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// Produced by Structure Synth V 0.4

// (http://structuresynth.sf.net/)

 

set maxdepth 600

set background #9f4

{ h 30 sat 0.7 h 67 b 0.8 } spiral

 

rule spiral w 100 {

box

{ y 0.4 rx 90 hue 1 s 0.995 b 0.999 } spiral

}

 

rule spiral w 100 {

box

{ y 0.4 rx 90 hue -1 rz -90 s 0.995 b 0.999 } spiral

}

 

rule spiral w 100 {

box

{ y 0.4 rx 90 hue 0 rz 90 s 0.995 b 0.995 } spiral

}

 

rule spiral w 3 {

{ rx 90 s 1 1.3 1 } spiral

{ ry 180 h 3 s 1 0.7 1 } spiral

}

Model: Vampisaurus

Photo and edition by Monsters Inside

 

Follow my work on Instagram

an original buchla 100 from the san francisco tape music center era. probably made around 1965 or 1966.

set raytracer::size [0x1500]

set raytracer::light [7,7,25]

 

// Camera settings. Place these before first rule call.

set translation [-4.02861 -0.568047 -20]

set rotation [0.805842 -0.0642616 0.588639 -0.239175 0.874063 0.42285 -0.541683 -0.481539 0.688988]

set pivot [0 0 0]

set scale 0.4

 

set background #b0a3f7

  

#define couleur 50

 

rule cube {

{ x 5 z 5 s 1 10 1 h couleur } box

{ x 5 z -5 s 1 10 1 h couleur } box

{ x -5 z 5 s 1 10 1 h couleur } box

{ x -5 z -5 s 1 10 1 h couleur } box

 

{ y 5 z 5 s 11 1 1 h couleur } box

{ y -5 z 5 s 11 1 1 h couleur } box

{ y 5 z -5 s 11 1 1 h couleur } box

{ y -5 z -5 s 11 1 1 h couleur } box

 

{ x 5 y 5 s 1 1 11 h couleur } box

{ x -5 y 5 s 1 1 11 h couleur } box

{ x 5 y -5 s 1 1 11 h couleur } box

{ x -5 y -5 s 1 1 11 h couleur } box

}

  

Rule fractale md 5 {

{ z 6 x 2 y 2 s 0.4 sat 0.7 h 50 } fractale cube // 1/4 carré droite haut

{ z 5 x -2 y 2 s 0.4 sat 0.9 } fractale cube // 1/4 carré gauche haut

{ z 5 x 2 y -2 s 0.4 sat 0.9 } fractale cube // 1/4 carré droite bas

{ z 5 x -2 y -2 s 0.4 sat 0.9 } fractale // 1/4 carré gauche bas

}

 

fractale

Different camera angle and a bit of post work in Gimp

Meggy Synth is a sketch I wrote that allows the Meggy Jr to act as a simple step-based synthesizer for writing 8 bit music.

 

The sketch allows you to write music over a three octave range using anything from whole notes to thirty-second notes with optional slurs between notes. This video shows me writing a scale in pitch mode, switching to duration mode to set the length of the notes, then playing the song back in both pitch and duration view so you can see how the modes work together.

 

Learn more about Meggy Synth at: www.seancarney.ca/projects/meggy-jr-rgb/meggy-synth

One of Steve Woodzell's many toys

I really ought to dust that thing.

set raytracer::size [0x1500]

 

set background #8ff5d6

 

set maxobjects 400000

 

#define angle 45

#define angl2 100

#define angl3 90

 

#define longueur 0.6

#define iterations 8

 

rule cube {

{ y 5 s 1 10 1 color #f5539a } box

}

  

rule bronche {

9 * { ry 12 } cube

}

 

rule broncheLSD {

9 * { s 0.5 ry 15 } cube

}

 

rule Bronches md 1 {

{ y 9.5 s 0.6 rx 60 color red } R1 bronche // gauche

{ y 11.5 z -1.5 s 0.4 rx -110 color white } R1 broncheLSD // LSD

{ y 9.5 s 0.6 rx -30 color yellow } R1 bronche // droite

}

 

Bronches

 

rule R1 md iterations > Alveole {

{ y 9.5 s longueur rx angle ry angl3 rz -angl2 color red } R1 bronche

{ y 9.5 s longueur rx angle rz -angle color blue } R1 bronche

{ y 9.5 s longueur rx angle rz angle color yellow } R1 bronche

}

 

rule Alveole {

{ s 50 color pink}sphere

}

  

The one-and-only Grinder (Quartz and City of Glass were derived from this).

 

set maxobjects 117600

{ a 0.4 } grinder

set background #fff

 

rule grinder {

36 * { ry 10 z 1.2 b 0.99 } 1 * { ry 34 rx 34 } arm

 

}

rule arm {

xbox

 

{ rz 2 rx 3 z 0.22 x 0.3 ry 10 s 0.999 x 0.5 sat 0.9995 hue 0.05 } arm

}

 

rule arm {

xbox

 

{ rz 2 rx 3 z 0.22 x 0.3 ry 10 s 0.99 x 0.5 sat 0.9995 hue 0.15 } arm

}

rule xbox {

{ } box

{ s 0.9 } grid

}

 

rule xbox {

{ b 0.7 } box

{ s 0.9 } grid

 

}

 

Produced by Structure Synth V 0.5

(http://structuresynth.sf.net/)

 

set maxobjects 160000

{ a 0.8 sat 0.5 } grinder

set background #05a

 

rule grinder {

36 * { rz 10 y 0.1 } 36 * { ry 10 rz 15 x 1.2 b 0.99 h 12 } xbox

}

 

rule xbox {

{ s 1.1 } grid

{ b 0.7 color #eee a 0.2 } box

}

 

rule xbox {

{ s 1.1 } grid

{ b 0.7 color #ddd a 0.3 } box

}

 

Watercolour and pencil on paper 8 x 5 inches

3d generated sculpture made with Structure Synth

Roland JP8000

Roland JD800

Korg Karma

// Produced by Structure Synth V 0.5

// (http://structuresynth.sf.net/)

 

set maxobjects 3000

set maxdepth 14000

{ sat 0.5 hue 50 b 0.9 } R1

set background #555

 

rule R1 {

{ y 0.5 rz 8 rx 1 h 6 s 1.01 1 1 ry 0.1 z 0.1 } R3

{ s 1 } sbox

}

 

rule R3 {

{ x 0.5 rz 8 rx -1 h 6 } R1

{ s 1 } sbox

}

 

rule sbox {

{ b 0.6 } grid

box

}

  

This will be my first bit of hardware programming writing code with C. I haven't finished the patching system yet (will do a video when I have) but thought I'd stick a picture up as the enclosure is more or less done, the prototype program made it's first sounds, tap tempo works etc.

 

When I was up at Random Hacks of Kindness there was an interesting cacophony of noise coming through the walls. I wandered around to find out what it was, and stumbled upon the Annual Analog Synthesizer Meeting.

 

It's a group of audiophiles who use only analog circuits to make music. They generally hand solder their systems, though you can get kits.

 

The systems produce sound like this:

soundcloud.com/badr0b0t/maths-module

(listen to it about halfway through, it starts off slow)

 

Info on Hacker Dojo:

hackerdojo.pbworks.com/

 

Facebook page for the Analog Synth meeting:

www.facebook.com/event.php?eid=159653064993

minimal saw osc synth with 2 transistor

pitch, cut off, resoonance

The filter on my monotron didn't track the keyboard properly, causing low notes to have a different timbre than high notes. I solved the problem by removing R42 (normally 300KΩ) and replacing it with a 1MΩ trimmer potentiometer.

 

More details here: www.fetchmodus.org/projects/monotron/

When I was up at Random Hacks of Kindness there was an interesting cacophony of noise coming through the walls. I wandered around to find out what it was, and stumbled upon the Annual Analog Synthesizer Meeting.

 

It's a group of audiophiles who use only analog circuits to make music. They generally hand solder their systems, though you can get kits.

 

The systems produce sound like this:

soundcloud.com/badr0b0t/maths-module

(listen to it about halfway through, it starts off slow)

 

Info on Hacker Dojo:

hackerdojo.pbworks.com/

 

Facebook page for the Analog Synth meeting:

www.facebook.com/event.php?eid=159653064993

Textures

 

Bronica SQ-A, 6x6 Medium Format, Ilford HP5+ 400 pushed +1 stop.

My synthesizers.com modular synth, with assorted tabletop modules and DIY kits and parts.

 

The Arduino microcontroller is programmed to generate control signals!

// Produced by Structure Synth V 0.4

// (http://structuresynth.sf.net/)

 

set maxdepth 600

set background #9f4

{ h 30 sat 0.7 h 67 b 0.8 } spiral

 

rule spiral w 100 {

box

{ y 0.4 rx 90 hue 1 s 0.995 b 0.999 } spiral

}

 

rule spiral w 100 {

box

{ y 0.4 rx 90 hue -1 rz -90 s 0.995 b 0.999 } spiral

}

 

rule spiral w 100 {

box

{ y 0.4 rx 90 hue 0 rz 90 s 0.995 b 0.995 } spiral

}

 

rule spiral w 3 {

{ rx 90 s 1 1.3 1 } spiral

{ ry 180 h 3 s 1 0.7 1 } spiral

}

Self Released (1983)

 

Private minimal/synth/experimental tape released by Tara Cross in 1983, dedicated in the memory of Klaus Nomi. Spurt Ditties side recorded in 1982 and Concocting Chaos side recorded in 1983.

 

This copy has an original photograph from airbrush illustrator B. Keusch, his business card, an insert dedication to Klaus Nomi and a two-sided insert with track titles and lyrics. Everything in a clear plastic bag with Tara Cross’ mailing address.

 

I’m unsure as to how many of these were made and distributed.

Modeled in Structure Synth, Rendered in Sunflow.

 

// EisenScript

 

ss

 

rule ss maxdepth 4 > box::shiny

{

{ry 90 rz 90 s 0.25 1 0.25 x 1 hue 20} ss

{ ry 90 rz 90 s 0.25 1 0.25 x -1 hue 20} ss

{rz 90 rx 90 s 1 0.25 0.25 z 1 hue 40} ss

{ rz 90 rx 90 s 1 0.25 0.25 z -1 hue 40} ss

{rx 90 ry 90 s 0.25 0.5 1 y 1 hue 60} ss

{ rx 90 ry 90 s 0.25 0.5 1 y -1 hue 60} ss

{color #fff s 0.2 z 4} s2

}

 

rule s2

{

{color #222} sphere::phong

}

  

Roland SH-2

Yamaha CS-5

Korg Monopoly

// Produced by Structure Synth V 0.5

// (http://structuresynth.sf.net/)

 

set maxdepth 25

set background #252

{ h 30 sat 0.7 h 67 b 0.8 a 1 } s2

 

rule s2 w 2 {

{ z 5 s 0.4 0.4 10 } box

{ rz 3 z 5 sat 0.98 s 0.9 h 10 } s2

}

 

rule s2 {

{ rz 1 z 5 s 0.4 0.4 10 } box

{ rz 4 z 5 sat 0.98 s 1.1 } s2

}

   

rule s2 w 2 {

{ z 5 s 0.4 0.4 10 } box

{ rz 1 z 5 rx 90 b 1.2 } s2

{ rz 1 z 5 ry -90 b 0.8 } s2

}

 

// Produced by Structure Synth V 0.4

// (http://structuresynth.sf.net/)

 

set maxdepth 600

set background #9f4

{ h 30 sat 0.7 h 67 b 0.8 } spiral

 

rule spiral w 100 {

box

{ y 0.4 rx 90 hue 1 s 0.995 b 0.999 } spiral

}

 

rule spiral w 100 {

box

{ y 0.4 rx 90 hue -1 rz -90 s 0.995 b 0.999 } spiral

}

 

rule spiral w 100 {

box

{ y 0.4 rx 90 hue 0 rz 90 s 0.995 b 0.995 } spiral

}

 

rule spiral w 3 {

{ rx 90 s 1 1.3 1 } spiral

{ ry 180 h 3 s 1 0.7 1 } spiral

}

Tube

 

// Produced by Structure Synth V 0.5

// (http://structuresynth.sf.net/)

 

set maxobjects 52200

set maxdepth 5000

set background #232

{ b 0.4 color #0a0 sat 0.5 } r1

 

rule r1 w 10 {

{ rz 15 h 1 s 1.01 0.99 1 y 1 h 4 } r1

r2

}

 

rule r1 {

{ rx 10 s 0.99 1.01 1 z 1 s 0.99 } r1

r2

 

}

  

rule r2 {

box

{ s 1.1 0.2 0.2 color #000 } box

grid

}

I like how the negative dust looks, especially viewed at larger sizes..

Bottomed from Chicago, IL

Do not use without permission

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