First patch using the Malekko/Richter Megawave. Using multiple synced Intellijel Dixie LFO's CV modulating the
wave, bank, and Rom inputs. Cycling glitching through banks (MiniWave, Socket Rocket, PPPGVS, Darwin's House, and Monowave). CV control zigzag LFO patterns from the E355 Morphing Dual LFO set to control the Rom select. The output was then ran into the Synthesis Technology e560 Deflector Shield in phase mode. Drums courtesy of the Mungo g0 with rippling sound effects recorded from the Cwejman S1. Everything clocked and mangled from one single MakeNoise Woggle bug.
My second live modular piece exploring different forms of feedback. The main ambience is derived from a Stilton/Evin209 feedback matrix. Instead of using fx pedals the 4 channels of the Stilton send and return to a DAW running a single plugin on each channel which included 2 reverbs, a delay, and a tremolo effect. All audio recorded live, mixed in post. Let me know what you think.
The timeFrog II is a powerful and flexible MIDI device dedicated to music computer and MIDI applications.
The spin/inertial sensor provides a totally new kind of control surface, which opens new way for playing with parameters.
The 8 endless encoders, 4 potentiometers and 6 buttons form a functional and compact.
There is also a embedded 4 steps sequencer: 4x4 steps x 6 voices
This patch was setup in Ableton Max For Live using only two instances of SonicCharge's Synplant software synthesizer. These two patches where customized and
designed to work with the timeFrogII. Creating for some very unique musical gestures. All sequencing and note generation is from the timeFrog controller.
From the time I first touched the Haken Continuum, I'd wanted to use it to play a composition by Olivier Messiaen called "Oraison". I first heard "Oraison" years ago as a student of electronic music, and had fallen in love with its simple, beautiful harmonies and profound sense of mystery.
"Oraison" is not only a lovely piece of music, but has historical interest too - it may be the first piece of purely electronic music written expressly for live performance. Also of note is that Messiaen re-arranged "Oraison" for cello and piano and used it for the fifth movement of "Quartet for the End of Time", which he composed in a German prisoner-of-war camp in 1941; the "Quartet" is one of the great classics of 20th-century music.
"Oraison" ("prayer") is from a suite of pieces for six Ondes Martenot called "Fete des Belles Eaux" ("Celebration of the Beautiful Waters"), composed for the Paris International Exposition in 1937. The Ondes Martenot was among the first electronic instruments, and is still among the most expressive. The Continuum's own expressive qualities seemed at least the equal of the Ondes Martenot's, while allowing for polyphony and the possibility of performance of the work by a single player. I transcribed "Oraison" for my Buchla 200e/Continuum system, programmed the modern system in homage to the sound of the Ondes Martenot, and now offer this performance to you.
Oraison, composed by Olivier Messiaen in 1937 for six Ondes Martenot, transcribed for Buchla 200e synthesizer and Haken Continuum Fingerboard controller and performed by Richard Lainhart in 2009.
Welcome to TWEAKERS! In our first episode, we would like to introduce you another side of Jay Montonn who has deep knowledges in music production and electronic music gears. Aside from being a famous actor, he's also a remarkable artist in Thailand's electronic music scene.
Montonn (Jay) Jira : is best known for his multi-genre crossing productions and forward thinking performances. Having studied music composition and production abroad, he has also expanded his knowledge into sound design for music and film, and has returned to Thailand as "The Producer" to watch out for.