Showing some of the possibilities of the Polymoog Synthesizer. However, this particular one lacks its Polypedals, so I’m using an ordinary sustainpedal as only accessory in this video.

vintage synth demo track by RetroSound
all sounds: KORG Mono/Poly Analog Synthesizer
recording: multi-track

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Yamaha CS 30 Vintage Synthesizer demo – No Music or Tracks – just 8 min of what you can do with the beast…analogue compact mono synth ;-)

The CS-30 is a large, knob infested, analog synthesizer with masses of features. It is a monophonic synth with two oscillators with separate outputs, two multimode resonant filters, two VCAs, two multi waveform LFOs and three envelopes. It also features a ring modulator, external audio triggering and an excellent 8-step sequencer.

Great sounding with a vast range of possibilities for sound shaping and modulation based experimentation. It can be punchy and fast, richly textured or funky as hell. The closest you get to a modular without patch cords.

This machine is a sound designers dream.

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Canadian duo Orphx have been releasing electronic music since 1993, and while they were best known in experimental/industrial music circles for many years, today they are regarded as pioneers in the fusion of techno and industrial music. Orphx’s recent output on Sonic Groove has met with critical acclaim from many of techno’s leading DJs. Having performed live with laptops for several years, Orphx’s Christina Sealey made the decision to delve in modular synthesizers, hoping it would bring some spontaneity and excitement to Orphx’s music, both on stage and in the studio.

Orphx’s Christina Sealey will be performing live, as part of Sealey/Greenspan/Lanza, at I Dream Of Wires’ 2012 MUTEK showcase.

For more info on Orphx: orphx.com

I DREAM OF WIRES is a forthcoming documentary film about the history and resurgence of modular synthesizers. The film is currently in production. This is the 6th in a series of extended interviews, which will be produced and released in various formats throughout the production, and following the release, of the film. I DREAM OF WIRES extended interview segments are sponsored by MATRIXSYNTH (m.matrixsynth.com).

Catch I DREAM OF WIRES’ showcase at Mutek Montreal 2012: Saturday June 2 @ Satosphere, with live performances, all incorporating modular synthesizers, by Sealey/Greenspan/Lanza (Orphx/Junior Boys), Keith Fullerton Whitman (Kranky/Editions Mego), Solvent (Ghostly International/Suction Records), Clark (Warp Records), and Container (Spectrum Spools).

For info on the film: facebook.com/idreamofwiresdocumentary

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“Some simple explorations with the VCS3 manual attack button & joystick and the audio out going through a Roland RE-301 Chorus Echo.”

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original title: secrets of analog & digital synthesis
(c) 1985, 1986 Ferro Productions

by Steve de Furia”

Playlist:
syntharts lesson 1 – the physics of sound
syntharts lesson 2 – making waves
syntharts lesson 3 – the sound designer’s tool kit
syntharts lesson 4 – synthesizers and editing techniques

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Previously-unreleased electronic music from original The Mothers Of Invention keyboardist, Don Preston.

‘We’re coming to the beginning of a new era wherein the development of the inner-self is the most important thing. We have to train ourselves so that we can improvise on anything: a bird, a sock, a fuming beaker. This, too, can be music. Anything can be music.’

–Don Preston, extracts from Uncle Meat, 1969, The Mothers Of Invention

One could hardly not see in Don Preston a key musician within Frank Zappa’s oeuvre. He is not only that, but his presence has marked The Mothers’ major records from 1966 to 1974. His touch was already there before the arrival of Ian Underwood, and it continued after Ian left. You all remember ‘King Kong’ (its magnificence as interpreted by Dom DeWild) from the second Uncle Meat suite. A certain form of jubilation emanates from this track, thanks to Preston’s fluid style and lightly astringent tone on the Moog synthesizer — that instrument never sounded quite like that before or after. This might have to do with his double training, his twin interests, since he had been simultaneously working with Gil Evans and listening intensely to Luciano Berio, Karlheinz Stockhausen, and Tod Dockstader. Immersed in jazz music, he was imagining secret ties with the nascent electronic music.

In the mid-’60s, Preston started developing an electronic instrument, using a home-made synthesizer and a series of oscillators and filters. Out of this instrument came ‘Electronic Music’ (1967), his first piece. Two years later, he became a close friend of Robert Moog, and their discussions gave birth to a number of applications in relation with the flexibility of the instrument. Nowadays, you can’t mention the Mini-Moog without thinking of Preston. Bob Moog himself said about his solo in “Waka/Jawaka”: “That’s impossible. You can’t do that on a Moog.” Filters, Oscillators & Envelopes features the other side, the hidden side of Don Preston: the composer of purely electronic music.

Released by: sub rosa
Release/catalogue number: sr334lp
Release date: Apr 12, 2012

Via Matrixsnth & BoingBoing

Now here’s something you don’t see that often, Korg’s polyphonic and analog, PS3100! It’s the little baby in the PS series, which ends with the PS3300 with 48 note polophony!

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KORG MONOTRON EURORACK MODULE WITH CV, GATE AND FILTER, DOEPFER DARK ENERGY, DOEPFER A-112 8 BIT SAMPLER, MFB STEP 64, FLAME ECHOMETER, MFB URZWERG PRO, LEXICON MX 300

A prime example of why I love modulars; getting stuff to work together in ways that’s not seen in the wild!

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This is a really good demo of the sledge, running about 24 minutes, that really gets into pushing the filter and some other extremes. It’s really worth the watch if you’re curious about this synth, however embedding has been disabled on the vid, so just click here or the image to jump to Youtube.

Via Bernard in this thread @ HC KSS