide for communication with computers, modems, terminals, and printers. Control voltage and pulse outputs, three MIDI outputs, and special control signal outputs complete the 700’s comprehensive I/O facility.
In addition to the self-contained LCD display, the 700 can drive an external video monitor that conforms to the EGA standard. This high resolution, multi-color display, coupled with the 700’s extensive input structure and sophisticated high level music software, provides the instrument with an efficient interactive editing and performance environment. A built-in 3 1/2 inch disk drive is used to store data for subsequent retrieval or to facilitate software exchange with other users. Instrument definitions, tuning tables, waveshape tables, scores, and high level languages can all be stored on microdisks.
The Synthesizer Book 