100SILEX, de 0 ŕ 100 s: beauty
1132 Mammoth Modular Synthesizer At MIT Museum
Just got an update from Joe Paradiso on his homebuilt mammoth analog modular synthesizer. Heâs installed it in the MIT Museum and has completed a fairly epic patch which you can listen to (24 hours a day!) here.
Joe will be at the museum this Thursday and Friday (2/23 and 2/24) at 1pm, demoing the synth to visitors, so be sure to stop by if youâre in the neighborhood. Hereâs some info from Joe on the construction and inspiration for the latest patch.
The second patch I made at the MIT Museum is totally done now, and you can hear it live on the stream. Listen to it at http://synth.media.mit.edu, and let me know what you think if youâre inclined â itâs running in physical space in Quad, of course â stereo on the stream. Note that this one has absolutely NO sequencer of any sort on it â all of the patterns you hear were made entirely from hand-patched logic (counters, ands, ors, flip flops, ring counters, rate multipliers, etc.). Itâs an entirely different kind of composition environment from the norm â you really need to simultaneously be an engineer while being an artist and something of a performer. The inspiration for this patch started with the Boredoms â if you donât know who they are, you should (http://www.boredoms.jp/). In particular, I was thinking of SuperRoots 9. The beauty of the patching interface is that you can never exactly nail what you start out to attain, but on the other hand, you get drawn into places you wouldnât have normally gone once you start. The 3 drummers that Yamantaka Eye performs with lay down a compelling rhythm that my hand-patched logic and analog processing canât match, of course. But this patch definitely has a strange jumpy groove once it gets into gear, and the 2-chord pad is archetypical too. Yes, Boredoms rule today! BTW, this patch took every cord I had, plus a good 30 more wires just shoved into the pin jacks â check out the photos here and here â the latter shows the kind of logic section patching complexity you need to build a sonic environment like this one.
Iâm ripping this baby out next Thursday, as Iâll be at the museum next Thursday and Friday (2/23 and 2/24) at 1pm to demonstrate the synthesizer to visitors â doing some very simple patches and showing off what the modules do in case anybody is interested in this. It will run continuously until then.
Otherwise, enjoy the stream â there are moments of introspective drift in-between wild percussion (yes, Boredoms!). I might pull the percussion line back so it doesnât come so often or regularly, but itâs essentially a wrap.
969 Ilse Ruppert - photography
Ilse Ruppert: her pictures have the beauty of dreams and the cruelty of nightmares In the early 80s she portrayed the punk and new wave scene in Hamburg, Berlin, Paris and London but also actors, painters and writers.
ilse ruppert, photos from 80s, 80s photos, art, berlin, exhibition, photos for sale, photography, photos, pics, punk tribes, Keith Richards, KRAFTWERK, Uwe Ochsenknecht, Diego Giacometti, Nina Hagen, RW Fassbinder, Nena, Dennis Hopper, Christiane F, THE POLICE, DAF, Jim Jarmusch, Rio Reiser, Burghard Driest, The Clash, Maria de Meideros, Michel Piccoli, Jean-Paul Gaultier, Marianne Saegebrecht, The Ramones, The Stranglers, Peter Tosh, Tcheky Karyo, Eric Rohmer, Spike Lee, Bob Marley, Frank Zappa, The Straycats, Iggy Pop, Psychic TV, Blixa Bargeld, Annette und Inga Humpe, Xmal Deutschland, Andreas Dorau und die Marinas, Les Rita Mitsouko, Alan Vega, Denis Lavant, Manuel Blanc, FranĂÂ§oise Sagan, Werner Schreyer, The Who, Klaus Nomi, Romane Bohringer, Eric Rohmer, Tcheky Karyo, Roshdy Zem, Jeff Bridges, David Bennett, Peter Coyote, Georg Baselitz, John Boorman, Hubert Selby Jun, The Who, extrabreit
962 25 Abandoned Soviet Monuments that look like they're from the Future | Crack Two
These structures were commissioned by former Yugoslavian president Josip Broz Tito in the 1960s and 70s to commemorate sites where WWII battles took place (like TjentiĹĄte, Kozara and KadinjaÄa), or where concentration camps stood (like Jasenovac and NiĹĄ). They were designed by different sculptors (DuĹĄan DĹžamonja, Vojin BakiÄ, Miodrag Ĺ˝ivkoviÄ, Jordan and Iskra Grabul, to name a few) and architects (Bogdan BogdanoviÄ, Gradimir MedakoviÄ...), conveying powerful visual impact to show the confidence and strength of the Socialist Republic. In the 1980s, these monuments attracted millions of visitors per year, especially young pioneers for their "patriotic education." After the Republic dissolved in early 1990s, they were completely abandoned, and their symbolic meanings were forever lost.
From 2006 to 2009, Kempenaers toured around the ex-Yugoslavia region (now Croatia, Serbia, Slovenia, Bosnia and Herzegovina, etc.) with the help of a 1975 map of memorials, bringing before our eyes a series of melancholy yet striking images. His photos raise a question: can these former monuments continue to exist as pure sculptures? On one hand, their physical dilapidated condition and institutional neglect reflect a more general social historical fracturing. And on the other hand, they are still of stunning beauty without any symbolic significances. I know this may sound schizophrenic if you also read my last post. But maybe there are forms that can transcend meaning...
What an amazing instrument! The DSI Evolver has the signature "old school" timbre down pat as well as being able to provide digital timbres reminiscent of the Waldorf Q. There's certainly a "rougher" side available as well with all the feedback implementation and controled distortion. Being able to make PM type plucked and blown sounds is just icing on the cake. Dave Smith should be commended for a job well done. Just have a look at the Panel Layout to get a taste of what this beauty can dish out - the controls are pretty much laid out in the form of a signal path graphic. Be sure to visit Dave Smith's Website!
Evolver Sound Examples
There are a lot of demos of the Evolver on the web showcasing the gutsy harsh sounds of this beast so I decided to post demos of some of my own patches as examples of the "softer" more "vintage" side of the Evolver's timbre. I make no apologies for these unpolished recordings - these are merely sound samples ;)
Resonant Plucked Pad
This pad shows some of the rich resonant nature of the filter.
This is a simple analog brass lead patch.
A fun patch with lots of motion made using my "Audio-rate Filter FM" programming tip below.
A nice bland-vanilla pad ^_^
What can I say? I love pads...
For more MP3 demos showing the full gamut of sounds the Evolver and Polyevolver are capable of, please visit the excellent website of Stefan Trippler!
The Definitive Guide to Evolver
This rather in-depth guide to the Evolver goes places and does things a mere manual can't. This labor-of-love was crafted by Anu Kirk and with his kind permission, I am offering this fantastic resource right here in PDF format!
A much smaller version (400K) is here but it dosen't have internal hyperlinks.
Here's a fun repository of programming tips for the Evolver in all its incarnations. Please email me if you would like to add some.
Fingered Wave Sequence
Submitted by Dave Bryce. This brilliant technique has to be heard to be believed! Plus, its one of those cool things unique to the Evolver! This particular tip is so full of detailed information that it gets its own page!
Audio-rate Filter FM
Submitted by James Maier. Use the "Audio Mod" parameter in the Filter section to frequency-modulate the cutoff with the analog oscillator. Add resonance until the filter is just on the edge of oscillation then mod the cutoff with just a little triangle LFO set at a very slow speed. Amazing moving chorusing pad and lead sounds can be made this way.
Fatter Bass/Pad Sounds
Submitted by Mike Peake. Set the same sound in both channels (detuned saws, for instance). With the filters at the 24dB setting, increasing resonance cuts the passband as on the Moog filters. Set Envelope 3 to minimum attack, maximum decay and release, and sustain to maximum. This "creates" an offset, a continuous "on" signal while the keys are gated. Modulate one filters' resonance up (just one), or of the overall resonance level is high, us it to modulate one filters' resonance to its minimum. You get the resonant character plus the size of the non-resonant filter. Use Tri and Sine waves on that side too.
Submitted by James Maier. The Evolver can make many ultra-bright and buzzy sounds due to its extensive feedback and distortion stages but sometimes people miss the subtler side of the beast. For a warmer sound use little or no distortion, close the filter just a bit and turn off the feedback and delay lines. I've managed to get dead-on Prophet5 timbres this way.
Submitted by Mike Peake. Set the envelopes to linear, and use a Mod to modulate AmpEnv All by itself (lin through log responses with positive and negative self-modulation).
This is of course fun on the filter envelopes as well.
More Vintage Character
Submitted by Mike Peake. Oscillator Slop, set at 5, doesn't come close to the Moog and other old-timer movement, so add slight (1 or 2) LFO to pitch modulations, with individual LFOs per oscillator, and a touch of LFO to LFO rate modulation. A tad of Envelope 3 to pitch helps as well.
Don't miss out on the 12dB filter setting
Submitted by Mike Peake. The 24dB setting has much more resonance, but the 12dB setting can sound nice and plucky, and do nice slightly fuzzy pads etc.
DSI Evolver Waveshape Charts
Below are charts I've assembled of the digital waveforms and their spectra as currently used in the DSI Evolver synthesizers. Originally these waves were unique to the SCI ProphetVS vector synth.
I find these waveform/spectra graphics really usefull when programming sounds - maybe you will as well. Pay special attention to the spectra as this info is sometimes much more useful than waveshape in determining actual timbre - even before you hear what the waveform sounds like.
These are designed to be downloaded (right-click & "save target as"), and printed at 300dpi on 8.5" x 11" pages - don't resize these images before printing or you will lose useful detail. Use them as a handy refrence. This information was cobbled together from various scattered sources (with very special thanks to Achim Gratz!).
Any errors or omissions are my own. ^_^
As far as the origin of these waves is concerned, one of the original VS engineers, Chris Meyer, said:
"The original waves for the VS were created three ways - extracting single-cycles from sampled sounds, using a custom additive synthesis program, and using a program Josh (Josh Jeffe, another VS engineer) slapped together called "Hacker" where you could draw the waveshape. These were fed straight from the computer through the filter and VCA of a Pro-One to figure out what they might sound like in a patch. And by the way, no PPG waveforms appear inside the VS - we had access to them, but in the end our consciences got the better of us. We did steal some waveforms from the Korg DW6000, but only by looking at the harmonic drawings on the front panel and trying to imitate them in our additive synthesis program."
Modulation Matrix "Cheat Sheet"
This chart shows all the modulation routing available on the Evolver. This same info is available in the manual but this can be printed on a single sheet of paper as a handy refrence!
These I created just for fun and desktop "beautification" ;)
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767 The 5 types of programmers ÂŤ Steven Benner's Blog
In my code journeys and programming adventures Iâve encountered many strange foes, and even stranger allies. Iâve identified at least five different kinds of code warriors, some make for wonderful comrades in arms, while others seem to foil my every plan.
However they all have their place in the pantheon of software development. Without a healthy mix of these different programming styles youâll probably find your projects either take too long to complete, are not stable enough or are too perfect for humans to look upon.
The code may not be pretty, but damnit, it works!
This guy is the foundation of your company. When something goes wrong he will fix it fast and in a way that wonât break again. Of course he doesnât care about how it looks, ease of use, or any of those other trivial concerns, but he will make it happen, without a bunch of talk or time-wasting nonsense. The best way to use this person is to point at a problem and walk away.
You want to do what to my code?
This guy doesnât care about your deadlines or budgets, those are insignificant when compared to the art form that is programming. When you do finally receive the finished product you will have no option but submit to the stunning glory and radiant beauty of perfectly formatted, no, perfectly beautiful code, that is so efficient that anything you would want to do to it would do nothing but defame a masterpiece. He is the only one qualified to work on his code.
Iâm a programmer, damnit. I donât write code.
His world has one simple truth; writing code is bad. If you have to write something then youâre doing it wrong. Someone else has already done the work so just use their code. He will tell you how much faster this development practice is, even though he takes as long or longer than the other programmers. But when you get the project it will only be 20 lines of actual code and will be very easy to read. It may not be very fast, efficient, or forward-compatible, but it will be done with the least effort required.
What do you want? It works doesnât it?
The guy who couldnât care less about quality, thatâs someone elses job. He accomplishes the tasks that heâs asked to do, quickly. You may not like his work, the other programmers hate it, but management and the clients love it. As much pain as he will cause you in the future, he is single-handedly keeping your deadlines so you canât scoff at it (no matter how much you want to).
Well, thatâs a possibility, but in practice this might be a better alternative.
This guy is more interested the options than what should be done. He will spend 80% of his time staring blankly at his computer thinking up ways to accomplish a task, 15% of his time complaining about unreasonable deadlines, 4% of his time refining the options, and 1% of his time writing code. When you receive the final work it will always be accompanied by the phrase âif I had more time I could have done this the right wayâ.
Personally, Iâd have to classify myself as the perfectionist. So, which type of programmer are you? Or perhaps you know another programming archetype that is missing from my list? Post a comment below and Iâll add it to a new updated list.
433 The Beauty Of Typography: Writing Systems And Calligraphy, Part 2 - Smashing Magazine
The beauty of writing systems is that each has something unique from which to draw inspiration. Two weeks ago, in the first part of this article, we covered Arabic
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