#synthesizers — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #synthesizers, aggregated by home.social.
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#podcast A garden shed on the Thames, a PDP-8 with four kilobytes of memory, and the romantic wish for a machine that could feel.
Conversation with composer, engineer and geologist Peter Zinovieff on the first personal computer, EMS, paper tape, and how not to keep a sound archive.
🎧 https://rwm.macba.cat/en/podcasts/sonia-286-peter-zinovieff-2/
#computermusic #sound #electronicMusic #synthesizers #podcast
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#podcast A garden shed on the Thames, a PDP-8 with four kilobytes of memory, and the romantic wish for a machine that could feel.
Conversation with composer, engineer and geologist Peter Zinovieff on the first personal computer, EMS, paper tape, and how not to keep a sound archive.
🎧 https://rwm.macba.cat/en/podcasts/sonia-286-peter-zinovieff-2/
#computermusic #sound #electronicMusic #synthesizers #podcast
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#podcast A garden shed on the Thames, a PDP-8 with four kilobytes of memory, and the romantic wish for a machine that could feel.
Conversation with composer, engineer and geologist Peter Zinovieff on the first personal computer, EMS, paper tape, and how not to keep a sound archive.
🎧 https://rwm.macba.cat/en/podcasts/sonia-286-peter-zinovieff-2/
#computermusic #sound #electronicMusic #synthesizers #podcast
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#podcast A garden shed on the Thames, a PDP-8 with four kilobytes of memory, and the romantic wish for a machine that could feel.
Conversation with composer, engineer and geologist Peter Zinovieff on the first personal computer, EMS, paper tape, and how not to keep a sound archive.
🎧 https://rwm.macba.cat/en/podcasts/sonia-286-peter-zinovieff-2/
#computermusic #sound #electronicMusic #synthesizers #podcast
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#podcast A garden shed on the Thames, a PDP-8 with four kilobytes of memory, and the romantic wish for a machine that could feel.
Conversation with composer, engineer and geologist Peter Zinovieff on the first personal computer, EMS, paper tape, and how not to keep a sound archive.
🎧 https://rwm.macba.cat/en/podcasts/sonia-286-peter-zinovieff-2/
#computermusic #sound #electronicMusic #synthesizers #podcast
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Tymbal update:
The synthesis engines are finished enough to use, though I do want to add a couple more of them and miscellaneous features like nonlinear modulation and jawari (we have sympathetic strings, but no jawari yet). And the factory patches mostly suck.
Last night we got sequence editing! Now you can double-click on an empty spot in a track and create a "motive" (aka a MIDI clip) and open the motive editor, which is a piano-roll editor for the motive. It has "the usual" editing abilities (marquee selection, note dragging, velocity stems, some MPE-type features like note bend). This is the first way to get notes into the sequencer besides importing a .MID file.
Tonight, we will implement:
- A set of "channel strip" effects: per-channel EQ, compression, gate, trim, sample delay (eq/comp positions swappable)
- MIDI Recording!
- Automation curve editing (we already have breakpoint curve editing for the voice timeframe editor)
On the weekend, we will get FX layers (which is where any effect with memory or modulation goes) and sidechains.
How Motives Work:
Each track is either tick-based or timeline-based (like Pro Tools): changing tempo moves tick-based events but does not move time-based events. A Motive (MIDI clip) placed on a track (at either a tick-based or time-based position, depending on the track's time base) is called a Placement.
A Motive has its own time ruler. It can be time-based or tick-based, independently of whether its track is time- or tick-based. If tick-based, it can be set to "follow song tempo" or to have its own tempo and time signature.
So you can have a 120bpm 4/4 song, and place a motive at bar 3 beat 1 (or at some absolute time) and have it play that motive at 90bpm in 3/4, against other tracks playing in 4/4 at 120bpm. (Studio Vision Pro had this back in 1998, but I've missed it since the demise of SVP.)
The UI is still kinda rough. No crashes or crazy drawing, but it is UGLY and not very well laid out. Very tweaky, but since the synth engine has several hundred parameters, UX is gonna be a long road.
And still no FPGA RTL. Soon.
-
Tymbal update:
The synthesis engines are finished enough to use, though I do want to add a couple more of them and miscellaneous features like nonlinear modulation and jawari (we have sympathetic strings, but no jawari yet). And the factory patches mostly suck.
Last night we got sequence editing! Now you can double-click on an empty spot in a track and create a "motive" (aka a MIDI clip) and open the motive editor, which is a piano-roll editor for the motive. It has "the usual" editing abilities (marquee selection, note dragging, velocity stems, some MPE-type features like note bend). This is the first way to get notes into the sequencer besides importing a .MID file.
Tonight, we will implement:
- A set of "channel strip" effects: per-channel EQ, compression, gate, trim, sample delay (eq/comp positions swappable)
- MIDI Recording!
- Automation curve editing (we already have breakpoint curve editing for the voice timeframe editor)
On the weekend, we will get FX layers (which is where any effect with memory or modulation goes) and sidechains.
How Motives Work:
Each track is either tick-based or timeline-based (like Pro Tools): changing tempo moves tick-based events but does not move time-based events. A Motive (MIDI clip) placed on a track (at either a tick-based or time-based position, depending on the track's time base) is called a Placement.
A Motive has its own time ruler. It can be time-based or tick-based, independently of whether its track is time- or tick-based. If tick-based, it can be set to "follow song tempo" or to have its own tempo and time signature.
So you can have a 120bpm 4/4 song, and place a motive at bar 3 beat 1 (or at some absolute time) and have it play that motive at 90bpm in 3/4, against other tracks playing in 4/4 at 120bpm. (Studio Vision Pro had this back in 1998, but I've missed it since the demise of SVP.)
The UI is still kinda rough. No crashes or crazy drawing, but it is UGLY and not very well laid out. Very tweaky, but since the synth engine has several hundred parameters, UX is gonna be a long road.
And still no FPGA RTL. Soon.
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CEREMONY
In The Spirit World Now
2019 UK pressing
Orange Krush and Easter Yellow Splatter vinylI was a huge fan of Ceremony’s 2015 album The L-Shaped Man, so needless to say I was very excited to hear this follow up when it came 4 years later.
I was pleasantly surprised by the evolution here, stylistically speaking. It’s got a bit of that #postpunk vibe I loved from L-Shaped, but leans a little more into melodic, synthy #newwave vibes a bit.
It’s catchy, yes, but still very nervous sounding, and it to my ears, works wonderfully.
Pretty good record to start my day with.
#vinyl #vinylrecords #vinylcommunity #records #vintage #retro #physicalmedia #analog #vinylcollection #art #music #synth #synthesizers #indie #alternative #ceremony
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CEREMONY
In The Spirit World Now
2019 UK pressing
Orange Krush and Easter Yellow Splatter vinylI was a huge fan of Ceremony’s 2015 album The L-Shaped Man, so needless to say I was very excited to hear this follow up when it came 4 years later.
I was pleasantly surprised by the evolution here, stylistically speaking. It’s got a bit of that #postpunk vibe I loved from L-Shaped, but leans a little more into melodic, synthy #newwave vibes a bit.
It’s catchy, yes, but still very nervous sounding, and it to my ears, works wonderfully.
Pretty good record to start my day with.
#vinyl #vinylrecords #vinylcommunity #records #vintage #retro #physicalmedia #analog #vinylcollection #art #music #synth #synthesizers #indie #alternative #ceremony
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#TBT #1981 #FiguresOnABeach Classic #Detroit #Synthwave! Weeee-rrrrr-owwww-womp-womp-womp-doot-doot-dee-doot-doot-deeeeee-doot-doot-dee-doot-doot-deeeeee-nee-nee-nee! ⚡ 🎹 🎶 👍 😁 #Music #NewWave #Electro #RetroElectro #Synth #Synthesizers #Michigan https://soundcloud.com/user-131988608/poison
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#TBT #1981 #FiguresOnABeach Classic #Detroit #Synthwave! Weeee-rrrrr-owwww-womp-womp-womp-doot-doot-dee-doot-doot-deeeeee-doot-doot-dee-doot-doot-deeeeee-nee-nee-nee! ⚡ 🎹 🎶 👍 😁 #Music #NewWave #Electro #RetroElectro #Synth #Synthesizers #Michigan https://soundcloud.com/user-131988608/poison
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"Mickey" (also titled "Hey Mickey") is a song originally recorded by English #rock band #Racey under the title "Kitty" for their debut studio album Smash and Grab (1979). American singer #ToniBasil covered it for her debut studio album #WordOfMouth (1981). #NickyChinn and #MikeChapman co-wrote the song while production was helmed by Greg Mathieson and #TrevorVeitch. It is a #newWave song, featuring guitar, #synthesizers, and cheerleading chants.
https://www.youtube.com/watch?v=QoDxSgoVHG0 -
"Mickey" (also titled "Hey Mickey") is a song originally recorded by English #rock band #Racey under the title "Kitty" for their debut studio album Smash and Grab (1979). American singer #ToniBasil covered it for her debut studio album #WordOfMouth (1981). #NickyChinn and #MikeChapman co-wrote the song while production was helmed by Greg Mathieson and #TrevorVeitch. It is a #newWave song, featuring guitar, #synthesizers, and cheerleading chants.
https://www.youtube.com/watch?v=QoDxSgoVHG0 -
"We Are Never Ever Getting Back Together" is a song by the American singer-songwriter #TaylorSwift from her fourth studio album, #Red (2012). It was released as the album's lead single on August 13, 2012, by #BigMachineRecords. Written and produced by Swift, #MaxMartin, and #Shellback, "We Are Never Ever Getting Back Together" is an upbeat #pop song that features #synthesizers, #twangy processed #guitar riffs, #bassDrums, and a #spokenword #bridge.
https://www.youtube.com/watch?v=j1fsEAF3Xo4 -
"We Are Never Ever Getting Back Together" is a song by the American singer-songwriter #TaylorSwift from her fourth studio album, #Red (2012). It was released as the album's lead single on August 13, 2012, by #BigMachineRecords. Written and produced by Swift, #MaxMartin, and #Shellback, "We Are Never Ever Getting Back Together" is an upbeat #pop song that features #synthesizers, #twangy processed #guitar riffs, #bassDrums, and a #spokenword #bridge.
https://www.youtube.com/watch?v=j1fsEAF3Xo4 -
A quick recap of what I'm currently working on: I'm building a subtractive monosynth on an STM32F446 microcontroller, with all code hand-written in assembly.
The goal is to build a synth expander that is inexpensive, independent from the computer and has enough physical controls to be suitable for live performance.
Part of the motivation for this project is that I didn't want to remain dependent on huge janky software stacks for doing music, especially now that things are quickly ensloppifying. Nor did I want to spend hundreds of euros on a hardware synth (and not learn a single thing about how they actually work in the process).
I've been working on this since May (with large study-related breaks in between) and it can now output a nice sawtooth signal over line out and react to MIDI Note On messages. Next up will be implementing envelope / NoteOff.
I live-toot at #LuBuildsAMonosynth and you can check out the current state at: https://git.sr.ht/~lhinderberger/monosynth
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A quick recap of what I'm currently working on: I'm building a subtractive monosynth on an STM32F446 microcontroller, with all code hand-written in assembly.
The goal is to build a synth expander that is inexpensive, independent from the computer and has enough physical controls to be suitable for live performance.
Part of the motivation for this project is that I didn't want to remain dependent on huge janky software stacks for doing music, especially now that things are quickly ensloppifying. Nor did I want to spend hundreds of euros on a hardware synth (and not learn a single thing about how they actually work in the process).
I've been working on this since May (with large study-related breaks in between) and it can now output a nice sawtooth signal over line out and react to MIDI Note On messages. Next up will be implementing envelope / NoteOff.
I live-toot at #LuBuildsAMonosynth and you can check out the current state at: https://git.sr.ht/~lhinderberger/monosynth
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I haven’t been tooting, but I’ve been working!
Nearly three months of work on my *Inexplicablities* project … a document for each composition, consisting of thoughts and reference materials, each followed by a conversation with Anthropic’s Claude to develop ideas and gather resources – a very powerful research tool and assistant!
In addition, a summation of the entire Inexplicabilities suite itself, including Claude’s extensive responses to my request to “evaluate the entire project as a whole, experiencing it as a reviewer/critic/devil’s advocate – objectively identifying successes, weaknesses, and errors or failures.”
Be careful what you ask for – there’s now a high probability that one piece will be trashed, and a new one developed from a different idea altogether.
Not a single note, not a single sound will be sourced by generative AI. The only material actually coming from Claude in the finished work will be three brief stanzas of verse I authored in English, and had Claude translate into Latin – which was then sent to a helpful professor in Brown University’s Classics department for vetting.
(It’s been over 50 years since my high school Latin days!)
It’s exhilarating these resources are finally established, and though the compositional process is just beginning, it’s great to have a “bible” at hand instead of starting in a complete vacuum.
#DolbyAtmos #synthesizers #surround #AppleSpatialAudio #Atmos
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🧵10/x "Attempt to change a running system" was my second solo album in 2010 – electronica postrock produced with a drum kit, modular synth and open source software (sooperlooper, ChucK).
https://www.beeah-music.net/en/releases/009
Released 10.09.2010 (16 years ago)
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"Sorry" is a song by American singer #Beyoncé from her sixth studio album, #Lemonade (2016). It was written and produced by Beyoncé, #DianaGordon, and #MeLoX. #ColumbiaRecords and #ParkwoodEntertainment released the song to radio as the album's second single on May 3, 2016. "Sorry" is an #electroRAndB and #electropop song with a thumping rhythm created by #drumBeats, #synthesizers, and #bells.
https://www.youtube.com/watch?v=z41fVGVvA2w -
New CatSynth TV! A detailed look at WirePluck from Rob Papen 😻🎹📺 https://youtu.be/aJOvfl9PZRg
#synthesizers
