Great synth from DIY SynthWorks:
We can’t really use a signal for every key so we use an alogorithm for generating 8 Saw waves and distribute those among the keys played on the keyboard.
Great synth from DIY SynthWorks:
We can’t really use a signal for every key so we use an alogorithm for generating 8 Saw waves and distribute those among the keys played on the keyboard.
In the zone between Halloween and the winter holidays haunts the immortal movie The Nightmare Before Christmas. Musician Carolina Eyck has made a theremin cover of Sally’s Song.
Wishing you a happy Halloween with my Theremin & Voice version of Sally’s Song from Tim Burton’s The Nightmare Before Christmas. I’ve always loved this music, and performing it has made me love it even more. I hope you like it as much as I do! Thank you Danny Elfman for composing this beautiful piece!
More from Carolina Eyck
What’s a NIME? A New Interface for Musical Expression. That’s what the daïs is. The instrument is up on github from maker PelleJuul. Here’s more on GitHub:
The daïs is an open source new interface for musical expression (NIME). The daïs main feature is a disk that is suspended using elastic string. The instrument is played by pushing down and moving the disk around. The position and angle of the disk is captured by sensors and can be used to control sound synthesis algorithms or effect.
Multiple parameters to be controlled with a single movement, and the gestures afforded by the instrument produce a performative playing style. The disk is haptically enabled using vibrotactile transducers that facilitate an intimate playing experience.
If Ravi Shankar got stuck in an elevator with a synthesizer, this is what might happen. A lovely mix of analog and electric from Adam Clark. Here’s more from Synthtopia:
The video uses ‘mixed reality’ real-time point cloud data from synced depth sensors to create 3D scenes, using virtual cameras moving through the 3D data, live, during the performance and broadcast. The point cloud was rendered to create a shimmery, psychedelic effect. Watch for Clark’s Buchla 200e rendered in the point cloud.

Pianos are filled with strings that get bonked by felt-covered hammers when you press the keys. Musician Mattias Krantz wanted to find out what would happen if he re-stringed a piano with guitar strings. Here’s more from Bobby Owsinski’s Blog:
For one thing, guitar strings aren’t long enough, nor strong enough. When you get all 200 piano strings tuned, the instrument is under about 18 tons of tension. All that tension potentially makes the instrument a ticking time bomb if the soundboard is damaged (you can find some amusing stories about pianos being dropped and exploding on my good friend Richard Gibbs wonderful Invisible Arts podcast, especially this episode). Plus most guitar strings will break in that application, as you’ll soon see.
The best song about the anthropic age may have been written by a bird. In 1987 there was one last Kauaʻi ʻōʻō left in the whole entire world. And that bird, that last bird, sang a song for a mate who would never come. Here’s more from TwistedSifter:
In 1987 the last Kauaʻi ʻōʻō was male, and his song was recorded for the Cornell Lab of Ornithology. The male was recorded singing a mating call to a female that would never come.
The ōʻō was endemic to the island of Kauaʻi and was common in the subtropical forests of the island until the early twentieth century when its decline began.
Hear DJ Drama’s story and how it was part a cultural blow, art vs crime, through Louder Than A Riot:
In this episode, we break down the raid that turned the mixtape from cultural innovation into criminal conspiracy, from the perspective of the man who took the fall when the cops came knocking.

packetbob writes:
So I wanted a small MIDI keyboard (25 key). I found a decent Axiom 25 on Craigslist and bought it (wanted something older with 5 pin DIN MIDI out not just USB). It was in really great shape and works fine (I can’t say the same about my musical abilities).
So a few days later I see another Axiom 25 on Craigslist but for really cheap (almost free) cuz the keys don’t work… Figured at worst it would be spare parts.
Got it home and yes the keys mostly did not work. Pulled it apart and while it seemed to have been worked on there was evidence of some liquid spill of something mebbe a bit corrosive. Did some troubleshooting and eventually found that the traces in various locations on the keyboard PCB seem to have corroded away. In some cases it is kinda visible while in others not so much.
So I plan to try fixing up the various broken traces and see what happens.
One interesting side note is in brightening the keys, they found that beauty shops sell hydrogen peroxide gel, called Wella Cream, premixed and relatively inexpensive. The wrap in cellophane and put them in the sun process worked very well.
Read more on the restoration in the post here.

The Omniphone is an absolutely fantastic project that aims to enable everyone to make music! CDM breaks it down well here:
These designs for music therapy collaboration do make new demands to better remove restrictions present on other instruments. That bulbous shape makes the objects playful and encourages touch. Capacitive sensors make it responsive – with light and vibration feedback. The Teensy, a powerful and friendly inexpensive embeddable platform, powers the brains.
Read more from CDM and the Omniphone Manuel and see more on YouTube
This drone performance is ridiculously rad. Wow. LiveDesign has a great article discussing the music video:
Hobbes utilized 3D animation tool Maxon Cinema 4D and the AR toolkit Moves by Maxon to create the celestial scene. Moves by Maxon’s realtime face capture enabled the team to record four unique performances. “With pose morphs, we could dial up the ‘energetic’ performance when the song picks up and dial in the ‘stoic’ when we needed the face to be more monolithic and observant,” explains Forshee.
Read more and see more on YouTube
Welcome to drone day on the Adafruit blog. Every Monday we deliver the latest news, products and more from the Unmanned Aerial Vehicles (UAV), quadcopter and drone communities. Drones can be used for video & photography (dronies), civil applications, policing, farming, firefighting, military and non-military security work, such as surveillance of pipelines. Previous posts can be found via the #drone tag and our drone / UAV categories.

Square, sawtooth, triangle, ramp, and pulse are all terms for waveforms, which are what gets modulated when we talk about modulation in music production. If you’ve ever listened to a synth jam, or watched an electronic musician turn knobs, what they’re doing is modulating the wave form. Here’s more from Icon Collective:
Modulation effects change the property of sound over time. Waveform properties include frequency, amplitude, timbre, wavelength, time, phase, and velocity. The modulation of these characteristics produces a sense of movement, dimension, and depth.
Modulation alone is not an effect. It’s a process audio effects and musical instruments use to manipulate sounds. Modulation requires a source signal called a modulator to control another signal called a carrier.
Delia Derbyshire was a legendary composer of electronic music, known even by non-electronic music aficionados from her most well-known composition, the theme for Doctor Who, composed during her time at the BBC’s Radiophone Workshop. Here’s more from director Caroline Catz via BFI and SonicState:
I’m fascinated by Delia Derbyshire, her music and her legacy, and the fact that she introduced avant-garde electronic sounds to a whole generation through the medium of a teatime television show — that’s really what inspired the whole idea for the film.
Having spent time at Delia’s archive at John Rylands library in Manchester and watching the archive grow over the years, it struck me that the clues to Delia’s life, and perhaps what she really wanted us to know about her, lay in the recordings she left behind. I thought it would be interesting to explore the archive through performance and the construction of a film soundtrack, combining the unfiltered fragments from this amazing resource to conjure an imagined landscape of Delia’s life based on the evidence we found therein.
Here’s a video from Eurorack synth designer Eric Schlappi of Schlappi Engineering as he takes a look at generative patching techniques for modular synthesizers. Here’s more from Schlappi Engineering.
A discussion of a few generative patching techniques and a patch breakdown of Todd Barton’s Krell Muzak patch as well as an attempt at patching Rob Hordijks Benjolin with eurorack modules. This video is created as part of Portland Community College’s Music & Sonic Arts program in Spring 2020.
Blade Runner continues to inspire design and sound decades after it was released. gilou gilou has made an instrument that takes its visual inspiration from both Blade Runner. Here’s more from gilou gilou:
I made an inflatable instrument (Named Pascal2049). It’s a atmospheric pressure sensitive controler for analog synthesisers and Eurorack. It’s a first version and I may improve it in the future. For the look I was inspired by both blade runner movies. The first video is a Model D and an iPad with borderland granular. The second is Microbrute solo and my sister playingTech Spec :Cv out with the pressuregate out with the capacitive buttonArduino, pressure sensor and DACOne potentiometer is for tuning the other range.

I posted a piece on Boing Boing this morning I thought was too good not to share here. It turns out that Eddie Van Halen was not only one of the most amazing guitar players to every dance with the Devil in the pale moonlight, he helped get his unique sound by altering the guitars and amps that he used.
Popular Mechanics interviewed him in 2015 and they reprinted the interview upon Van Halen’s passing last week:
My playing style really grew from the fact that I couldn’t afford a distortion pedal. I had to try to squeeze those sounds out of my guitar. The first real work I did was in my bedroom. I added pickups, because I didn’t like the sound of the originals.
Most guitar necks are too round on the back, so I took sandpaper and reshaped the neck to be very flat. I actually refretted a few guitars early on because I wanted to shave the fingerboard down and make the neck even flatter. The flatter it was, the farther I could bend a string without fretting out, or choking the sound when the string hits a fret higher on the neck.
My first real guitar was a Les Paul Goldtop. I was a total Eric Clapton freak, and I saw old pictures of him playing a Les Paul. Except his had humbucking pickups, and mine had the soapbar, P-90 single coils. The first thing I did with that guitar was chisel it out in the back and put a humbucker in. When we were playing gigs, people kept saying, “How is he getting that sound out of single—coil soapbar pickups?” Since my hand was covering the humbucker, they never realized that I’d put it in.
Read the rest here.
Dale Dougherty of Make: also wrote a piece about Van Halen’s maker story.
“What drives me to tear things apart is,” he says, “some of it is necessity, some of it is just experimenting. I’m always pushing things past where they are supposed to be.” He explained that some of what he did, he had to do because he couldn’t afford some of the equipment that others had.
He goes on to explain how he liked the vibrato bar of a Fender guitar and the humbucking pickups of a Gibson guitar, and he wanted both in the same guitar. He liked the “much fatter sound” Gibson’s pickups, which cancelled out some of the hum caused by the vibrato bar. So, he mashed them together, buying a knockoff Fender body — a second, and then ripping the pickups out of Gibson guitar. He describes using a hammer and chisel to make a hole in body for the Gibson pickup. “I screwed the pickup straight into the wood,” he said, mentioning that the Gibson Stratocaster has three pickups. “I routed out the body and crammed (in) the humbucking pickup. Mind you, everything was just lying there, unsoldered.” He struggled to figure out how to connect three pickups to two knobs. “How am I going to hook this back up? I had no clue.”
Interesting peice in Music Tech with Deadmau5 on his custom DJ app:
Though much of the music industry has come to a grinding halt due to the pandemic, Deadmau5 is still very much in demand. Armed with OSC/Pilot, his trademark ‘mau5head’ helmet and an impeccable light show, Zimmerman has performed live at drive-in concerts in Toronto, Ottawa and Montreal. During the lockdown, he’s also released the track Pomegranate with Pharrell and Chad Hugo of The Neptunes. All of this beats on as he puts out new material with Steve Duda as BSOD, and performs live sets as Testpilot.
There’s nothing like the experience of playing a Eurorack-style modular synthesizer. Working with these instruments is a tactile experience like no other, bringing a physicality to the spacey vibe of synthesized sounds. But if you’re stuck with a small work area, or you want to experiment before jumping in to filling up your living room with equipment, here’s Synthspace, a VR Eurorack-style modular synthesizer. Here’s more from Synthtopia:
“Synthspace is my attempt to capture the physicality of a modular synthesizer, while adding in all sorts of magical bits that are only possible in a virtual world,” notes [developer Markus Hofer]. “VR is the exciting part, but I want to create an instrument that is fun and flexible and ready whenever you need it.”
A lot of engineering and technical know-how, experience, and specialization went into the creation of Orbital’s touring rig. Remember that time you were sitting around listening to music, and someone puts on Halcyon, and you’re pretty stoked to hear it, but you’ve never heard the Live at Glastonbury version, and when Belinda Carlyle comes in with “Heaven is a Place on Earth” gets mixed in, and just as you’re coming to terms with that, Bon Jovi gets mixed over that? Here is a tour of the rig they played on for that mix. More from DJ Mag:
Made up of brothers Phil and Paul Hartnoll, Orbital played Inner City Electronic Festival in March, just prior to the UK’s COVID-19 lockdown. We caught up with the seminal UK rave duo to talk through how they play live.
Roland 808s and 303s are the gifts that keep on giving. And here’s a new one. In conjunction with an exhibition of the history of electronica, Roland has released a browser-based studio that visualizes just what the 303 and 808 can do. Here’s more from CDM:
Roland partnered with designer Yuri Suzuki to make 808303.studio as an “educational music creation platform” for The Design Museum in Kensington, London. That institution is right now showing “‘Electronic: From Kraftwerk to the Chemical Brothers.” The original TR-808 and TB-303 are in the exhibition, but “hands-on” is not a good way to do education in the middle of a pandemic. So they turned to designer and sound artist Yuri Suzuki…who has collaborated with many instrument makers in the industry and seen his work in MOMA…. Mr. Suzuki’s creation is like one of those stylish posters showing 303 and 808 patterns came to life. It’s a beautiful representation of some familiar instruments.