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Another illusive structure synth object - the Dodecahedron
{ hue 155 } go
rule go{
{} chashka
{ rx 180 y -2.7 ry 36 } chashka
}
rule chashka{
{ ry 180 } side
1 * { y 0.75 }
5 * { ry 72 }
1 * { x 1.2 rz 64 sat 5 } side
}
rule side maxdepth 5 > sp{
5 * { ry 72 hue 3 }
1 * { x 0.5 s 0.52 } side
}
rule sp{
box
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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:
This poster is for my final major project looking into promotions for events and the imagery associated with it. So for a part of my final product I'll have three gig posters with my dream line ups (oh baby) and this is part one. Heavy synths for sure! a few of my favourite bands around at the moment based in the UK. I must point out this isn't a real event, nor a real venue so sorry to get your hopes up for such an awesome show :(.
My girlfriend's sister created this synth cake for my birthday. Modeled loosely off the Yamaha DX7 (which I have but she didn't know that I had), and using marble cake batter, Kit Kats for the black keys, Jolly Ranchers, and some licorice decorations here and there. Visit her site for more cake stuff (she does awesome work): bake-thoven.squarespace.com/notes/2010/1/23/just-sit-at-h...
In a desperate attempt to keep Structure synth alive I pulled all kind of stuff together to create a scene.
The house is my creation but the trees, the people and the antennas are copied and adapted from flickr groups and the git hub pages.
Playing around with the new Structure Synth internal raytracer (rendered in 35s)
EisenScript:
set raytracer::ambient-occlusion [10,10,0.9]
set raytracer::shadows false
set raytracer::reflection 0.4
set raytracer::phong [0.5,0.8,1]
set background #fff
set maxdepth 400
3 * { rz 120 color white } R1
3 * { rz 120 color white} R2
rule R1 {
{ x 1.3 rx 1.57 rz 6 ry 3 s 0.99 hue 1 sat 0.99 blend red 0.02 } R1
{ s 4 a 1 } sphere
{ s 5 hue 120 a 0.3 } sphere
}
rule R2 {
{ x -1.3 rz 6 ry 3 s 0.99 hue 1 sat 0.99 blend red 0.02 } R2
{ s 4 a 1 } sphere
{ s 5 hue 120 a 0.1 } sphere
}
// 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 yellow
rule R1 {
{ y 0.0 rz 4 rx 0.1 h 6 ry 0.1 z 0.09 } R3
{ s 1 } sbox
}
rule R1 {
{ y 0.5 rz 8 rx 0.1 h 6 ry 0.1 z 0.09 } R3
{ s 1 } sbox
}
rule R3 {
{ x 0.5 rz 4 rx -1 h 6 } R1
{ s 1 } sbox
}
rule sbox {
{ b 0.6 color #000 } grid
box
}
// 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
}
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
322/365
I was not feeling at all like a Doer this week -- I just tired, cranky, and worn out. But late last week Pookie IM'ed me at work with news that Rabbit, Rabbit was going to be playing a show in an historic church in Philly on Thursday, and I was all, "We're Doers! Let's go to it!" But then when Thursday rolled around I was so tired and so cranky, and just felt like I was going to cry all day. Going into Philly after work to sit in an un-air conditioned church for a few hours was the last thing I wanted to do. There was a lot of angst and people ruining each other's lives and swanning about and being drama queens and both of us being miserable, but in the end Pookie persevered and I went along with her. We found the place without incident, had a lovely and low-key pizza dinner, then strolled down the block to the First Unitarian Church. The weather turned incredible, like the picture-perfect summer evening, and the church was unbelievably charming. We waited outside by the church's garden with a handful of hipsters before the "will-call" opened. Now, we are still very much newbies at this whole "going to concerts" thing, and so far have only been to fairly large-scale shows. So we were a little surprised to find out that the will-call was a card table with a sheet of paper on it with the names of the ticket-holders hand-written on it. And when we checked in, the ticket dude (who was also the band's tech guy, and half the band's brother) just drew a little mark on our hands with a ballpoint pen and that was the extent of it. The chapel the performance was in was very intimate and ornate and gorgeous, and the lack of air conditioning was not a problem at all. We settled onto the hard pews, and then about 23 other people filtered in before the show started. The opening act was a duo of harp and synth and was absolutely perfect for the space and the feel of the evening. Then there was a little changeover as the harpist and synth player broke down their equipment and Carla and Matthias set theirs up, then Rabbit Rabbit started. They were so, so, so good, and it was just insanely awesome to be in such an intimate setting -- seriously, the chapel was not much bigger than our living room. It was so cool to be hearing artists who live in my ipod in such an incredibly human and real setting, if that makes any sense. After the show we stopped at the card table out front and chatted with Matthias while picking up some merch (and some free magnets -- "These are for you!" he said when we expressed an interest in them), and then had the quickest drive home from Philly ever. And so another lesson was learned about Doing: even though all I wanted all day was a long nap, it ended up being insanely worth it to power through and Do. And now I'm going to want all my concerts to be set in historic and charming little chapels with no more than 25 people in the crowd. That's not too much to ask, is it?
--Schn.
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
}
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.
// 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
}
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/
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.
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
}