Do you know any sites where I could find casettes of bands like Beatles, Radiohead etc. I stay in India and Amazon's shipping is very costly for me so looking for alternatives.
Hey guys, I've got a BOSS DF-2 that i really want to save so I thought I'd swing by hear to get your much more educated opinions.
To me it seems like the footswitch (or maybe a cable connected to it?) is busted. Sometimes when I kick the DF-2 on it'll activate just fine at full volume, but then when I kick it on again or go to hold down the footswitch to activate the feedback mode the signal gets really faint and staticky. Holding in the bare switch under the footpedal down firmly with my finger seems to un-fuck the signal sometimes but its connection seems spasmodic at best. The signal also seems to cut in and out when I shake the pedal back and forth, something that none of my other boss pedals have any issues with. A few months ago it had a stint where it wouldn't turn on and all, or would only turn on momentarily when the treadle was held down, seems totally random.
Any thoughts? I'm presuming it's a bad foodswitch but I've never repaired a pedal and have only basic soldering experience so I thought I'd ask you guys before I fool around in there. Thank you very much!
Last night i had my monitors (hs80m) pretty loud and i noticed one of my cones was moving alot more than the other like in a bad unatural way. Well i went and checked behind the monitors and it turns out i accidently had one cranked +4db over the other one. After noticing the cone moving alot i started to smell something. It wasnt burning but more of a plastic factory smell? The monitors still sound great and arent broken as far as i can tell but what i need to know is have i done any damage to them? Thankyou
I just got a jx3p. love it, but the picture online included the pg200 whereas the shipment did not. whatever. Does anybody have any recommendations as far as buying the pg200 or is there a better/less pricey alternative?
Modular Grid Social Feed -- Hexinverter Électronique
Planning our #Superbooth case. There is an 8HP space at the top left for the new Mutant Brain, debuting there.
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#mutantbeats #eurorack #hexinverter #modularsynth #eurorack (Posted on 2018-04-20 20:24:46 by Hexinverter Électronique)
Does anyone have any synths that need to be serviced? I'm looking to establish credibility for my repair shop and need to get some broken synthesizers.
Apart from having to puzzle out some enveloping to play them together, I should be able to save mixer inputs by just running two or three synths through each other, non?
My next purchase is almost certainly a Circuit Monostation. I'm thinking I can send it through my Nyx and really play up four oscillators of paraphony. Sort of make a coherentish chord machine with a monster reverb. If I want to play the Basscircuit by itself, I'd just put the Nyx VCA on hold, open up the filter (slash tame the overdrive), and go to town, right?
I suppose my main concern is weird stuff triggering when I don't know why or colouring sounds too much with amps and stuff. But all that is also the joy of patching and problem-solving, so...
I find myself missing the CWO effect and I got to wondering if perhaps someone has duplicated that effect somewhere? A little Axoloti or somesuch CWO box would be neat...
The Dave Smith Pro 2 claims to have 13 “superwave” oscillators. What is a superwave? I can’t seem to find any more information on it. Is it somehow like a super saw wave where the waves are off-set a little bit? https://www.davesmithinstruments.com/product/pro-2/ Thanks ♥️
So kind of a noob question I think, but is there a way to disable the parameter lock on my Tanzbar? I don't want to change sounds when changing patterns, so is there a way to do it?
Hey everyone, I just got an ESQ-1 and I love it. I fortunately don't get the low battery message and I have no issues storing patches. Just out of curiosity, I opened it up to see what the previous owner had done and they installed a 3.5V 750mAH battery. According to neat circuits the battery should be 3V 1200mAH. Do you see this causing issues down the road?
I swear I remember seeing DivKid do a video on a crossfader module but I can’t find it anywhere. Just to clarify, not a knob crossfader or panning module like Warps but an actual DJ style crossfader. Am I making this up? I’ve tried googling and even just scrolling through DivKids page but not having luck. Any help is appreciated. Thanks!
This week we are pushing for the great 606 drum sound! So during the whole week you can get the 4HP R606 module for $99 (normal price $149) over at http://webshop.dspsynth.eu The 4HP R606 is a clone of the iconic 70’s drum machine and is sample based. Screen-printed aluminum panel, alu-knob and Thonkiconn jacks. 4 Classic 606 style drum […]
Hey guys! First time posting here! I need some help. I’ve got a big box holy grail on the way and am trying to do 3 mods to it. I suck at reading schematics but can solder and I’m a noob for sure.
I found this diagram from an ancient thread elsewhere in which the OP couldn’t get his to work. Trying to figure out the value of the cap and if it’s really necessary and also where an LED would fit.He used a 3PDT switch to add an LED instead of a DPDT which he posted a diagram of here:
Hi, in there masterclass wich is now in youtube, the say that you can Slow Down Your Kick Down to avoid mixing problems with the bassline, my question is: How Do yo do this in Fl Studio? can someone explain that to me please?
Why do certain frequency sine waves appear to have more volume?
Just playing around with 3x Osc (very basic synth in FL Studio), and I've always wondered why this happens. Say I play an E4 note on a sine wave, then move down to a B4 with the same velocity, on the meter, the E4 is lower than the C4, but audibly it sounds louder and has a sort of wider rumble to it. It's very hard to explain what I mean but hopefully you guys understand. Seems to be especially prominent on E4 and F4. Could just be my room I guess?
[beginner] advice needed on small mixer / looper project
Hello!
I'm starting my first DIY music gear project, and I'm currently doing some research on the tools, parts and knowledge needed to make it happen. I'm familiar with many concepts that I think are necessary for this, but I haven't actually got my hands on anything like this before. I come to you so that you can shed a light on me, and tell me what concepts, languages and/or codes I should look up, or where should I be asking about them.
What I'd like to build is a small basic workstation that allows me to hook up basic instruments, such as Korg Volcas or toy keyboards, play with them simultaneously, and create simple patterns/loops. this device has two parts: a mixer and a looper/sampler.
The first design I came up with was this one: https://imgur.com/a/slArQaD I started with this after watching some DIY projects on youtube, and thought that maybe It wouldn't be so hard to bring to life. The part on the left looks simple: a mixer with 1/8" line level mono inputs. I based this part on the Behringer MX400 (http://www.dv247.com/assets/products/34407_l.jpg). The part on the right is supposed to be a 16 part sample bank, with a screen on the top so that you can sequence the different parts, similar to how the Volca Sample handles sample-based patterns. A big inspiration for this design was this project:
I now think that this design might be a little bit too complicated, so now I came up with a second design: https://imgur.com/a/ZcY2Kkc
The mixer side is very similar, but now with some effects. I'd like it to function like the new Volca Mixer (https://www.sequencer.de/blog/wp-content...-mixer.jpg), with Lo/Hi pass filter and reverb effects on each channel. For the right side, I replaced the sampler/sequencer with an 8 part looper, similar to this DIY looper: The looper comes after the mixing and effects, allowing you to store 8 simple loops so that you can create a pattern. the duration of the loops is determined by the time between taps when you record the first loop.
The idea of this whole project is to compose simple songs with simple instruments, for people who enjoy cheap hardware and fooling around with them every now and then. The master output of this device is also 1/8" line level mono, so that it can be connected to a small speaker, or to the mic input of any smartphone for recording.
My questions are: - is it possible? - how hard is it to build this? - what components do I need? raspberry pi? teensy? sound card? I'm not sure exactly what all these things do. - what projects have similar functions? I know that the looper part has already been done and I can base my work on that project, but the rest, I'm clueless. The perfect scenario for me would be to just copy parts of other open-source and DIY projects and make my own frankenstein.
I have a lot of other questions, but I'll ask them later if I get the attention. Thank you very much for reading!
Regional Arts Fellowship - Field Report 4 [UK/Belgium/Sweden/Japan/NSW]
Included in this post is a look at some creative outcomes for my 2017 fellowship activities in UK/Belgium/Sweden/Japan/Regional NSW => Gigs at Cafe OTO, Trap Club, FUSE Art Space, SuperDeluxe. Chris Watson, Jez riley French and Aphex Twin mentorships, residencies at University of Hull, University of Newcastle, EMS Stockholm + a visit to ALM Busy Circuits, and Roland's Artist Liason Centre in Tokyo, and working in the field and in the studio in regional NSW for preparation of my Rainwire [Processed] installation. This is the fourth post on my Create NSW Regional Arts Fellowship, you can check out the first post on a week spent with Chris Watson here, the second post on my Moog Sound Lab UK Residency here and the third post on my EMS Stockholm Residency here. During the trips I posted up a whole bunch of pictures/tweets live through my twitter account, so you can also have a look back through those tweets too Following on from my first EMS residency I hopped on a plane to London for a gig at Cafe OTO and a slot on Graham Dunning's Fractal Meat on a Spongy Bone Radio Show, which you can check out in my previous posts & at the bottom of this post. I was on a tight budget and Andie Brown kindly put me up, helped me out in general, gave me directions and fed me in London! Also a quick shout out to Phil Julian for setting me up with this gig and intro'ing me to Andie Brown and Graham Dunning!
At the NTS Radio studio, photo Graham Dunning
My little sofa/bed setup at Andie Brown's London gaff
Andie Brown & Phil Julian performing at Cafe OTO
Performing at Cafe OTO
After this little stint in London I was on the early train to Antwerp for a gig at the Trap Club with Entr'acte to promote the then upcoming dual CD releases FLD RCDR / MCRTNL.
After Antwerp I was whisked off to a secret Scottish location for a couple of weeks of mentorship with Richard D James. During this time I worked on a number of interesting pieces of gear, such as the Cirklon, PreenFM2 and a bunch of Eurorack modules.
Aphex Twin, courtesy Richard D James
I also saw early on the custom microtuning to pitchbend converter box for his Korg Minilogue, later mentioned in this interview with Tatsuya Takahashi.
Microtuning to pitchbend converter, photo Dave Burraston
Checking out a Cirklon front panel, photo Richard D James
Getting ready for a microtonal discussion, photo Richard D James
A key part of the mentorship was the chance to work on his Fairlight CMI Series 1 sound sampler. I used this for manipulating and resynthesizing some of my Rainwire samples for an upcoming installation at University of Hull. The process for this was pretty straightforward after I'd had a few days training and self directed exploration. I setup my laptop to play the soundfiles from my MOTU interface direct into the mono input on the Fairlight. Once I had a few sections recorded and stored on the Fairlight's disc drive I could go about resynthesizing / processing them. Then I set about playing them direct from the huge keyboard and my MANIAC cellular automata sequencer, using various microtonal tunings. The sound quality is really quite something for an 8bit machine! I recorded the Fairlight output direct into my Zoom F8 field recorder. Other activities with Richard included washing up, tidying up, helping out in the workshop, moving equipment, making up some cables and soldering them to a very obscure AKG spring reverb.. These sorts of things are a key part of any working artist/musicians life and it was good experience to spend the time on these less glamorous activities.. Richard was also very keen for me to be actively involved in the Cirklon and PreenFM2 communities, so he said "i might as well just give you one of each, and you can get on with it asap.." So he dug out a couple of bust ups, a Cirklon with a smashed off data encoder, and a chipped up PreenFM2, wowsers! thanks m8y! I got Finlay Shakespeare to fix the bust up encoder, and he did a great job on it. Here's a couple of pics of these setup in my studio =>
Cirklon hardware sequencer
PreenFM2 synthesizer
Next up in my programme was a mentorship with Jez riley French. This kicked off with a gig at Fuse Art Space, Bradford with Jez and Embla Quickbeem. For this performance I worked with material recorded at EMS & material recorded from Richard's Fairlight, along with live improvisation with my Eurorack modular and MANIAC cellular automata sequencer.
Embla Quickbeem performance at Fuse Art Space, Bradford
Jez riley French performance at Fuse Art Space
My performance at Fuse Art Space, photo Jez riley French
Following on from the gig Jez took me out on some active listening / recording field trips in the Yorkshire Dales. As well as taking some recordings, we spent a lot of the time doing active listening exercises. The process of active listening is a really important component of our practice, one that can be sometimes forgotten about in the midst of recording, editing, performing etc. Its a great way of just breathing out, soaking in all the sounds around, mentally readjusting/recalibrating, ear training and especially not focusing on just recording..
Listening to wind through fence wires with Jez
Grimwith Reservoir
Grimwith Reservoir
Listening to a metal gate with Jez
Hydrophone recording with Jez at Pocklington Canal
Me having a listen to the lock, photo Jez riley French
Recording the lock gate at Pocklington Canal with JrF C-Series contact mics
Another great spot we visited was Skerne Wetlands Nature Reserve =>
Recording railings in the rain at Hull =>
I was also very keen to record some of the industrial sounds of the area, and Jez identified a couple of great locations. The first place we visited was Bradshaw's Flour Mill, after walking around the mill and listening at various spots, we parked up in the car park and used Jez's DPA 4060's (which you can buy from him direct!) hooked up to my Zoom F8.
We used a tried and trusted Jez technique of hanging them out of the car door window and very carefully putting the window up so the leads are just held lightly.. this allows for a good height while minimising any noise from ourselves as we listen inside the car.
Bradshaw's Flour Mill, East Yorkshire
The next location we visited was Saltend Chemicals Park on the outskirts of Hull. There is a little dog walking road/track around the perimeter and we were able to find a good spot to park and hang the DPA's out the window.
I got a good mix of the chemical park sounds and some road traffic on wet ground, as well as the odd delicate spot of rain just audible over the industrial soundscape. Listening to this in the car on headphones as it was recorded was a very meditative experience..
Saltend Chemicals Park, Hull
Folks out there interested in field recording should check out Jez's work and his range of contact mics, field recording gear and info available on his website => http://hydrophones.blogspot.com and also here.
After my session with Jez I had an Artist Residency at the Faculty of Drama, Music & Screen, University of Hull, organised by Rob Mackay. During this residency I gave a lecture, was part of a Pauline Oliveros tribute performance celebrating International Womens Day, and had a number of recording sessions on the EMS VCS3 MKII, and the harpsichord in the university chapel. I got to work straight away processing some of my Rainwire recordings through the VCS3. Its a quick and neat way of working with modular synthesis through the use of patch pins via a matrix which is something I really love.
Jo Kennedy & Tallulah Vigars during the soundcheck
All of us on stage during the performance
Having spent 10 years playing classical piano until I was 16 I ended up with a great love of the harpsichord instead. So when I found out there was a nice little dual manual in the Chapel I managed to book a couple of hours recording time on it.
I borrowed a couple of Schoeps microphones and hooked them up to my Zoom F8, and with Rob Mackay's help we setup the mics on stands. Here is a brief excerpt of my little improvisation session =>
A few more pictures of the harpsichord session =>
After Hull I was off to Tokyo to round up the first 2 month overseas tour. Here I gave a performance at SuperDeluxe, as well as being invited to Roland Artist Liaison Centre to play on their synths!
Drooling over synths at FiveG, photo Christian Moraga
After Japan it was back to NSW for a couple of months before my next overseas trip. I got the opportunity to make a few more field trips for Rainwire recordings at The Wired Lab for my Rainwire [Processed] installation =>
Back in my studio I did a little work on the PreenFM2, its an exciting little Open Source project for making a small, portable FM synthesizer with full microtuning. I decided to write a little Open Source programming tool for it in the Processing programming language using Farey Sequences. Full details of the program can be found in the PreenFM2 forum here and its available on github here ---- but briefly it is a tool to help with choosing the fundamental parameters of FM synthesis.
Farey Sequences for FM programming were introduced in the classic text by Barry Truax: Organizational Techniques for C:M Ratios in Frequency Modulation. http://www.sfu.ca/~truax/In order to get the best from this program please read up on Farey Sequences for FM programming, I wrote an article here => http://noyzelab.blogspot.com/2016/04/far...hesis.html and there are lots of places to read further.
Another project I got on with was building some diode transformer ring modulators for processing my rainwire recordings for the upcoming installation. I've discussed how to make these in a previous blog post "Modular Mortgage" which is a talk I gave at Unsound Adelaide. Here are a few pics, which include some ultra-rare military transformers: COIL C-161. As these are pretty heavy, I also made some others using smaller transformers for my next overseas trip..
Other activities for the Rainwire [Processed] material involved custom writing my own software for the Tiptop Z-DSP module via the Numberz programmer. A big shout of thanks to Chris Clepper at Tiptop for providing this equipment =>
I am hoping to make some of these Z-DSP programs available as pre-programmed cartridges in the near future, stay tuned! In the meantime you can get an ear for some of the programs on my limited edition 4xCDr NYZ - DSP TRX. This is a recent release on Psoma Psi Phi, where all the tracks are recorded from the direct outputs of the Z-DSP, with minimal post processing other than a slight bit of EQ and stereo placement. These recordings feature various DSP algorithms programmed in Spin FV-1 Assembler, mainly inspired by some of the classic Serge Paperface modules, but also some of my own inventions =>
XTRAMIX by Speck Electronics - Used on tour by Rolling Stones, Billy Joel, Elton John, U2, Shakira. High quality is an understatement. We have a mint condition unit on our sales floor! $2,499 #speckelectronics #speckelectronicsxtramix #xtramix (Posted on 2018-04-19 19:29:12 by Switched On)
![[-]](http://www.n01ze.com/synthwizards/Forum/images/igame/collapse.png "[-]")
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