Hey Guess What...

AMPLIFIED & EFFECTED SKATEBOARD LEDGE/ RAILING

Matrixsynth
August 27, 2008

I just found this and thought it was more than worth re-posting. Skateboarders, noise, and all the rest. watch, read, and go visit Matrixsynth and maybe also Devi Ever's website too.



"The skateboarder has become one of the significant examples of dynamic movement and interpretation of the urban landscape. The skateboard has also become synonymous with public destruction and noise - always a calling card for social / public complaint and public control. Mixing the elements of the skateboard and its interpretation of something abstract like a handrail can also be highlighted via the media arts to recognize the audio elements within the relationship between the skateboard, the railing, and the physicality of the skateboarder.

This performance was planned for the Project Sound Wave Series (3) Sound Festival June 27th 2008 in San Francisco CA. We were denied entry into the States and Homeland Security fingerprinted and blackmarked Nicolay. The result was this video performance done in Vancouver which was screened at the festival on the 27th in San Francisco."

The original is right here

long time coming

So I've been taken up by the hectic stress of getting married and moving at the same time. I've also had little new to say and I've been stalling on taking or putting up any pictures here because when I'm stressed out I procrastinate. I know it's a wonderful way to give yourself a brain embolism.

Anyway my home studio is looking pretty sparse as I've loaned the Vostok to Front Line Assembly.

Remember I said something like that might happen?

Here's some back story...

I've been friends with Jeremy Enkel (their keyboardist) for years, we used to go to all ages punk shows together and raise hell in North Vancouver. We both flunked out of the same electronic music program in college, He's also recorded me and is one of the principle influences in me getting into electronic music in the first place.

Ok so I was showing him pictures of the vostok on analogue solutions and he told me he wanted to take a look at it when it arrived, Chris Peterson from FLA has a Doepfer system and Jeremy told me they might want to use my synth on their forthcoming album. I naturally told them that they were welcome to borrow my instrument after I'd had some quality time with it and that's where things were until last week when I was talking with Jeremy and mentioned the vostok and asked if his band still wanted to use it, he said yes so I packed it up and took it down to his work with me.

I'm expecting I'll get it back in a couple of weeks and I get credit on their album.

They're also doing a photo shoot with it in their gear-pile. Jeremy told me they would give me copies of the pictures once he has some, I'll put them up here when I get them.

For now I'm sort of missing the modular.

Playing on my MS-20 is a good panacea but that vostok+evolver combination was just deadly.

I got my FB01 working again and have been playing it using my crummy old midi keyboard in unison mode it behaves a little like the Vostok, I want to chain them all together and slave them to my keyboard that would sound deadly. I really like the cheap fm sounds that the FB01 can make but it's really frustrating how impossible it is to program.

I don't just mean impossible like trying to create sounds on a DX7 or something, no I mean imossible in the sense that there are no on-board parameters for creating new patches and the only way to program new sounds in to use a sys-ex application and your computer (or so I'm given to understand). This leaves me at a dissadvantage because my midi-interface is probably as junked out as my keyboard after a few years in storage, probably I fear in my mom's garage.

uggh.

I've tried using the knobs on my midi controller to influence the FB01 but it is really tough to get it to do anything other than keyboard portamento and the simplest scrolling up and down through the presets even that has to be done partially using the buttons on the module I can't figure out how to get it to work using only the keyboard.

Speaking of my most loathed of all busted keyboards. I'm going to be buying a Novation X Station soon to replace my midi jalopy... I mean keyboard...

This means I'll have a full four octaves, an actually good sounding digital synth, a full midi keyboard and it also means I'll be able to take my yamaha portasound and circuit bend it because I'll finally have decent polyphony in my studio.


I know it's kind of silly to build an analogue workspace around a toy keyboard from 1986 but the portasound rocks. Also I got it in trade for a David Icke Book about 9/11 how much cooler does it get? Try running it through guitar effects...

moving moving moving

Today was the day I moved all my gear into my new place. I still don't have it all connected, I'm missing a few important patch cables and I need a new midi cable but my live rig (modular, evolver, and sk1) are off the kitchen table and on the desk where they belong. needless to say my fiancee is happy to have a kitchen table again. Next step after procuring the needed cables is getting another chair.

I have to find my digital camera and put some things up on this blog asap, it's looking sparse up here and I've been promising videos... I have to get on that.

for now here's a short list of hypertext links that will take you to gear porn.

http://www.sonicstate.com/news/shownews.cfm?newsid=6047

http://www.deviever.com/fx/

http://www.theharvestman.org/9791.htm

http://www.access-music.de/events/11-2004/virusti_specifications.php4?product=virustipolar

some errata from the review.

I sent Tom Carpenter the links to my review last night after I wrote it. I suppose this is learning through trial and error. It occurred to me after that I should have written him and asked a bunch of questions related to my experiences using his instrument before writing my review, at least that's how I've seen it done in places like Sound on Sound. That being said, he wrote me back today and offered a few words about the jack problems I mentioned and caught a mistake I'd made in describing the midi-to-CV converter. The unique features on the midi converter I mentioned are Accent and Legato outputs not Allegro and Legato inputs as I had written. Accent turns on when you play over velocity 80, Legato turns on when you overlaps notes.

here are a couple of excerpts from his e-mail speaking to the jacks

"Jacks are generally good; I don’t hear about problems.

A little history. There is only one make of those jack sockets; Cliff electronics. Same as Integrator and Doepfer use.

Since my modules where to be compatible, I used the same sockets. Perhaps a mistake since I am stuck with them and the price keeps going up and up.

For years there was a problem with those sockets; documented by doepfer themselves on their web site.

I buy a more expensive version of the socket which cures contact problems (at least it seems to, I am certainly happy with the improved sockets).

Cliff state that the problem (with their older design) is not created by them, but by slight variations in jack plug design. They seem to think the Japanese ones are slightly different from the European ones, or something.

When you point out that no problems exist with any other jack socket manufacturer they can offer no comment."

and the matrix

"‘signal attenuation on the matrix’ is normal, since this panel is ‘unbuffered’, like the EMS synths and many others. Buffering is possible, but I believe the big increase that will add to the price out weighs the benefit. (no one has complained about attenuation, so why remove it at a cost of around $300!)"

let's get modular! Vostok Review part 2.

Matrix patching pros and cons:

So this is my first fully modular instrument and also my first music review so I'm kind of doing this by the seat of my pants but I want to talk more about the matrix panel and the external patchability of this synth. Having only had it a few weeks I think this is its best feature. If it had only the matrix panel it would be harder to figure out for a beginner (at least this beginner). From months playing an MS20 I'm used to seeing cords and having a good idea of where the current is going right in my face, with the matrix panel I've got a steeper learning curve. However the fact that each module also has patch points I've been able to experiment with cables and try to re-create the effect in the matrix. On the other hand I have also become sort of reliant on those outputs and inputs and perhaps it's slowed down my learning process, another con of this particular instrument is that the external ins and outs are sort of spotty, particularly on the upper half of the mult where I've regularly had to jiggle the cable a few times to re-establish a connection. I've also come up against some other bugs in the instrument which I'm not yet certain are fault of the synth or my cheap, old, midi keyboard. So for now the only major glitch I've found is the sometimes uncertain wiring in some of the jacks.

These relatively minor issues aside I want to address the best feature on the whole synth the combination between matrix and external jacks means that every module is capable of redundant patching. For instance I can put a sample and hold into the CV input on the filter, create an envelope on the same part of the filter and control that same parameter with the joystick and only use one patch cord (and a lot of pins) Basically, everything that is accessible on the matrix is also externally controllable with cables so everything can multi-task. There can be some signal attenuation when too many things are patched into the same place and some pins do this more than others because of the way the two types are designed. But over all the signal loss is minimal, it probably won't ruin your night.

I wanted to go through each module individually and be really comprehensive about it all but seeing as how I'm reviewing the instrument as a whole and how I've already had to break it into two parts I think I'll give you a run down of the basic features and their highlights most of these aren't on the matrix panel.

I've already talked about the matrix so let's start from the top (literally): The midi to CV converter has two inputs one for "Allegro" and one for "Legato". I've never heard of this before but basically what these do is give you keyboard control over the sequencer, you can trigger it to play, stop or step through it's cycle based on how fast or slow you play when the sequencer is patched into this, kind of a cool idea but I haven't used it much yet.

VCO 1 has a ring modulator on the bottom corner and it also has a triangle wave output, it's pitch is higher than the other two and it's sub octave is built into the tuning knob. And speaking of the knobs many of them perform two functions when pulled out, I think this is a great feature because it gives you as many parameters as possible within the limited space.

VCO 2 and 3 are identical in construction, saw and pulse outputs as well as three sub octave outputs, the lowest one is almost LFO speed. and they are good for frequency modulation.

LFO 1 and 2 are pretty standard, saw, ramp, triangle and sine outputs controlled by two of those knobs that you can pull out. An 8 step CV/Gate sequencer (all with push/pull knobs) it's fun to play and with an led for each step it's nice to look at too.

The joystick is really sturdy and it's not spring loaded. It does a good job of staying in its place as well, I've left it over night at an angle and come back the next evening to find it in the same place as I left it, this is a very nice feature. The joystick is also controllable via the matrix and patch outputs simultaneously allowing for nicely complicated blends of sound and filter sweeps. There are more complex and ornate joystick controllers on the market but this one does really well and I use it a lot.

Voltometer: There's a voltometer below the joystick, I haven't found a really practical use for this yet and the manual clearly states that it's not a precision device however it's nice eye-candy and it suits the old-school soviet aesthetic that the design is aiming for.

Envelope Generators, there are two of them each with a repeat function (go knobs!) The repeat setting is fun, last night I fluked on a patch that sounded very much like the Dr Who theme and I owe it to the repeating envelope. I have had some difficulty getting them to work on the matrix and with patch cords but this may be due to those aforementioned wiring glitches.

Sample and Hold/noise generator: I love sample and hold. I think the sound this module makes is one of the reasons I first got into making electronic music with analog synthesizers. I was disappointed when I was reading the specs on this instrument and under "noise generator" it only had white noise listed, sure it makes a better sample and hold sound but I like the chunky gritty pink noise output on my MS20 and I was worried that the Vostok would let me down with only white noise available.

It hasn't let me down.

The noise level is controllable and really ballsy, turned all the way up it will almost drown everything else out in the mix, that's a good noise generator.

the mixer is a standard 6 in 2 out mixer, one of the outputs is polarized voltages and it will mix both CV and Pitch (though not at the same time), for the size (it's only 4hp wide) it's probably the best and most basic mixer commercially available, if you want it done with no special features and you want it done easily this is a good mixer to have. These, like everything else in this suitcase, are available as stand-alone modules. If and when I start to build my expansion I will be using these mixers again.

I've already talked about the mult, but the Filter is something to rave about, it's based on the MS20's filter, it has a resonant highpass and resonant lowpass, both love being driven into oscillation and there are even knobs which only control the resonance/oscillation (that's one up on the korg).

The sound is very similar to the MS20 though I think the Vostok has a slightly thinner tone when oscillating. I'd have to break them both out and do a comparison but it's close enough that I have trouble telling them apart in use. The MS20 filter section is one of my favourite filters and if this synth didn't have one I'd be tracking down a good clone (and I might still).

This is a really great filter.

There's not really much one can say about a voltage controlled amplifier, it's got two outputs one for mini jack and one for 1/4 inch patch cords, and the Vostok also has two more external outputs and inputs so you can theoretically play external sounds through it's filter but not as elaborately as the ESP section on the MS20.

All in all I'm pleased that I bought it, and it was well worth the price. I think it's a great instrument for learning with and it has some very valuable features which make it both distinct and more complex than you would guess, I'm going to have to take it over to a friend's place and get a second opinion about whether it needs to be sent back to Big City Music under warranty to get the kinks ironed out but over all I am really happy with it and with the company which makes them, I was able to talk at length with Tom Carpenter at Analogue Solutions and his advice and help. If you are looking for a basic system to start out with, and you like the sound dirty and harsh this is the sort of thing you might want to consider. It's got a softer side as well but it really excels at at metal/industrial and heavy bass riffs that will break your heart to pieces.

Luckily that's just what I was looking for.

let's get modular! Vostok Review part 1.

So this is my review of the Vostok suitcase synth from Analogue Solutions.


I've never spent so much money on one thing in my life. It took me months to save the thirty-five hundred to buy this instrument and enough patch cords to make patching more intricate. That said, the world of analog synth's in general is an expensive world and after looking around I decided on this one because it looked like a good entry-level modular synth, it has three VCOs two Envelopes, a multimode filter mased on the Korg MS 20, a ring modulator, joystick, eight step sequencer, two lfo's, and the basic utility components that every synth needs: multiples and a mixer. It also has midi which is pretty much standard for anything these days, and I'm glad it's there. The Vostok also has one other feature which sets it apart from all the other standard modular systems and all but a few of the old ones: a pin matrix for creating patches without the use of patch cords.

I think this is the place to begin because it was this along with the sequencer and joystick which first got me hooked.

I was already sprung on getting a fully modular synth some months ago as I watched my ill-fated experiment with a prophet 600 I bought off of Craigslist came to an expensive and depressing end, but as a friend of mine said to me about Craigslist: the odds are good but the goods are odd.

Matrix patching has a long though obscure life that traces itself back through the British synth company Electronic Music Studios (EMS for short) Who started manufacturing electronic instruments for the BBC Radiophonic Workshop back in the 1950's and 60's. EMS is really legendary for two products which are still commercially available and much sought after: the VCS3 and the Synthi AKS (also a suitcase synth) the AKS was made famous by prog rock bands like Pink Floyd who used it to program the sounds on Dark Side of the Moon (it's the instrument they used to make On the Run with). And everyone from Jean Michelle Jarre and Cabaret Voltaire used the AKS.

The EMS instruments were all patchable internally by these tiny peg-boards, called pin matrices. The internal components (Filter, Oscillators etc...) were all normaled to this board and you'd put a slender metal pin inside to create the sound or rout the voltage to other parts of the instrument. it was very neat, very tidy and very useful. A few other, smaller British synth makers also incorporated this design scheme but it never caught on like the patch cord, probably due to the price and relative fragility of the pins and the fact that tiny hols fill with dust over time and if you don't or can't keep the instrument covered it may start doing odd things on its own after a long time.

Ok so enough history for now.



This guy Tom Carpenter, who is the man behind a new synth company in the UK Analogue Solutions he brought it back and put it on this synth.

Probably sensing that he couldn't make a Synthi clone easily or affordably, or perhaps wanting to move forward taking the good ideas and leaving the past where it was, he decided to make an instrument that doesn't even look like an AKS and makes it very clear on his site that it's not supposed to be.

I really need to post some demos of this thing someplace because most of them on youtube aren't my cup of tea and where sometimes these things can be really helpful in making up ones mind to buy something these didn't, not at first any way....

oh fuck yah!

This might just be the coolest damn organ solo I've ever seen. I need to listen to more old Emerson Lake and Palmer.

Delia Derbyshire overdrive

Lost tapes of the Dr Who composer

Nigel Wrench
BBC Radio 4
July 18 2008

A hidden hoard of recordings made by the electronic music pioneer behind the Doctor Who theme has been revealed - including a dance track 20 years ahead of its time.

read the rest here

Archivist Responds: Yes, Virginia, Delia Derbyshire Really Was That Awesome

Peter Kirn
Create Digital Music.com
July 29 2008

It came as no surprise to me that Delia Derbyshire, composer and BBC Radiophonic Workshop maestra, would have created incredibly forward-thinking music in the 60s. But when one track seemed to predict IDM and modern electronica, the story of Derbyshire’s vintage “dance” track spread over the Interwebs, and even aroused suspicion of fakery.

Delia Derbyshire Recordings Found, Including Ahead-of-its-Time Dance Track

David Butler of the University of Manchester was one of two archivists who started undertaking the work of assembling a library of Derbyshire’s ground-breaking work. He writes in CDM’s comments that this is no BBC special effect: the recordings are very much real. He also clears up some of the confusion about their discovery, and offers more on the tantalizing cut “NOAH’s dance.”

read the rest here

WHITE NOISE, The Black Mass: An Electric Storm in Hell

A video of my Vostok at Big City Music two weeks ago

A couple of days ago I got my Vostok in the mail! This video was on Analog Suicide about two weeks ago right before I ordered it. I'm still getting familiar with it but soon I hope to have some specific things to say about it for now all I'm going to say is that I'm not disappointed.

I make very different music from what's in the video above.