One of my daily reads is the Messy Ness Chick blog. She doesn't write about music typically, but it is quite wonderful and I highly recommend it. On type of article she posts is called "13 Things I Found on the Internet Today".
The Museum Of Endangered Sounds is owned and operated by me, Brendan Chilcutt (handle: firstname.lastname@example.org).
I launched the site in January of 2012 as a way to preserve the sounds made famous by my favorite old technologies and electronics equipment. For instance, the textured rattle and hum of a VHS tape being sucked into the womb of a 1983 JVC HR-7100 VCR. As you probably know, it's a wonderfully complex sound, subtle yet unfiltered. But, as streaming playback becomes more common in the US, and as people in developing nations like Canada and the UK get brought up to DVD players, it's likely that the world will have seen and heard the last of older machines like the HR-7100. And as new products come to market, we stand to lose much more than VCRs.
Imagine a world where we never again hear the symphonic startup of a Windows 95 machine. Imagine generations of children unacquainted with the chattering of angels lodged deep within the recesses of an old cathode ray tube TV. And when the entire world has adopted devices with sleek, silent touch interfaces, where will we turn for the sound of fingers striking QWERTY keypads? Tell me that. And tell me: Who will play my GameBoy when I'm gone?
These questions and more led me to the undertaking that is The Museum Of Endangered Sounds.
My ten-year plan is to complete the data collection phase by the year 2015, and spend the next seven years developing the proper markup language to reinterpret the sounds as a binary composition.
If you don't understand my passion and the significance of my work, you probably never will. But if you do, then you've come to the right place.
And please, please email me if you enjoy the museum or have any questions! I love to hear from people and need to know what gadget sounds I am missing.
My friend Mark Mosher doesn't get adamant too often, but when he does, I have to listen. He was adamant about getting into his friend AfroDJMac, and the work that he's been doing on Ableton Live packs. I jumped into my research (i.e., I took things for a quick drive then started digging deeper), and was really impressed with the work. Reached out to see if he'd be up for a quickie chat, and he jumped on the opportunity.
So you get this - my Thanksgiving gift to you. Great talk with a really insightful programmer, sound designer, songwriter and Ableton Certified Trainer.
I always like when someone opens a door for me to explore. Brian's ideas about vocal music (especially mixed with electronic music concepts) are really unique, and the way that he mixes music and teaching is also very interesting. Listen to his work here, and enjoy the discussion!
My very first synth was the Poly-800 which I bought the year it was introduced in 1984. It was the first programmable polyphonic synth for under a thousand bucks (I bought mine for $795 new). It was an incredible value at the time with these features:
Here is a fascinating documentary released in 2006.The entire 27 minute video is available on Vimeo https://vimeo.com/70164353 or you can watch it in the embedded player below.
It's defintely worth your time if you've never seen it - so bookmark for later if you don't have time to watch it now. Some nice Dr. Who action at 6:46. Also, fascinating info on an early seqeuncer built with a Digital Equipment Coporation PDP-8 at the 10:32 mark.
Post-war Britain rebuilt itself on a wave of scientific and industrial breakthroughs that culminated in the cultural revolution of the 1960’s. It was a period of sweeping change and experimentation where art and culture participated in and reflected the wider social changes. In this atmosphere was born the Electronic Music Studios (EMS), a radical group of avant-garde electronic musicians who utilized technology and experimentation to compose a futuristic electronic sound-scape for the New Britain.
Comprising of pioneering electronic musicians Peter Zinovieff and Tristram Cary (famed for his work on the Dr Who series) and genius engineer David Cockerell, EMS’s studio was one of the most advanced computer-music facilities in the world. EMS’s great legacy is the VCS3, Britain’s first synthesizer and rival of the American Moog. The VCS3 changed the sounds of some of the most popular artists of this period including Brian Eno, Hawkwind and Pink Floyd. Almost thirty years on the VCS3 is still used by modern electronic artists like The Emperor Machine.
What The Future Sounded Like colours in a lost chapter in music history, uncovering a group of composers and innovators who harnessed technology and new ideas to re-imagine the boundaries of music and sound. Features music from Pink Floyd, Hawkwind, Roxy Music and The Emperor Machine.
Hands-On Review of Nord Lead 4 v1.30 OS Update On December 23rd, 2014, Nord released an OS update for the Lead 4 Synthesizer bringing it to version 1.30. Download the update from here http://www.nordkeyboards.com/downloads/products/nord-lead-4. I applied the update to my Nord Lead 4 yesterday and got some hands-on time...
Modulate This! Synth Blog Turns 9 Wow – the last year has ben my busiest music year ever! I released more music and played more shows than ever before over (photos) with my solo work (http://www.MarkMosherMusic.com), I formed a new duo http://www.AIWinter.net and released an EP.,...
Modulate This! Interview with Gary Numan Gary Numan will be playing Denver tonight at the Gothic Theater. Show starts at 8pm. He’s currently on tour supporting his fantastic album Splinter (Songs from a Broken Mind). I caught the show at the Mountain Oasis Festival 2013 and...