#modular synthesizer basics

[ui-alcoholic]

One of the most defining 16bit computers was introduced in June 1985.

ATARI ST 520

DESIGN HISTORY & STRATEGY

The Atari ST series was born in a turbulent time: Atari had just been acquired by Jack Tramiel, founder of Commodore, after leaving that company. Tramiel pushed for a quick-to-market product to compete with the Apple Macintosh and Commodore Amiga.

Development time: Less than one year — an aggressive schedule for a 16-bit GUI-based machine.

Initial models: The Atari 520ST was the first to ship, showcased at CES in 1985.

Innovative design: All-in-one casing (mainboard + keyboard), like the Amiga 500, but with better modularity (external floppy drive, monitor, etc.).

Former C=64 developer Shiraz Shivji led the design team. He tells a story about the Atari ST/Commodore Amiga history (source) "It is very interesting that the Warner Atari difficulties were due to Tramiel’s Commodore. The Commodore 64 was much more successful (I would say wildly successful) compared to the Atari Computers such as the 800 and the 400. We were also taking away sales from the video games division, the Atari 2600. Jay Miner was at Atari in the old days and was involved in the design of their products. He left Atari to design the Amiga. Atari had funded some of this effort and had an option to buy the Amiga. When we took over Atari in July 1984, the first order of business was to decide what to do with this option. The problem was that the Amiga was not quite ready and would need a lot of money to acquire. We decided to pass on Amiga, but this put enormous pressure on our own development team. Commodore, on the other hand, did not have an internally developed 32-bit graphics-oriented machine and did not have the confidence to develop the machine internally. They ended up buying Amiga for between $25-$30 million and spent a further $20 million or so and yet came out with a product a little after Atari. The roles were reversed, the Atari ST has a Commodore pedigree, while the Amiga has an Atari pedigree!"

MIDI AND MUSIC PRODUCTION

The 520ST included built-in MIDI ports — a revolutionary move. At the time, most other computers needed expensive third-party MIDI interfaces.

Key Software:

Steinberg Cubase – became the industry standard for MIDI sequencing.

Notator – early version of what later evolved into Logic Pro.

Pro 24, Dr. T's, and Hollis Trackman – widely used for composing, sequencing, and syncing synthesizers.

Used by Artists:

Fatboy Slim composed with the ST well into the 2000s.

Jean-Michel Jarre, Vangelis, The Chemical Brothers, and Underworld used it in studio setups.

Many studios kept an Atari ST just for MIDI due to its tight timing and reliability.

SOFTWARE ECOSYSTEM

TOS/GEM: A fast and responsive GUI OS that was very usable on 512KB of RAM.

Productivity apps:

Calamus DTP – high-quality desktop publishing

NeoDesk – an improved desktop GUI

GFA Basic – a powerful programming environment

Graphics tools:

Degas Elite, NeoChrome – pixel art, animation

Spectrum 512 – used clever tricks to display 512 colors

While the Amiga had better graphics and sound, many games were first developed for the ST, then ported to Amiga. Key games:

Dungeon Master – first-person RPG with real-time mechanics

Carrier Command, Starglider, Blood Money, Rick Dangerous

Flight simulators, strategy, and adventure games flourished

CULTURAL IMPACT

In Europe (especially the UK, Germany, France, and Hungary):

The ST became a cornerstone of bedroom coding, Demoscene, and music production.

Local software houses and users created a vibrant community around the machine.

The Atari ST was used in schools, small studios, and households well into the early '90s.

In education: The ST's affordability and easy-to-use software made it a favorite in European schools and computer labs.

DECLINE & LEGACY

By the early 1990s, the ST line was losing ground to IBM-compatible PCs and faster Amigas.

Later models like the STE, TT030, and Falcon 030 tried to revitalize the line, with limited success.

Atari shifted toward consoles (like the Jaguar) and left the computer market.

Long-term legacy:

The Atari ST's MIDI legacy lives on — it helped standardize digital music production workflows.

Many musicians and retrocomputing fans still collect and use STs today.

A vibrant retro software/demo scene remains active, especially in Europe.

[aholefilledwithtwigs]

Conversing with Machines

I mentioned in a previous post that one of the ways i use modular (and one of the reasons I 💖 it) is creating patches where i am having conversations with the system. I realize if you’ve never played with modular, that may not make much sense, do i decided to record a short video of what i mean. watch me attempt to play one handed while recording

I am playing the pads on the MPC (think of it like a piano keyboard) which is converting that note information into CV (control voltage). What that means is that playing a note is sent as two messages, one which is the pitch, the second being on/off (is the note being played, for how long, etc, think duration). This information is sent as pure analog electrical signals (the voltage = the pitch, it is not saying ‘play middle C’ it’s sending an electric current at a voltage scaled to represent that note).

Once it leaves the MPC it reaches the modules. Some of the modules are designed to take that Pitch and Note On information and synthesize sounds (when people talk modular they usually call these ‘voices’). From there, the sound is passed through others that manipulate/effect it (sampler, granular reverb) before coming back to the MPC to be recorded.

The power of modular is that pitch and on/off aren’t the only signals you can send, and not the only uses for the signals. Basically every knob you see can be turned by hand or by electricity (control voltage). This voltage can be a simple pattern like a triangle wave or something as complex as an audio wave (basically imagine turning a knob SO FAST that your knob twisting is a sound unto itself). You can have the curve of one sound shape a second and then trigger a sample to play at a speed inversely proportional to its volume. If it exists as a basic math or computer science function, there is a module for that (modular is basically playing with math at audio frequencies)

You can make everything interrelated and interactive and chaotic. What you see me doing in the video is playing a simple melody, and then responding to how the system interprets that input. It is intentionally unpredictable. I want playing it to be a two way interaction. I really mean it when i say this is a conversation. I’m talking with my machines 💖

[funnier-when-objectum]

Hey. Hey objectums who are also into both modular synthesizers and some variation of the Nintendo DS

KORG made a DS program meant to be a virtual modular synth. It’s go VCO, a drum machine filters, noise, LFO and envelope patches, a sequencer, and more; basically everything you’d find in a solid modular synth!

It’s called the KORG DS-10+ (the DS-10 is The same but slightly less beefy, because the DS-10+ came out for the DSi), and can be found at vimm’s lair (unless it gets taken down; Nintendo asked them to take down some titles, and idk if they’re still in the process of doing so or if DS-10+ will be spared), if you have a homebrewed 3DS and want to look up how to use the Twilight menu or NDS forwarder to play .nds files!

I fully get it if DS-level visuals of a modular synth don’t do it for you, but I figured I’d spread the news! ^-^

oh wow that's really cool!

[kailanivision]

-The Kaloor Vision-

Name: The Kaloor Vision / The Vision

Model: YT-2000 Corellian Light Freighter

Appearance:

The Kaloor Vision is a modified Corellian light freighter, known for its versatility and speed.

Its exterior is adorned with custom paintwork that combines a blend of deep blue and black accents.

Kai has added her personal touch by painting an Evergreen tree, symbolizing hope and rebellion, near the ship's cockpit.

Length: 34 meters

Wingspan: 28 meters

Exterior Features:

The ship boasts a sleek and streamlined design, which not only enhances its aesthetic but also contributes to its speed and maneuverability.

Twin forward-facing blaster cannons are mounted on the ship's hull for defensive purposes.

The ship's sensor array is subtly integrated into the hull to reduce its profile and improve stealth capabilities.

Retractable landing gear allows for smooth takeoffs and landings on various terrains.

Interior Features:

The interior of the Kaloor Vision is designed for both comfort and functionality.

A cozy living quarters provide sleeping and resting space for Kai. The living quarters are decorated with personal items and mementos.

A small garden area with planters and grow lights where Kai cultivates herbs and plants for her herbal medicine.

Joan’s room is situated in the back of the ship near the observation deck.

The cockpit is equipped with state-of-the-art navigation and communication systems, including a holographic display and a co-pilot seat for R2-J11.

The central cargo hold is modular and can be configured for various purposes, such as carrying passengers, smuggling compartments, or additional cargo storage.

Concealed smuggling compartments are strategically hidden within the cargo hold for discreet transport of contraband or sensitive items.

An onboard workshop with tools, spare parts, and workbenches for Kai and R2-J11 to perform ship repairs and maintenance.

A compact medical bay equipped with basic medical supplies and equipment, where Kai can treat injuries and ailments.

A small kitchen area equipped with a food synthesizer and basic cooking facilities.

Customizations and Upgrades:

The ship has been extensively modified by Kai to improve its speed, agility, and defensive capabilities.

Upgraded hyperdrive and sunlight engines ensure the Kaloor Vision can make quick getaways and navigate dangerous territories.

Advanced shielding and a sensor jamming system provide additional protection and allow the ship to slip through Imperial blockades.

The concealed cargo compartments are equipped with smuggling compartments to transport goods discreetly.

[burlveneer-music]

Brent Cordero & Peter Kerlin - A Sublime Madness

Psychic Ills keyboardist, Brent Cordero and Sunwatchers bassist, Peter Kerlin’s, first full length collab A SUBLIME MADNESS is the culmination of decades of circling each other's creative orbits. After years of casual jamming, numerous fledgling one offs, and touring sideman gigs (ibrighden addition to Sunwatchers, Kerlin was also Chris Forsyth’s long time bass player and in the John Dwyer helmed improv project, Bent Arcana. Cordero worked for years with Psychic Ills and Mike Wexler among others). Here, the two sidemen synchronize orbits and create a sound with keys and bass as a molten center. But A SUBLIME MADNESS is not a strict duo album or a COVID bedroom record, by any stretch. Drummer, Ryan Sawyer provides torrents of percussion and each tune is built out as the two invite in a crew of past collaborators, legends, luminaries, cohorts and stalwarts: Daniel Carter (woodwinds), James Brandon Lewis (tenor sax), Jessica Pavone (viola), Ryan Jewell (percussion), Charles Burst (percussion), Adam Amram (congas), Aaron Siegel (vibraphone), Jesse DeRosa (modular synth) - each person contributing their musical voice throughout. The result is an expansive sound and vision. A conjuring of spontaneous, collective spirit in which each player’s contribution is highlighted and distilled in conversation with each other over the arc of the record.  Titles of several pieces are a tribute to NYC based Black radical activist groups, Movement To Protect The People and Decolonize This Place, that organize against gentrification and economic inequality as well as for the interconnected struggle for Indigenous, Black, and Palestinian liberation. This activism has been met with state violence along with media dismissal and condescension. The first song, “Movement to Protect the People”, is a dedication to Brent’s partner, LaShaun Ellis, a member of a Black women-led group of that name, who has successfully fought corrupt developers and politicians attempting to build in Crown Heights, Brooklyn. The song titles  “Affordable for Who?” and “White Supremacy in Black Face”, frame the instrumental music in a context of on-the-ground struggle against gentrification, displacement, and other racist policies.  Brent Cordero: Combo Organ, Piano, Synths Peter Kerlin: Electric Bass, Upright Bass, 8 String Bass Ryan Sawyer: Drums (except Track 3) Featuring: Daniel Carter: Alto Saxophone / Flute (Track 4 & 6) James Brandon Lewis: Tenor Saxophone (Track 2) Jessica Pavone: Viola (Track 5) Aaron Siegel: Vibraphone (Track 3) Ryan Jewell: Drums/Percussion/Tabla (Track 3) Jesse DeRosa: Buchla modular synthesizer (Track 6) Charles Burst: Percussion (Track 2) Adam Amram: Congas (Track 2 & 4) Basic tracks recorded by Matt Walsh at Oceanus in Rockaway, Queens, New York Overdub recording by Jon Erickson and Peter Kerlin Mixed by Charles Burst, Stamford, NY, June & July, 2021 Mastered by Mitch Rackin All songs by Brent Cordero & Peter Kerlin, except Track 4 by Eddie Harris.

[elmalo8291]

Elmalo, let's commit to that direction. We'll start with a robust Sensor Fusion Layer Prototype that forms the nervous system of Iron Spine, enabling tangible, live data connectivity from the field into the AI's processing core. Below is a detailed technical blueprint that outlines the approach, components, and future integrability with your Empathic AI Core.

1. Hardware Selection

Edge Devices:

Primary Platform: NVIDIA Jetson AGX Xavier or Nano for on-site processing. Their GPU acceleration is perfect for real-time preprocessing and running early fusion algorithms.

Supplementary Controllers: Raspberry Pi Compute Modules or Arduino-based microcontrollers to gather data from specific sensors when cost or miniaturization is critical.

Sensor Modalities:

Environmental Sensors: Radiation detectors, pressure sensors, temperature/humidity sensors—critical for extreme environments (space, deep sea, underground).

Motion & Optical Sensors: Insect-inspired motion sensors, high-resolution cameras, and inertial measurement units (IMUs) to capture detailed movement and orientation.

Acoustic & RF Sensors: Microphones, sonar, and RF sensors for detecting vibrational, audio, or electromagnetic signals.

2. Software Stack and Data Flow Pipeline

Data Ingestion:

Frameworks: Utilize Apache Kafka or Apache NiFi to build a robust, scalable data pipeline that can handle streaming sensor data in real time.

Protocol: MQTT or LoRaWAN can serve as the communication backbone in environments where connectivity is intermittent or bandwidth-constrained.

Data Preprocessing & Filtering:

Edge Analytics: Develop tailored algorithms that run on your edge devices—leveraging NVIDIA’s TensorRT for accelerated inference—to filter raw inputs and perform preliminary sensor fusion.

Fusion Algorithms: Employ Kalman or Particle Filters to synthesize multiple sensor streams into actionable readings.

Data Abstraction Layer:

API Endpoints: Create modular interfaces that transform fused sensor data into abstracted, standardized feeds for higher-level consumption by the AI core later.

Middleware: Consider microservices that handle data routing, error correction, and redundancy mechanisms to ensure data integrity under harsh conditions.

3. Infrastructure Deployment Map

4. Future Hooks for Empathic AI Core Integration

API-Driven Design: The sensor fusion module will produce standardized, real-time data feeds. These endpoints will act as the bridge to plug in your Empathic AI Core whenever you’re ready to evolve the “soul” of Iron Spine.

Modular Data Abstraction: Build abstraction layers that allow easy mapping of raw sensor data into higher-level representations—ideal for feeding into predictive, decision-making models later.

Feedback Mechanisms: Implement logging and event-based triggers from the sensor fusion system to continuously improve both hardware and AI components based on real-world performance and environmental nuance.

5. Roadmap and Next Steps

Design & Prototype:

Define the hardware specifications for edge devices and sensor modules.

Develop a small-scale sensor hub integrating a few key sensor types (e.g., motion + environmental).

Data Pipeline Setup:

Set up your data ingestion framework (e.g., Apache Kafka cluster).

Prototype and evaluate basic preprocessing and fusion algorithms on your chosen edge device.

Field Testing:

Deploy the prototype in a controlled environment similar to your target extremes (e.g., a pressure chamber, simulated low-gravity environment).

Refine data accuracy and real-time performance based on initial feedback.

Integration Preparation:

Build standardized API interfaces for future connection with the Empathic AI Core.

Document system architecture to ensure a smooth handoff between the hardware-first and AI-core teams.

Elmalo, this blueprint establishes a tangible, modular system that grounds Iron Spine in reality. It not only demonstrates your vision but also builds the foundational “nervous system” that your emergent, empathic AI will later use to perceive and interact with its environment.

Does this detailed roadmap align with your vision? Would you like to dive further into any individual section—perhaps starting with hardware specifications, software configuration, or the integration strategy for the future AI core?

[goalisbsblog]

Benefits of MBA Business

An MBA trains you to become a business leader in many different kinds of industries. MBA Capstone is the culminating course in the MBA program that provides an integrative experience with all competencies and assessment topics throughout the program. Students synthesize concepts from previously completed coursework and demonstrate an understanding of responsible practices for growing and running a business - mba admission consultants in Delhi.

This course focuses on strategies and tools that managers use to maximize employee contribution and create organizational excellence. You will learn talent management strategies to motivate and develop employees as well as best practices to manage performance for added value. Master of Business Administration graduates report an average salary increase of after completing their degree. Getting your MBA doesn’t have to be a huge ordeal that upsets your whole life, either. We’ve rounded up some of the top fully online programs out there, which provide the training you need on a schedule that works for you. Other major benefits of holding an MBA include its positive impact on a candidate’s desirability, credibility, and negotiating power within the job market - mba admission consultants india.

Professionals with an MBA signal to employers that they have honed the skills necessary to thrive in a business environment. With these advantages come higher starting salaries, higher positions within a company, and more competitive bonus packages. While it’s a common misconception that there is only one type of MBA, you can actually choose from several different programs of study, depending on your interests.

Think about your reasons for pursuing an MBA in the first place and the career outcomes you’d like to achieve once you have the degree. An MBA is a very specific kind of master's degree that focuses specifically on business administration. MBAs are internationally recognized for providing the knowledge and skills required to succeed in a business environment or management role. The modular MBA is a fully customizable option for experienced business professionals. Like professional and executive MBAs, the modular MBA assumes students have a basic knowledge of fundamental business concepts and requires fewer electives than a traditional MBA. For more information, please visit our site https://www.goalisb.com/

[raisedbyelectronics]

Even pre-2020s procedural generation always felt like something "normies" couldn't get or understand, when there was a significant amount of authorship beyond curation... Procedural noise/particle FX, RNG in sound design, modular synthesis, LFOs in Reese basses, etc., etc., are already a tough sell when you try to explain it, yet CGI movies and "brostep" are both popular media with opportunities for humans to get their influence over the computer.

I definitely think there's something very Duchampian about generative AI art and music. Except this Duchamp would have used a special molding machine that averages the designs of a thousand urinals from different companies.

Duchamp made a clear creative decision by just picking out a suitable urinal.

GIS/Google Image-based art in my opinion, even though some would call it plagiarism, still shows artistry, however basic. Just as choosing a sample is comparable to sequencing with one-shot samples or wavetables at a very abstracted level, choosing someone else's image to incorporate is similar to choosing a tile or Procreate brush someone else made at a very abstracted level. Here's what I consider a modern-day readymade: N.P., 2023, "MODULAR SYNTHESIZER"

machine learning art has more in common with readymades and aleatoric music than it does with the mass market media it is attempting to wear the skin of. the public won't buy it, the "author" is still a fiercely engrained concept and toying with that concept has always been an activity relegated to the realm of heady conceptual art that no one understands. if a generative marvel movie ever plays in cinemas it'll be like getting a pack of normies to sit in a theater to watch Ten Skies

[homeimprovementway]

Acid Rain Chainsaw: Unleash the Power of Polyphony in Your Rack

Acid Rain Chainsaw is a polyphonic digital oscillator designed to bring polyphony to your rack and is available in the price range of $206 - $298. It offers three voices with independent volt/oct control and super saws features. As a powerful digital oscillator, Acid Rain Chainsaw revolutionizes the modular synthesizer world, offering compact and playable interface. Inspired by the super-saw, this oscillator brings rich polyphony to your rack, providing three voices with individual pitch control. With its versatile features and affordable pricing, Chainsaw is a must-have for anyone seeking to enhance their modular synth setup. Whether you're a beginner or a seasoned modular synth enthusiast, Chainsaw's capabilities make it a valuable addition to your musical arsenal. Explore the possibilities and elevate your sound with the Acid Rain Chainsaw.

Exploring The Product

Discover the innovative Acid Rain Chainsaw, a powerful digital oscillator crafted to add polyphony to your setup while delivering a compact and user-friendly interface. Features Of Acid Rain Chainsaw - Polyphonic digital oscillator - Super saws for enhanced sound - Three voices with independent volt/octave control - Compact and playable design Sound Demos Of Chainsaw Vco Scroll through various sound demos of the Chainsaw VCO by Acid Rain Technology to experience its versatility: - Basic sound demo showcasing the core features - Demonstration of DNB with open jazz voiced chords - Exploration of pulsing chords for rhythmic possibilities - Creating deep space drones for atmospheric sounds - Nasty techno sounds for an edgy vibe - Thickening musical lines with octaves - Aggressive noise oscillator vibes with FM modulation - Beautiful cinematic chords for expressive melodies Price Comparison Retailer Price Availability Detroit Modular $269.00 In stock Reverb $287.76 Available Perfect Circuit $206.00 In stock Chuck Levin's $228.65 In stock Find the Acid Rain Chainsaw module at competitive prices across various retailers, allowing you to enhance your music setup with ease.

Product Availability

When it comes to finding the Acid Rain Chainsaw, it's essential to know where it's available and at what prices. The Chainsaw Polyphonic Oscillator is a must-have for electronic music enthusiasts, capable of producing super saws and delivering unique features that set it apart from other oscillators. Pricing Of Chainsaw Polyphonic Oscillator Here's a summary of the pricing for the Chainsaw Polyphonic Oscillator: Retailer Price Detroit Modular $269.00 Reverb $287.76 Perfect Circuit $206.00 Chuck Levin's Washington Music Center $228.65 Retailers Offering Chainsaw You can find the Chainsaw Polyphonic Oscillator at the following retailers: - Acid Rain Technology™ - Perfect Circuit - ModWiggler - Reverb - Chuck Levin's Washington Music Center https://www.youtube.com/watch?v=-FXsXyBQQfw

User Experience

The user experience of Acid Rain Chainsaw is exceptional, as reported by numerous users and reflected in the positive reviews. This powerful digital oscillator not only brings polyphony to your rack but also delivers a compact and playable interface. Inspired by the super-saw, Chainsaw provides three voices with independent volt/oct control, allowing users to create a wide range of sounds and textures. Feedback From Users Users of Acid Rain Chainsaw have expressed their satisfaction with the module's performance and versatility. Many have commended its ability to deliver powerful and rich polyphonic sounds, making it an ideal choice for creating lush pads, thick basslines, and atmospheric textures. Users have also praised the compact design of the module, which allows for easy integration into any setup. Reviews The positive reviews of Acid Rain Chainsaw further validate its reputation as a top-quality digital oscillator. Users have praised its super saws and super features, highlighting the module's ability to produce a wide range of waveforms and tonal variations. Its independent volt/oct control for each voice has also received positive feedback, offering precise tuning capabilities. Additionally, the Chainsaw's intuitive interface has been commended for its user-friendly design, making it accessible for both beginners and experienced synthesizer enthusiasts. User Manual And Modifications The user manual of Acid Rain Chainsaw provides comprehensive instructions on how to effectively use and manipulate the module's features. It offers detailed explanations of each control parameter, allowing users to fully understand and unlock the module's potential. The manual also includes useful tips and techniques for achieving specific sounds and exploring different sonic possibilities. Furthermore, the Chainsaw module can be modified to suit individual preferences and enhance its functionality. Users have reported successfully implementing various modifications, such as expanding the number of voices or introducing additional control options. These modifications offer users the flexibility to customize their Chainsaw module according to their specific needs and creative vision.

In-depth Analysis

The Acid Rain Chainsaw is a cutting-edge polyphonic digital oscillator that revolutionizes the way you create music. Let's delve deeper into its features and performance through an in-depth analysis. Technical Specifications Of Acid Rain Chainsaw - Model: Chainsaw Polyphonic Oscillator - Voice: Three independent voices - Oscillator Type: Digital with super saws - Interface: Compact and playable - Price: Starting from $269.00 Comparative Analysis With Similar Products Product Price Features Acid Rain Chainsaw $269.00 Polyphonic digital oscillator with super saws Chainsaw Polyphonic Oscillator Module $228.65 Digital oscillator for polyphony in a compact interface Chainsaw Polyphonic Oscillator $287.76 Black version with enhanced features When comparing the Acid Rain Chainsaw with similar products, it stands out for its innovative design, affordable price, and superior super saw capabilities.

Expanding Possibilities

Acid Rain Chainsaw opens up a world of creative potential, pushing the boundaries of what's possible in sound synthesis. Whether you're a seasoned musician or a budding enthusiast, the Chainsaw module offers a versatile toolset to explore, innovate, and create. With its unique features and capabilities, this innovative module goes beyond conventional synthesizer modules, making it a game-changer in the music production realm. Creative Patch Ideas And Inspirations When it comes to patch ideas, the Acid Rain Chainsaw module provides endless inspiration. From crafting ethereal soundscapes to driving bass lines, its polyphonic digital oscillator seamlessly integrates with various modular setups. Here are some creative ideas to kickstart your sound design journey with Chainsaw: - Experiment with layered super saw sounds for rich, harmonically complex tones - Use independent volt/oct control to create evolving chord progressions and melodies - Combine Chainsaw with modulation sources to generate unique sonic textures and timbres - Explore FM synthesis and wavetable manipulation for unconventional sound shaping Integration With Popular Modules Integrating the Chainsaw module with popular Eurorack modules opens up a realm of sonic possibilities. By seamlessly interfacing with a wide range of modular gear, Chainsaw offers a myriad of integration options, fostering a collaborative environment for sonic exploration. Whether you're a seasoned synth wizard or a novice enthusiast, integrating Chainsaw into your modular setup can elevate your sound creation process to new heights. From filters and sequencers to effects modules, the Chainsaw module enhances creative synergies and unleashes unparalleled sonic potential.

Community Engagement

Community engagement plays a vital role in the success of Acid Rain Chainsaw. It is through the interaction and collaboration of individuals that the product gains recognition and feedback for improvement. Reddit Discussions On Acid Rain Chainsaw Reddit serves as a popular platform for discussing Acid Rain Chainsaw. Users share their experiences, tips, and feedback, creating a vibrant community around the product. Interactions On Forum Platforms Forum platforms provide a space for in-depth conversations about Acid Rain Chainsaw. Users exchange knowledge, troubleshoot issues, and share music creations, fostering a supportive community.

Frequently Asked Questions

What Is Acid Rain Chainsaw And How Does It Work? Acid Rain Chainsaw is a polyphonic digital oscillator designed to bring polyphony to your rack in a compact and playable interface. Inspired by the super-saw, it provides three voices with independent volt/oct control to create rich and powerful sounds. What Makes Acid Rain Chainsaw Unique? Acid Rain Chainsaw stands out for its super-saw oscillators and super features. It offers a wide range of waveshapes and root frequency adjustment, allowing for versatile sound creation. Its compact size and polyphonic capabilities make it a valuable addition to any modular setup. How Can I Use Acid Rain Chainsaw In My Patches? You can use Acid Rain Chainsaw as the main voice of your patch by adjusting the volt/oct control and exploring its various waveshapes. With its polyphonic nature, you can create multi-layered and textured sounds by combining different voices and manipulating their parameters. Where Can I Buy Acid Rain Chainsaw? Acid Rain Chainsaw is available for purchase on various online platforms such as Reverb, Perfect Circuit, and Chuck Levin's Washington Music Center. You can also check out the official Acid Rain Technology website for more information and direct purchasing options.

Conclusion

The Acid Rain Chainsaw is a versatile and robust digital oscillator that brings polyphony to your modular setup. With its compact and playable interface, it offers super saws and super features. Whether you're seeking aggressive techno sounds or beautiful cinematic chords, the Chainsaw is a powerful addition to any rack, offering a unique and versatile sonic palette. Read the full article

[jonathankatwhatever]

It’s now 25 Jan 2024, and I’m still not entirely comfortable with this keyboard, but it is getting better. I find it goes better if I rest my left elbow and keep the right suspended. This keeps the right from getting lazy and not reaching the arm to the keys. With the keyboard tilted the right, the left’s motion is easier. I wonder how many variations this will permute through.

I can now get into some really tight folds and can squat nicely below parallel again.

This was not what I had in mind when I started typing. Caught one: easy to tilt to the right, and that lowers my elbow an inch or two, and that makes the move toward the upper right, which is the delete key, easier. But that’s a lazy position because it makes that one move easier and the others worse. The promise of an undeveloped land versus the reality of the paths it took.

I’m in some scary stuff. Do our paths ever coincide? I have no idea what because I can’t impose a version as though I define how reality occurs. I saw these VR images and they show something interesting, which is the genericization of your image so it fits a blunt sexual fantasy, meaning it is not you but a generated image of viewpoints or perspectives, those multiple takes which are pairs, which all synthesize to very straightforward Attachment of a structure that says looks like this person to any sexual role. Like the I Dream of Jeanie concept in which the issue is the complexity of the story versus the cartoon quality of the fantasy, with that solved through this process, which is Recombinance, because that is how the elements recombine, which is where the associative comes in, meaning this provides a solution to the ‘what fits between you and the mirror’, meaning that if we take you and the mirror then what fits between is the construction which is the solution which fits. That’s how you build toward and away from ideals.

That is, because the structure is within a structure, the old container idea often used in portable or modular programming, so the structure itself is composed or constructed. I keep saying the same thing in slightly different words. Keep right elbow out or the delete key squeaks.

I was looking at Dedekind groups, which led to the quaternion group, which led to the cycle graph, which led to the understanding that this maps to IC and Triangular over gs. It also maps to the Irreducible, which in the elements of the Q8 group are represented as -1 and 1. That answers a minor technical issue I had with the idea, which is why they represent the identity element as they do, typically I see as an e with a bar over it to indicate that it’s the commuter because if you square the other terms, meaning i, j and k, then you get that e bar, which is -1. To be blunt, that means you can switch at -1. This is an elementary example of pairing, isn’t it?

I really and truly forget that I have no idea what happens next in my head. I had no idea this was coming, but it is of course the exact answer needed and the answer which fits to the count of 2 perspective. Don’t have a name for that counting not of 0 to 1 but of 1 to 2, and thus from 2 to 1 rather than 1 to 0. That basic counting shift literally enables almost everything.

One reason is that pushes the count from 1 to 0 off a step, which then allows pairing across that gap to whatever Ends one sees or which occurs if you’re being fatalistic. Remarkably clear insight. This is how Joana thinks, and all I’m doing is accepting that this

I need a break. The illness situation here is not good.

[drmlab]

Before I bought my first synthesizer hardware in 2022, I had downloaded VCV Rack Free and casually experimented with it. The modular-synth simulation platform didn't check an important box at that time – finding a creative outlet away from the computer. There are also things I could have done to optimize the performance of the 2017 iMac I was using, but its limitations caused VCV Rack to glitch somewhat frequently. Even on an M3 Mac with 36GB RAM, VCV Rack will occasionally glitch.

Last year, I started to wonder about Mutable Instruments modules and what "Rings into Clouds" was really about. Since the modules in question are digital, experimenting with them in VCV Rack (or its controversial iOS fork MI Rack) seemed like a cost-effective approach. I'd be missing out on physical knobs, of course, but using MI Rack also provided a way to wiggle while a physical patch is in progress.

Using MI Rack, I got some early satisfaction using the Topograph clone of the Grids module to trigger Rings – it sounded like mellow Krautrock in a way that appeals to me. I spent some time futzing around trying to output a video on the iPad, and eventually gave up.

Last week, I quickly threw together the patch in the video above as a way to mask background sounds while working. It's not quite generative, but it changes enough that I can leave it running for hours and not get sick of it.

Outputting video from VCV Rack was also kind of a pain. It took several tries changing bitrate and compression parameters in the Recorder module before the output was at the correct speed. I then cropped and downsampled the video in Adobe Premiere Pro.

I can see VCV Rack being useful for learning the basic concepts of modular synthesis among casual beginners. However, I think that I needed the experience of CV patching with real hardware before I was able to do something I found interesting with VCV Rack. Using physical cables and knobs makes it so much more immediate. But now that I have a little over a year of experience with modular, it's an enticing way to try out expensive digital models or perhaps very complex patches with a profusion of modulators and utilities.

[pllanarally]

Music Machine

Design brief was to use processing + our arduino boards to make a music machine! Being a musician / keyboardist / synthesizer enthusiast myself I wanted to make a tiny modular synthesizer ... or at least, my version of one.

You might see my inspiration in my doodle of beep boop music titans James Murphy and Nancy Whang. The basic idea is to have three layers of sound that the user could manipulate; the buttons changing the patterns of the boop boops and the potentiometers changing the pitch of the boop boops, all fit snugly in a cardboard glasses case.

Prof. Maxim challenged me to rethink the way i put it together so that it might be easier to hold & manipulate instead of having the entire interface being just on top of the box.

I decided to add another potentiometer for a new setting, which would change the waveform of the sound between sine, square, and saw. Apologies to the triangle wave which I did not find exciting enough for me to include.

Before shoving everything in the box I had to make sure my stuff was wired correctly which took me longer than I care to admit. I blame half of it on the female to male wires which did not like sticking on the buttons.

Damn those buttons were fickle. As you can see from the code here I was trying to have the buttons, when clicked, switch between four states. A very careful painter's tape job later, I about yelled in joy when my button state finally changed when I clicked it! (It also helped changing the input mode from Input to Input_Pullup... oops).

Using what we learned in class, I set up all the values from my buttons and knobs in a way that would be easier for my processing code to parse. I'm unsure why the button states reprint so many times but I'm pretty sure it has to do with me printing (currentStates[x]) multiple times. however I wasn't sure how else to get the readings i needed with a comma between them... oh well, works fine enough, time to decorate my synth!

Wee! Now for the hard part which is programming the thing to make sounds in processing. Easy enough to grab the values from arduino/the serial monitor using code we learned in class. I remapped each potentiometer to match the pitch from C4 to C5, using the values Maxim gave us. I am curious if there's a way to skip over some notes so I could make a jazz scale or something?

I can only put one video per post here on tumblr dot com so check out this link to part two.

[apn-music]

UVI synthesizer ‘Falcon’ version 3 released

UVI has released the latest version 3 of its Falcon synthesizer. - 20 oscillator types, 100+ fx, modulators, MIDI processing, and scripting in a semi-modular environment - Advanced sample engines with time-stretching, pitch-shifting, slicing, and granular processing - Deep synthesis capabilities including subtractive, PM, FM, wavetable, additive, physical modeling, formant, and more

INFINITE SOUND

Falcon gives you everything you need to create the sound of your dreams, delivering an extensive collection of cutting-edge tools in an open-ended semi-modular environment. A powerful instrument for seasoned pros and beginners alike, Falcon can be easily adapted to serve many needs. Whether you're looking for inspiring sounds for a new song, or are deep-diving into creative sound design, Falcon can be as nimble or calculating as the task requires. Explore sound with precision and finesse, from basic sample slicing and synth design to modulated multitimbral hybrids, create incredible layered synths, expressive MPE instruments, powerful drums, intricately chopped breaks, multi-channel surround sound, imaginative sound design, generative sequences, wild effects and much more. https://www.youtube.com/watch?v=Oxyt1qt5Lyk

UNLIMITED SOUND SOURCES

Falcon includes 20 oscillators providing a wide range of synthesis and sample-based sound generation including virtual analog, wavetable, phase distortion, FM, additive, drum, noise, formant, pluck, harmonic resonators, bowed string, sample, stretch, granular, and more. Layer them, map them, modulate them, make them yours.

POWERFUL, INSPIRING EFFECTS

Over 100 high-quality effects are included, giving you numerous flavors of delay, reverb, modulation, filtering, EQ, amps, distortion, dynamics, analyzers and more. Effects can be instanced throughout your patch, used in parallel, and deeply modulated. UVI's proprietary DSP ensures pristine quality, from lush modulated reverbs to incredibly accurate physically-modeled compressors, and beyond.

MODULATION

Add movement and dynamics to any part of your sound with envelopes, MSEGs, LFOs, drunk and random generators, and more. Modulate your oscillators, your effects, even modulate your modulators! Remap and quantize them with Mappers, or make it physical with extensive support for MIDI CC, OSC, and host automation sources.

EVENTS AND SCRIPTING

Manipulate incoming MIDI or generate it algorithmically using a wide variety of included scripts to enhance, augment, and modulate your performances – then pipe that data to the rest of your studio, all without needing to know how to program. And for those comfortable with Lua, Falcon offers a powerful way to extend its functionality, and create unique processors and instruments of your own design.

WORKFLOW

Falcon's interface is adaptable to your needs, from exploring presets and editing sounds, to creating instruments, mixing multichannel performances, and more. Features like UI Snapshots, program templates, extensive preset implementation, and tree view make realizing your inspirations all that much faster.

WHAT'S NEW IN FALCON 3?

Since Falcon's initial release we have been committed to refining and expanding its creative potential. With one ear to R&D, and the other to user feedback, we regularly add new features, content, and optimizations, all at no cost to our existing users. Registered users of Falcon and SonicPass can download Falcon 3 immediately with UVI Portal. Version 3 sees the addition of 3 new oscillators including VOSIM (formant), Bowed String, and Harmonic Resonator, 4 new effects including Opal, Ladder Filter, Dispersor, and Harmonic Resonator FX, MIDI Out support, new scripts, numerous workflow improvements including UI snapshots, launch screen, and more, and an updated and refreshed factory library. For more information and to purchase the Falcon, check out the UVI homepage Read the full article

[taperwolf]

One of the most straightforward ways to make the sound of an analog oscillator thicker and more prominent is to add a suboscillator to the circuit. You take the waveform, derive a square wave an octave lower by using a frequency divider, and mix it back in. Since a basic ÷2 frequency divider can be made from a single CMOS flip-flop, and since those come two to the CD4013 chip, it's nearly as easy to divide by two again, yielding another square wave two octaves down from the original. The classic SH-101 synthesizer did this, with the added filip that by using diodes to mix those together, you can get a -2 octave pulse wave at 25% duty cycle, where the harmonics emphasize the -1 octave. The circuit for doing all this, buffered and offset for a modular synth, is given in a blog post on the Electric Druid site, and I was thinking of adapting it to add the circuit as a sidecar to my Kassutronics VCO 3340.

Except. I decided to test it before trying to build it by simulating the circuit inside the Falstad circuit emulator, where the circuit I was working on just didn't produce the right waveforms when all the outputs are connected. I was able to tweak my version into operation one output at a time, but when I tried to sanity check by inputting the original, it didn't work as drawn. I think I'm doing something wrong, rather than the blog author — or Roland! — having messed it up, and it may just be that I'm using the circuit simulator wrong. But it's frustrating to think, "Oh, I'll save time by doing this in software first," only to be caught by implementation problems.

[defiantdreemurrs]

watched a video this morning about the integrated circuit chips in a lot of 80s analog synths and realizing just how different an animal these synths are from the modular synthesizers of the late 60s and the 70s

like ive known for years “oh yeah prophets used SSM chips until they switched to curtis chips thats why the filter in the rev 3 prophet 5 sounds different” or “tom oberheim used his original SEM designs until eventually switching to curtis chips with the OB-Xa” but only now am i grasping these are synthesizers whose individual components are all ICs effectively from off the shelf

this isnt a bad thing i love the sound of the prophet 5 and i love a lot of 80s synths i just never really thought about how this actually affected synth design, i never realized anything more than just the filter was an IC i never realized even the envelopes and VCAs in a lot of 80s synths were literally the exact same chips

and yet at the same time conceptually, isnt this kinda what happened to modular too? like we went from everyone handwiring their own filter and oscillator designs to now in eurorack world you can buy individual modules to build the synth of your dreams

the modules in a modular synth are basically the same concept as the ICs in a lot of analog polysynths from the late 70s and 80s, youre buying what is effectively kind of an off the shelf part and sticking it in your synthesizer instead of designing your own and building it yourself or buying someone elses unique design

it kinda lends to the idea that its not what parts you have, its how you use them. im convinced even more than ever now that a vast majority of analog subtractive synthesizers all sound more or less the same and the major difference in sounds is in terms of what features it has that others dont or the way its laid out affecting how you program it. i feel like looking at an OB-Xa, a jupiter 8, and a prophet 5, you cant help but program different kinds of sounds with them because of their different layouts and different feature sets and THATS where the sound difference comes into play

synthesizers are so cool i love all kinds of synthesizers i love instruments that allow you to create the sound of the instrument and as much as im diving headfirst into the modular world and falling deeply in love with the idea of building an instrument from the ground up i also still love the analog polysynths of the 70s and early 80s or the digital behemoths of the rest of the 80s and everything thats come since then

[0thing]

Tangerine Dream: Changing Use Of Technology, Part 2: 1977-1994

Published January 1995

The recently released 'Tangents 1973‑1983' Tangerine Dream boxed set chronicles the 10 seminal years the German group spent on the Virgin label. MARK PRENDERGAST concludes his history of the band, and looks at the effect they have had on the development of modern music technology. This is the last article in a two‑part series.

During the 1970's, Tangerine Dream blazed a trail for electronic music with a string of hit albums that brought them worldwide acclaim. Part 1 of this feature, in last month's Sound On Sound, recounted how the 'classic' Tangerine Dream line‑up of founder Edgar Froese, Christoph Franke, and Peter Baumann crafted famous albums like Phaedra, Stratosfear, and Rubycon using nascent, unreliable electronic technology. But tensions between Edgar Froese and Peter Baumann became unbearable following two extensive tours of the United States in 1977, and Baumann left to pursue a solo career in the Autumn of that year.

Baumann's departure had serious repercussions for Tangerine Dream. Edgar Froese and Chris Franke drafted in old Berlin chums Steve Jolliffe (flute) and Klaus Krieger (drums) for the making of the Cyclone album in 1978. But the new personnel and new instruments — a Roland guitar synth and multi‑trigger drums — did not save the album from sounding poor. Jolliffe even sang — the first time there had been vocals on a Tangerine Dream album. Not surprisingly, no track from Cyclone appears on the Tangents boxed set. Jolliffe was dropped, and the trio of Froese, Franke, and Krieger recorded Force Majeure at Hansa Studios in Berlin. On its release in 1979, this proved to be Tangerine Dream's return to form. The apocalyptic 'Thru Metamorphic Rocks' still sounds futuristic, even today.

Christoph Franke recalls: "It was a new phase, more structured. The music was more heroic, a little bit like art‑rock again. We got some more keyboards, and our big Moog modular was more stabilised inside — new oscillators came in, and new envelopes. But the Mellotrons and MiniMoogs were still there".

Tangerine Dream began 1980 by being the first Western rock group to play on the Eastern side of the Berlin Wall (documented on the live album Pergamon, released in 1986). More important than the concert's location, however, was the fact that it marked the debut appearance of Johannes Schmoelling as a member of Tangerine Dream. Edgar Froese had been very impressed with him when they had met at a Berlin theatre — at 29, Schmoelling was already an audio technician, with a degree in electronics, a background in piano and organ music, and a specific interest in sound collage. Froese recalls: "Johannes had remarkable concentration, and could work for long stretches of time".

Schmoelling has his own memories of joining the group. "It seemed to be the ideal group to work with, as I could be composer, performer and sound engineer all in one person. Before I joined, the music of Tangerine Dream was basically built on sequencer loops, more or less in one key, with few harmony changes and long sessions of improvisation. When I came to the group, we tried a mixture of more structured elements, with more jazz‑orientated chords, composed melodies and some synthesizer solos closer to rock. We really wanted a more dynamic sound."

Chris Franke: "Johannes wasn't so much a synth player, so I taught him a lot about using MiniMoogs and things. He was very good on the engineering side, which helped us with the recording. Also, he was a very good piano player, better than Peter [Baumann], so we got into more fancy keyboard styles, and in some ways the music became more professional — a lot more than just capturing hypnotic and spacey feelings. So, in some ways, it became more conventional, and in others a little bit more advanced".

Technologically, the group remained on the cutting edge by liasing with the electronics industry as new developments occurred. During the late 1970s, Chris Franke made important connections with Oberheim and Sequential Circuits, the American distributors of Roland. He also went to Japan and helped design the Jupiter 8. His connection with equipment manufacturers led him to become a Beta tester for Waveframe and other companies. On 1980's Tangram (the first studio album to feature the new trio of Froese, Franke, and Schmoelling), the warm smoothness of new keyboards mingled seamlessly with older sequencer and guitar elements. According to Franke: "We got Oberheim synths, and went back to using a Clavinet to get string sounds, higher overtones, and more aggressive colours. In our early days, most synths weren't polyphonic, and we had had to vary monophonic lines. But in the 1980s, the polyphonic synth wave began, and it shows on Tangram".

Thief And Polygon Studios

Tangerine Dream's next album, Thief, recorded in 1980, made the group famous in America as soundtrack composers. The album also focused attention on the group's increasing financial independence, for they were now working quite happily in a $1.5 million studio of their own design — Chris Franke's Polygon Studios. This was where the group had recorded Sorcerer years before, but the studio had been rebuilt and re‑equipped over the years until it bore little resemblance to the original 4‑track setup. Chris Franke explains: "On Stratosfear, we had run up studio costs of 80,000 Deutschmarks, and even Hansa Studios was quite expensive. We eventually realised that all this money could go into equipment. During the late 1970s, we found this old ballroom which had at first been a cinema, then a discotheque, and then a storage room. I rented it, fixed it up over the years, and then got some bank loans and bought all these 24‑track machines and mixers. Thief was still recorded in analogue, and used a new ARP synth, which had a very nice sound thanks to its ring modulators — some very rich overtone structures".

Franke justifiably says that Thief was full of sequences which directors still remember today. A huge GDS computer was brought in from Music Technology Incorporated to help with the audio‑visual synchronisation. Edgar Froese remembers how easy it was to work with the versatile director Michael Mann. "He was very professionally prepared, and knew precisely what he wanted. After working on the score for three weeks, Michael came from LA to Berlin to arrange a final mix of all the instruments. In the meantime, the film was being cut down quite considerably, and this meant that some of our cue points were no longer correct. So we flew to LA for two weeks, and did some further alterations. Thief took place in a normal thriller setting, but nobody had ever heard sequenced electronic music in this kind of Hollywood film."

In fact, Mann's film, which starred James Caan and Tuesday Weld, was a huge critical success. The American press went wild over the soundtrack, and acknowledged how the German trio had succeeded in making electronic music sound organic and full of adrenalin. Not surprisingly, the album stayed three months on the Billboard chart on its release in March 1981. Edgar Froese still says today that the talented Mann "was the director who really helped us on the way".

Exit

Even during the hullabaloo which surrounded the release of Thief, Tangerine Dream were busy recording another album, Exit, put down over the summer of 1981. Full of brief melodic passages and hypnotic sequencer phrases, the album again saw Tangerine Dream on the cutting edge of electronic innovation. Edgar Froese: "We built everything around our MCI mixing console, because we needed to have all the instruments quite near. We didn't use acoustic instruments much at all, and didn't need an engineer. We just had everything around us, the same way as on stage". Schmoelling recalls: "We experimented with drum‑loops built out of spliced tapes, achieving the same effects as rap musicians do today using sampling techniques".

Chris Franke has more detailed memories of Exit: "All the gear had become more complex and reliable, so you could afford to do all sorts of unusual connections. The Mellotron had only run tape segments lasting eight seconds, after which you had to find another tone. But on Exit, we were into very long landscape sounds, so we applied tape loops to the Mellotron instead of these segments. We spent nights and nights recording them ourselves and putting them in. And so suddenly, I had very long string and choir sounds which could then be sent through a vocoder. Through another vocoder input, I'd send drum sounds in order to 'rhythmise' the choral and string sounds. This was a completely new experience. With the equipment we had by then, we could really concentrate on what was in our heads, on how to realise certain sounds. We were fighting the equipment when we began, but at last it was doing what we wanted it to do. The MCI console at Polygon was the first with computerised automation, and that allowed for many experiments. And the studio was 24‑track, which was still a big deal then".

The Sampling Breakthrough

Over the next two years, Tangerine Dream entered a mellower, though still prolific, phase, touring the world, and playing large festivals in Berlin. March 1982 saw the release of White Eagle, which marked the beginning of another technological breakthrough for the band — digital sampling. Edgar Froese recalls: "During the production of White Eagle, we were able to use an instrument which had just been developed, and whose inventor we knew well. This was the PPG Wave 2.0, which was followed later by the Waveterm — one of the first professional samplers. The graphic monitor's representation of partial wave forms allowed us to create completely new musical structures. It was a very complex and expensive procedure, but for our adventurous imaginations, this development came at exactly the right time".

As the band continuously toured throughout the Far East and Australia, Johannes Schmoelling began to really make his presence felt in the live arena. This can be heard on Logos Live, released at the beginning of 1983. Meticulously crafted, this album shows Schmoelling to be a master of melody, texture and nuance. His fascination with jerky sampling rhythms also strongly influenced Hyperborea, released at the end of 1983. The classical Greek symbolism of this album recalled the band's debut for Virgin ten years earlier, which was fitting, as it proved to be the final studio album for the label. Ten years on, Schmoelling is still very happy about the Hyperborea album, with its electronic sitar, and exotic North African flute and tabla sounds. "Like Logos Live, Hyperborea was determined by the new generation of digital synthesizers and sampling technology. We were able to memorise sounds, and used a lot of sampled drum sounds. We also invented new rhythm structures by using a special arpeggiator technique." Edgar Froese also has happy memories: "On 'No Man's Land', we first used the Waveterm computer as a digital sequencer. The result came as a real surprise, especially in terms of tuning and editing".

But Chris Franke has different memories of this period. "I felt that from White Eagle to Hyperborea, we were all in a phase where the music became smooth but also a little bit more boring. It was becoming repetitive, because we didn't have the punch or the bite or the hunger anymore. We were more established, and it's the absolute truth that musicians lose a little bit of their bite when they get established.

"In terms of equipment, we really got into all the polyphonic synthesizers. Every couple of months there was something new, despite ARP going out of business — a new Korg, a new Roland. We were surrounded by keyboards — our studio became a keyboard store. We rented a Synclavier, which I found very interesting. I had already bought an expensive audio computer, and then I was going to buy a Synclavier. But at the last minute, I realised I could get two Waveframes at half the price, so I went for those, because we always needed a back‑up model — we always had down‑time and couldn't depend on just one. So I bought two Waveframes and we just rented the Synclavier. The Waveframes were great for stage and studio work."

At the end of 1983, Tangerine Dream performed a classic concert in Warsaw, and the album taken from the performance, Poland (released not on Virgin, but on the Jive label), reveals just how ahead of their time the German trio were. The hypnotic beats and electronic rhythm of the title track sound very close to music made today by German techno guru Pete Namlook.

Despite having begun their relationship with the Jive label for the Poland album, Hyperborea proved not to be the last Tangerine Dream record to be released through Virgin. In 1983 the group made a substantial contribution to the soundtrack for the film Risky Business, which starred Tom Cruise. Elements of both Force Majeure and Exit could be discerned amongst the tracks, and the title piece, also known as 'Love On A Real Train' involved repetitive elements that were close to the minimalism of Steve Reich. Still, for all its excellence, the making of the Risky Business soundtrack was not without its problems (see the separate 'Soundtrack Problems' panel).

The Dream Continues...

The Tangents boxed set covers the years 1973‑1983, and it is this period which has been the main focus of this two‑part feature. Two further film soundtracks, Firestarter and Flashpoint, were issued via Virgin and MCA in 1984, and come from the same Froese, Franke, and Schmoelling period. Excerpts from both appear on the boxed set. Briefly, post‑1985, Schmoelling left Tangerine Dream to concentrate on his own Riet studio in Berlin. It was here that the five CDs of the Tangents boxed set were digitally pre‑mastered. His replacement, computer genius Paul Haslinger, was instrumental in the recording of the brilliant Underwater Sunlight in 1986 for Jive Electro. Detail of Haslinger's time in Tangerine Dream can be gleaned from the interview with him in Sound On Sound's November 1990 issue. In 1988 Christoph Franke left Tangerine Dream (see the separate 'Falling Off The Cutting Edge' panel), and various musicians passed through the ranks after his departure. In 1990, Jerome Froese joined his father's band, and also helped out on the re‑editing and re‑recording aspects of Tangents. Edgar Froese now plans a second boxed set, which will concentrate on the early days of the group, as well as the latter‑day Tangerine Dream. For now, Tangents is an important document of a group in constant development and growth.

Edgar Froese, who is still for many the living embodiment of Tangerine Dream, has his own last words: "If you listen to all of TD's albums chronologically, you practically have a history of synthesizers, sequencers and samplers, with up‑to‑date analogue and digital sounds. In truth, our music is a diary of the history of musical instruments in the '70s, '80s and '90s."

Tangents Discography

Phaedra (Virgin 1974).

Rubycon (Virgin 1975).

Ricochet (Virgin 1975).

Stratosfear (Virgin 1976).

Sorcerer (MCA 1977).

Encore (Virgin 1977).

Cyclone (Virgin 1978).

Force Majeure (Virgin 1979).

Tangram (Virgin 1980).

Thief (Virgin 1981).

Exit ( Virgin 1981).

White Eagle (Virgin 1982).

Logos Live (Virgin 1983).

Risky Business (Virgin 1983).

Hyperborea (Virgin 1983).

Firestarter (MCA 1984).

Flashpoint (MCA 1984).

Soundtrack Problems: Risky Business

Edgar Froese: "When John Avnet and Paul Brickmann [the producer and the director of Risky Business] arrived in Berlin to hear our completed soundtrack score, we were devastated to hear that nothing we had done suited them. They said they had imagined something completely different. Something like this can be a real pain, especially if you've worked on a score night and day for three weeks. But as a professional, you've got to swallow your disappointment and find out immediately where the mistakes and misunderstandings are. We tried doing this for five days, with no success. Nothing could satisfy the producer and director. We were gradually getting tired and rather annoyed at the whole film business. We almost gave up trying to find a solution, and there were only two days left before they went back to Los Angeles. We sat in front of our instruments, totally unmotivated, turned off the monitors which showed segments of the film, and started improvising some rhythmic patterns and loops without a beginning or end. Brickmann was suddenly electrified, and claimed that this was exactly the kind of atmosphere the film required. After that, we recorded the complete score in two days and two nights, and ended up bringing the master tapes at 7am to the gate where the director's plane was ready to take off. Risky Business was one of the USA's three most successful films of 1983. There simply are no absolute laws which rule the world of business and music."

Christoph Franke: "That soundtrack was a case of too many chefs in the kitchen. After doing everything with Fender Rhodes and strings, we stumbled upon a minimal kind of thing, like Steve Reich or Philip Glass. It was a new way of drawing a romantic theme, which we still get credit for today. The Roland MC8 sequencers — which were new then — were central to this, as a lot more of our melodies could be programmed. And we built our own sequencers. Sequencers in the early days could only handle six or 10 notes. Suddenly, we had sequencers which could deal with 64 notes, which meant that our music had much more structure."

Falling Off The Cutting Edge: Chris Franke On Leaving Td

Chris Franke left Tangerine Dream in 1988. As he says, much has been written on this subject [for an example, see the Chris Franke interview in May 1994's Sound On Sound], but he remains clear about his reasons today. "I felt I needed a creative break, because I think we started to repeat ourselves. We ended up with so much equipment that we took on a lot of jobs to pay for it, became overworked and did too many things at the same time. We did not have time to explore our minds for fresh ideas or explore the great computer instruments we had at our disposal. Kids with much more time than us, but less experience, began producing better sounds, and I began to feel our quality was dropping. This was a very bad feeling for a group who always wanted to be on the cutting edge of music.

"Edgar and I still talk every three to six months, and we discussed the boxed set, although my film music schedule didn't allow me to get directly involved. I think he did a very good job on the music, and the booklet notes are most informative. I'm very happy with how it all turned out."

Further Information

The Tangents 1973‑1983 boxed set is out now on Virgin Records, catalogue number CDBOX4.

Sound On Sound has featured several interviews with Tangerine Dream personnel over the years. Early member Klaus Schulze has been interviewed twice, once in August 1987 and again in February 1993. Paul Haslinger, member of the band since 1986, was featured in November 1990, and Christoph Franke spoke at length about his current work and his favourite equipment in May 1994. Back copies of these issues are available from: SOS Mail Order, Media House, Burrel Road, St. Ives, Cambs, PE17 4LE. The August 1987 and November 1990 issues cost £1.50 each, while the February 1993 and May 1994 issues each cost £2.50.

Tangerine Innovators

Both Edgar Froese and Christoph Franke have strong views on the effect Tangerine Dream have had on the evolution of electronic equipment over the years. Edgar Froese: "Our contribution, in all modesty, is surely quite great. Why? In the first 12 to 13 years of producing albums, we hardly ever used a sound which was common or readily available. Almost everything was custom‑made. Over 80% of our income went, directly or indirectly, into sound research and the development of new instruments. That naturally changed the listening habits of our colleagues in other countries, just as it changed the the awareness of our listeners in general. We had a sound library with over 2400 sounds of our own creation. We named these sounds 'Hybrid Stacks', because they were made up of different sounds from different sources. In the early years, these sounds were stored as complex events on tape loops in the Mellotron, and later on, they were put into synths and sampler units. To a certain extent, we have kept to our philosophy; on our latest album from 1994, Turn Of The Tides, there are 52 sounds which are not for sale with any sound module or sampler. The disadvantage of this gigantic sound research is that we have been plagiarised and sampled more often than any other band — it would take an army of lawyers years to chase down all the stolen TD samples.

"Generally, I feel that the computer and sampler are overrated pieces of equipment. They can only be time and work‑saving means in the hands of a musician who has a story to tell — a musician who could 'express' himself just as well on acoustic guitar and grand piano. If you need a 'sound adventure' to turn your ideas into sounds, complex computers are just a useful help"

Chris Franke: "Sampling was a very important aspect of Tangerine Dream and the electronics industry — we were definitely the group who showed the industry that they must make a sampler. In 1983, I went to Mellotron and said that they should make a digital Mellotron, without the flaws of variable, short and noisy tapes; and I also went to Tom Oberheim and said "You must get some hard disks together and do a digital Mellotron". Both said "Aaah, you can't do it". I had already built a little machine that could store 100 milliseconds of sounds, which I used as an electronic drum machine. And then the LinnDrum came out, and people worldwide knew you could digitise sound. I even wrote an article in Keyboard magazine campaigning for a digital Mellotron. Fairlight eventually did it, in a very expensive way, and Emu did it cheaply, but it sounded pretty terrible... Today, I have a machine with 250 sample voices, 300Mb of RAM and 3Gb of hard disk space — there's been such a big revolution in eight years!

"I did a lot of designs myself, for sequencers and controllers. I never believed that a sequencer should be just a piece of digital notepaper — I think it can be an interactive tool with a musician. It can be an algorhythmic composer, something you can really play with and use to make improvised music. I've worked with Steinberg and other companies, like Intelligent Music in San Francisco, who see the sequencer not just as a linear recorder, but as a tool to create new sounds. I worked on Cubase and I'm still a Beta tester to this day. I still talk to Steinberg. So yes, it's true that TD were responsible for several sequencers. Also, we emphasised how important filters were in synthesizers. We convinced Roland and loads of people about filters, because this is where the oscillators started to really come alive. Today, it's samplers which are getting good filters, yet some companies are building samplers without filters at all, which is terrible. So I still call them up, and rap them on the knuckles for their shortcomings."