My experience is that with hardware 4-pole filters, it's not a matter of being
hard to make, but it takes some work to keep them stable. Doing a 4-pole LP
Curtis,... I'll have to try that one. Got an orch/sco- file I can try out?

-Partev


===========================================


From:  	Rene Djack 
Reply-To:  	csound@lists.bath.ac.uk
To:  	csound@lists.bath.ac.uk
Subject:  	[Csnd] Re: Re: [ot] - Speaking of Hardware Synths (Vince Clarke Interview)
Date:  	Thu 03/18/10 10:30 AM

	 
Hi,

Thanks a lot for this video, it is wonderful.

I fan of Berlin school style music and Space music, all made with synths,
I don't know that Vince Clarke have a so huge collection of hardware synths. 

I still have an old Sequential Circuits Six-Track 610 and i am trying to emulate it
with csound and Qutecsound.

Really not easy to make a csound 4 poles LP Curtis filter!!! 

Cheers,
René



2010/3/18 Michael Gogins 
I don't know Vince Clarke as a person so much, but I have a number of
Erasure and Depeche Mode albums, to which I listen periodically. I've
been listening to Depeche Mode practically my whole adult life. Thanks
for the video link, I really enjoyed it.

In 1982 I put together an electronic music studio for my fiance or
wife (I can't remember whether it was before or after we got married),
the composer/flutist Esther Sugai. For her studio I bought a
Sequential Circuits Pro 1, one of the synthesizers that Clarke shows
off in the clip. I made several tunes with that thing. It was the only
synthesizer in this little bedroom studio. It had a Lexicon PCM 41 (I
think that's the model) digital delay, a spring reverb, and a Tascam
8-track. Oh, and we had some completely cheesy toy Casio polyphonic
synth, I mean REALLY a toy. The combination of the Pro 1 and the delay
line was phenomenal. Both pieces of gear were well thought out and the
combination sounded fantastic. Some of what I do in Csound is inspired
by sounds that either I or Esther made back then....

It is quite correct that "messing about" with knobs and patch wires is
a very different and in many ways more productive way of working. If
Csound had a visual patcher we would get back to that with Csound. I
don't care to have only a visual patcher, I prefer coding for most
things, but for exploratory sound design nothing beats patch wires and
knobs.

We do have a patcher in the form of Cabel, and it's good for
developing sounds in isolation, but it doesn't integrate well with
whole orchestras and whole pieces. Maybe now that we have the signal
flow graph opcodes, I'll go back and see if I can use Cabel to work
with existing pieces and orchestras. I could create individual Cabel
patches and #include them in my pieces, using the signal flow graph
opcodes to hook the patches into a mixer graph.

Again, thanks for the link, it really got me thinking.

Regards,
Mike

On Thu, Mar 18, 2010 at 1:01 PM, Steven Yi  wrote:
> Hi All,
>
> Just to carry on the thread of hardware synths and desires, it's no
> secret I'm a huge fan of synthesizer pop and most everything Vince
> Clarke has done.  There's a wonderful interview video here that shows
> his gigantic synth studio with lots of talk and show of different
> synthesizers:
>
> http://www.motherboard.tv/2010/3/17/electric-independence-vince-clarke-and-the-temple-of-synth
>
> I guess if one dies and goes to analog synthesizer heaven, one just
> ends up at his house. :P
>
> steven
>
>
> Send bugs reports to the Sourceforge bug tracker
>            https://sourceforge.net/tracker/?group_id=81968&atid=564599
> Discussions of bugs and features can be posted here
> To unsubscribe, send email sympa@lists.bath.ac.uk with body "unsubscribe csound"
>
>



--
Michael Gogins
Irreducible Productions
http://www.michael-gogins.com
Michael dot Gogins at gmail dot com


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