tag:blogger.com,1999:blog-3979345105082011422024-03-14T02:11:09.523-07:00Studio InnocentiStudio Innocentihttp://www.blogger.com/profile/16263798240682357494noreply@blogger.comBlogger80125tag:blogger.com,1999:blog-397934510508201142.post-10058171707667623772014-11-21T12:14:00.000-08:002014-11-21T12:14:58.934-08:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz6jnU6aGGho4yTKo-Ch1Z496VfAtQ9rt9b31FW0yFVVKF14HX2K9XSgzzVeL7aPZCpsEeV4zXQB8rd4wEPDX9kM-fOFOJOEpsl7td9blIKT37qJdI8Q5Eod2l92g9EJ8o3HGKphW_-_s/s1600/Pyramid_anim.gif" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz6jnU6aGGho4yTKo-Ch1Z496VfAtQ9rt9b31FW0yFVVKF14HX2K9XSgzzVeL7aPZCpsEeV4zXQB8rd4wEPDX9kM-fOFOJOEpsl7td9blIKT37qJdI8Q5Eod2l92g9EJ8o3HGKphW_-_s/s1600/Pyramid_anim.gif" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz6jnU6aGGho4yTKo-Ch1Z496VfAtQ9rt9b31FW0yFVVKF14HX2K9XSgzzVeL7aPZCpsEeV4zXQB8rd4wEPDX9kM-fOFOJOEpsl7td9blIKT37qJdI8Q5Eod2l92g9EJ8o3HGKphW_-_s/s1600/Pyramid_anim.gif" height="400" width="400" /></a></div>
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Cosmic PyramidStudio Innocentihttp://www.blogger.com/profile/16263798240682357494noreply@blogger.com0tag:blogger.com,1999:blog-397934510508201142.post-24070019182831912842014-11-21T10:42:00.000-08:002014-11-21T10:49:29.356-08:00The PPG Wave 1982<div class="separator" style="clear: both; text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXAT0dCb1z5KyfIt48ejwAnNMiBbJHL4M0uoKWyBiNe-xaQRhXKk34E8C66ggnX6x8hpA7K7Jr-N-7_J5pvmVd59V0A8iyKu3D0v2PAEthOpvg2oFoo57NXwn9Tc0e0Cp5XyE4dNBn34o/s1600/ppg_ad.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXAT0dCb1z5KyfIt48ejwAnNMiBbJHL4M0uoKWyBiNe-xaQRhXKk34E8C66ggnX6x8hpA7K7Jr-N-7_J5pvmVd59V0A8iyKu3D0v2PAEthOpvg2oFoo57NXwn9Tc0e0Cp5XyE4dNBn34o/s1600/ppg_ad.jpg" height="400" width="270" /></a></div>
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Coming soon...Studio Innocentihttp://www.blogger.com/profile/16263798240682357494noreply@blogger.com0tag:blogger.com,1999:blog-397934510508201142.post-82344823867712176752014-11-20T13:33:00.000-08:002014-11-21T11:50:34.535-08:00Roland GR-700 & Roland G-707 Guitar Synthesizer (1984)<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQVcLldwRwv1VsX-MknawYZPSB6-GGUpKZN1IIBrZDUxVkpKUqhwa2p8PJPrLNBgeL5yC0Wx8uF0vNHn_Tai5iXStZqLr3EMD76RbSC2UPl8yZMbQzu33wVrhHmF8GnPXFdQ8jLMDmU8g/s1600/Jimmy-Page-Roland-G-707_GR-700_ad.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: left;"><br /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQVcLldwRwv1VsX-MknawYZPSB6-GGUpKZN1IIBrZDUxVkpKUqhwa2p8PJPrLNBgeL5yC0Wx8uF0vNHn_Tai5iXStZqLr3EMD76RbSC2UPl8yZMbQzu33wVrhHmF8GnPXFdQ8jLMDmU8g/s1600/Jimmy-Page-Roland-G-707_GR-700_ad.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: left;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQVcLldwRwv1VsX-MknawYZPSB6-GGUpKZN1IIBrZDUxVkpKUqhwa2p8PJPrLNBgeL5yC0Wx8uF0vNHn_Tai5iXStZqLr3EMD76RbSC2UPl8yZMbQzu33wVrhHmF8GnPXFdQ8jLMDmU8g/s1600/Jimmy-Page-Roland-G-707_GR-700_ad.jpg" height="400" width="311" /></a></div>
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<span style="font-size: x-small;">Courtesy of Roland Corporation</span><br />
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The GR-700 is a stomp-box guitar synthesizer with the same synth engine as the JX-3P. <span class="s1">it's basically an Roland MKS-30 without the MIDI input circuitry, jack, wiring, or firmware support. </span>The G-707 is the flashy guitar controller which connects to the 700 via 24 pin cable. On the 707 guitar are knobs for the cut-off edit and LFO modulation. So you can play synth sounds with the guitar instead of a keyboard. If you want to control parameters and edit patches, you use the PG-200 programmer by Roland.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk5Db53GSqNzzzThhxr1GK9m4CGg2o5vwzYYJB-qe5Uq2eIFflIDI5npqjL1eYB6I5sWT_536vqmbWF55Jt_uZQ-8dqNlWVhkkyQZQTeRkA1kGkkMsKdMUJYX88kjaGjwgkGgPqsb_j-8/s1600/Roland-PG-200.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: left;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk5Db53GSqNzzzThhxr1GK9m4CGg2o5vwzYYJB-qe5Uq2eIFflIDI5npqjL1eYB6I5sWT_536vqmbWF55Jt_uZQ-8dqNlWVhkkyQZQTeRkA1kGkkMsKdMUJYX88kjaGjwgkGgPqsb_j-8/s1600/Roland-PG-200.jpg" height="216" width="400" /></a></div>
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The GR-700 is a six voice polyphonic with two DCO's per voice which means analog oscillators and sounds with digital stability and control. The typical assortment of a resonant lowpass filter, ADSR envelope, LFO and oscillator sections are here with easy and straight-forward programming.</div>
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The GR-700 is classic Roland 1980's analog synthesizer technology. Released in late 1984, the GR-700 is the pinnacle of early Roland guitar synthesizer design. The distinctive and futuristic GR-700 features both a digital CPU for guitar tracking and a warm, fat hybrid digital/analog synthesizer engine for lush sounds.</div>
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A look at articles written about the GR-700 demonstrate the enthusiasm in the belief that the long anticipated age of the guitar synthesizer had finally arrived. The GR-700 launched just as the MIDI standard was being introduced, and musicians were entering a brave new world of electronic music where relatively inexpensive CPUs made possible instruments like the Simmons Drums, Sequential Circuits Prophet 5 and the GR-700, instruments unimaginable a decade earlier.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEio0TRVrN0oBJvPABImgf4Uw0ztvuZypYBGeJ1kw0bh-1MpPtchp-zfnqw4TB_XfBiRTfw1LNdHde0vn2OkTpnUoyPWYVfiWYU5BpR8K-BuuZ8CqfaseeLo2r-yomESK0BTE8q79Y2l_KQ/s1600/GR-700.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEio0TRVrN0oBJvPABImgf4Uw0ztvuZypYBGeJ1kw0bh-1MpPtchp-zfnqw4TB_XfBiRTfw1LNdHde0vn2OkTpnUoyPWYVfiWYU5BpR8K-BuuZ8CqfaseeLo2r-yomESK0BTE8q79Y2l_KQ/s1600/GR-700.jpg" height="282" width="400" /></a></div>
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<span style="text-align: center;">Generally speaking, the GR-700 has not held up as well as its 24-pin brethren, like the GR-100 or GR-300. But for a guitar player in 1985, the GR-700 offered an astonishing range of sounds that could never have been triggered from a guitar: strings, basses, electronic effects, synths, and more. It was assumed that guitar players eventually would become fluent in programming, and that the great silver box could become as ubiquitous as the wah-wah pedal.</span></div>
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Like the current generation of Roland guitar synths, the GR-700 controls the internal synth engine directly for faster response. But, make no mistake about it, when it comes to tracking the GR-700 is not a GR-300. Of all the products Roland has ever made, the GR-700 has the trickiest and most erratic tracking. The GR-700 is certainly better than equivalent products made by other manufactures at the time, but it is inferior to the GR-100, GR-300 or Korg Z3. The GR-700 has a MIDI out port for controlling other MIDI modules, but the MIDI output is erratic and unreliable. In addition, no pitch bend information is sent via MIDI.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFtXofmy7OAbfhzLWuoH4Zr1aKtJCbNtFSZWxyCg-nC225bNyW2KWi2h_Olks2Dr1s3__vDOv_At_1eUeSWEkGijIafvz6lVHX05C6WjaYd1_AlrTMywHImN3lrDdk3G8i2b2kYBGiIy4/s1600/DSCN4412.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFtXofmy7OAbfhzLWuoH4Zr1aKtJCbNtFSZWxyCg-nC225bNyW2KWi2h_Olks2Dr1s3__vDOv_At_1eUeSWEkGijIafvz6lVHX05C6WjaYd1_AlrTMywHImN3lrDdk3G8i2b2kYBGiIy4/s1600/DSCN4412.jpg" height="300" width="400" /></a></div>
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Stand alone converters like the GM-70 became more popular toward the end of the eighties. They were faster and more accurate than the GR-700, plus via MIDI the range of sounds available to guitar players expanded considerably. The GR-700's combination of clunky pitch tracking, married to a limited synth engine, boxed up inside a huge, heavy foot pedal crammed with complex electronics made it more of a curiosity than a must-have piece of gear for the gigging musician. Still, for those who love the GR-700, nothing else sounds or responds quite like this unique guitar synthesizer.<br />
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<b>The GR-700 Synth Engine</b></div>
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The GR-700 has six, independent, analog synth voices, two oscillators on each voice. Roland digitally clocked these oscillators and called them "DCOs", as a response to the fact that the earlier Roland oscillator’s pitch had a tendency to drift in performance. The DCOs on the GR-700 generate classic analog waveforms: sawtooth wave, square wave, and pulse width modulated wave, as well a noise for special effects.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK0ahydmJJoIdLCoN9MW3tx5dmoKjQ1WSnTA-XekMtDt-ZGx4H2VRC2m9OVGmFeThYUAUEckGtyHdH7Zvmp7NyMvp_g3Pm5zLc9zASJq3sntJCkc3gRxqsKetfxs7menMA-yn3Hze_1D0/s1600/5768922771_780358abd7.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK0ahydmJJoIdLCoN9MW3tx5dmoKjQ1WSnTA-XekMtDt-ZGx4H2VRC2m9OVGmFeThYUAUEckGtyHdH7Zvmp7NyMvp_g3Pm5zLc9zASJq3sntJCkc3gRxqsKetfxs7menMA-yn3Hze_1D0/s1600/5768922771_780358abd7.jpg" height="400" width="300" /></a></div>
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The oscillators on the GR-700 can also be synced with cross modulation for hard, biting analog sounds or with ring modulation for metallic sounds. The GR-700 has a sweet Low Pass Filter with Resonance on each voice, with an additional High Pass Filter. And of course there are complete LFO and Envelope controls. To top it all off, the GR-700 adds a classic Roland analog Chorus circuit! If you like that expansive Roland Chorus found on early 80's products, you will love the Chorus on the GR-700.</div>
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The synth engine in the GR-700 is the same synth engine found in the Roland MKS-30 and JX-3P. And, like these synths, the Roland GR-700 can use the PG-200 as a programming tool. <span class="s2">You will need this optional programmer if you want a real hands-on experience with the instrument.</span></div>
Studio Innocentihttp://www.blogger.com/profile/16263798240682357494noreply@blogger.com0tag:blogger.com,1999:blog-397934510508201142.post-20017954972155076852014-11-16T10:17:00.000-08:002014-11-17T07:52:41.699-08:00Yamaha RY30 Rhythm Programmer (1991) Owner's Manual<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpwa3CAcs5njc1DpsO44M9YDzRUbklAw_BDuajS8AWN7j4xUTPrbsII9iPfYOtF3LiT2I5qWR22cw0JM9n2ClF93veUwMJAsb5J1xivoYsouA5Q4mbPLgiT8QL89DeUHs_KGAd8xFeeNY/s1600/cover_t.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: left;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpwa3CAcs5njc1DpsO44M9YDzRUbklAw_BDuajS8AWN7j4xUTPrbsII9iPfYOtF3LiT2I5qWR22cw0JM9n2ClF93veUwMJAsb5J1xivoYsouA5Q4mbPLgiT8QL89DeUHs_KGAd8xFeeNY/s1600/cover_t.jpg" height="400" width="281" /></a></div>
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Here <a href="https://archive.org/details/synthmanual-yamaha-ry-30-owners-manual">Yamaha RY30 Owner's Manual</a></div>
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<br />Studio Innocentihttp://www.blogger.com/profile/16263798240682357494noreply@blogger.com0tag:blogger.com,1999:blog-397934510508201142.post-24858788110226248392013-05-19T09:23:00.000-07:002014-11-17T07:01:36.359-08:00The Korg Preset Synthesizers (1975-1980)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk1yrEVcsXDb9oZ1AIPkStjA16QuL4vCbadSeN3-kX6j_zuoasQdOKFK3ytyjfm8S6HKQlceLm5WbTB7RLKLbSRsTtv4EKZcdSU4dKboCUsUkb1VjbW2CYYBBscPdjk8VXTL-v9rxqfmA/s1600/KORG-900PS-Preset+Synthesizer-(1975).jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk1yrEVcsXDb9oZ1AIPkStjA16QuL4vCbadSeN3-kX6j_zuoasQdOKFK3ytyjfm8S6HKQlceLm5WbTB7RLKLbSRsTtv4EKZcdSU4dKboCUsUkb1VjbW2CYYBBscPdjk8VXTL-v9rxqfmA/s400/KORG-900PS-Preset+Synthesizer-(1975).jpg" height="265" width="400" /></a></div>
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Korg 900PS Preset Synthesizer (1975)</div>
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The Korg 900PS is quite a basic but very interesting monosynth. The 900PS definitely 'borrowed' some ideas from the Arp Pro-Soloist. Instant selection of 29 different tone colors. From the sweet sound of a violin to the chugging of a steam locomotive. Sensitive soft-touch switches and plentiful controls provide a wide variety of effects including vibrato, repeat, even the harmonics you need for a Hammond organ tone. The 900PS has 29 presets: Timpani, Electric Bass, Synthe Bass, Piano, Harpsichord, Shamisen, Banjo, Mandolin, Xylophone, Tuba, Bassoon, Horn, Cello, Trombone, Saxophone, Voice, Clarinet, Accordion, Trumpet, Funky Trumpet, Synthe Trumpet, Oboe, Violin, Recorder, White Noise, Scale Noise, Harmonics I, Harmonics II, Harmonics III.You can edit: Portamento, Repeat, Vibrato: Speed/Depth, Attack Control, Sustain Control, Harmonics Control, Traveler Control (filter cutoff), Pitch Bend, Forte, Volume.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5P6DtoboKQ3zh_fR11ndk0IMGcP-KJWBxdleHtghMqsLKPkuzZJM89EehnANNbiGbUoR5xhBslBNUG6WfafEPjss7MW8hUTXNthShHkztSNEsQuwp2-RIslPEXKKJ3oheEyDPDxiuaDY/s1600/KORG-micro-preset-synthesizer-M500.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5P6DtoboKQ3zh_fR11ndk0IMGcP-KJWBxdleHtghMqsLKPkuzZJM89EehnANNbiGbUoR5xhBslBNUG6WfafEPjss7MW8hUTXNthShHkztSNEsQuwp2-RIslPEXKKJ3oheEyDPDxiuaDY/s400/KORG-micro-preset-synthesizer-M500.jpg" height="218" width="400" /></a></div>
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Korg M500 Micro-Preset (1977-1980)</div>
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<span class="s1">This 32-note monophonic preset synthesizer had 6 push-button presets ("voice", "synthe 1", "synthe 2", "brass", "string", and "wood" as in woodwind) and a five octave switch. If you pressed two buttons at the same time, those two presets would mix. There were controls for attack and "sustain" (decay/release), VCF, modulation depth, modulation speed, and portamento speed (as well as a lever to switch the portamento on or "momentary"). The SP version of the synth had a small built in speaker. </span>The Korg Micro Preset synthesizer is a curious late 1970s beast with a slightly bizarre matrix of pre-set sounds, including laughable woodwind and similar noises and a low-quality keyboard all housed in a wooden box. Perhaps it was aimed at the beginners market. There is a lot of fun to be had with the 'traveller' control, a sort of filter and resonance control rolled into one, offering interesting squelchy acid-style bass run effects. In fact, like the MS-10, bass is about all you'll get out of this oddity in terms of useful noises. </div>
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But overall this is a bit of a novelty synthesizers, and is not especially playable nor distinctive - apart from its looks! There are no MIDI, CV nor similar inputs.</div>
<br />Studio Innocentihttp://www.blogger.com/profile/16263798240682357494noreply@blogger.com0tag:blogger.com,1999:blog-397934510508201142.post-80857243354477766202012-12-07T04:58:00.000-08:002014-11-20T16:22:18.112-08:00Cosmic Apple<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
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Cosmic Apple Laser Cut</div>
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Studio Innocentihttp://www.blogger.com/profile/16263798240682357494noreply@blogger.com0tag:blogger.com,1999:blog-397934510508201142.post-42763856836438684152012-11-15T14:28:00.000-08:002014-11-21T11:22:48.589-08:00Don Buchla - The Electronics Genius<div class="separator" style="clear: both; text-align: center;">
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Don Buchla is widely regarded as one of the major pioneers in electronic musical instruments; He constructed the first voltage-controlled synthesizer in 1963. Since then, he has produced a variety of conceptually and technically advanced instruments, many of which are in use in university and private studios around the world. He has consulted for several instrument manufacturers, including CBS, Kimball Piano, Zeta Music, Yamaha International, Gibson Guitars, and E-Mu Systems. Don Buchla has served as technical director of California Institute of the Arts, technical director of the Electric Symphony, co-director of the Artists' Research Collective. Don has received grants from the Veterans' Administration (guidance devices for the blind), the Guggenheim Foundation (music languages), and the National Endowment for the Arts (composition). He recently received the prestigious 2002 SEAMUSLifetime Achievement Award "in recognition of his pioneering achievements and lifetime contribution to the art and craft of electro-acoustic music". Hundreds of his unique instruments continue to be in use and vintage Buchla synthesizers continue to be in strong demand. Don received a degree from UC Berkeley in Physics in 1960, and holds several patents in the fields of optics and musical instruments.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdM8ph0308HCINXWxIihjWIOVAuNI8e8eAmQMFw41G_DSdictfLZK2t6-eLDz9kOu5xjEN2yyyMsY_dhGbsPnTvIqtOU1XexkqqenHAnu_wLsV7iB5xVqv-dGbAHd5gmaTpkr4Kkggm9I/s1600/buchla.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdM8ph0308HCINXWxIihjWIOVAuNI8e8eAmQMFw41G_DSdictfLZK2t6-eLDz9kOu5xjEN2yyyMsY_dhGbsPnTvIqtOU1XexkqqenHAnu_wLsV7iB5xVqv-dGbAHd5gmaTpkr4Kkggm9I/s400/buchla.jpg" height="400" width="321" /></a></div>
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He developed one of the first synthesizer systems on America’s west coast, just as Robert Moog was developing his own, soon to be more famous system on the east coast. Don Buchla’s own creations were used by pioneering composers Morton Subotnik (on Silver Apples of the Moon), Ramon Sender and others. Buchla’s Box, as it was known, became a part of Ken Kesey’s ‘Acid Test’ setup, squawking and skronking away as test subjects lost their minds and found them again, and he has a cameo in Tom Wolfe’s The Electric Kool Aid Acid Test. Meanwhile, to earn a living, he worked on a number of projects for NASA , developing life support systems for rabbits in space, amongst other things.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBoA-qwKxms9rKYTpr2EJlYZ26Xb5uinux9luTkOuDfqRBjCxBNOj_ONpO3mPCZ-pLzoP0kPj8wylsgn4p09UP3jX8rdQRvT3XMDwEDE8npdcryeeld-4SP96uloN1qNlWH4ylNlp0lT4/s1600/Buchla_Systems.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBoA-qwKxms9rKYTpr2EJlYZ26Xb5uinux9luTkOuDfqRBjCxBNOj_ONpO3mPCZ-pLzoP0kPj8wylsgn4p09UP3jX8rdQRvT3XMDwEDE8npdcryeeld-4SP96uloN1qNlWH4ylNlp0lT4/s1600/Buchla_Systems.jpg" height="312" width="400" /></a><span style="text-align: left;">Don grew up with a passion for music and a passion for engineering. When he combined the two loves, he created electronic musical instruments the world had never dreamed of before. His early synthesizer pre-dates the work Robert Moog was doing on the East Coast while Don was working in Berkeley, California. Composer Morton Subotnick commissioned Don to build an electronic musical instrument for live performances and recording. </span><span class="s2" style="text-align: left;">Don Buchla was definitely part of the avant-garde. He has been called a mad scientist, a genius, an innovator, a recluse, an iconoclast, and has gathered a horde of fiercely loyal admirers by following his own visionary path, and dancing to his own muse.</span></div>
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<span style="font-size: x-small; text-align: center;">The System 100 Series (1963) – </span><span style="font-size: x-small; text-align: center;">Buchla 101</span><br />
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<span class="s2">B</span>uchla was born in 1937 in South Gate, California, and studied physics, physiology and music. He formed his electronic music equipment company, Buchla and Associates in 1962 in Berkley. Buchla was commissioned by avant-garde music composers Morton Subotnik and Ramon Seder, both of the San Francisco Tape Music Center, to create an electronic instrument for live performance. Under a grant from the Rockefeller Foundation Buchla completed his first modular synthesizer 1963. The result was the Buchla Series 100, which he began selling in 1966. Buchla's synthesizers experimented in control interfaces, such as touch-sensitive plates. In 1969 the Series 100 was sold to CBS, who soon after dropped the line, not seeing the synthesizer market as a profitable area.</div>
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In 1970 the Buchla 200 Series Electric Music Box was released and was manufactured until 1985. Buchla created the Buchla Series 500, the first digitally controlled analog synthesizer, in 1971. Shortly after, the Buchla Series 300 was released, which combined the Series 200 with microprocessors. The Music Easel, a small, portable, all-in-one synthesizer was released in 1972. The Buchla 400, with a video display, was released in 1982. In 1987, Buchla released the fully MIDI enabled Buchla 700.</div>
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Beginning in the 1990s, Buchla began designing alternative MIDI controllers, such as the Thunder, Lighning and Marimba Lumina. With the recent resurgence of interest in analog synthesizers Buchla has released a revamped 200 series called the 200e.<br />
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NIME-05, the 5th International Conference on New Interfaces for Musical Expression, held in Vancouver, Canada in 2005, featured a keynote lecture by Don Buchla as well as a sizable exhibition of many of the instruments he and his team have created over the years.<br />
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<u>Historical Overview</u></div>
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1963</div>
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Don Buchla created the 100 Series Modular Electronic Music System</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKqhQQ-7jslpwKaUaGI-YYIIyXgEdpfgA6pzbT5Jk3q7JpsnUJQFClqfEEbQCRrP89cLTyF25bniqWj1OlOJR8WQ4d_DQhTXC7uaUx8MCh1bEYSZl0ocyG7mqogz2PZ2sLtoPJ84TAO1o/s1600/Buchla_100_(closeup).jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKqhQQ-7jslpwKaUaGI-YYIIyXgEdpfgA6pzbT5Jk3q7JpsnUJQFClqfEEbQCRrP89cLTyF25bniqWj1OlOJR8WQ4d_DQhTXC7uaUx8MCh1bEYSZl0ocyG7mqogz2PZ2sLtoPJ84TAO1o/s1600/Buchla_100_(closeup).jpg" height="240" width="320" /></a></div>
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1970</div>
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The 200 Series Electric Music Box</div>
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1971</div>
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Minicomputers became affordable, and Don built the first hybrid (digitally controlled analog synthesizer) - the 500 Series<span class="s3"> </span>and along came microcomputers and the Series 300 (using series 200 analog modules combined with 300 series digital modules)</div>
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1972</div>
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A hot little analog performance instrument, the <span id="goog_1326186193"></span>Music Easel<u><span id="goog_1326186194"></span></u> was introduced<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHCwt2ABCPC1ITBVein9QHi-dYJorz0WkJaHpHVkdxXSC8XFGFClsBWOQMZ-uwRBK4ZuA7BT9dlhz_r874g5UoibXVZwTAsInxsAFSDjox_ECbELl9IQw_tg9AAh1G8g-YkocqYpH7nzs/s1600/Buchla-1972-musiceasel-large.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHCwt2ABCPC1ITBVein9QHi-dYJorz0WkJaHpHVkdxXSC8XFGFClsBWOQMZ-uwRBK4ZuA7BT9dlhz_r874g5UoibXVZwTAsInxsAFSDjox_ECbELl9IQw_tg9AAh1G8g-YkocqYpH7nzs/s1600/Buchla-1972-musiceasel-large.jpeg" height="266" width="320" /></a></div>
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1978</div>
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Four hybrid (digital/analog) instruments. Don conjured up the Touché</div>
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1982</div>
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The Buchla 400, featuring an outrageous video display</div>
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1983</div>
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The Buchla 406</div>
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1987</div>
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Introducing of the Buchla 700, now enabled with MIDI up the Wahzoo</div>
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1990</div>
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Don shifted his attention to controllers and designed the Thunder</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-Ec9KNohmhSzYO0EbKQiPD_6mq6AVX2DXYpcIKswbE_2_IuyYGdSSFqQm8h-9FX4yIvkhNNiJQcZkMKDH2quV-PDHychJL10vggcrZKRFTZSkWKKwODkeUfXJE3oZXl3jL-R76-5rDtc/s1600/buchlafthunder.l.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-Ec9KNohmhSzYO0EbKQiPD_6mq6AVX2DXYpcIKswbE_2_IuyYGdSSFqQm8h-9FX4yIvkhNNiJQcZkMKDH2quV-PDHychJL10vggcrZKRFTZSkWKKwODkeUfXJE3oZXl3jL-R76-5rDtc/s1600/buchlafthunder.l.jpg" height="226" width="320" /></a></div>
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The Lighning</div>
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1995</div>
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For Oberheim (then a Gibson subsidiary), he designed the OB-Mx</div>
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1996</div>
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The Lightning II</div>
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1999</div>
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Don built the gold edition of the Marimba Lumina</div>
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2000</div>
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He added the silver Marimba Lumina 3.5</div>
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2001</div>
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The smaller Marimba Lumina 2.5 is born</div>
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2002</div>
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Introducing the Piano Bar, now manufactured and distributed by Moog Music Inc.<br />
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<span style="font-size: x-small;">Photo: Richard Ecclestone</span><br />
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Several new modules, calling the 200e Series</div>
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2008</div>
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Introducing the Lightning III</div>
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2013</div>
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The new Buchla Music Easel, Buchla 272e Polyphonic Tuner</div>
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Buchla Electronic Musical Instruments is the new incarnation of Buchla & Associates<br />
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Studio Innocentihttp://www.blogger.com/profile/16263798240682357494noreply@blogger.com0tag:blogger.com,1999:blog-397934510508201142.post-26890221955858930002011-10-17T08:16:00.000-07:002013-05-24T08:18:46.640-07:00Dress To Synth<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2qOXqtRsgHCCbrcfCgAQiuK_oQv24Rc-vRWpNZ5YJ-U1Ao33EhXSWp6azusFgo69mpJ16MO2HfEEN7b97ipW9N9CZZYC8C_OWEfnJ8NfKvhHyOu53v7CuW6PbpQSPHpfdT5rpdiOWCA0/s1600/Moog-Shirts.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2qOXqtRsgHCCbrcfCgAQiuK_oQv24Rc-vRWpNZ5YJ-U1Ao33EhXSWp6azusFgo69mpJ16MO2HfEEN7b97ipW9N9CZZYC8C_OWEfnJ8NfKvhHyOu53v7CuW6PbpQSPHpfdT5rpdiOWCA0/s400/Moog-Shirts.JPG" width="292" /></a></div>
<br />Studio Innocentihttp://www.blogger.com/profile/16263798240682357494noreply@blogger.com0tag:blogger.com,1999:blog-397934510508201142.post-70466563881197027962011-10-15T01:28:00.000-07:002014-11-20T16:26:34.580-08:00Crumar DS (1978)<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: x-small;">Crumar DS-I & DS-II (Ad from June 1978)</span><br />
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This is a very big and good looking synth with a lot of knobs for instant hands-on control. And you don't need a hardcase, it's built into one.</div>
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The Crumar DS-2 is basically a monosynth with an added 44-voice polyphonic strings section. The DS-2 was one of the first synthesizers to use digitally controlled oscillators making it stable in tune but maybe not as fat as VCO synthesizers. </div>
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But it can sound fat. Especially if you use the polyphonic string section and apply some slow LFO modulation to the pitch.</div>
Studio Innocentihttp://www.blogger.com/profile/16263798240682357494noreply@blogger.com0tag:blogger.com,1999:blog-397934510508201142.post-16946899739215754662011-10-04T18:15:00.000-07:002014-11-17T07:57:36.026-08:00Bruce Haack - Electric To Me Turn (1970)<br />
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"The Electric To Me Turn" is the first track from "Electric Lucifer" an early electronic album by Bruce Haack noted for its originality and innovative use of acid rock and electronic sounds. A psychedelic, anti-war song about the battle between heaven and hell. Haack used a Moog synthesizer and his own home-built electronics, including an early prototype vocoder. It was originally released on LP in 1970. The lyrics are highly original, mentioning concepts such as "powerlove" - a force so strong and good that it will not only save mankind but Lucifer himself. It remains Haack's only album to debut on a major label. (Video by Wonder Muddle)<br />
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Studio Innocentihttp://www.blogger.com/profile/16263798240682357494noreply@blogger.com0tag:blogger.com,1999:blog-397934510508201142.post-14752697855549927372011-09-11T13:11:00.000-07:002014-11-17T07:05:54.434-08:00Polyfusion Series 2000 (1976-1982)<div class="separator" style="clear: both; text-align: center;">
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Polyfusion was founded in 1975 by ex-Moog employees, Alan Pearce and Ron Folkman who decided to design a system of their own.<br />
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The serie 2000 modular came in 1976, it's a very well designed and built instrument, a kind of unbreakable machine (I have never ever seen one faulty). The first modules were using the same format and the knobs as in Moog systems. The sound is close to Moog’s one but the quality and stability of the electronic set it in another range, perhaps the most reliable modular at that time, and may be even today.<br />
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The sequencer is available both in stand alone or standard module format. An 8 voices cv-gate polyhonic keyboard is also available. Available format : Main cabinet, Half cabinet. Tier cabinet, Half tier cabinet. Around 150 systems have been made from 1976 to 1982 .<br />
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(Thanks to Francois Marcaud)<br />
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<br />Studio Innocentihttp://www.blogger.com/profile/16263798240682357494noreply@blogger.com0tag:blogger.com,1999:blog-397934510508201142.post-35865008795779589712011-08-10T08:17:00.000-07:002014-11-21T11:44:27.681-08:00Alesis SR-16 (1990) Drum Machine<div class="separator" style="clear: both; text-align: center;">
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No doubt the SR-16 is a powerful drum machine, but ultimately it also sounds like a drum machine. If you need some drums to accompany your keyboard or guitar playing, for example, the SR-16 has been the go-to drum machine for many years. But all those bumper stickers about drum machines having no soul just might be directed at the SR-16. It may be a great tool for musicians but in the studio its sound just can't beat the real deal - or loops and more modern drum & percussion instruments and software.</div>
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For serious programmers and those who want to use it as a sound module, the SR-16 provides comprehensive MIDI programming and MIDI implementation. In addition to more than 200 drum and rhythm samples (both in dry form or with reverb), a Dynamic Articulation feature enables a drum's tone to change, depending on how hard it's hit. Comes with fifty preset rhythm patterns (played in by top studio drummers), each with an A and B variation, plus A and B fill, for a total of four different rhythms in each pattern. Of course, you can create and save your own customized patterns and songs. Also includes four outputs, twelve velocity-sensitive pads, 16-voice polyphony, sample/DAC bit resolution 16/18, sound stacking, step editing and a 20-255BPM tempo range.<br />
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<b><span style="font-size: large;">Video Manual by Alesis Studio Electronics</span></b></div>
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Studio Innocentihttp://www.blogger.com/profile/16263798240682357494noreply@blogger.com0tag:blogger.com,1999:blog-397934510508201142.post-34692892561897075912011-07-18T15:36:00.000-07:002014-11-21T11:51:49.059-08:00Roland G-707 (1984)<div class="separator" style="clear: both; text-align: center;">
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<br />Studio Innocentihttp://www.blogger.com/profile/16263798240682357494noreply@blogger.com0tag:blogger.com,1999:blog-397934510508201142.post-26798889644210293832011-06-16T04:02:00.000-07:002014-11-20T16:33:36.762-08:00Tangerine Dream - Live at Conventry Cathedral (1975)<div class="p1">
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In December 1974 Tangerine Dream were invited to play in the grand setting of Rheims Cathedral, a move certainly seen at the time as groundbreaking. Because of this, they were then invited to perform in the cathedrals of York, Liverpool and Coventry. The tour attracted unprecedented coverage in the media, especially at Coventry Cathedral, an iconic building rising like a Phoenix on the ruins of the old cathedral bombed to bits by the Germans in 1940 (Tangerine Dream is, after all, a German band) as a celebration of peace and reconciliation, as well as a lasting showcase for great contemporary art. The nave is dominated by a gigantic tapestry by Graham Sutherland, the main door dwarfed by a scuplture of St Michael and The Devil by Jacob Epstein, and the consecration in 1962 heard the first performance of Britten's incomparable 'War Requiem. To their lasting credit, Tangerine Dream contributed to this celebration.<br />
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This film released 2007 for the first time on DVD will be welcomed by the massive Tangerine Dream fan base, and also seen for what it is - a meeting of cultures and for a brief moment in time, a time where the past met both the present and the future.</div>
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Film Director – Tony Palmer</div>
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Performer – Christopher Franke, Edgar Froese, Peter Baumann<br />
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<span style="font-size: x-small;">Part 1</span></div>
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<span style="font-size: x-small;">Part 2</span></div>
Studio Innocentihttp://www.blogger.com/profile/16263798240682357494noreply@blogger.com0tag:blogger.com,1999:blog-397934510508201142.post-32583003402392576142011-05-22T19:21:00.000-07:002014-11-17T07:08:09.504-08:00Korg Traveller (1972)<div class="separator" style="clear: both; text-align: center;">
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<br />Studio Innocentihttp://www.blogger.com/profile/16263798240682357494noreply@blogger.com0tag:blogger.com,1999:blog-397934510508201142.post-29435508879830882712011-05-12T13:50:00.000-07:002014-11-17T07:46:29.817-08:00Roland RE-201 Space Echo (1973-1988)<div class="separator" style="clear: both; text-align: center;">
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The Roland RE-201 Space Echo is truly a Vintage piece of music technology with lots of appeal even today. It's not a synth, but a Tape-Echo machine for creating true analog echo effects. The RE-201 is a simple system in which a small loop of tape records an incoming signal and immediately plays the recorded sound back over a couple playback heads before being erased over by new incoming audio. A real analog system with warm, gritty and almost noiseless operation, the Space Echo can provide warm, unpredictable and highly tweakable echo effects.</div>
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There are twelve settings to adjust various tape loop speeds, number of repeats, levels, intensity, etc... It can even generate some of its own feedback loops for instant sci-fi effects. It features a built in spring reverb for even more classic analog effects. The RE-201 not only has Vintage appeal but is still widely used to get those dubby, slightly unpredictable, musically analog echo effects. It's a definite must for the TripHop and dub genres.</div>
Studio Innocentihttp://www.blogger.com/profile/16263798240682357494noreply@blogger.com0tag:blogger.com,1999:blog-397934510508201142.post-27179007768919040722011-05-11T11:13:00.000-07:002013-05-22T18:35:10.846-07:00<div class="separator" style="clear: both; text-align: left;">
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Here's the Arp Avatar working with the legendary Roland Space Echo (by 123 Synthland)Studio Innocentihttp://www.blogger.com/profile/16263798240682357494noreply@blogger.com0tag:blogger.com,1999:blog-397934510508201142.post-91124409999645435682011-03-01T08:46:00.000-08:002014-11-17T07:46:57.195-08:00Yamaha CS-80 (1976)<div class="separator" style="clear: both; text-align: center;">
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A very old and very huge classic synthesizer. Considered Japans first great synthesizer. It had some pretty amazing features for its time such as eight voice polyphony, patch memory storage and polyphonic aftertouch. It can generate great analog strings, brass, drones and pads with that instantly recognizable classic polysynth sound. No synth sounds greater. Some examples of its extremely fat sound can be heard in "Blade Runner" and "Mutiny on the Bounty" by Vangelis as well as "Dune" by Toto. The thing that really made this synth sound so powerful was its "natural" detuning....thus its brass and string sounds were unparalleled not only for authenticity, but for pure width! Unfortunately for the CS-80, it was released the same year as the more programmable and cheaper <i>Prophet 5.</i> </div>
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With two analog oscillators per voice, the CS-80 has the potential for some really thick sounds. A great VCF filter with independent hi pass and low pass resonant filters, a powerful ring modulator and plenty of modulation controls further enhance the CS-80's sonic potential. There are 22 preset sounds (6 user) selected from bright and ugly colored buttons above the keyboard. The keyboard is weighted and has a full 61 keys with performance controllers for vibrato, pitch, brightness and volume. Surprisingly there's also a long ribbon controller for the pitch-bending, located above the keyboard. There is no MIDI or CV/Gate control. The only way to MIDI it is via a rather complex retrofit receive-only kit from <i>Kenton. </i></div>
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Studio Innocentihttp://www.blogger.com/profile/16263798240682357494noreply@blogger.com0tag:blogger.com,1999:blog-397934510508201142.post-84130448604834517372011-01-30T19:10:00.000-08:002014-11-20T14:09:12.952-08:00<div class="separator" style="clear: both; text-align: left;">
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It's a Cosmic world (Artwork by Bene Rohlmann)<br />
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<br />Studio Innocentihttp://www.blogger.com/profile/16263798240682357494noreply@blogger.com0tag:blogger.com,1999:blog-397934510508201142.post-25510797763800930682010-12-24T08:14:00.000-08:002013-05-22T15:23:46.123-07:00Conrad SchnitzlerBorn in Düsseldorf, Germany, in 1937, Conrad Schnitzler is an essential name in the history of electronic music music during the 60′s and 70′s.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje69_mbJXk_lFjgAIri-EBWG-_7cCtEf47D74ivQa0o-ICvEXaHL4NMIDRu0KwpLC11DHaa9zLGAnc550IRIIAYBO_0U0nrz9buf2A0EHYgdY_rAlWXykXe-mNRuXfw2gnU3l31dAVKI0/s1600/R-331173-1096898787.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5555707703082554754" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje69_mbJXk_lFjgAIri-EBWG-_7cCtEf47D74ivQa0o-ICvEXaHL4NMIDRu0KwpLC11DHaa9zLGAnc550IRIIAYBO_0U0nrz9buf2A0EHYgdY_rAlWXykXe-mNRuXfw2gnU3l31dAVKI0/s400/R-331173-1096898787.jpg" style="cursor: pointer; float: left; height: 176px; margin: 0pt 10px 10px 0pt; width: 176px;" /></a>Having been pupil of composer Karlheinz Stockhausen, and being inspired by the likes of<span style="color: #ffff33;"> </span><a href="http://studioinnocenti.blogspot.com/2010/06/pierre-schaeffer.html" style="color: red; font-weight: bold;">Pierre Schaeffer</a><a href="http://studioinnocenti.blogspot.com/search?q=schaeffer" style="color: silver; font-weight: bold;"> </a>and John Cage, Schnitzler was co-founder of the Zodiak Club in Berlin in 1968, where the pioneering psychedelic band Agitation Free used to play. Conrad Schnitzler became a member of Tangerine Dream in 1969 recording their first and legendary album “Electronic Meditation”.<br />
Conrad Schnitzler left the band in 1970 to form the project that would became a master key of the krautrock and experimental vanguard in Germany: the band Kluster, which was formed along with the early electronica masters Hans-Jaochim Roedelius Roedelius and Dieter Moebius. Schnitzler left the band after a couple of albums to develop a solo career oriented to the electronic and analogue synthesis experimentation.<br />
In 1971, Schnitzler started a trilogy of albums (“Schwartz”, “Blau”, and “Rot”) in an almost extreme attitude of melodic, tonal, rhythmic, and structural minimalismism, setting the foundations of modern electronic minimalism music.<br />
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During the first half of the 70′s, Schnitzler produced numerous experiments, but this hardly saw the light until 1978 when Peter Baumann from Tangerine Dream instigated the release of his works.<br />
By the early 80′s, Conrad Schnitzler started series of numerous releases, most of them synth pop oriented, and he finally moved back to his most experimental side in the 90′s with a series of releases in the Plate Lunch label.<br />
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<span style="font-size: 100%;"><span style="font-style: italic; font-weight: bold;">Electrocon</span> (1980/CD2006) Recorded at Paragon Studio, Berlin in 1980-81. Digital remastered at Peace Music, Tokyo, Japan 2006.</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPFQV9s_-5zm1eXkWmrspaKaJQSuPXSGiP_gEkiDdy7O5kDcwWn4xcTBOHfMPiGMzAlGMFfqG3qn-t4iW0tPPF2m_S5jlYFovN59eZEBEqR4Az2-Mxn_7Uk8z4CHFuZ6SokUtRZlo0v8E/s1600/R-941701-1175422121.jpg"><span style="font-size: 85%;"><span style="font-weight: bold;"><br /></span></span></a>Studio Innocentihttp://www.blogger.com/profile/16263798240682357494noreply@blogger.com0tag:blogger.com,1999:blog-397934510508201142.post-18677277242246444602010-11-10T14:01:00.000-08:002014-11-17T07:47:55.545-08:00BOSS DR-110 Dr. Rhythm Graphic (1983)<div class="separator" style="clear: both; text-align: center;">
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The Boss Doctor Rhythm DR-110 Graphic is a drum machine, produced by the Boss product division of the Japanese Roland Corporation in 1983.</div>
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<span class="s1">Boss were better known for producing electric guitar accessories such as effects pedals, and the DR-110 is similarly small and lightweight in size (190×110×30mm, and only 450g), and like most Boss equipment, could be run from a 9V d.c. supply or batteries. </span>In 1980, Roland introduced their first simple and affordable drum machine to bear the BOSS Dr. Rhythm brand, the DR-55, offering four sounds, an Accent and a limited number of programmable patterns. It was followed by the Dr. Rhythm Graphic (DR-110) in 1983, which offers a wider selection of sounds, preset patterns, an increased number of programmable patterns and the ability to chain patterns together to form songs. The simple step programming of the first Dr. Rhythm, with alternating button presses for notes and rests, is augmented by an LCD with a grid showing the individual notes in the current pattern. In addition to step programming there is also a "tap write" programming mode, albeit without a metronome click for timekeeping.</div>
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The sounds are Kick, Snare, Closed Hi-Hat, Open Hi-Hat, Cymbal and Clap. The sounds are totally analog, and sound crisp and punchy, thanks to tone generation circuitry that is more sophisticated than the Roland TR-606 Drumatix. A balance knob alters the level of the Kick, Snare and Clap relative to the other sounds, while an accent knob controls the amount of emphasis applied to accented steps. There is also a volume knob, which controls the overall level of both the main and headphone outputs. The main output is mono, but has an unusual feature whereby plugging in a suitable wired lead with a stereo jack plug allows for the feeding in of another signal to be mixed with the drum sounds. Another socket provides for a trigger signal, emitting a pulse for every accented step in a pattern.</div>
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The patterns are organized into four banks of eight patterns each. Banks C and D are the presets, while banks A and B are programmable. Each pattern can be switched between 12 or 16 steps, for a 3/4 or 4/4 time signature. Two songs can be programmed, each containing a maximum of 128 bars.</div>
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At the time of writing, the Dr. Rhythm Graphic is relatively affordable compared to similar machines such as the Roland TR-606 Drumatix, and are usually found in good condition thanks to the padded carry case that they came with. On the downside, there are no outputs or tone controls for the individual sounds, but a number of well documented modifications can be found on the Internet that add these features.</div>
Studio Innocentihttp://www.blogger.com/profile/16263798240682357494noreply@blogger.com0tag:blogger.com,1999:blog-397934510508201142.post-34721081430064998252010-11-04T05:32:00.000-07:002014-11-17T07:48:43.661-08:00Moog Cordovox CDX-0652 White Elephant (1975-1979)<div class="separator" style="clear: both; text-align: center;">
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The dual-manual combo organ Moog CDX is basically a Cordovox organ with a built in Moog Satellite monosynth. It is the only organ product that bears the Moog name prominently across the front. Somewhat rare in the US, they seem to be in plentiful supply in parts of europe.</div>
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The Satellite was designed to be an organ player's synth. It was manufactured by the Thomas Organ Company, who paid a large royalty to be allowed to manufacture the Satellite for Moog. In return they were allowed to incorporate the Satellite into their organs. Thomas Organ Company also, along with Cordovox, designed the Moog CDX.</div>
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Studio Innocentihttp://www.blogger.com/profile/16263798240682357494noreply@blogger.com0tag:blogger.com,1999:blog-397934510508201142.post-67213336236170327342010-10-30T11:25:00.000-07:002013-05-22T15:03:29.857-07:00Studio Innocenti - Cosmic Disco Boschbar Monday, 01.Nov.<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWOcJ9ihK-xYRKUB-Cp7iyXW0P_i7plxyToq9yHD3PZYpJEHl8Zdv-VJydkB2MzJellRgW-7L3wELIzbKDmbVLxD2Lp3BKlq2ku4c7HWbcz2OO2Wqa2DQ_ChxRXvV6UHEat4lJKIosbc0/s1600/20101028064037.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5533909481905016162" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWOcJ9ihK-xYRKUB-Cp7iyXW0P_i7plxyToq9yHD3PZYpJEHl8Zdv-VJydkB2MzJellRgW-7L3wELIzbKDmbVLxD2Lp3BKlq2ku4c7HWbcz2OO2Wqa2DQ_ChxRXvV6UHEat4lJKIosbc0/s400/20101028064037.jpg" style="cursor: pointer; float: left; height: 311px; margin: 0pt 10px 10px 0pt; width: 400px;" /></a><br />
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<span style="font-weight: bold;">LES PELVIS ENRAGES</span> noise demi-poétique (Paris) avec <span style="font-weight: bold;">SYSTEM SOLEX</span> (asymétrique surprise)<br />
(après) <span style="font-weight: bold;">STUDIO INNOCENTI</span> Cosmic Disco<br />
Boschbar, Sihlquai ab 23 h, 5.-<br />
<a href="http://www.strandbaer.ch/bosch/" style="color: red;">www.strandbaer.ch/</a>Studio Innocentihttp://www.blogger.com/profile/16263798240682357494noreply@blogger.com0tag:blogger.com,1999:blog-397934510508201142.post-10966359904011833562010-10-29T08:53:00.000-07:002014-11-17T07:49:13.859-08:00Yamaha CS-15 (1979)<br />
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The CS-30 is a large, knob infested, black analog synthesizer with traditional features. It is a monophonic synth with extensive analog control and shaping. It has two oscillators with separate outputs, two VCF resonant filters, two VCA amplifiers and three envelopes. It also features a ring modulator, external audio triggering and a simple but useful 8-step sequencer for use as a sketch pad, pattern or arpeggio effect. The CS-30 does not have any on-board effects, memory nor MIDI. Although the CS-30 is just a monophonic synth with a short 44 note keyboard it offers a lot of programming flexibility, and plenty of knobs.</div>
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This synth really has its own sound. The CS-15's got style. Built like a tank with a lot of nice knobs and best of all, not one but two of those funny sounding multimode filters. It's actually a duophonic / bitimbral synth but you have to connect it to CV (Hz/V like Korg not V/Oct) to get the extra voice. Each of the two VCOs has its own CV/Gate control.</div>
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Studio Innocentihttp://www.blogger.com/profile/16263798240682357494noreply@blogger.com0tag:blogger.com,1999:blog-397934510508201142.post-49940365082848069292010-10-26T05:05:00.000-07:002014-11-20T16:52:06.243-08:00The Past of the Future - Citroën Karin (1980)<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbCgoi5XI65gcJiJmAFXfAaeMIWdd2zQptTYvsUjTX4HNhDDMzqFvMQiTmTgLQK5SwAklrX8uAyO_FuOxpMhg6hG1oi4qY4jZ-hd469NGcCkaeocQfWRmwGkO95N1qw4SsfbYQdKkZUXU/s1600/citroen_karin_3.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbCgoi5XI65gcJiJmAFXfAaeMIWdd2zQptTYvsUjTX4HNhDDMzqFvMQiTmTgLQK5SwAklrX8uAyO_FuOxpMhg6hG1oi4qY4jZ-hd469NGcCkaeocQfWRmwGkO95N1qw4SsfbYQdKkZUXU/s400/citroen_karin_3.jpg" id="BLOGGER_PHOTO_ID_5555726282249750850" style="cursor: pointer; float: left; height: 259px; margin: 0pt 10px 10px 0pt; width: 400px;" /></a><br />
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Looking back at the car industry of the 1980s, the Citroën Karin, was one of the most revolutionary concepts. Because it didn’t have any new models to present at the 1980 Paris Auto Show, the company gave car designer Trevor Fiore the go-ahead to create an original model.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpOngFK6VNpasqeJ0L5vWAJuHlb2QBKwABvWssBHuLSuRdKxYfhTWhIq_cX7GOhYq4YiaP5plrOYYc7oT0UtgI4ZzS9cxI8tOiiRZxPzxbIfmY9_q0qcgzqCHLibfwL6QzfIRbguzzocg/s1600/V13EOwkBVl8a0lduM07Uzec6o1_500.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpOngFK6VNpasqeJ0L5vWAJuHlb2QBKwABvWssBHuLSuRdKxYfhTWhIq_cX7GOhYq4YiaP5plrOYYc7oT0UtgI4ZzS9cxI8tOiiRZxPzxbIfmY9_q0qcgzqCHLibfwL6QzfIRbguzzocg/s400/V13EOwkBVl8a0lduM07Uzec6o1_500.png" height="400" id="BLOGGER_PHOTO_ID_5555728318285960514" style="float: left; margin: 0pt 10px 10px 0pt;" width="301" /></a><br />
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The Karin never made it onto the production line, mostly because it was an unpractical vehicle, but the futuristic design inspired other designers to get passed their traditional way of thinking, and opened the way for the beautiful vehicles we see on the streets today.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimyWspj_oWxk8EeEuSRetPjJSuz8VQxhksrZlQvlUrSQzIab_nusQ90Qg7SSbA33HmY1ex9BVWA4evV6p6x3ZqwFvQZKcHcwRNk8l_jgR9jBQESwUBkaJenMJjnmkFj9qcKI605aT-LHE/s1600/old-prototype6.jpg"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimyWspj_oWxk8EeEuSRetPjJSuz8VQxhksrZlQvlUrSQzIab_nusQ90Qg7SSbA33HmY1ex9BVWA4evV6p6x3ZqwFvQZKcHcwRNk8l_jgR9jBQESwUBkaJenMJjnmkFj9qcKI605aT-LHE/s400/old-prototype6.jpg" id="BLOGGER_PHOTO_ID_5555729847607850738" style="cursor: pointer; float: left; height: 272px; margin: 0pt 10px 10px 0pt; width: 400px;" /></a><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYSMRDKeSTAVho8snrjo9lZ3xIexq2uve9F30Fw5gGdJd9FjSPK9p2ZiA0AmJTKeWaEMo-VH7j8Bb1mXtuioQjlLIoyIjXIuu27gCd7os-ARNfb_TVwLcpqe8gNrCJbseEtaMmq72UA5A/s1600/old-prototype5.jpg"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYSMRDKeSTAVho8snrjo9lZ3xIexq2uve9F30Fw5gGdJd9FjSPK9p2ZiA0AmJTKeWaEMo-VH7j8Bb1mXtuioQjlLIoyIjXIuu27gCd7os-ARNfb_TVwLcpqe8gNrCJbseEtaMmq72UA5A/s400/old-prototype5.jpg" id="BLOGGER_PHOTO_ID_5555732162394038962" style="cursor: pointer; float: left; height: 264px; margin: 0pt 10px 10px 0pt; width: 400px;" /></a><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK5lvIA9pvrVN1OnlEYrSjqMcpreLgn-WtSBedEG0bcMBVFG17ipgMHncfPu6yJbIdoweMWFjO0sTusCQJQbgdqRcdZeTzEGkOhXGzDCiS4J9MGOHnw0WFI6iMBSwbYzbe89E8-1osP_Y/s1600/old-prototype3.jpg"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK5lvIA9pvrVN1OnlEYrSjqMcpreLgn-WtSBedEG0bcMBVFG17ipgMHncfPu6yJbIdoweMWFjO0sTusCQJQbgdqRcdZeTzEGkOhXGzDCiS4J9MGOHnw0WFI6iMBSwbYzbe89E8-1osP_Y/s400/old-prototype3.jpg" id="BLOGGER_PHOTO_ID_5555732380134214546" style="cursor: pointer; float: left; height: 260px; margin: 0pt 10px 10px 0pt; width: 400px;" /></a><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpOngFK6VNpasqeJ0L5vWAJuHlb2QBKwABvWssBHuLSuRdKxYfhTWhIq_cX7GOhYq4YiaP5plrOYYc7oT0UtgI4ZzS9cxI8tOiiRZxPzxbIfmY9_q0qcgzqCHLibfwL6QzfIRbguzzocg/s1600/V13EOwkBVl8a0lduM07Uzec6o1_500.png"><br /></a>Studio Innocentihttp://www.blogger.com/profile/16263798240682357494noreply@blogger.com0