Retro Synth Ads posted this fact sheet for the Octave CAT yesterday:
[click to enlarge]
I believe we have seen seen this picture with the actual cat before. Additionally, the spec sheet contains the blank patch diagram that I have occasionally used for the Octave CAT.
You can see full-size images as well as additional analysis at Retro Synth Ads.
Submitted by vlern via facebook:
You can click here to see the previous video of the “Vlern Clyde Cat Synthesizer”.
We present a few photos and notes from the LoveTech SF 1st Anniversary “Epictacular”, which I attended on Saturday. LoveTech is a “Collaborative Music Technology Party & Interactive Multimedia Art Salon” here in San Francisco, and a group I definitely should try and be more involved in during its second year.
Our friend Tim Thompson, together with Michael Broxton, performed live improvised music along with generative visuals (i.e., the graphics are generated live):
Tim’s setup features a Launchpad/Mimo/Keyboard interface. This music featured tonal improvisations (lots of jazz chords and lines) with fast lines and rhythms, a structure that allowed one to shift focus between the music and visuals. The visual software was Broxton’s PhosphorEssence. You can see some clips from the performance on this video:
In addition to live performances, there were also technical demonstrations. Here we see Moldover presenting the MOJO, a newly released music controller which features touch-sensitive strips, game-controller-style buttons and a rather sturdy looking case.
There was also a “jam lounge”. Here we see a duo of *bernadette* (left) and Pamela Parker performing a delightfully noisy and inharmonic electronic improvisation with guitars and effects (including a Moogerfooger).
They also had a theremin as part of their set. Note the porcelain cat figurine on the theremin.
The video below features a demonstration by Komega of his custom sound and light instruments, including the Kromatron, Komegatone, and the Breadman.
More on Komega’s instruments in a future article.
Our last post from NAMM 2010 features more images from the Analogue Haven booth, where I spent a fair amount of time.
First up, a modular from Make Noise:
I was particularly intrigued by the two-dimensional sequencer module (in the lower left). A wide variety patterns can be generated along the X and Y axis and modified by selectively removing elements or subsections.
This video probably doesn’t do it justice, but it at least provides some atmosphere:
A portable modular rock (from Analog Rocket) featuring modules from The Harvestman, including the Hertz Donut and Piston Honda:
If I put together a modular system anytime soon, I would want that monorocket case.
Livewire modules, also some remakes of Wiard modules by Malekko Heavy Industry:
Of course, there are a splattering of Doepfer modules in many of these setups.
A compact modular setup from Tiptop Audio:
One of several instruments I encountered at the Analogue Haven booth at NAMM, the Mungo State Zero from Mungo Enterprises:
The State Zero is a large patchable synthesizer. Among its novel features are polyphony (patchable synthesizers are typically monophonic per oscillator unit) and the ability to “memorize” the most recent state of the patch even after the cords of removed. There is also a display feature that shows the signals of the most recently patched elements:
I like the industrial design and the textless graphical elements representing knobs and units, reminiscent of international symbols.
The Eigenharp Alpha from Eigenlabs:
The instrument looks a bit like an “electronic bassoon”, but beyond the mouthpiece, long thin shape and wood finish, it is quite different. It has 128 discrete keys that are also sensitive to pressure and motion in two directions, several large heavier keys and continuous controller ribbons. As such, it has the potential to be a very expressive instrument.
There is also a small version, the Eigenharp Pico:
And a new intermediate version, the Tau:
I particularly like the sleeker, modernist design on the Tau.
I did hear some demonstrations, which showed the features of the instrument, but focused on very conventional sounds and performance techniques. There were standard software synthesizers with keyboard and wind control, percussion sounds and beats and patterns controlled by the keys. With so many degrees of freedom and the ability to map different axes of expression to different musical parameters, I would like to see such an instrument used to push musical expression in novel directions. To this end, it is great to see that they are making their SDK open source. The first extension I would recommend is an OSC (OpenSound Control) protocol interface.
Jeff Snyder of Snyderphonics poses with the new Snyderphonics Manta, a “a touch-sensitive interface for controlling music or video.”
The Manta has a series of hexagonal sensors with LEDs that can be used as independent controls or together as a large X-Y control surface. I’m always interested in new control surfaces, and wouldn’t mind trying one of these out.
We take a break from our NAMM backlog for a cat-and-synth pic this Tuesday. From Kids at Midnight, via matrixsynth:
Arthur interrupts work on the latest tune, finding the laptop a nice warm place to settle down. He once changed the preferences on my Pro Tools with his arse and it took me about a month of fiddling and a call to a help desk to get it back to normal. Cat hair can also be a problem at the Kids At Midnight HQ. Shall be pooling our money and investing in a Dustbuster …
