inside synthesis Spectromorphology Spectromorphology is the perceived sonic footprint of a sound spectrum as it manifests in time. A descriptive spectromorphological analysis of sound is sometimes used in the analysis of electroacoustic music, especially acousmatic music. The term was coined by Denis Smalley in 1986 and is considered the most adequate English term to designate the field of sound research associated with the French writer, composer, and academic, Pierre Schaeffer. Schaeffer's work at INA/GRM in Paris, beginning in the late 1940s, culminated in the publication of the book Traité des objets musicaux in 1966. Smalley's notion of spectromorphology builds upon Schaeffer's theories relating to the use of a classification system for various categories of sound.[1] Theoretical framework[edit] The theoretical framework of spectro-morphology is articulated mainly in four parts: the typology[disambiguation needed] of the spectramorphologymotionstructuring processes. Spectral typologies[edit] attack-impulse. Notes[edit]
How to make DIY noise with feedback loops. DIY Noise With Feedback Loops You're interested in noise. Noise as an experimental music genre (if we can loosely call it that). With experimental music, time limits, radio edits, record company agendas, and expectations are not a factor. It's more important to try new things. Or nothing except effects to feed the effects, as in a "no input" source where a mixer's AUX sends are used to create a feedback loop with effects processing the loop. WARNING: This stuff gets loud so be careful or you'll blow your speakers or destroy your (or someone elses) ears! A simple feedback loop like the one above will give you an almost instant "screeching" sound. EQ's are good for bringing up feedback frequencies outside of the original "screech" range. Distortions will sustain the feedback and further mold it depending on the response of the pedal. Delays can cancel out certain frequencies and accent others depending on the delay "time" setting and feedback (repeats). This is a very basic example.
Museum of Soviet synthesizers. Polivoks Photo Description Polivoks is the portable electronic musical synthesizer which is designed for playing different musical compositions of any genre. There are 4 octaves on the keyboard. There are 3 internal audible signal sources in the instrument: to broad-ranged of the Generators with changed form of oscillations and a noise generator for creating a non-musical sounds such as wind, surf, whine, etc. Possibility to connect an external audible signal sources to the synthesizer is provided for (e.g. guitars, electropianos and electroorgans). Engineer: Vladimir Kuzmin, designer: Olympiada Kuzmina, hardware engineer: Yuriy Pheophilov, produced by Urals Vector Company. Specifications: Sounds Polivoks | Manuals | Schemes | Tuning of the pitch
experimentalsynth.com A bit of history for you… Let’s see what this sounds like. Clusterflux #moog #moogerfooger It’s resting now #film #video #moog #subphatty and friends An old oud pic of me #oud #worldmusic Studio work with Billy Cardine #mooglapsteel #badasspedalboard Billy Cardine’s badass pedal board #moogerfooger #eventide Asheville Electro Music Festival emavl.com #synth #electromusic #moogguitar #theremin #synth #moog #moogerfooger #moogerfooger #moog #moogfest Check it out. #moogerfooger #moogfest #moog
reacTIVision 1.3 et la Reactable Captation d’objets tangibles Un logiciel pour représenter, visualiser et interagir avec des artéfacts Première publication : .Mise en ligne: 28 mai 2007.Modifié le : 27 mai 2007. Par Jocelyne Quelo Développé par Martin Kaltenbrunner et Ross Bencina au sein du groupe de Technologie musicale à l’université Pompeu Fabra de Barcelone, ce logiciel fait partie du projet Reactable, un instrument de musique électro-acoustique basé sur une interface utilisateur tangible. Reactable La reactable est un instrument de musique électro-acoustique pour utilisateurs multiples. La Reactable Fabriquer sa reactable Le matériel de base de la reactable est composé d’une table ronde translucide, une caméra vidéo située sous la vitre, de façon à permettre l’analyse continue de la surface de la table, et d’un projecteur adéquat situé également sous la vitre. Schéma de construction de la Reactable Plus chip, la solution proposée par Jean-Yves Gratius 1 carton d’emballage 32*32*26 cm 1 plaque de plexiglass 25*50 cm
SuperCollider » About Logiciel libre d'enregistrement et de montage audio Eowave Filterbug - Real Analogue 24 dB Low-pass Stereo Filter | DiscoFreq's Effects Database Pictures Controls Gaincontrols the volumeLFO Speedcontrols the speed of the LFOLFO Depthcontrols how much the LFO moves the filterEnvcontrols how the filter responds to the envelope of the input signalCut Offcontrols the filter's cut off frequencyResonancecontrols the filter's resonance Various Eowave FilterBugs are analog stereo 24 dB low-pass filters with the extraordinary capability to give a real analog feeling to any digital sounds from your synths, samplers or computers. Most recent forum threads No forum threads about this effect yet. Link to this page Here's some code to post a link with image on forums, eBay, websites,... Eowave Filter Bug stereo analog filter Eowave Filter Bug stereo analog filter envelope-controlled envelope follower amplitude controlled low frequency oscillator lfo-controlled desktop tabletop table top filter eq/excite/filter lowpass lopass lo-pass lp lpf low-pass filter
View topic - Yamaha PSS-570 So after a year it is time to revive this topic. It's done my Yamaha..... So what's in it? Left panel: The upper three switches are from left to right for clipping circuit on a build in Mufffuzz effect, true bypass for fuzz effect and a mild distortion switch that also eliminates the drum section. Muff's Modules & More :: View topic - If you think you can be happy with one small modular rack . . . you are in for a shock! As the year comes to a close I been reflecting on how rapidly my modular(s!) have grown! Here is a brief pictoral history of my current run, about 2.5 years of planning and buying . . . (so far . . . shhhh! ) In the summer of 2008 I started seriously thinking about getting a small rack with a Q960 sequencer in it to run my MiniMoog. September 2008: I had a bunch of modules and powered it up for the first time: December 2008: I've expanded to two racks but I've already run out of room for a 960 sequencer! April 2009: I had expanded to two more medium racks. Plenty of room now for everything i could want . . . . November 2009: Most spaces filled but I have the Q960 sequencer AND a M569 sequencer now. April 2010: Now up to 7 modular racks (and the 2 MIDI ones). I'm outa room! August 2010: All holes spoken for! September 2010: HEY! November 2010: My one row of Modcan has started to sneak up into the row above! December 2010: This is an 'almost' up to date picture.
Wanting to make a Digitech FS3X footswitch for JAMMAN You only need SPST switches. I didn't feel like spending lots of money so I got two 2 packs of plastic SPST's and two 1N4001 diodes. It is actually really simple to do. rec loop dn loop up __I__ __I__ __I__ <--switches o o o o o o gnd | gnd | gnd | _ ring | | || | V-----------------------( |)-----------------L----->|------| the L's are junctions, the brackets is a jump| | ^----------------------L------------------>|------------L where the vertical is not T tip diodes connected to the horizontal gnd Now I don't know if that is comprehendable, but if you can read it that is what you need to do. -Joe Edit: Oh, forgot to answer your previous question.
ModularSynth.com--Modular Analog Music Synthesizers