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CONSCUIS OMNIUM MUNDORUM
O R D E R O F T H E S H A D O W W O L F
ISSUE # 3
T H E N O R T H S E A I N S T I T U T E
F O R T H E
O V E R M I N D
O V E R M I N D
O V E R M I N D
O V E R M I N D
O V E R M I N D
Welcome to ISSUE 3 of The Order Of THE SHADOW WOLF Cyberzine.
Occult Home Experiments - Synthesizer stuff - D.I.Y projects -
West Coast Electro Scene News - Movie Tips - Obsolete Computers
and much more!!!
In This Issue:
Conduct your own
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/ _` |/ _` | '_ \|_ / |_ / _ \ |/ _` |
| (_| | (_| | | | |/ /| _| __/ | (_| |
\__, |\__,_|_| |_/___|_| \___|_|\__,_|
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_____ ___ __ ___ _ __(_)_ __ ___ ___ _ __ | |_
/ _ \ \/ / '_ \ / _ \ '__| | '_ ` _ \ / _ \ '_ \| __|
| __/> <| |_) | __/ | | | | | | | | __/ | | | |_
\___/_/\_\ .__/ \___|_| |_|_| |_| |_|\___|_| |_|\__|
|_|
. . . . . . .
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. . . . . . ________ . . .
. _______ / \ . . .
. . . | o o o | | o o o o |
| o o o | /\ | o o o o | /\ /\ /\ /\ /\
/\ /\ /\/\ /\ /\ /\ |/ \/\/\o o o /\/ \ \/ \/\ \/ \
/ \ / \ \ \/ \/ \ \/ \ \ \ o o/ \ \ \ \ \ \ \
/____\/____\__\_\___\___\__\_____\_\_\o / \ \ \ \ \ \ \
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Trip out for just the price of 2 Ping Pong balls!
Or an interesting past time when you got too much time on your hands, it beats watching TV anyways.
Ganzfeld means "whole field" in the german language and is a method to realize a state of sensoral deprevation. It is acquired by having a complete uniform visual field before the eyes and a uniform constant sound playing on the background for a certain time.
It is most often done with 2 ping pong ball halves that cover the eyes, a red light and a white noise sound source.
What happens in the Ganzfeld experiment?
If you glare into a featureless field of vision, a total emptyness, your brain just starts to make up stuff after a while. The higher visual cortex tries to search for something that isn't there and will, simply said, shut off your vision.
The only thing left to interpetate for the higher visual cortex is NEURONAL NOISE, scattered random electric fluctuations occuring in the neural pathways. This usually occurs below the treshold of neuro action potential (Action Potential is like the minimum voltage that has to occur across the nerve fibre for some activity to occur). This is what apparently creates hallucinations.
The Ganzfeld effect has been known since the dawn of man, it is speculated by some that the images of prehistoric cave paintings were depictions of ganzfeld induced hallucinations due to sensory deprevation deep inside the caves.
Somewhere in the 1974 Charles Honorton was researching extra sensortial powers and dreams at the Maimonides Medical Centre in New York.
In his experiments Test subjects were exposed to the Ganzfeld method to get them into a state of sensory deprevation. As there was no information to be processed for the brain it was believed that they could use their entire mental power on psychokinesis. The test subjects in the ganzfeld state would have to do certain telephatic and psychokinetic experiments.
Though Honorton claimed to have found proof for the existence of PSI in these experiments it has never been repeated by any other studies and we should take it with a littlebit of scepticism.
PSI powers or not,you can still trip out there is no scientific debate about
that.
What you need:
Cut the ping pong balls in half, make sure you end up with 2 halves withouth any pingpong ball company logo on it. Use a sharp knife or something, don't cut your fingers off.
O_O
/ \
|
_________ ____ ____
/ \ / | | \
/ | \ / | | \
| | | | | | <---- pingpong ball
| | | | | |
\ | / \ | | /
\_________/ \____| |____/
|
Put the two pingpong ball halves over your eyes, use some tape on the sides so they stay put. Do not cover the ping pong balls with tape, its vital the field of vision has only the white of the ping pong ball.
Lie down in a darkened room with only a red light source and nothing else. Play the white noise in the background (You can also use headphones, it might even be more effective). Keep your eyes open. After a while (15 - 20 minutes) you will start to trip out.
/ / / == \ \ \ \ \ ......
| == \ ....... __
| | | / \ | | | .......| \_
\ \ \ \__/ / / / / | ......| _|
\ \ \ / / / / ....... |__/
/ / .......
\ \ ___ / / /
__
@@@@_/ \_/|__ _________________ /|
@@@@ \__/ | |___/ ___________ ___|---------------------/ |
@@@@ | | | _ \ | |
@@@@@@@@@________|______________| \/_____________________|_|
.----------------. .==========================================.
|__________________|____________________________________________|
Experiment with different light colors and see what happens
Try different noise sources, pink noise or seashore recordings etc.
Try Stroboscopic lights with different frequencies.
Try telephatic experiments, send information through PSI to other people,
use your brain in strange ways.
_
___ ___ | | ___ _ __
/ __/ _ \| |/ _ \| '__|
| (_| (_) | | (_) | |
\___\___/|_|\___/|_|
_ _
_ __ ___ _ _ ___| |__ ___ | | ___ __ _ _ _
| '_ \/ __| | | |/ __| '_ \ / _ \| |/ _ \ / _` | | | |
| |_) \__ \ |_| | (__| | | | (_) | | (_) | (_| | |_| |
| .__/|___/\__, |\___|_| |_|\___/|_|\___/ \__, |\__, |
|_| |___/ |___/ |___/
Some cool colors and their names, what they look like and their Hexadecimal
codes:
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_ __ (_) __ _| |__ | |___ _(_)_ __ __| |
| '_ \| |/ _` | '_ \| __\ \ /\ / / | '_ \ / _` |
| | | | | (_| | | | | |_ \ V V /| | | | | (_| |
|_| |_|_|\__, |_| |_|\__| \_/\_/ |_|_| |_|\__,_|
|___/
_
_ __ ___ ___ ___ _ __ __| |___ _ __ _____ _____
| '__/ _ \/ __/ _ \| '__/ _` / __| | '_ \ / _ \ \ /\ / / __|
| | | __/ (_| (_) | | | (_| \__ \ | | | | __/\ V V /\__ \
|_| \___|\___\___/|_| \__,_|___/ |_| |_|\___| \_/\_/ |___/
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.... .... .... . ........
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The latest NEWS from Nightwind Records:
The digital version of Nomad Ninja's Avond Sluimer album is out now on bandcamp. "Amateur Synth Jazz for the professional psychonaut". The CD and Cassettetape versions will be out early 2016.
Recently A double vinyl pack version of the Calimex Mental Implant corp cassette was released. Incorporating a full colour sleeve with the original artwork.
The soundtrack of Brad Abrahams Swansong of the Skunkape documentary was released on cassette. The cassette came in the usual faux leather miniVHS vintage videogame box and included a microzine packed with various sknunkape information. "Skunkape standup comedy" and a detailed instruction how to smell like a skunkape are included.
Osiris Hairsalon *** Scully Mentos *** UFOCUS *** Satomi Tamiyama
more vinyl
more microzines
more stickers
From now on we shall press a limited amount of CDRs of the Nightwind releases. They have full color artwork on the CDR and sleeve come with micro-zines and sometimes a cool sticker or some stuff. They don't come in these whack plastic CD cases but in flexible mini-LP sleeves.
For soundbytes of the releases check out http://www.nightwindrecords.org
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| |__ _ _(_) | __| | _ _ ___ _ _ _ __ _____ ___ __
| '_ \| | | | | |/ _` | | | | |/ _ \| | | | '__| / _ \ \ /\ / / '_ \
| |_) | |_| | | | (_| | | |_| | (_) | |_| | | | (_) \ V V /| | | |
|_.__/ \__,_|_|_|\__,_| \__, |\___/ \__,_|_| \___/ \_/\_/ |_| |_|
|___/
_ ___ _ _ _ _ _ o o
__ _ _ __ __ _| | ___ __ _ / \ / \ \ \ \ \ __
/ _` | '_ \ / _` | |/ _ \ / _` | / / / / / / / / \
| (_| | | | | (_| | | (_) | (_| | \__/ \/ \/ \/_/_/ \__/
\__,_|_| |_|\__,_|_|\___/ \__, | o o
|___/ o o o o
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___ _ __ _ __(_)_ __ __ _ _ __ _____ _____ _ __| |__
/ __| '_ \| '__| | '_ \ / _` | | '__/ _ \ \ / / _ \ '__| '_ \
\__ \ |_) | | | | | | | (_| | | | | __/\ V / __/ | | |_) |
|___/ .__/|_| |_|_| |_|\__, | |_| \___| \_/ \___|_| |_.__/
|_| |___/
Get that warm springey space in your music with an analog spring reverb effect for 5$ or less.
What is a SPRING REVERB?
Before they had digital Effects processors, reverb was often made with a spring or metallic plate through which the sound was transduced via a a transmitting audio device and a recieving one. Like a speaker attached to the spring (transmitting) and a microphone or piezo element on the other, recieving end of the spring.
It gives a very warm dub twangy surf 1950s space si-fi / academic acoustic music feel to your sounds.
The cool thing is that if you hit the spring or the box around it it will make a huge psychedelic thunder sound.
What you need:
_ ___----___ audio input
---- \________
\
__________________/
/ wooden case
_______/ spring |
\ | _ _ _ _ _ _ _ _ _ _ _ _ | <---
\ || | | | | | | | | | | | | | | | | | | | | | | ||
\ screw|| | | | | | | | | | | | | | | | | | | | | | | ||
/ ||||| = | | | | | | | | | | | | | | | | | | | |||-| screw
/ | | | | | | | | | | | | | | | | | | | | | | | ||
/ | |_| |_| |_| |_| |_| |_| |_| |_| |_| |_| |=| |
/ | | | |
\ skewer---|--> | | <-|--- skewer
\__ | | | |
/ | __|________ ________|___|
/ | \ / \ /|
/ | \_______/ \________/ |
/ |_____|___|____________________________|____|___|
\ |_____| ______/_/
\________________/_/ \_________________----____ _
----
powered PC speaker speaker cone audio output
(not powered!)
(schematic by prof.elektrovolt)
Attach the spring in the box with the screws so it hangs horizontally in the
air.
attach one end of the skewer to the speaker cone membrane with some hot glue
or gummy substance and the other end on one side of the spring, also with some
glue or gummy stuff...i guess you can use tape too.
Do the same for the other end of the spring for the recieving audio output
speaker. For better sound quality, ,make sure you put the audio output signal
of this machine in an instrument or mic input.
Make sure the audio input speaker is powered or use an amplifier before it.
The other recieving speaker should not be powered, its just the cone.
If you are competent you can probably make it so you can tighten the springs
with the screws to alter the spring reverb resonance/reverb time.
Or add some other cool stuff like flashing lights, a cover with foam rubber
very close to the spring, which you can slide open to get different acoustic
varieties of the spring reverb sound (in theory I guess). Use other types
of metal for the spring, or even submerge the spring in oil (not water!!) for
a really dark thunderous reverb!
__ _ _
__ _ ___ __ _ ___ ___ / _| ___ _ __ | |_| |__ ___ *
/ _` | / __/ _` / __|/ _ \ | |_ / _ \| '__| | __| '_ \ / _ \ *
| (_| | | (_| (_| \__ \ __/ | _| (_) | | | |_| | | | __/ *
\__,_| \___\__,_|___/\___| |_| \___/|_| \__|_| |_|\___| *
_ __ _ *
___ __| |_ __ / _| ___ _ __ _ __ ___ __ _| |_ *
/ __/ _` | '__| | |_ / _ \| '__| '_ ` _ \ / _` | __| *
| (_| (_| | | | _| (_) | | | | | | | | (_| | |_ *
\___\__,_|_| |_| \___/|_| |_| |_| |_|\__,_|\__| *
CDR the newest underground music medium!
_____________
____ ____
___ ___
_ __ _ ----
- -- -- - ----
- - - - _____________________
- -- -- - | nomium cd |
- -- - --- -- - - ===== - - - - |
__ __ |_____________________|
____ ___ --- === ===
______________ ---
CDR's have a bad reputation, vinyl fusspots sniff at them but is this really a justified case????
Hans Snijboon CDR enthiousiast sais:
So next time you diss the CDR format think again!
MASTER CONTROL CLASS with...
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__| |(_) _____ _____ _ __ __| | ___ ___ ___
/ _` || | / _ \ \ / / _ \ '__/ _` |/ _ \/ __|/ _ \
| (_| || | | (_) \ V / __/ | | (_| | (_) \__ \ __/
\__,_|/ | \___/ \_/ \___|_| \__,_|\___/|___/\___|
|__/
* * * * *
_________ * *
/ \ ___________________ *
* | | * | SP12_____________ |
|___________|________ * | [] [] [] o _____ | *
/ \ | == == == |_____|| *
* * /____ ______ \ | . . . . . . . . | *
. ____. ] | |
/ |_ | | | | | | | | . . | *
* * | ____ |_______ | = = = = = = . . |
__ | | \ | | /\ | | | . . | * *
/ | /________ | |_____\ \___________|
* / \__________/ \ / _/
/ / \______/ \ / *
/ / *
/ /_______________________\ /
| \ \ / * *
__\__________________________\__ \_____/____________________
/ \___\ /\
* / / |
/ _____ _____________________________ / |
/ _________ / (_____) / === === / / /
/ ________ - - - / - - - === === / / /
/ _______ / - - - - / - - - === == / / /
/ - - - /_____________________________/ / /
/ ________________________________________________ / /
/ / / / / / / / / / / / / / / / / / / / / / / / / / / /
/ / / / / / / / / / / / / / / / / / / / / / / / / / / /
/___________ /_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ /
| ______ |================================================| | /
| ==== = | | | /
|____________|________________________________________________|_|/
By Emiel Emmereend
DJ Overdose, also known as Jeroen Warmenhoven, is one of the Dutch West coast's most prolific electro producers. He's been active since the early 90s, participating in many different groups (Get It Boyz, The Hasbeens and Novamen) and music styles (Hip Hop, Miami Bass, Electro, Disco etcetera ad infinitum). His solo aliases are Model Man and Dream Disco and recently he's gained some fame by appearing in the internet series RELICS OF THE PAST, where he stars as Professor Gardner.
In order to unravel the inner psyche of this versatile man, I decided to meet up with him in Schiermonnikoog, an island situated at the north of the Netherlands. We sat down in a nice and quaint 'locale', ordered some coffee and bitterballen whilst having a view of the marina where his sailing vessel (the HMS Jaguar) was embarked.
Tell us about your sailing yacht.
Well, you can't call it a yacht really. Still its quite luxurious. It has a 9,9 HP outboard motor, allowing you to choose between sailing and using the motor. Also, it has a kitchen aboard which I share with another guy.
What do you usually cook on board?
Pasta, steak, French Fries, eggs, salmon potatoes- you know, as long as you can make it with two pans you can make it on my boat. We also use a disposable barbque to do picnics on the shore.
Recently you initiated a side career as an actor in Relics of The Past.
Could you tell us what actors have influenced your acting style- and with that the character of Professor Gardner?
Itās based mainly on Marlon Brando. I have to watch out with that or people might start calling me an imitator. But it was also inspired by old gangster movies. Robert Mitchum, Robert Ryan, Glenn Ford, James Cagney, Humphrey Bogart; I find them supercool.
Is he really so wealthy as rumoured?
Not as wealthy as the potsmoking, weight lifting surfer dudes. They seem to have nothing better to do than lift weights, smoke pot, surf and talk about shit and synths.
What is your favorite movie?
I would have to say: The Funeral by Abel Ferrara. I very much like the opening with the old cars in the funeral procession, Billy Holiday singing Gloomy Sunday. Then all the misery starts; gangsters who kill people almost for fun and see them deal with the loss of a brother, and the silly reason why he got killed. I like Abel Ferrara films in general. They seem to feel more realistic than others.
Can you give us some tips on obscure soundtracks? What are your favourites?
Trouble Man (Ivan Dixon) by Marvin Gaye. I might find that the best soundtrack ever. The horn section, the drums and that Moogā¦ itās
almost perfect.
Then, obviously, Blade Runner, beautiful sounds- the Vangelis has to be the best synthsoundtrackmaker ever. I also like anything by John Carpenter.
Also: De Dood van een Non
Die Frau Ohne Kƶrper Und der Projektonist
Solo FĆ¼r Zwei Superkiller (Jack White)
The Beast of War (Mark Isham)
Thereās also this guy named Carter Burwell, with his instantly recognisable piano playing style. In Psycho II he used the Ensoniq SQ80 and the Roland TR808 Drummachine:
https://www.youtube.com/watch?v=vTRKG0NNJeo
Why do you prefer the EMU SP12 Turbo over the SP1200?
Because itās the one that I could get my hands on. I used to have an SP1200 but it was a bit fnurky. They are prone to more problems than the SP12, like the wellknown output problem that eventually made me get rid of my SP1200.
I prefer the look of the SP12 though. The original SP1200 looked great, but I donāt like the look of the black case. I would like to have an original grey SP1200 but they are too expensive now. I used to live in New York where I bought mine for $1000,- and sold it for ā¬1100,- here in the Netherlands. They now go for $2500,- which is insane!
When did you start using the SP12?
I bought my first SP12 from the producers of Mai Tai, who had some hits in the Netherlands in the late 80's. DJ Technician (of Get It Boyz)and I drove to Hilversum to buy it from a guy in a big ass studio. He looked at us and when he went to demo the unit, picked up a microphone and said, āYO", to sample it. Ha, I guess he knew we liked Hip Hop. All we could do was laugh. He coulnd't get the diskdrive to work so I tried my luck and haggled a third off the asking price. I think he asked 1700 guilders and I payed him 1200 in the end. Man, was I ever happier! I had wanted this machine for so long. They would name drop the SP1200 in so many hip hop tracks I loved and it is the ultimate Miami Bass machine. I would even dare to say that without this machine there wouldn't be any Miami Bass.
So then you had zillions of them?
Well, two! I traded a second one for a Roland TR808. Which I love, the way it walks and talks, but I didnāt like the limitations on the sequencer. My first SP12 was falling apart, so when I saw one for sale I asked the seller if he wanted to trade. Some time later Willie Burns found me a new face-plate to upcycle the first SP12. Now itās working perfectly fine and I have two SP12ās.
Could you tell us why the Ensoniq ESQ-1 and SQ80 are the best synths in the world? Or should we keep this a secret?
Itās an insane synthesizer, the best in a hardware setting. It has a modular which you can build to launch off and circle the moon; itās limitless. Mainly, I would say that there is no other synth, especially for that price, which can do sounds as good as the Ensoniqs. Also, the engineers shoud get their weight payed in gold for the lay-out. I mean, noobs could do cool things with it- even the simplest things sound creamy,lush and breathy-well, sound designers could go nuts using this thing! The only limitation I sometimes encounter is the eight voices.
Any interesting freaky tour stories? For example from when you lived in the USA and toured a lot with Ron Morelli and MR. Pauli.
One night we had to leave immediately after the gig. We were in, I think New Hampshire, and had to be in Detroit the next day. This meant that we had to drive all night long and day to get there in time. I was driving at the time, enjoying the night drive when it started to rain. Bad. It started raining so hard that I had to chase the truck in front of us because itās tail lights were the only things that I could see. That kept me awake for quite a while.
Playing in Detroit is always a blast. This time we were playing at the Detroit Eagle during Halloween. Itās a gay bar with freaks only, dressing up all weird or being completely naked. The DJ booth was covered by pictures of hard dicks. The t-shirt I got that night is my favourite ever, with a Freddy Mercury look-a-like beefed up guy staring your pants off.
One night we had to sleep in this guys house who had like thirty cats andthe house smelled insanely bad like cat pass. My head was covered by my sweater and my sleeping bag and I could still smell it. The moment the sun rose I went out and sat outside until we were ready to leave.
All we can smell currently is the salty sea and some fried fish. The tide is coming back up and it is time for Overdose to embark on his boat and sail away. Where to? His distant dreams, Gardnerās empire, maybe to a Ferrara film scene. All I know is that I am satisfied with having lifted a little of the veil of mystery that surrounds and follows him forever.
Your star reporter EMIEL EMMEREEND
||===---- ___ ______ ____
_/|| ________ _______ ____ _
__/ ||\
__/ || \ _________ ________ _ _
/ || \
/ || \ __________ ________ _
\ ||____\
\________||___ _________ ____ ______
__________
______/== === == \_______ __ ____ _ _ _ _
___ _\________________________\__/ \____/ ___
/\____/ \__/ \___/\____/ \_____/\____/\___/ \____/ \____/\/\/\__/
/\______/\_________/\_____/\________________/\___/\______/\______/\/\/\__/
/\______/\________________/\________________/\___________/\______/\/\/\__/
Overdose's boat the HMS Jaguar in action, acquiring top speeds of over 5
Nautical Miles per hour.
DJ OVERDOSE selected GEAR LIST
synthesizers: samplers: drums: EMU Vintage Pro Ensoniq EPS16 plus Casio RZ-1 ARP Odyssey EMU SP12 Turbo (x2) Yamaha RY-30 Ensoniq ESQ-1 Roland TR606 Ensoniq SQ-80 Simmons Trixer Roland JX3P EMU Procussion Yamaha DX21 Korg Poly800 Korg Microkorg
Three Essential DJ Overdose related Releases:
Novamen = his collaboration with the illustrious The Hague producer mr. Pauli. An all time The Hague electro-nix wave classic. The sweeped phase string are of a gloryfying divinity.
https://www.youtube.com/watch?v=GlmLt6Idur4
A hidden gem On New York's W.T Records. Defeatist minimalism. The eternal soundtrack for a man with issues under gloomy clouds.
One of the underground hit records of 2007. An essential party banger. From the start the hypnotic repeating synth vocal enters your mind like a mantra. A foundation for the sleazy synthetic disco explosion that follows.
https://www.youtube.com/watch?v=7l_mKiT7onU
_ _
(_) ( )
_ __ _ _ __ __ _ _ __ |/ ___
| |/ _` | '_ \ / _` | '_ \ / __|
| | (_| | |_) | (_| | | | | \__ \
| |\__,_| .__/ \__,_|_| |_| |___/ _ _ _
_/ | | | (_) | | (_) (_) |
|__/ _ _ _|_| ___ _ ___ _ __ | |_ ___ _ _ __ ___ _ _ _| |_ ___
/ _` | '_ \ / __| |/ _ \ '_ \| __| / __| | '__/ __| | | | | __/ __|
| (_| | | | | (__| | __/ | | | |_ | (__| | | | (__| |_| | | |_\__ \
\__,_|_| |_|\___|_|\___|_| |_|\__| \___|_|_| \___|\__,_|_|\__|___/
.... . . . .
.. * . *
. * . * .
. ____ __
_ / V \
_____________/_\ / \_
| |\ / ______ \
| o o _____ .. | \ __ /\| .... |/\/\/\
| O . ________ | \/..\ |=[__]=| \
| | |o__o| |[][][]| \
/| _[][][][][][].| ||__|| |[][]..| _ _ \_
/ |_______________| \__/ |______| ( )( ) \
__/_____________________/________________I__I_____\_____
///____
. . >>>> /// . \\__ <<<< . . .
. |||. .__/ .\\ .
. /\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\ .
By Sir Wallace Burdock
The energy that powers Japan comes from its volcanoes and seismic activity, though it is not direct or obvious. From the Earth's core it radiates through the land and influences people's brains in a very subtle way - when a physical stimulus is converted into electrical impulses, the primeval seismic energy resonates with these impulses, magnifying brain's responses. It doesn't expand perception, but it makes it more intense, adding new layers of meanings. It is not unlike a drug.
It's the reason why the Japanese celebrate simple forms so much - they're the perfect vessel to be charged with the ancient truths hidden in the tensions and shifting polarities of forces that shape the whole planet.
We won't be discussing all the effects this has on the society, but please note Japan's industry, with its endless stream of cars and electronic appliances. Designed by Japanese engineers, all these artifacts, from the configuration of mechanical parts to intricate patterns on circuit boards, bear at least fragments of the inner Earth's harmony. And here we come to the main topic: the Japanese music gear.
Ever wondered why so many great music-making machines come from over there? Yes, it's because of volcanoes and Japanese mind-enhancing power field. The audio waves produced by even simple pieces of gear are in direct correlation to the waves broadcasted by the planet's core. Even when taken overseas, it doesn't change - it's embedded in their design.
It's also evident when roaming Japan's music stores - and there's so many of them! Both used and new gear is treated with the same reverence, as everyone feels that what they hold in their hands is, in a way, holy. When you buy a second-hand item, it will be carefully secured with a bubble wrap and handed to you with a respectful bow. Sometimes you can even get a couple of months of warranty. The prices are low. Not dirt-cheap low, as they're still valuable items, but maybe 2-3 times lower than in Europe.
There is one small issue, though, and it's again connected with volcanoes: the voltage in Japan is lower than in both Europe and America, to utilize the resonance of the seismic radiation and stabilize the current. It means that you need to carefully read the voltage description on the power supplies - if it says 100-240V or something similar, you'll be fine with just a cheap plug adapter, but if it's 100V only, then be prepared to buy a compatible PSU wherever you live.
As many of you may be visiting Japan on tight schedules, here are some tips for looking for treasures. First, some general remarks:
/ ... ...
|| HARD.OFF
____/|| _ _ _
2160 || | |_
|| \|/ \____
|| ||| 3240
________||_______|||________
. . ./ \ . . .||| . . .
. . .| ||.| . ._|||_ . . .
. . |_||_|. ./^|||^\ . .
|-||-| |^^|||^^|
_\__/_ |^^___^^|
_____/______\__\_____/______
On top of that, in Tokyo there's a couple of places where you probably want to go:
CHUUKO (second-hand) GAKKI (instruments)
_/_ ___ ___
| | \ |___| / | | | |
____|____ _____|_____ / |___| \ |___| |___|
| | | | __/________
|___|___| ___|___ _____|_____ /__ ___\
| | | _/|\_ /| | | |\
| |_____| _/ | \_ |___| |___|
If you find a nice piece of gear in one of those places, remember: it's not a standalone item - it's a terminal that gives you access to the vast underground network of energy, the extension of the ancient circuitry that powers the movement of continents, that is Earth itself. Open your ears and listen. Decays, especially.
Sir Wallace Burdock
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\__, |\__,_|_|_|\___|_| \__, |
|___/ |___/
_______________________________________________________________________________
| . . . . |
| . . . . |
| . . . . |
| |\ /| . . |
| . | \-_____-/ | . . |
| / \ __________/ |
| / ___ ___ \ /\ . . _____/ . |
| / - \ / - \ . / \ / |
| /\ / \ /\ / \ / |
| _/__\/\ / _T_ \ __/__\/______\__ _________//________________ |
| _____ / \ ______________ / _____ /| |
| _____ / \ _____________ / / / / / / / TR727 / / |
| _____ / \ __________ / /____/ / / |
| ____ / \ /\ _________ / / / / / / / / / / / / |
| ___ / ____/ \ _______ / _ _ _ _ _ _ _ / / |
| __ / _____/ / _______ / // // // // // // // / / |
| __ / ____/ / ______ / / / |
| __ / / _____/ ______ \__________________________\/ |
| __/ ___/ / \ ________________________________________ |
| /__________________/_____\ ______________________________________ |
|_______________________________________________________________________________|
"Dewadacu, Fox and TR727 drummachine" By Timothy Shampoo
_______________________________________________________________________________ |###############################################################################| |###############################################################################| |###############################################################################| |################# ############### ######################################| |################### ############# #######################################| |#################### ############ #########################################| |##################### ######################################| |############################## ################################| |############################ ##### ###############################| |############################ ###### ###########################| |############################ ########################################| |############################# #### ########################################| |############################# ### #######################################| |############################## #### ######################################| |####################### ###### #####################################| |###################### ############ ########################################| |################################## ##########################################| |###############################################################################| |_______________________________________________________________________________| "Wiebelmans Schaduw" by Andy Peeretoet
_______________________________________________________________________________ | | | _____/\___ | | / \ There is this theory of the Moebius | | /\ -- |-- |\ A Twist in the fabric of space | | / \ ___ | __|| Where time becomes a loop | | / / / - | - /| There is this theory of the Moeb| | / \ _| | | A Twist in the fabric of spac| | | \ ____ | | Where time becomes a loo| | \ /@@ -- / / There is this theory of the Moebius | | _\___/__@@ @@ /_/_____ A Twist in the fabric of space | | / \ \ ---- \ _ Where time becomes a | | /___\ \________________\ // | | / \ \ /\ \ //__ | | / \ \ -- | \ /\///// | | | | \ \ | | \__'_/ | | | | \ \ | |__/ / | ____\\_ / / | \ \ | / | '----_ \_____/ / \ \ \ /________/ | | \_ \ / \ \ \ / | | --/_______/ \ \ \ / | |_______________________________________________________________________________|
_ _ _
_____ _____ | |_(_) ___ ___ ___ __ _| | ___ ___
/ _ \ \/ / _ \| __| |/ __| / __|/ __/ _` | |/ _ \/ __|
| __/> < (_) | |_| | (__ \__ \ (_| (_| | | __/\__ \
\___/_/\_\___/ \__|_|\___| |___/\___\__,_|_|\___||___/
Due to popular demand we have a whole own section now for EXOTIC SCALES
is your music missing melody...are you pitch deaf????
need a new angle??? Try one of these new scales to fuel your inspiration!
A quick introduction to musical notes:
a# a#
d# g#| d# g# |
c# | f#| | c# | f# | |
_|_|___|_|_|___|_|_ _|_|_|_
|| | ||| | | ||| | ||| | | ||
||_|_|||_|_|_|||_|_|||_|_|_||
| | | | | | | | | | | | | | |
|_|_|_|_|_|_|_|_|_|_|_|_|_|_|
c d e f g a b c d e f g a b
Above are 2 octaves, each octave contains 12 notes
c d e f g h a - the white keys c# d# f# g# a# - the black keys
These octaves repeat themselves over the whole keyboard
usually on a bigger polyphonic synthesizer there are 5 octaves.
Get it?! Now start improvising & freaking out on these scales:
C, C#, D#, E, F, F#, G#, A#, C
A, C#, D, F#, G#, A.
Play with Fiercness, frugality, loyality, honour
B C D E F# G A
play with portamento, preferably in monophonic mode
lots of modulation wheel & pitchbend action
C B G# G F E C# C
C# F G G# A# C
A A# D# F A+1 A#+1
C# D# F G A# B# C+1
A B C D E F# G A
A# B C# D# F F#
-=-=-=---- . . . . . .
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/ _` | '_ \ / _ \ \/ / '_ \ / _ \ '__| | '_ ` _ \ / _ \ '_ \| __|
| (_| | | | | | __/> <| |_) | __/ | | | | | | | | __/ | | | |_
\__,_|_| |_| \___/_/\_\ .__/ \___|_| |_|_| |_| |_|\___|_| |_|\__|
|_|
_ _ _ _ _
__ _(_) |_| |__ | |_(_)_ __ ___ ___
\ \ /\ / / | __| '_ \ | __| | '_ ` _ \ / _ \
\ V V /| | |_| | | | | |_| | | | | | | __/
\_/\_/ |_|\__|_| |_| \__|_|_| |_| |_|\___|
/________/ _______/____/
________ /__ / /__________/ / ________
\__ \ /_____/ /_______________/____/
_ ____ / \_______ /_________/
/ \ / \ \ ________/ /////////////////
| | |__________| | ////////////////////
| | | ] | | ///////////////////
\_/____| o |______/ //////////////////
___,,,,_______________,,,,____
| |||| |||| | //////////////////
| | ////////////////////
|______________________________| ///////////////////
| | //////////////////
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| |
Do your own āExperiment with timeā and learn to predict the future!
~Inspired by D.W. Dunne~
Right now, Iām writing this article whilst Shadow Wolf makes a disturbing nazi mouse sound. Not that it has anything to do with my article, it just seemed like a good introduction. In a far away past I researched the notorious film IrrĆ©versible (Gaspar NoĆ©, 2002) and stumbled upon a reference to the book called āAn Experiment With Timeā. The book appeared in a shot of maybe a few seconds, but the title caught my attention and I decided to start investigating this book that pushed the narrative into itās highly unpredictable development.
IrrĆ©versible claims that time is elliptical, not linear. This certain notion is found also in 2001: A Space Odyssey, and the foundation for this theory lies in D.W. Dunneās book. He claims that everything happens at the same time and that proof can be found in premonitory dreams.
In order to make things a little less dull and dry, I shall escort you through the theory whilst showing you how you can do this experiment yourself. All you need is a pen, paper, patience and an open mind. Within a few days, weeks, months, or years, you will be able to predict the future yourself!
Letās start by a little background information. Our consciousness forces our perception of time to flow in one direction. The past is behind us, the now is now and the future lies ahead. If this were true, then how come people experience premonitory dreams? And with these dreams we donāt mean the ones charlatans claim to have (in the same line of Crystal therapy and aura reading) - no, J.W. Dunne had spent his life dedicated to science in itās purest form yet failed to explain why he sometimes saw into the future. The answer, he now knows, is simple; there is no future.
Everything happens in the eternal now, we just fail to realise it! Itās one big jumble mumble of moments and experiences happening at the same time but we as human beings fail to grasp this. Then, why dreams? This is because Dunne claims that during our moments of subconsciousness we are able to see slivers of the future and the past. We just learned that all these ādreamsā are only dreams, but Dunne says that some information in these dreams tell us about the eternal now. See, the slivers are not really seeing into the future, itās being able to experience the now you will experience in the future.
So, how do you look into your future now?
The first step is to try and remember your dreams. Without remembering, there is no way youāll see your future! Everybody has dreams, most of us just fail to recall them. Whenever you wake up, try and write down everything you remember about your dreams straight away. Donāt wait, donāt pee: write! Doing this constantly for a while will boost your ability to recall dream moments clearly.
After mastering this, youāll need to filter the nonsense in your dreams from the truly important elements. Start by writing down everything as detailed as possible. How did you feel, what colours were there, smells, sounds, thoughts? This step is essential because our ātime travellingā makes us live through experiences, not just images. Hereās an example:
I dream about a man installing three spider webs in my room and I feel a little paranoid about it. Iām hiding behind a rock observing him an his daughter placing the webs. After the third is installed, he burns them, causing his daughter to burst into flames. He tells her: āit was all meant to trigger this reaction in you, Iām so proud that youāve erupted!ā.
Weird huh? The goal is to write down everything and as you continue living, pay great attention to whether you see links between your dreams and your experiences. Maybe this dream is connected to a film I might watch in twenty years. See, thereās no time rule about when these moments might happen in our perception or whether theyāve already happened!
By Sierra Nobo III
Set up your own....
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/ __| | | | '_ \| __| '_ \ / _ \/ __| |_ / _ \ '__| / __| | | | | '_ \
\__ \ |_| | | | | |_| | | | __/\__ \ |/ / __/ | | (__| | |_| | |_) |
|___/\__, |_| |_|\__|_| |_|\___||___/_/___\___|_| \___|_|\__,_|_.__/
|___/
_______
/ \ ,. /\ ||||||||| _______
/_________\____ \ \/ / ||||||||| _/___ __\_
| / __| \ / | _ _ | | o || o |
\___/ ' .| | | | o o | |_____||____|
| ] | / / | U | ____ | _______ |______
\__ O / / / | EEEEE | / \_________/ \
_______/ \_____/ / /=========\ /____ _____\
/ ____/ /-----------\ / \ o o o o / \
\ \ ______ / /=============\ \ o o o o / /
\ \ / /===============\ \ / /
\ \ | / //// \\\\\ \ \ \ / / / / /
\ \ ________________ _____________________ _________________________
\__ \ \ \ \ \ \ \ \ \\ \ \ \ \ \ \ \ \ \ \\ \ \ \ \ \ \ \ \ \ \ \ \
\ \\\\ _ _ - - - \\ . . . . __ _ _ \\ . . . . __ __ _ \
\ \___________________\\____________________\\________________________\
\| P A M A H A 3 0 3|| P R O R A V E R 200|| r i t z n i t e w a v e|
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It's the perfect occasion to socialise with likeminded spirits. Get high or drunk, play with synthesizers you don't own (yet), discuss different pattern techniques and cable logistics; just overall dork out! These six easy steps will guide you through the process of setting up your monthly festivity. Fun is 100% guaranteed!
STEP 1: Give it a cool name like "AVALON SYNTH CLIQUE" or "MALIBU SYNTHESIZER DOLPHINS". If you want to be experimental and mysterious you could leave out the word synthesizer, like "SYNERGY 101", "VCO SYNDICATE" or "SPECTRA BOYS". If you have trouble choosing: ask your neighbour what name sounds the freakiest to him and choose that one.
STEP 2: Design a logo. If you have the tools try making a stamp out of it, this way you can design your own postcards and be all cool with that logo.
STEP 3: Invite your members in spe. Announce the birth of the synthesizer club on forums, social media and whatever is being used at that time. Make a website with lots of colours and make flyers which you can leave at record stores and obscure clubs.
TIP: Having trouble finding juicy new members? Rummage through your old yearbooks, look for the biggest dork and send him your awesome postcard.
STEP 4: Make the event happen. After getting some members, invite them to your own house or to your local event location. Make them bring their synths, power cables and headphones.
STEP 5: Decorate decorate decorate! Think big, think colourfull and flashy. LED strips, plasma lighting, Fractal projections, lava lamps and interstellar wall projections are all suitable options.
STEP 6: Get some waster material (alcohol, weed), drinks (Punica, Chocomel, Fristi), snacks (liqourice, bananas, jellybeans). Anything goes except for saucy things, extremely crumbly things and sticky things. WARNING: Cheetos are an absolute no-no because of their smell and the sticky cheese powder that stains the keyboard keys yellow.
It's your own decision whether you want people to pay up for participation. I would suggest asking for some small donation to cover some of the costs.
Article Appendix: cool suggestions
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/ __| __| | | |/ _` | |/ _ \ | __| | '_ \/ __|
\__ \ |_| |_| | (_| | | (_) | | |_| | |_) \__ \
|___/\__|\__,_|\__,_|_|\___/ \__|_| .__/|___/
|_|
/ _,
/ \ / . . ____________
. \ O O . O / ______ |
. O _____/ / | |
_________________ / / _____|__| ____
| ____ - - - - | / / / - - - - - - /\
| |:o o| - - = o |_______ / / = = = = = = / \
|_======__________| / \____/ / = = = = = = / /
=== === / / / / / / / / / /
| / - - - - - - / /
______________________|__ / / / / / / / / /
| o o o o = = = | /-------------/ /
| _____________________ | \_____________\_/
| ||||||||||||||||||||||| |
| | l l l l l l l l l l | |
|_|---------------------|_|
Are you lacking inspiration??? Reverse the keyboard! Sit behind your synth, just turn it around so you are facing the backside. You will be pleasently surprised how different you sound! Now you will make your melodies with switched brain halves so to speak! You can do this switching brain halves trick with a lot of other stuff too!
Sample your own tracks, stuff you never going to use, sketches, even ur hits and mangle them, pitch them up, down, filter it, modulate it etc. Make fresh tracks with ur own sounds. Keep using the music as a fractal on and on.
Get an old cassette recorder and just record some synths jamming on a tape. Now record the cassette in your sampler and notice the fuzzy warm tape sound especially when you throw a tiny amount of lowpass filter on it and add a littlebit of high-EQ! Instant basic channel and wooly BOC style!
The Korg Volca Keys is a bit of a boring synthesizer...you probably throw it in the corner after playing with it for 10 minutes...but WAIT! Did you know the sequencer sends MIDI OUT!!!??? yes and a lot of other stuff too... the problem is ofcourse there is no MIDI OUT port beacause they had to keep the costs down. No PORT but quite enigmatic a fully working MIDI out circuit is inside. So the only thing u gotta do is attach the MIDI connector. The problem is where to put the MIDI out port, u can put it on the side or hang it loose with a wire from the outside.
YOu got some old gear that uses 3.5" DD floppies? You might have a problem because 3.5" DD Floppies are almost NOWHERE to be found these days. The only ones you can still easily get are the HD types which don't run in DD discdrives...it is said,but with a bit of ragtag improvisation they will! Most 3.5" HD floppydiscs will work too, just get a piece of tape and stick it over the (left) hole Now for some reason this doesn't work on all diskdrives, but mostly it does.
Add some natural groove to your music: Take one of those plastic yellow Kindersurprise egg containers put in some rice and you got a shaker. Record some loops and add over drums for extra "natural" spice.
You can make sounds much more interesting by adding a slight touch of pitch envelope, only at the decay, so it begins with a little "hiccup". This will add some tension to your melodies and give the listeners brain some more enjoyment. It sort of sounds like portemento but then you can use it more polyphonic. So a good envelope would be:
Attack 0ms Decay 50% Sustain 0 and release whatever. Add this envelope for about 8 - 10% to the synthesizer/sampler pitch envelope amount.
SW
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| |_ _ __(_)_ __ _ __ ___ _ _ ___(_) ___
| __| '__| | '_ \ | '_ ` _ \| | | / __| |/ __|
| |_| | | | |_) | | | | | | | |_| \__ \ | (__
\__|_| |_| .__/ |_| |_| |_|\__,_|___/_|\___|
|_|
. . .
_ _ _
/_| |_| |_\
_ ___ _
/. | | . | | .\
/___| |___| |___\
____ _____ ____
/ o | | o | | o \
/ o | | o | | o \
/______| |_____| |______\
_________ _______ ________
/ | | | | \
/ ( ) | | () | | ( ) \
/ | | | | \
/ ( ) | | () | | ( ) \
/_____________| |_______| |____________\
CASSETTE SPECIAL
Essential Trip Music Reviews
A great source for forgotten new age ambient etc. synthesizer music is soundsofthedawn.net Tons of cassettes have been digitized in mp3 format and the inlays scanned too. Here are some life changing treasures you can dig up there:
A forgotten ambient jazz classic on the beyond ultra cult MU-PSYCH label On side A its mostly romantic filmic piano mixed with dark synthesizer tones. I guess its nice to listen to if you are taking a bath or something. But its the B-Side where things go mental with a more deeper melancholic trippy vibe. Somewhere in the middle (the tracks are all untitled) around 10 minutes, things expand into ascension with vaporous accidentals of incredible portamento'd solosynthesizer. Can't stop listening to this.
Mesmerizing harmonic album from blind bay area synthesist Pauline Anna Strom. Released in 1982 it ventures lightyears away from anything you might have heard at that time. There is something very special about this music, unknown emotions bubble up with an enorumous vibe of an etheral sacredness. Apparently played on a Sequential Prophet 10 synthesizer.
"Visonary music on flutes and synthesizers"...Dark RPG folksynth made around 1981 by husband-and-wife music group Emerald Web. According to the new age music encyclopedia they perfomed in planetariums, made music for Carl Sagan's COSMOS series and did a lot of other TV soundtrack
work.
1983 harp gepingel with some unsettling stunning synthesizer parts. As expected by the title a lot of the tracks are very Arthurian. But its all in a very consenting luring minimalistic way and going towards a lot of different places. Like Aphex Twin Selected Ambient Works II with a touch of Autechre with a milli-gram of Doris Norton, sometimes even touching a NICO-esque mood.
Mysteries of
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___| |__ ___ _ __| |_ __ ____ ___ _____
/ __| '_ \ / _ \| '__| __| \ \ /\ / / _` \ \ / / _ \
\__ \ | | | (_) | | | |_ \ V V / (_| |\ V / __/
|___/_| |_|\___/|_| \__| \_/\_/ \__,_| \_/ \___|
_ _ _
___ _ _ _ __ | |_| |__ ___ ___(_)___
/ __| | | | '_ \| __| '_ \ / _ \/ __| / __|
\__ \ |_| | | | | |_| | | | __/\__ \ \__ \
|___/\__, |_| |_|\__|_| |_|\___||___/_|___/
|___/
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''
'''''''''''''''''''''''''''''''''''''''''''''''
\ '''''''''''''''''''''''''''''''''''''''' /
\ ''''''''''''''''''''''''''''
\ ''''''''''''''''''''''' /
\ ''''''''''''''''
\ - - - - - - O - - - - - / - - -
\ _______''''|''''
\ /\ / ''|'' /
\ / \ / '|'
\ / \ / | /|\ /
/ /______\/ || / | \/_ _ _ _ _ _
/ ______________________||__ / | \
/ | ______________ |_ / | \
/ | | | | O O | | /_ _ | _ _\
/ | | ====|========| | | \ | \
/ | | ----|--------| o o |_| \ | \
/ | | ====|========| | \ | \
/ | |______________| O O | \ | \
|__________________________| \|_________\
Enter the undiscovered nor explained weirdness of the cosmos -> all reachable in that dusty old short wave world radio you thought was a relic of bygone years.
In an endless ocean of swooshes and organic white noise you can travel all over the world and beyond. Stumble upon forgotten obscure distant radio stations, strange weather phenomena and bleeps and burp from secret spy broadcasts!
What is shortwave radio???
Shortwave radio (SW) is the radio transmissions band using shortwave frequencies around 1.6 to 30 Mhz. Shortwave radio transmissons can travel extremely long distances because the radiowaves are refracted back to earth from the earths atmosphere. It is not only used for radiostation broadcasts but also for long distance communication between ships and airplanes and communication with difficult to reach remote parts of the world.
So there is a lot of obscure stuff going on this SW band and so it makes an excellent and infinite source of sounds for your music!
What you need:
A short wave radio "world band reciever", probably have one lying around in the attic/cellar/closet, if you don't have one: any thrift store will have one for cheap.
/ /
/ /
_____________/_ _____________/__
| ________ |- | _____ |
| |= = = = | - | | | - - - - |_____||
| |--------| - |- | - - - - _ _ _ |
| | = = = =| | | - - - |
| -------- | |________________|
|______________|
There are two types:
You can use both but I prefer to use the ones with the analog dail because then you can make smoother movements when you go through the airwaves and they just work faster, the digital ones have the tendency to have no sound when it scans through the stations and they just work slower in general.
So better get one with the analog dail/tuning knob, they are generally cheaper too!
A stereo minijack to Left & Right RCA/Cinch or Jack or whatever you want to use to connect to.
__________-----___ _
________ / -----
---===---____/ \_____ /
\________/
\
\___________-----___ _
-----
You can connect the radio straight to your soundcard, sampler, modular, filter input of synthesizer, fx boxes, pedals etc.
Now scan through the airwaves and start looking for sounds! sometimes you can control sweeps with weird swooshes and swashes by turning the dail up and down at certain frequencies.
Voices from beyond, totalitarian state speeches, atmospheric static, naval chitchat, galactic blurps, extraterrestrial messages, exotic evaporting music from distant islands etc.etc.etc. Just a tip of the iceberg of the sounds you may encounter!
No need to splash out 10000000 $$$ for a modular wall - your 5$ world band reciever can do it too!
You can add an antenna to your world reciever to greatly improve the stuff you can recieve.
Just connect a long wire to the radios antenna (wrap it around) and lead the wire to somewhere outside, preferable somewhere high. Maybe add some tinfoil squares or circles to the end of the wire. I have no clue if that does anything but it definitely will look cool!
. . . _/___
_____ . _\__ / \
----| |-- . _______ / \/ _____/_
|___| \ . /////////\ _\_ | / \
_____________\ / ///// /_=____\ _____
_______ | ========================/_______/=/ \\| / \
| || / | |
| /==== . . | |
|____/_ || | |
|- - o ||| . . | |
|- - ||| | |
|______||| _._ ? | |
| /o o\ . | |
| _| |_ .o. | |
_____________|_______/// \\\______|__/_______/________| |__________
example of what an antenna might look like.
Some more SHORT WAVE RADIO SYNTHESIS tips:
Also be sure your world reciever/radio is not too close to any electro magnetic sources: refgrigirators, computers, synthesizers etc. can interfere heavily and cause hums and stuff.
Most of the time can recieve more in the evening and at night due to better conditions for the signal.
SW
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/ _ \| '_ \ / _ \ '__| '_ \ / _ \ | '_ ` _ \
| (_) | |_) | __/ | | | | | __/ | | | | | |
\___/|_.__/ \___|_| |_| |_|\___|_|_| |_| |_|
_ _ _ ___ ___ ___
_ __ ___ __ _| |_ _ __(_)_ __ / |/ _ \ / _ \ / _ \
| '_ ` _ \ / _` | __| '__| \ \/ / | | | | | | | | | | |
| | | | | | (_| | |_| | | |> < | | |_| | |_| | |_| |
|_| |_| |_|\__,_|\__|_| |_/_/\_\ |_|\___/ \___/ \___/
_ _
_ __ __ _| |_ ___| |__ ___ ___
| '_ \ / _` | __/ __| '_ \ / _ \/ __|
| |_) | (_| | || (__| | | | __/\__ \
| .__/ \__,_|\__\___|_| |_|\___||___/
|_|
_________________________________________________
/ \
/ \
/ \
/ \
/ \
/ \
___/_____________________________________________________________\___
| ___ __________ |
| O \ \ Oberhheim Matrix-1000 | -- -- -- | + 0 1 2 3 4 O |
| o o | _\| . \ | |
| O o o o o o o [ ] |__________| - 5 6 7 8 9 O |
|_____________________________________________________________________|
Here are Emiel Emmereends favorite Oberheim MATRIX 1000 synthesizer patches
235 - Yamaha CS80 Vangelis synthesizer sound
250 - Eerie english bog ambient synth tone
255 - Melting bad trip FM twilight zone
666 - An incredible filmic pad, think Roland Super JX Angelo Badalamenti Twin Peaks and Mullholland drive soundtrack style
775 - Nice Ambient synthesizer
829 - Synthi House Organ great for UK stuff
869 - Winter storm - an ICE COLD storm outside while you tucked away inside - but if you listen REALlly closely you can hear the wolfs howling too.
836 - Puppet Theatre - In an old european town, in an old narrow street... in an abstruse puppet theatre...it might be somewhere in the 1960s but could just as well be now.
887 - Gothic Church graveyard mist - scary DX/FM-esque church bell synth
888 - Polar fox synth, high "tined" electrical piano-esque with artic snow touch.
954 - Electronic Koto, it doesnt sound as realistic then many rompler koto but it has way more "character" for some reason.
969 - Soft Ambient synth, timid and soft but beautifully characteristic in a haunting sort of way
979 - Electric Rhodez Delay showing off "fake" delay using the LFO and a square wave...
_ _ _ _
__ _(_) __| | ___ ___ __ _ __| |_ _(_) ___ ___
\ \ / / |/ _` |/ _ \/ _ \ / _` |/ _` \ \ / / |/ __/ _ \
\ V /| | (_| | __/ (_) | | (_| | (_| |\ V /| | (_| __/
\_/ |_|\__,_|\___|\___/ \__,_|\__,_| \_/ |_|\___\___|
. . o *
o . ___________________ . * |
| _________________ | o ______|_
o || ______ || o /_____ \
. || \ / \ / || * / / |
. || \/ o o \/ || o * |____/ |
o || / \ || * |_________|
|| / /\/\/\/ \ || * * |_____|
. ||_________________|| ____ / ___ \___
|___________________| \ ..\_ | / | | |
o | o o o o -________ | |\ ..\| |/ | | |
| VHS = = |________|| \ //..\ / / | |
|___________________| \ \___\ / / | |
\___\____/ / |___|
\___________/ |
Movietips & Reviews
A young artist is running on empty and out of money. He finds himself immersed into a new hobby with a drill and power-pack battery. Classic New York late 70s No Wave Cult movie. So much weird and funny stuff going on. Cool crappy lo-fi synth renditions of some Bach pieces on the soundtrack. Abel Ferrara directs and plays the lead role and he is one cool guy.
On paper an exploitation copy of the 1963 'The Haunted' but in real life it turns out to be a superior movie all the way. The story is the cliche "Parapsychologists investigate haunted mansion" plot but done extremely well. Mainly by not showing anything. Also the weird silent atmosphere, strange characters and off the hook serene camera work. But the real secret of this movie's power might be the intensly scary electronic soundtrack by none others then Delia Debishere and Brian Hodgson (from the BBC radiophonic workshop)
Paul Verhoevens seminal masterpiece. His last film he made in Holland before he went to Hollywood and made Robocop, showgirls, starshipstroopers etc. Based on a famous dutch novel by Gerard Reve it tells the story of an alcoholic writer who has to do a lecture in the remote seaside town of Vlissingen, there he meets a mysterious female fan and things turn into Hitchcockian Suspense. A sensual charged mesmerzing dreamy atmosphere of saturated surrealism. Great haunting soundtrack by the obscure composer Loek Dikker.
Psychological thriller about a loneley librarian who is being controlled by her disabled father. She also has a pet monkey and got fired recently while she tried to burn down the library that employed her. Besides that she is also waiting for her fiancee who mysteriously dissapeared 17 years ago. If todays crap Hollywood movies even had 1% of this plotline they would be so much better!
Set in a semi-sort off dystopian futuristic portland a man can change the world around him by dreaming. A Dream specialist gets involved and starts using the man for his own agenda. A very cosey hazed atmosphere throughout the whole movie makes it a pleasure to watch. A bit slow paced maybe but its so pleasant it works like a meditative trip. This movie has a lot of interesting ideas...cool shots of futuristic science buildings, warm saturated synth music, endless rain and everything we like.
SW
_ _ _ _
| |__ __ _ ____ _ __ ___ _____ __ (_) | _( )__
| '_ \ / _` |_ / | '__/ _ \_ / '_ \| | |/ // __|
| |_) | (_| |/ / | | | __// /| | | | | < \__ \
|_.__/ \__,_/___| |_| \___/___|_| |_|_|_|\_\|___/
_ _ _ _
| |_ _ __ __ ___ _____| | (_) ___ _ _ _ __ _ __ __ _| |
| __| '__/ _` \ \ / / _ \ | | |/ _ \| | | | '__| '_ \ / _` | |
| |_| | | (_| |\ V / __/ | | | (_) | |_| | | | | | | (_| | |
\__|_| \__,_| \_/ \___|_| _/ |\___/ \__,_|_| |_| |_|\__,_|_|
|__/
____ ________ . .
\ \ | el | .
o o ,====== | pres- | . _____ _ _ _ _
/ \ | idente | \ \ ______
| . . |\ |_' _____| o \ \___ _ / ===
_ | | |\\ \ . ______\___\__________/dyfr/
| | |_ |\\\ // _/= - - - - - - - - - - _/
o | _- |/ // o (_________ ___________/__ _ _
_| |____// . \ \
/ \_____/ ___/ \ \ __ _ _ _
/ _ / o . \ \
/ / | | o \__\___ __ _ _
/ / | | . . .
________/ /___|______|_______________ . . .
/ ___///____ ________ /|
/ / / / / / / / / |
/ /__________/ - - - /_______/ / |
Another scribble from Baz Reznik's travel journal:
VISA TROUBLE
Every country has its own visa regulations and when you visit 23 in one year you will encounter problems. It doesn't matter how well you think you prepare, with all those different regulations you're bound to fuck up one day. Most commonly is the "stamp in, stamp out" regulation. You receive a stamp in your passport the day you cross the border which counts as your visa and as long as you exit within the time-limit specified on the stamp there is not much of a problem. The difficult thing is usually getting the stamp without paying. For example in Latin America most countries won't charge Europeans for the stamp (people from the USA are usually a big exception due to the strict USA immigration regulations and high costs: a lot of South American countries mirror those costs in their own immigration laws). This doesn't mean you'll get your stamp with ease. The land-borders between two Latin-American countries are considered a "no man's land". Between stamping out and stamping in you will be harassed by numerous people who will try to convince you to buy the "very important immigration forms" (that are usually free at the immigration stand), who will try to sell you drugs (and then tell their police friends about it) and who will offer their "service" as luggage carrier (for which you will pay a lot or face the consequences of never seeing your backpack again). When you finally reached the immigration office you'll have to stay quite strong not to pay the corrupt officer behind the counter. In some cases they just confiscate your passport and force you to pay some dollars to get it back and believe me, when they point a gun on you, you will pay.
Make sure you always have a pile of small dollar signs with you to ease out the tension. Another difficulty about traveling over land is the absence of a return ticket. At a lot of borders you'll have to proof that you're going to leave within the days specified in your visa and the only legal proof is a plane ticket out. This might turn out difficult if you travel everything by bus. We quickly got experts in falsifying plane tickets and even had a ready made empty ticket on our laptop that we could fill in with every destination we wanted which we would print at the last stop before crossing a border.
The biggest mistake we made was between Uruguay and Argentina. From Buenos Aires there is a boat crossing the Rio de La Plata to Montevideo, Uruguay. On our way there we got a stamp at the Argentina side, went on the boat and got our entry stamp in the harbor of Colonia. On the way back we got our exit stamp in Colonia. After one hour we landed in the Buenos Aires port. Walking from the boat, through the hall, around the corner andĆ¢ā¬Ā¦ outside? Where was our entry stamp? It turned out that we should have gotten our exit and entry stamp at the Uruguayan side. There was nothing the people from the company could do, it was already late and the next day they would sort it out for us. When we arrived at the shipping company the next day and talked to the people again we were told they still couldn't do anything (so why don't tell us that the night before?). We had to go to the immigration office on the other side of town (where we just came from) and sort it out there. After hours of waiting, countless of lines, signs, pulling numbers, explaining again why we were there and begging for a stamp we finally got the answer: there is nothing anybody could do, we were illegal and nobody was going to help us. The only thing we could do was bring enough money to the border crossing when leaving the country to pay the officer there.
We traveled the whole of Argentina as illegals. Got stopped a few times at various checkpoints where we got questioned about why we, according to our passports, already left the country. But we were able to dodge the bullet by pretending not to speak Spanish so the (only Spanish speaking) police officers would give up after a while.
The real challenge came when we had to cross the border to Chili in the south of Argentina. In the middle of nowhere the bus stopped at a dodgy looking border post. Just a container in the middle of the dessert with a barricade on the (gravel) road. Nervously we got in line with the other passengers in a movie-like setting where two military looking border officials had to stop their game of ping pong to check our passports. Slowly we advanced to the booth where one of the bearded guys was seated under a big portrait of the president. We had no money left to pay them off and had a slight conjecture that the possibilities of making a payment by bank where limited in this border post that was a eight our bus ride straight to the dry plains from the nearest town. Would we be stuck here for a while?
TO BE CONTINUED
By Baz Reznik
_ __
__ _____ (_) ___ ___ ___ / _|_ __ ___ _ __ ___
\ \ / / _ \| |/ __/ _ \/ __| | |_| '__/ _ \| '_ ` _ \
\ V / (_) | | (_| __/\__ \ | _| | | (_) | | | | | |
\_/ \___/|_|\___\___||___/ |_| |_| \___/|_| |_| |_|
_ _ _ _
| |_| |__ ___ __ _____ (_) __| |
| __| '_ \ / _ \ \ \ / / _ \| |/ _` |
| |_| | | | __/ \ V / (_) | | (_| |
\__|_| |_|\___| \_/ \___/|_|\__,_|
/\
________ /\ / \
/ \ / \ /\ / \
\ _ o \ / \ / \ / \ /
_/ \ / / \___/ \ / \ /
\ \ / ____/ \/ \/
,- \ \_____
-- \ \
\ \ /
\ \ \
\___ \
\ \__________
\________ \
\ ___ \
/ / \ \
/ / / /
___/ / / /_______
/ \ / \
/_______\ /_____________\
A random music sound program for the Commodore 64 by 6 TRAK
1 REM *** VOICES FROM THE VOID *** 2 REM *** BY 6 TRAK 10 PRINT CHR$(147): S=54272 11 INPUT "MASTER VOLUME (1-15)";M 13 PRINT: PRINT "HIT ANY KEY TO STOP..." 14 GOSUB 999: POKE S+24,M 18 FOR X=0 TO 2 19 GOSUB1001: POKES+4+(X*7),W+E 20 GOSUB1000: POKES+1+(X*7),F/1+X 21 GOSUB 1003: POKES+5+(X*7),D 22 GOSUB 1004: POKES+6+(X*7),SR 23 GOSUB 1001: POKES+4+(X*7),W+E+1 24 NEXT X 26 FOR A=1 TO 150-F: POKE S+1,A: NEXT A 27 GET A$: IF A$="" THEN 18 28 GOSUB 999: END 999 FOR Z=0 TO 24: POKE S+Z,0: NEXT Z 1000 F=INT(RND(1)*50): RETURN 1001 W=2^INT(RND(1)*3)*8 1002 E=(INT(RND(1)*3+1)*2: RETURN 1003 D=INT(RND(1)*12):RETURN 1004 SR=INT(RND(1)*200): RETURN
6TRAK
_ __ _
_ __ _ _| |___ __ _ _ __ ___ ___ / _| _ __ ___ ___| |_ _ __ _ _
| '_ \| | | | / __|/ _` | '__/ __| / _ \| |_ | '_ \ / _ \ / _ \ __| '__| | | |
| |_) | |_| | \__ \ (_| | | \__ \ | (_) | _| | |_) | (_) | __/ |_| | | |_| |
| .__/ \__,_|_|___/\__,_|_| |___/ \___/|_| | .__/ \___/ \___|\__|_| \__, |
|_| |_| |___/
\ | / _______
_____ _\|/ \ \
__ / \ / _ ______ \______\ o
|_______|____ / \ \ o
| o o | / / \ \ _____
| \ | / / \_____\ / / o o
|____ u_|/ / /____/
\__________/ / o
==|__________ \ _
/ \ \________________/ / o o
\ / ||
\ ____________________/ ======= \ /
/ / _____ O o \\ | |
/ / /oo \ / [ \\ | |
/ / / / @@@ u / / /
__/ / __/___- ___@@@_____/___/ /
/_______\ / \ /
C B Vaandrager special:
Honderden (hier merknaam) Mobiele Kranen
doen dagelijks over de hele wereld
wat van ze verwacht wordt:
hijsen, toppen, zwenken (8 meter arm).
360o onbeperkt zwenken.
Montage in Mexico (volgt foto).
De man in de cabine
heeft het makkelijk.
Goed zicht. Goede ventilatie.
Verwarming als de temperatuur daalt.
De bediening is kinderlijk
eenvoudig: drie handles en een gaspedaal.
C'est tout.
(Vaandrager, Made in Rotterdam, Verzamelde Gedichten)
Vrijwel alles wat hij aan kennis van plaatselijke bevolking,
toestanden, gewoonten enz. heeft vergaard, zal hem eens van
pas komen.
(Vaandrager, Beknopte Opsporingsleer)
And a "ready made" send in by Guillaume Zonderland from Utrecht,
Kom, we doen de gordijnen dicht,
iedereen kijkt naar binnen.
And one more from Vaandrager:
Een Wolkenformatie
die ik dreigend zou kunnen noemen.
Maar waarom?
De wolkenformatie lijkt op iemand.
Maar dat is tijdelijk.
Het is eigenlijk al (5.32 uur) over.
Zo gaat dat met wolkenformaties
(Vaandrager, Konigin Van De Maas)
The wisdom of
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__ _ _ __ __ _ ___ ___ | |_| |__ ___
/ _` | '__/ _` |/ _ \/ __| | __| '_ \ / _ \
| (_| | | | (_| | (_) \__ \ | |_| | | | __/
\__,_|_| \__, |\___/|___/ \__|_| |_|\___|
|___/
_ _ _
___ ___ _ __ ___ ___ _ __ ___ _ __ __| |_ __ _ _(_) __| |
/ __|/ _ \| '__/ __/ _ \ '__/ _ \ '__| / _` | '__| | | | |/ _` |
\__ \ (_) | | | (_| __/ | | __/ | | (_| | | | |_| | | (_| |
|___/\___/|_| \___\___|_| \___|_| \__,_|_| \__,_|_|\__,_|
______________ ____
_____/ \__/ \___ __________ |||_______
___/ \ | |
/ . ' . \ ____ | |
/ __ . . \ |-- \| |
/ | | _--__-- o o . ____ __________|_/ | |
/ | _ _ _ | o --\| |
/ |_ _ | |___-------| |
/ | _ || _| | |
| _ _ _ | | |
| _ _ | | |
| _ _ | | |
| | |___________|
Ancient Celtic Forest Fruit Yoghurt Elixer
The ancient druids would carry baskets of fruit onto mount snowdonia, let them freeze and return them to make an ancient celtic magical frozen yoghurt icecream concoction.
What you need:
Frozen forest fruits (Cherries, raspberries, blueberries, strawberries, red currants etc.etc.etc.)
Any kind of natural (greek) yoghurt Almond Flakes, or walnuts or something like that.
Just dump the frozen forestfruits in a mixer (not an audio one but a food one in the kitchen), be sure its still frozen, maybe let them defrost for 5 - 10 minutes just to take the cold edge off.
If you are lazy or dont' have one you can just use a fork or something to crush the half frozen fruit (Maybe let it defrost a little bit longer when doing this).
Dump the yoghurt in the mixer and mix it all together until its smooth Throw some almond flakes on it and your are ready! No need to add sugar the fruits are sweet enough already.
Argos the Sorcerer Druid
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___| |__ __ _ __| | _____ __ __ _____ | |/ _|
/ __| '_ \ / _` |/ _` |/ _ \ \ /\ / / \ \ /\ / / _ \| | |_
\__ \ | | | (_| | (_| | (_) \ V V / \ V V / (_) | | _|
|___/_| |_|\__,_|\__,_|\___/ \_/\_/ \_/\_/ \___/|_|_|
_ _
___ _ __ __ _ ___ ___ | |_(_)_ __ ___ ___
/ __| '_ \ / _` |/ __/ _ \ | __| | '_ ` _ \ / _ \
\__ \ |_) | (_| | (_| __/ | |_| | | | | | | __/
|___/ .__/ \__,_|\___\___| \__|_|_| |_| |_|\___|
|_|
_ _ _ _ _ _ _ _
__| |(_) _ __ ___ (_)_ __ | |_ _ __ __ _ ___| | _| (_)___| |_
/ _` || | | '_ ` _ \| \ \/ / | __| '__/ _` |/ __| |/ / | / __| __|
| (_| || | | | | | | | |> < | |_| | | (_| | (__| <| | \__ \ |_
\__,_|/ | |_| |_| |_|_/_/\_\ \__|_| \__,_|\___|_|\_\_|_|___/\__|
|__/
Shadow Wolf Cyberzine Ambient Mix by Smackos & Voltagio
You can listen and download the mix here:
https://soundcloud.com/legowelt-official
_
___ _ __ ___ __ _ ___| | _____ ___
/ __| '_ ` _ \ / _` |/ __| |/ / _ \/ __|
\__ \ | | | | | (_| | (__| < (_) \__ \
|___/_| |_| |_|\__,_|\___|_|\_\___/|___/
_ _ _ _
| |_ __ _ _ __ ___ ___| |_ __ _| |_(_) ___ _ __
| __/ _` | '_ \ / _ \ / __| __/ _` | __| |/ _ \| '_ \
| || (_| | |_) | __/ \__ \ || (_| | |_| | (_) | | | |
\__\__,_| .__/ \___| |___/\__\__,_|\__|_|\___/|_| |_|
|_|
_ _
_ _ ___ ___ _ __ __ _ _ _(_) __| | ___
| | | / __|/ _ \ '__| / _` | | | | |/ _` |/ _ \
| |_| \__ \ __/ | | (_| | |_| | | (_| | __/
\__,_|___/\___|_| \__, |\__,_|_|\__,_|\___|
|___/ _______
/ /|
/ / |
/ / |
/______________________________________________/ | /\
| ______________ _____ _____ | | / \ /
| | ________ | | \ || / | | | / \ /
| | | ---- | | . . |__\__||_/___| | | / \/
| | | o o | | | |___/
| | |________| | o o o o o o o | /
| |______________| | /
| __ __ __ __ __ o o o o | /
|_______________________________________________|/
SMACKOS TAPE STATION is an Effectsrack for Ableton version 9.0 and up. It simulates a wooley cassette tape sound recording on a rather smugdey headed cassettedeck from c.a. 1981.
Download the SMACKOS TAPE STATION from http://www.legowelt.org drag the SMACKOS TAPE STATION.adg into the Ableton channel you want to use it on. It can be used on both MIDI or Audio tracks.
Now use the following functions to alter the sound:
HOT = more extreme input level. On mid to high levels it will overdrive and distort certain harmonics.
HEAD ALLIGN = alters the phase response of the recorded signal.
TAPE SPEED = Changes the tape speed, on high levels there is more high frequency response, on mid to lower levels the sound gets more smothered, losing stridulous high frequencies and making everything sound more warmer and woolier.
BIAS = Fequency response and distortion control for optimal balance between linear and nonlinear magnetization
TAPE NOISE = The amount of Tape Noise. Set -Inf DB for no noise
NOISE FILTER = Sets the harshness of the Noise. High Mid to lower levels will result in a warmer softer less noticable tape noise that will be percieved unconsciously.
PITCH WOBBLE = Simulates the mechanical imperfectness of the tapedeck's engine. Also Known as Wow & Flutter. Creates minute variations in the playback frequency resulting in a warbled sound. Adds emotional content to the overall sound. Animates the boundaries of the sounds, less distinction between solitary sounds.
TAPE PHAT: controls the tape compression fatness. simulates the saturation of magnetic particles, resulting in a complex compression of source material. Creates a broader energetic frequency spectrum. More low end and a more brighter, yet soothing, high frequency response.
TIPS:
Make the Smackos Tape Station sound even more dynamic by recording knob movements of the tape speed, BIAS, Noise Level/filter and Pitch Wobble in the track's automation. Especially tiny changes in the warble can have a great effect in the high frequencies.
Try the SMACKOS TAPE STATION on an auxillery Return track. When you send a signal through this return track the sound will be more "phase-like" and you achieve control over the effect amount with this "improvised dry/wet" signal.
Use the HOT parameter with caution, most of the time TAPE PHAT will give more then enough power.
Put it after (or for) a delay effect like the Ableton Simple delay for a Tape echo simulation. Be sure to push the Pitch Wobble in the highs and the tape speed medium!
Why not put 2 SMACKOS TAPE STATION fx in serial for even more extreme tape sound? Its free after all so use as many as you want!!! Imagine the wow & flutter with 2 different parallel speeds...or 3 or more!
SMACKOS TAPE STATION sounds good all kind of sounds! Use it to "master" whole tracks, fatten drums, warm up vocals, smooth harsh high frequencies etc.etc.etc. The possibilities are endless!
More ASCII ART:
_ _
_ __(_)___(_)_ __ __ _ ___ _ _ _ __
| '__| / __| | '_ \ / _` | / __| | | | '_ \
| | | \__ \ | | | | (_| | \__ \ |_| | | | |
|_| |_|___/_|_| |_|\__, | |___/\__,_|_| |_|
|___/
_
___ _ _ ___| |_ ___ _ __ ___ ___ ___ ____
/ __| | | / __| __/ _ \ '_ ` _ \/ __| \/
\__ \ |_| \__ \ || __/ | | | | \__ \
|___/\__, |___/\__\___|_| |_| |_|___/ ____ ____
|___/ \/
::::::::::
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| :::::::::::::::::::::::: ====
''' :::::::::::::::::::::::::: ========
: ''' '' :::::::::::::::::::::::::: ================
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.... ''' '' :::::::::::::::: ======================================
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|___________________________________________|
| | .
. | . | == . | == . | | | == |
| | | | | | | |= | ||| | | | || | .
. | | . . | | . | | |.. | . | || |||
| | | | | . | | . ||| . | | .. |
| | | | | | | .
. | | == | == | == | == = = | |
| | || | || ||| || ||||| || |||| | | |||| | .
. . | . [] | .. |.| |. ..||. .| .|.| . | .... |
| | | || .|| .| |||.| || |.|. | | |||| | .
| | | | | | |
. | O | - - -|- - -|--- | - - - - |- - | .
|___________________________________________|
. | HEMA odyssey | .
| _______________________________________ |
. | | | | | | | | | | | | | | | | | | | | | | |
| | | | | | | | | | | | | | | | | | | | | | | .
. | | | | | | | | | | | | | | | | | | | | | | |
| | | | | | | | | | | | | | | | | | | | | | | . .
|_|---------------------------------------|_|
. . . .
. . . . .
And as a final thought for this issue...
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___ ___ ___ _ __ ___ ___ _ __ (_) ___
/ __/ _ \/ __| '_ ` _ \ / _ \ | '_ \| |/ _ \ . .
| (_| (_) \__ \ | | | | | (_) | | |_) | | __/ . .
\___\___/|___/_| |_| |_|\___/ | .__/|_|\___|
|_| .
_ __ .
___ ___| |/ _| . .
/ __|/ _ \ | |_ . . . .
\__ \ __/ | _|
|___/\___|_|_| .
_ _
| |__ _ _ _ __ _ __ ___ ___(_)___ -_ \ | / _-
| '_ \| | | | '_ \| '_ \ / _ \/ __| / __| _________
| | | | |_| | |_) | | | | (_) \__ \ \__ \ ___--- /\ ---___
|_| |_|\__, | .__/|_| |_|\___/|___/_|___/ ---___ \/ ___---
|___/|_| ------
Trip out with this illusionary mind trick or be amazed how flat matter breaks the bounderies of its dimension and escapes into our space time continuum !!!!!
Or is it...the more sinister other way around?!!!!?!?!?!?
Instructions:
Scroll down the picture below so the middle white line of the green "copper"bar will be sort of in the middlish of your screen, but be sure there is some space above and below the "object" that is equal in size.
Stare at the white line of the green copperbar intensily for a few minutes or as long as it needs. At a certain moment it will seem like the rectangular "object" morphs into a kind pie-piece (would be KIWI-lime with blueberry glace topping) and transcends the screen..
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