#synclavier — Public Fediverse posts

New abstract tune. Art by me also. #electronic #music #abstract #experimental #Synclavier #art #80s https://www.youtube.com/watch?v=ywEnt1BPQ7g&t=1s

New abstract tune. Art by me also. #electronic #music #abstract #experimental #Synclavier #art #80s https://www.youtube.com/watch?v=ywEnt1BPQ7g&t=1s

New abstract tune. Art by me also. #electronic #music #abstract #experimental #Synclavier #art #80s https://www.youtube.com/watch?v=ywEnt1BPQ7g&t=1s

New abstract tune. Art by me also. #electronic #music #abstract #experimental #Synclavier #art #80s https://www.youtube.com/watch?v=ywEnt1BPQ7g&t=1s

The live premiere of our interview with Cameron Jones (co-inventor of the #Synclavier synthesizer) will start in about an hour. Please join us live, or come back and watch whenever you like 😻🎹📺 https://youtu.be/MfTFRT7XnUg

The live premiere of our interview with Cameron Jones (co-inventor of the #Synclavier synthesizer) will start in about an hour. Please join us live, or come back and watch whenever you like 😻🎹📺 https://youtu.be/MfTFRT7XnUg

The live premiere of our interview with Cameron Jones (co-inventor of the #Synclavier synthesizer) will start in about an hour. Please join us live, or come back and watch whenever you like 😻🎹📺 https://youtu.be/MfTFRT7XnUg

The live premiere of our interview with Cameron Jones (co-inventor of the #Synclavier synthesizer) will start in about an hour. Please join us live, or come back and watch whenever you like 😻🎹📺 https://youtu.be/MfTFRT7XnUg

The live premiere of our interview with Cameron Jones (co-inventor of the #Synclavier synthesizer) will start in about an hour. Please join us live, or come back and watch whenever you like 😻🎹📺 https://youtu.be/MfTFRT7XnUg

I can get on odd trains of thought.

Now I am thinking of people who used a Fairlight EMI vs a Synclavier,
My perceived ease of use of user interface, (Fairlight seems way more straightforward) and how those that were able to make their investment back to pay for them with successful recording or tour might have been using only one blade of their knife. I think Zappa used his synclavier as a multitrack recorder more than a sampler, as most used fairlights.

#synths #Fairlight #Synclavier

I can get on odd trains of thought.

Now I am thinking of people who used a Fairlight EMI vs a Synclavier,
My perceived ease of use of user interface, (Fairlight seems way more straightforward) and how those that were able to make their investment back to pay for them with successful recording or tour might have been using only one blade of their knife. I think Zappa used his synclavier as a multitrack recorder more than a sampler, as most used fairlights.

#synths #Fairlight #Synclavier

I can get on odd trains of thought.

Now I am thinking of people who used a Fairlight EMI vs a Synclavier,
My perceived ease of use of user interface, (Fairlight seems way more straightforward) and how those that were able to make their investment back to pay for them with successful recording or tour might have been using only one blade of their knife. I think Zappa used his synclavier as a multitrack recorder more than a sampler, as most used fairlights.

#synths #Fairlight #Synclavier

I can get on odd trains of thought.

Now I am thinking of people who used a Fairlight EMI vs a Synclavier,
My perceived ease of use of user interface, (Fairlight seems way more straightforward) and how those that were able to make their investment back to pay for them with successful recording or tour might have been using only one blade of their knife. I think Zappa used his synclavier as a multitrack recorder more than a sampler, as most used fairlights.

#synths #Fairlight #Synclavier

I can get on odd trains of thought.

Now I am thinking of people who used a Fairlight EMI vs a Synclavier,
My perceived ease of use of user interface, (Fairlight seems way more straightforward) and how those that were able to make their investment back to pay for them with successful recording or tour might have been using only one blade of their knife. I think Zappa used his synclavier as a multitrack recorder more than a sampler, as most used fairlights.

#synths #Fairlight #Synclavier

The #Synclavier, #MichaelJackson and a #Copyright Conundrum

https://www.youtube.com/watch?v=j7SNzgggyJo&ab_channel=AlexBall

#SynclavierII #Synclavier2 #Music #ElectronicMusic #BeatIt #Keyboard #Keyboards

Earcandy releases Quondam sample library for Kontakt https://rekkerd.org/earcandy-releases-quondam-sample-library-for-kontakt/

#Digidesign #Earcandy #Kontakt #Synclavier

#Fairlight #Synclavier In mode 4, the waveform segments are simply sent to the digital to analog converter. It required the voice memory to be quadrupled to 16 kilobytes, making 128 discrete segments, but it meant a couple of seconds of a recording, like a really short mellotron.

Mode 4 meant less effort for a more realistic sound. The rest, is history.

<commentary>These are all things I can demonstrate, and it really irks me that most of the Fairlight CMI videos are recorded by people who just don't demonstrate the instrument that well, at all. </commentary>

#Fairlight #Synclavier CMI Page 6 was a way to use the light pen to sculpt the waveform of a particular segment. It also had settings for several pre-defined waveforms, and the ability to interpolate them between segments.

CMI Page D wasn't a visual gimmick. By laying the individual segments of a voice in a sheared fashion, it was possible to detect all sorts of mistakes like phase errors, which were very important in wavetable voices.

One example of implementing a voice in this manner, would be Karplus-Strong synthesis: Create a segment of white noise, interpolating to a sawtooth wave, into a sine wave, simulating the pluck of a string.

Mode 1 was initially intended to be the primary voicing method of the CMI, but memory and processing considerations limited the possibility for realistic sounds. The compromise was mode 4

#Fairlight #Synclavier This voice architecture was called mode 1, and required 4 kilobytes of RAM for each voice card. The M8 had other modes too, and you can read about them in its manual.

For those keeping score, it is indeed very much like the PPG Wave 340/380 system, which, ironically used the same CPU (Motorola 6800). But the PPG waveforms were longer, and the table was twice as long, however after the 340/380, waveforms had to be symmetrical.

CMI Page 4 allowed for the quick sketching of amplitudes for each individual harmonic, as a single view. You could quickly see a bird's eye view of the voice envelope, and apply loop points.

CMI Page 5 Allowed for a slice by slice view of each waveform in the table, allowing you to adjust the harmonic profiles for each slice, with an array of faders adjusting the harmonic profile of a given segment.

I got to know the #Fairlight CMI and #Synclavier exceptionally well, and squeezed everything I could out of these instruments, by learning all of their features, and writing software for them

An example. Most people see the Fairlight CMI as a sampler. Given that page 8 was very easy to use, and the fact that most producers just wanted a particular sound, it would be sampled, and inserted as embellishment in a mix. But that was just one mode. Mode 4.

Circa 1979, The CMI was a commercial refinement of an earlier instrument, the QASAR M8. The QASAR synthesizers were early additive synthesizers that initially worked on very harmonically static waveforms.

The M8 enhanced this functionality by providing a voice architecture that could quickly step through 32 possible digital waveforms, each containing 128 discrete 8-bit values, with the ability to scan through these waveforms in complex ways.

In additional lighter music-tech news, I'm happy to say there's a slim chance an update idea I had for the #Synclavier Regen #synthesizer could be implemented, having been informed of updates the other day as well. Will try to reveal the specifics of the idea later.

New Daily Disc! Frank #Zappa: Jazz from Hell (#Synclavier album)
https://youtube.com/shorts/fGKaVyDF89o?si=5uZt9YiiEusOLeat 😻💿🎹📺

Synclavier launches Regen digital FM synthesizer https://rekkerd.org/synclavier-launches-regen-digital-fm-synthesizer/

#Hardware #NewEnglandDigital #Synclavier #Synthesizer

Received an email yesterday that my #Synclavier Regen shipped at last! Will try to keep everyone updated with my impressions when it arrives! #synth #synthesizer

sound induced happiness - almost 40 year old very complex machine is crunching numbers to please my ears. #synclavier #psmt #ned #fm-synthesis #digital

Earcandy releases Quondam sample library for Kontakt https://rekkerd.org/earcandy-releases-quondam-sample-library-for-kontakt/

#Digidesign #Earcandy #Kontakt #Synclavier

Earcandy releases Quondam sample library for Kontakt https://rekkerd.org/earcandy-releases-quondam-sample-library-for-kontakt/

#Digidesign #Earcandy #Kontakt #Synclavier

Earcandy releases Quondam sample library for Kontakt https://rekkerd.org/earcandy-releases-quondam-sample-library-for-kontakt/

#Digidesign #Earcandy #Kontakt #Synclavier

#Fairlight #Synclavier In mode 4, the waveform segments are simply sent to the digital to analog converter. It required the voice memory to be quadrupled to 16 kilobytes, making 128 discrete segments, but it meant a couple of seconds of a recording, like a really short mellotron.

Mode 4 meant less effort for a more realistic sound. The rest, is history.

<commentary>These are all things I can demonstrate, and it really irks me that most of the Fairlight CMI videos are recorded by people who just don't demonstrate the instrument that well, at all. </commentary>

#Fairlight #Synclavier In mode 4, the waveform segments are simply sent to the digital to analog converter. It required the voice memory to be quadrupled to 16 kilobytes, making 128 discrete segments, but it meant a couple of seconds of a recording, like a really short mellotron.

Mode 4 meant less effort for a more realistic sound. The rest, is history.

<commentary>These are all things I can demonstrate, and it really irks me that most of the Fairlight CMI videos are recorded by people who just don't demonstrate the instrument that well, at all. </commentary>

#Fairlight #Synclavier In mode 4, the waveform segments are simply sent to the digital to analog converter. It required the voice memory to be quadrupled to 16 kilobytes, making 128 discrete segments, but it meant a couple of seconds of a recording, like a really short mellotron.

Mode 4 meant less effort for a more realistic sound. The rest, is history.

<commentary>These are all things I can demonstrate, and it really irks me that most of the Fairlight CMI videos are recorded by people who just don't demonstrate the instrument that well, at all. </commentary>

#Fairlight #Synclavier In mode 4, the waveform segments are simply sent to the digital to analog converter. It required the voice memory to be quadrupled to 16 kilobytes, making 128 discrete segments, but it meant a couple of seconds of a recording, like a really short mellotron.

Mode 4 meant less effort for a more realistic sound. The rest, is history.

<commentary>These are all things I can demonstrate, and it really irks me that most of the Fairlight CMI videos are recorded by people who just don't demonstrate the instrument that well, at all. </commentary>

#Fairlight #Synclavier CMI Page 6 was a way to use the light pen to sculpt the waveform of a particular segment. It also had settings for several pre-defined waveforms, and the ability to interpolate them between segments.

CMI Page D wasn't a visual gimmick. By laying the individual segments of a voice in a sheared fashion, it was possible to detect all sorts of mistakes like phase errors, which were very important in wavetable voices.

One example of implementing a voice in this manner, would be Karplus-Strong synthesis: Create a segment of white noise, interpolating to a sawtooth wave, into a sine wave, simulating the pluck of a string.

Mode 1 was initially intended to be the primary voicing method of the CMI, but memory and processing considerations limited the possibility for realistic sounds. The compromise was mode 4

#Fairlight #Synclavier CMI Page 6 was a way to use the light pen to sculpt the waveform of a particular segment. It also had settings for several pre-defined waveforms, and the ability to interpolate them between segments.

CMI Page D wasn't a visual gimmick. By laying the individual segments of a voice in a sheared fashion, it was possible to detect all sorts of mistakes like phase errors, which were very important in wavetable voices.

One example of implementing a voice in this manner, would be Karplus-Strong synthesis: Create a segment of white noise, interpolating to a sawtooth wave, into a sine wave, simulating the pluck of a string.

Mode 1 was initially intended to be the primary voicing method of the CMI, but memory and processing considerations limited the possibility for realistic sounds. The compromise was mode 4

#Fairlight #Synclavier CMI Page 6 was a way to use the light pen to sculpt the waveform of a particular segment. It also had settings for several pre-defined waveforms, and the ability to interpolate them between segments.

CMI Page D wasn't a visual gimmick. By laying the individual segments of a voice in a sheared fashion, it was possible to detect all sorts of mistakes like phase errors, which were very important in wavetable voices.

One example of implementing a voice in this manner, would be Karplus-Strong synthesis: Create a segment of white noise, interpolating to a sawtooth wave, into a sine wave, simulating the pluck of a string.

Mode 1 was initially intended to be the primary voicing method of the CMI, but memory and processing considerations limited the possibility for realistic sounds. The compromise was mode 4

#Fairlight #Synclavier CMI Page 6 was a way to use the light pen to sculpt the waveform of a particular segment. It also had settings for several pre-defined waveforms, and the ability to interpolate them between segments.

CMI Page D wasn't a visual gimmick. By laying the individual segments of a voice in a sheared fashion, it was possible to detect all sorts of mistakes like phase errors, which were very important in wavetable voices.

One example of implementing a voice in this manner, would be Karplus-Strong synthesis: Create a segment of white noise, interpolating to a sawtooth wave, into a sine wave, simulating the pluck of a string.

Mode 1 was initially intended to be the primary voicing method of the CMI, but memory and processing considerations limited the possibility for realistic sounds. The compromise was mode 4

#Fairlight #Synclavier This voice architecture was called mode 1, and required 4 kilobytes of RAM for each voice card. The M8 had other modes too, and you can read about them in its manual.

For those keeping score, it is indeed very much like the PPG Wave 340/380 system, which, ironically used the same CPU (Motorola 6800). But the PPG waveforms were longer, and the table was twice as long, however after the 340/380, waveforms had to be symmetrical.

CMI Page 4 allowed for the quick sketching of amplitudes for each individual harmonic, as a single view. You could quickly see a bird's eye view of the voice envelope, and apply loop points.

CMI Page 5 Allowed for a slice by slice view of each waveform in the table, allowing you to adjust the harmonic profiles for each slice, with an array of faders adjusting the harmonic profile of a given segment.

#Fairlight #Synclavier This voice architecture was called mode 1, and required 4 kilobytes of RAM for each voice card. The M8 had other modes too, and you can read about them in its manual.

For those keeping score, it is indeed very much like the PPG Wave 340/380 system, which, ironically used the same CPU (Motorola 6800). But the PPG waveforms were longer, and the table was twice as long, however after the 340/380, waveforms had to be symmetrical.

CMI Page 4 allowed for the quick sketching of amplitudes for each individual harmonic, as a single view. You could quickly see a bird's eye view of the voice envelope, and apply loop points.

CMI Page 5 Allowed for a slice by slice view of each waveform in the table, allowing you to adjust the harmonic profiles for each slice, with an array of faders adjusting the harmonic profile of a given segment.

#Fairlight #Synclavier This voice architecture was called mode 1, and required 4 kilobytes of RAM for each voice card. The M8 had other modes too, and you can read about them in its manual.

For those keeping score, it is indeed very much like the PPG Wave 340/380 system, which, ironically used the same CPU (Motorola 6800). But the PPG waveforms were longer, and the table was twice as long, however after the 340/380, waveforms had to be symmetrical.

CMI Page 4 allowed for the quick sketching of amplitudes for each individual harmonic, as a single view. You could quickly see a bird's eye view of the voice envelope, and apply loop points.

CMI Page 5 Allowed for a slice by slice view of each waveform in the table, allowing you to adjust the harmonic profiles for each slice, with an array of faders adjusting the harmonic profile of a given segment.

#Fairlight #Synclavier This voice architecture was called mode 1, and required 4 kilobytes of RAM for each voice card. The M8 had other modes too, and you can read about them in its manual.

For those keeping score, it is indeed very much like the PPG Wave 340/380 system, which, ironically used the same CPU (Motorola 6800). But the PPG waveforms were longer, and the table was twice as long, however after the 340/380, waveforms had to be symmetrical.

CMI Page 4 allowed for the quick sketching of amplitudes for each individual harmonic, as a single view. You could quickly see a bird's eye view of the voice envelope, and apply loop points.

CMI Page 5 Allowed for a slice by slice view of each waveform in the table, allowing you to adjust the harmonic profiles for each slice, with an array of faders adjusting the harmonic profile of a given segment.

I got to know the #Fairlight CMI and #Synclavier exceptionally well, and squeezed everything I could out of these instruments, by learning all of their features, and writing software for them

An example. Most people see the Fairlight CMI as a sampler. Given that page 8 was very easy to use, and the fact that most producers just wanted a particular sound, it would be sampled, and inserted as embellishment in a mix. But that was just one mode. Mode 4.

Circa 1979, The CMI was a commercial refinement of an earlier instrument, the QASAR M8. The QASAR synthesizers were early additive synthesizers that initially worked on very harmonically static waveforms.

The M8 enhanced this functionality by providing a voice architecture that could quickly step through 32 possible digital waveforms, each containing 128 discrete 8-bit values, with the ability to scan through these waveforms in complex ways.

I got to know the #Fairlight CMI and #Synclavier exceptionally well, and squeezed everything I could out of these instruments, by learning all of their features, and writing software for them

An example. Most people see the Fairlight CMI as a sampler. Given that page 8 was very easy to use, and the fact that most producers just wanted a particular sound, it would be sampled, and inserted as embellishment in a mix. But that was just one mode. Mode 4.

Circa 1979, The CMI was a commercial refinement of an earlier instrument, the QASAR M8. The QASAR synthesizers were early additive synthesizers that initially worked on very harmonically static waveforms.

The M8 enhanced this functionality by providing a voice architecture that could quickly step through 32 possible digital waveforms, each containing 128 discrete 8-bit values, with the ability to scan through these waveforms in complex ways.

I got to know the #Fairlight CMI and #Synclavier exceptionally well, and squeezed everything I could out of these instruments, by learning all of their features, and writing software for them

An example. Most people see the Fairlight CMI as a sampler. Given that page 8 was very easy to use, and the fact that most producers just wanted a particular sound, it would be sampled, and inserted as embellishment in a mix. But that was just one mode. Mode 4.

Circa 1979, The CMI was a commercial refinement of an earlier instrument, the QASAR M8. The QASAR synthesizers were early additive synthesizers that initially worked on very harmonically static waveforms.

The M8 enhanced this functionality by providing a voice architecture that could quickly step through 32 possible digital waveforms, each containing 128 discrete 8-bit values, with the ability to scan through these waveforms in complex ways.

I got to know the #Fairlight CMI and #Synclavier exceptionally well, and squeezed everything I could out of these instruments, by learning all of their features, and writing software for them

An example. Most people see the Fairlight CMI as a sampler. Given that page 8 was very easy to use, and the fact that most producers just wanted a particular sound, it would be sampled, and inserted as embellishment in a mix. But that was just one mode. Mode 4.

Circa 1979, The CMI was a commercial refinement of an earlier instrument, the QASAR M8. The QASAR synthesizers were early additive synthesizers that initially worked on very harmonically static waveforms.

The M8 enhanced this functionality by providing a voice architecture that could quickly step through 32 possible digital waveforms, each containing 128 discrete 8-bit values, with the ability to scan through these waveforms in complex ways.

In additional lighter music-tech news, I'm happy to say there's a slim chance an update idea I had for the #Synclavier Regen #synthesizer could be implemented, having been informed of updates the other day as well. Will try to reveal the specifics of the idea later.

In additional lighter music-tech news, I'm happy to say there's a slim chance an update idea I had for the #Synclavier Regen #synthesizer could be implemented, having been informed of updates the other day as well. Will try to reveal the specifics of the idea later.

In additional lighter music-tech news, I'm happy to say there's a slim chance an update idea I had for the #Synclavier Regen #synthesizer could be implemented, having been informed of updates the other day as well. Will try to reveal the specifics of the idea later.

In additional lighter music-tech news, I'm happy to say there's a slim chance an update idea I had for the #Synclavier Regen #synthesizer could be implemented, having been informed of updates the other day as well. Will try to reveal the specifics of the idea later.

New Daily Disc! Frank #Zappa: Jazz from Hell (#Synclavier album)
https://youtube.com/shorts/fGKaVyDF89o?si=5uZt9YiiEusOLeat 😻💿🎹📺

New Daily Disc! Frank #Zappa: Jazz from Hell (#Synclavier album)
https://youtube.com/shorts/fGKaVyDF89o?si=5uZt9YiiEusOLeat 😻💿🎹📺