We espied this photo on the Facebook page of Robotspeak, our local synthesizer shop and informal gathering place for monthly shows here in San Francisco.
I have myself dropped quite a bit of hard-earned money there (but don’t regret any of it), and I have played there on a few occasions, including the Analog Ladies showcases. You can read about past visits to Robotspeak via this link.
Sometimes Sam Sam ends up in CatSynth pics of her own, as when she recently got up to explore the redesigned studio space. She is fascinated by the new decorative shelves as well as the narrow band between the video/office corner and the modular synth.
Perhaps she is picking up some scents on the modular case from our recent live performances.
I have been having a lot of fun in the studio lately, especially making videos and exploring our synthesizer collection in greater depth. I really should be working on some more formal compositions, but it seems I am in more of experimenting and exploratory mood at the moment. I have also, unfortunately, been battling insomnia. It ebbs and flows, and on the worst night (about a week ago), I decided to sit up for a while and play with the Roland JP-08 boutique synth.
The size is actually ideal for playing in bed late at night. I spent some time exploring the architecture (it’s basically a Jupiter 8 with a few extensions) and came up with some new and unusual patches. We hope to share them with you in an upcoming CatSynth TV.
As we get ready for our next Pitta of the Mind show this Thursday, March 8, we look back at our recent show at Pro Arts in Oakland, where we were joined by Usufruct, Alex Cruse, and Murder Murder. You can see a bit of all four groups in this recent CatSynth TV episode.
Pitta of the Mind’s color theme (we always have a color or pattern theme) for this evening was blue and featured blue-themed poems by Maw Shein Win, many from her new book Invisible Gifts.
[Photo by Tom Scandura]
I used the Prophet 12 synthesizer, along with the modular system, my trusty Nord Stage, and some percussion instruments to create a musical interplay with the words as well as the space between them.
Even though we haven’t performed in a while and only had one rehearsal, I felt this was one of our strongest performances – and the feedback I got from the audience backed up that perception. In particular, I think the poem “You Will Be With Me in a Town Called Paradise” came out particularly well, with a sultry vibe and jazzy accompaniment on electric piano.
After our set, Usufruct, the duo of Polly Moller Springhorn and Tim Walters took the stage.
[Photo by Tom Scandura]
As the word “usufruct” implies, they make use of materials for which they have usage rights beyond ownership, such as public-domain text sources. Polly’s vocal interpretations of the texts are processed electronically by Tim using custom programs written in SuperCollider. The end result is simultaneously dark and playful. But beyond the text sections, I was particularly taken with the instrumental portion at the beginning, which featured bass flute live and electronically processed.
Alex Cruse brought a very different vibe and sensibility to the evening, with an electronic performance that focused on beats, loops, and hits.
There were many delightful sounds and many hard-edged industrial noise moments as well. The vocals were deliberately obscured by heavy distortion and other processing but provided a percussive element that worked well with the rhythms.
The final set by Murder Murder was again something altogether different. With two drummers, two horns, two electronic performers, and vocals, it was nonstop intensity from the first drum hit.
The intensity continued for several minutes and then came to a sudden close. It was the musical equivalent of a tornado tearing through our calm evening of voice and electronics, but perhaps it was a fitting coda to the evening.
We thank Pro Arts and Sarah Lockhart for having us at this series, which has become quite a mainstay of the Oakland scene. I hope to be back again soon with one of my other projects. And of course, we are looking forward to our next Pitta of the Mind Show – where we will once again be joined by Usufruct – at the Luggage Store Gallery in San Francisco on Thursday, March 8 at 8 PM.
Purim is the “most synthesizer-y” of Jewish holidays, given that one of it’s central rituals is noisemaking. This year we created a synthesizer demo running sounds from a gragger through several modules.
The demo uses a mixture of pre-recorded gragger on the QuBit Nebulae and live sound via the Mikrophonie and Make Noise Echophon. The full list of modules used in the Purim demo is:
Make Noise Echophon
Qu-Bit Nebulae (v1)
Rossum Electro-Music Morpheus
Make Noise Maths
Make Noise Tempi
Malekko Heavy Industry Noisering
I do wish I already had a Qu-bit Nebulae v2 for this project. You can see our review of v2 from NAMM 2018 here.
Purim is a holiday that commemorates the saving of the Jewish people in the ancient Persian Empire from the king’s wicked advisor Haman, as told in the book of Esther. Traditionally, the gragger is used to mask the name of Haman when said out loud during readings.
Our ginger feline friend Rufus returns, courtesy of iamshadowdancer on Instagram. He looks ready to serenade us with a new song.
He has a rather impressive modular setup! The upper case is by Goike. It contains a wide variety of modules – we see a classic Metasonix yellow, a Mordax DATA on the right, a Make Noise Maths, and many others that whose identification we leave as an exercise to the reader.
At NAMM, one tries out a lot of instruments and walks away wanting to have a good number of them. The novelty fades quickly, but some you find that you continue to really want. The Magneto module from Strymon is in the latter category.
The Magneto is a four-head tape delay simulator. Its controls are very intuitive and playable, with enough flexibility to be used to generate spring-reverb-like sounds as well as function as a looping device via a mode switch. You can see our first attempts with the Magneto in this video.
Strymon put a lot of attention to detail both in terms of sound design and usability into this device. And as one would expect from a Eurorack module, just about every function can receive external CV input, making it more of a musical instrument in its own right than it would be in a studio rack or even a guitar pedalboard. We were able to observe the delay and looping functions in great detail, but it was more challenging to discern the tape-effect functions, such as “wow-flutter” and “crinkle”. Part of that is just the chaotic environment of NAMM (even in the more calm depth of Hall E). Hopefully, we will get a chance to try those out in more detail in the near future.
We continue to work our way through our experiences from NAMM 2018 with the Arturia MiniBrute 2.
The original MiniBrute made quite a splash a few years ago with its all-analog signal path, usability, and low price. It also had a sound that was distinct from other low-cost analog synths, in part because of the “Brute Factor” knob. That knob is back in the MiniBrute 2 along with a Steiner-Parker filter that together with the Brute oscillator gives the instrument its sound. But there is now a second oscillator, and, perhaps more significantly, a modulation matrix and patch bay.
The built-in synthesizer topology includes a lot more modulation than the original, and the patch bay allows for reconfiguration and expansion with the RackBrute Eurorack cases that integrate 3U or 6U or modules with the MiniBrute in a single case. This does seem to be a trend we are seeing with built-in patch bays to full analog mono synths (the Moog Mother-32 being the prime example). One can also interpret the MiniBrute 2 as incorporating ideas from the flagship MatrixBrute writ small. The ecosystem also includes an alternate form-factor, the 2S, which has drum pads reminiscent of the BeatStep Pro instead of the keyboard.
We were only able to scratch the surface at NAMM, and also had a bit of difficulty with our video. So we are hoping to provide a more in-depth look at this instrument both here and on CatSynth TV in the not too distant future.