Occasionally, we feature other animals with synths. Today we have our first panda-and-synth video from felonious_skunk_music on Instagram. The Moog and Rhodes combination has a very 1970s vibe, and we’re here for it.
In the purrfectly balanced picture, we have a tableau of cat, ukulele and Ableton Push MIDI controller above a beautiful Rhodes Mark II stage piano and two Yamaha Reface synthesizers. From robbiesko via Instagram.
Rewiring the 100 + cables at home to get things running more smoothly..rat’s nest be gone!! Hope y’all are doin well ✌🏼
Ah, the proverbial rat’s nest of cables. Something we have to take care of periodically here at CatSynth HQ as well. But I am most interested in that Rhodes.
A black cat playing both a Minimoog synthesizer and a Rhodes Stage electric piano. Nearby is an EMS Synthi and a rack full of Doepfer modules. From Mark L. Greco via Facebook.
There are definite musical advantages to using all four limbs.
From Andor Polgar on YouTube, via matrixsynth. Rhodes, Make Noise Morphagene and cat, what is not to love?
Things used in the video: vegan sausage for taming the cat (that’s her favorite), Make Noise Morphagene eurorack module, Rhodes Mark I electric piano, Expert Sleepers Disting mk4 for the reverb effect.
It may be time to experiment again here at HQ with the Nord and some Make Noise modules…
Via matrixsynth. This one is a true blast from the past, posted there only a week after CatSynth was founded 🙂
This one in via Michael. “Attached photo: Rico the cat playing a solo lead line while accompanying self on Rhodes. He hasn’t yet got the hang of the (unfinished) modular, but my other cat has opposable thumbs and is a fast learner. Putney and Minimoog on loan from Reed.”
The concerts of the 2013 Outsound Music Summit opened with an evening of acoustic ensembles that combined improvisation and composition, each to quite different effect.
The evening opened with a performance by Opera Wolf, a trio featuring Crystal Pascucci on cello, Joshua Marshall on saxophone, and Robert Lopez on drums. They performed four pieces: one composed by each member of the group, and a free improvisation.
One structural quality that carried over all four pieces was the use of strongly punctuated phrasing. The initial opening sounds with harmonics and sparse arrhythmic hits was separate by a delineated silence before switching texture completely to growls and intricate cello runs, and then again into more melodious bowed phrases accompanied by the sounds of metal on a drum head. This punctuation continued into the second piece as well, which began quite noisily with scratching and unusual harmonics, but after a pause changed suddenly into jazzy runs followed by vocal effects and whistle tones. Other interesting sonic moments included Marshall cooing and purring with his saxophone against long bowed towns on the cello by Pascucci, and an extended run by all three members with scraping, tapping and clicking sounds.
Next up was KREation, an ensemble led by Kevin Robinson. KREation features a varying lineup, and this evening was somewhat different from the previous time I had encountered them. Along with Robinson, there was Christin Hablewitz, John Schwerbel and Tony Gennaro.
Their performance was a single continuous flow of music, starting with a modal and quite serene recorder duet of Robinson and Hablewitz. This gave way to percussion and prepared piano, and then to more fast runs on sax and piano accompanied by loud key clicks on the bass clarinet. The more melodious feel gave way to darker and more tense textures, but then got quite jazzy and rhythmic, especially when John Schwerbel switched over to a Rhodes Stage 73 electric piano (yes, it is one of my favorite instruments).
The textures and energy levels came in and out over the course of the performance like waves. There were some intricate counterpoints, including between recorder and saxophone, some pretty piano runs, and sections that moved between slower dramatic tones and bursts of fast motion.
The final performance of the evening featured Wiener Kids, a trio of Jordon Glenn, Aram Shelton and Cory Wright. Ostensibly, the group is a drummer with two masters of reed instruments, but on this occasion all three members also employed a wide selection of percussion.
This was a bit different from the previous Wiener Kids performances I have heard, which usually took place at clubs along side avant-rock bands. A couple of the pieces did employ the same sparse but rhythmically complex and driving sound I recalled, but there was also more detail and variety. The performance started with a somewhat humorous ensemble sound, like an odd-meter march. But it soon morphed into a solid four-beat funky rhythm with Wright on baritone saxophone acting as the all-important bass. The group came back to this funk idiom throughout their performance, and I thought it was their strongest element. They also employed complex polyrhythms and extended techniques as well as long melodic runs – one piece in particular featured a virtuosic saxophone solo by Wright.
The set ended with back-to-back songs starting with a more jazz rhythmic sound combining sax and drums, then moving into a second piece that was more percussion oriented, with polyrhythms and a focus on metallic percussion that gave the music a gamelan-like quality. Then it was back to the driving funkier 4/4 sound up to the finish.
In all, it was a strong start to this year’s Summit concerts, with dynamic performances. And it is quite a contrast to what comes next.
Submitted by Julian Dreißig on facebook.
“Scales exercises for four paws.
Theo from Berlin says Hello.”
From softestthing on flickr:
Perhaps a little bit of a stretch – a Fender Rhodes technically isn’t a synth nor is the drawing technically a cat – but I quite like this image. (And I am a big Rhodes fan.)
From suitandtieguy on an old thread on Muff Wiggler’s forum.
Some of the photos have appeared here before, but some have not. I am pretty sure this is one that hasn’t.
Can anyone identify the synths and other gear between the Rhodes and the cat?