Update: This is a long article and I've rendered it as pdf and Open XML paper so you can read this offline and print it.
Blofeld users rejoice! Waldorf has released a free firmware update for the Waldorf Blofeld synthesizer. It's kind of a life changing update in that it allows you to transfer only new samples from a new Program in a Program List rather than transferring all samples in a program list - hooray!
Most seasoned Blofeld users seem to be having trouble getting the new features working - boooo!
I'm a long time Blofeld/Spectre user but I not things to work first try. I did figure it out after about 3 hours of research and trial and error and wanted to pass along my findings to save you time. Yaaay!
Details and secret sauce of how to get new features working is below.
Ωδή στη Χαρά | Ode to Joy, 2013-14 Βίντεο, ήχος | Video, sound, 4’ 40”
The artwork was produced in the framework of the 4th Young Artists’ Workshop "Mediterranean Temperament? Regional Stereotypes and other Myths" (14 - 25.10.2013), of the 4th Thessaloniki Biennale of Contemporary Art, with the collaboration of the Municipality of Kalamaria and Action Field Kodra. The 4th Thessaloniki Biennale of Contemporary Art (18.09.2013 - 31.010.2014) which is organized by the State Μuseum of Contemporary Art, is the second of a three part program which started in 2011 and is funded under the Operational Program Macedonia - Thrace 2007 - 2013, co-financed by the European Union (European Regional Development Fund) and Greece.thessalonikibiennale.gr
Special thanks to Labros Katsis, Antonis Prodromou, Giorgos Gerontides.
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: email@example.com).
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: