Thank you to Ellen Shaffer and Sadie Barnette and Noele Lusano for making it happen!<3
I am in love with my 1961 Lowery Starlet organ! What a dreamboat!
Showing posts with label vintage synth. Show all posts
Showing posts with label vintage synth. Show all posts
Top; EML Electrocomp 101.
Bottom; Yamaha DX7
Top Left; This is the Elizabeth Cain sock monkey doing her best Vanna White.
My air organ. This was pulled from a hoarders basement by a friend who had been employed at 1 800 GOT JUNK. On top of that is a possibly broken Next superbass 3.3. I have never heard from about this company before. when this bass synth worked, it bumped...
My delicious Roland Juno 106.
This is Matthew Fitzpatrick's Korg DSS-1. I could use the choir patch ALL DAY. I think that there really is a place for this synth in everyones studio. I need to get one. It will be sad to see this go at the end of the month.
Home sweet home.
A a video and sound study in fluid dynamics. All original music and video shot and performed by Douglas Cain. This piece was inspired by a recent live video performance by Matthew Fitzpatrick featuring video samples from the Japanese filmmaker Masaki Kobayashi's title sequence from Kwaidon (1965 original). It also draws on imagery from the audio-visual works of Morton Subotnick and Tony Martin, Sidewinder.
Here are some of my inspirations...
The first example is Kwaidon. The title sequences are so wonderful. Also the Japanese typography and graphic design of the title sequence really speak to me. Also the calligraphy is pretty hard to beat. A big thank you to Matthew for introducing me to the work of Masaki Kobayashi. Start at 0:43...
Next is the audiovisual piece, 'Sidewinder'. I feel that Tony Martin, who also at the time provided psychedelic visual accompaniments to such bands as Jefferson Airplane and the Grateful Dead, instills a fascinating visual reference to the work of yet another 1960s San Francisco musical innovator Subotnick. Here's the piece...
"It was totally configurable in software and we had 16 stage envelope generators for both frequency and amplitude, so it was kind of like the grandfather of the Yamaha DX7. On ours, you could build your own algorithms, using any of all of the 64 oscillators in any position in the algorithm. If you wanted additive, you could add 16 of them together. The phase modulation was similar to what Casio did with their CZ series. You could designate any tuning you wanted and save it. You could split the keyboard, stack sounds, model different parts of the keyboard for different parts of the sound, and save that as an entity - the kind of things that are common now." The ADS 200 featured "Additive synthesis, phase modulation, frequency modulation, nested phase and frequency modulation, and combinations of all modes." says inventor Tim Ryan.
...and only two were ever made. Whoever is lucky enough to have the opportunity to touch this fascinating piece of electronic music history is very lucky.
Last night I had a wonderful art attack and wrote 4 new sound pieces. I would like to mention the new synth in my basement which really helped inspire this. Just a few weeks ago my roommate Matthew brought home one of the most wonderful instruments that I have had the pleasure of using; the Korg DSS-1. This is a 12 bit sampling workstation with 8 voices and velvety analog filters. If you ever have the opportunity to take one of these home, you will be greatly rewarded.
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