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tTh<a href="https://pouet.chapril.org/@badsuperblock" class="u-url mention" rel="nofollow noopener noreferrer" target="_blank">@badsuperblock</a> : <a href="https://mastodon.tetaneutral.net/tags/Fairlight" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Fairlight</a> ou <a href="https://mastodon.tetaneutral.net/tags/Synclavier" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Synclavier</a> ?

Francois DionMy 15th track for <a href="https://mastodon.online/tags/jamuary2025" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#jamuary2025</a> for the 29th. This one is an ambient track, no percussions or drums whatsoever. But a bunch of textures and layers. One more <a href="https://mastodon.online/tags/track" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#track</a> and I'll have reached my goal of one every other day for the whole month of January. And whole complete tracks at that.<a href="https://mastodon.online/tags/vox" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#vox</a> <a href="https://mastodon.online/tags/synth" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#synth</a> <a href="https://mastodon.online/tags/Synclavier" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Synclavier</a> <a href="https://mastodon.online/tags/modular" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#modular</a> <a href="https://mastodon.online/tags/music" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#music</a> <a href="https://mastodon.online/tags/jamuary" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#jamuary</a>Listen to Choeurs et Psalterion Electriques (Jamuary 29) by Francois Dion on <a href="https://mastodon.online/tags/SoundCloud" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#SoundCloud</a> <a href="https://on.soundcloud.com/Hzdmud6UC4KH9MXG7" rel="nofollow noopener noreferrer" translate="no" target="_blank">https://on.soundcloud.com/Hzdmud6UC4KH9MXG7</a>

Bas Langereis<a href="https://mstdn.social/tags/NP" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#NP</a>: <a href="https://mstdn.social/tags/NowPlaying" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#NowPlaying</a>: Frank Zappa - 'Jazz From Hell' (1986) (1990 remix) Almost completely composed and performed on the <a href="https://mstdn.social/tags/Synclavier" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Synclavier</a>, this is electronic <a href="https://mstdn.social/tags/FrankZappa" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#FrankZappa</a> genious. 'Night School' and 'G-spot Tornado' are amazing. 'St. Etienne' is a marvellous 1984 live <a href="https://mstdn.social/tags/guitar" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#guitar</a> solo only <a href="https://mstdn.social/tags/Zappa" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Zappa</a> could play.

ChancerubbageI can get on odd trains of thought.Now I am thinking of people who used a Fairlight EMI vs a Synclavier, My perceived ease of use of user interface, (Fairlight seems way more straightforward) and how those that were able to make their investment back to pay for them with successful recording or tour might have been using only one blade of their knife. I think Zappa used his synclavier as a multitrack recorder more than a sampler, as most used fairlights.<a href="https://mastodon.social/tags/synths" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#synths</a> <a href="https://mastodon.social/tags/Fairlight" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Fairlight</a> <a href="https://mastodon.social/tags/Synclavier" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Synclavier</a>

Ronnie / Rekkerd.orgEarcandy releases Quondam sample library for Kontakt <a href="https://rekkerd.org/earcandy-releases-quondam-sample-library-for-kontakt/" rel="nofollow noopener noreferrer" translate="no" target="_blank">https://rekkerd.org/earcandy-releases-quondam-sample-library-for-kontakt/</a><a href="https://mastodon.social/tags/Digidesign" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Digidesign</a> <a href="https://mastodon.social/tags/Earcandy" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Earcandy</a> <a href="https://mastodon.social/tags/Kontakt" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Kontakt</a> <a href="https://mastodon.social/tags/Synclavier" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Synclavier</a>

Thomas Cherryhomes<a href="https://oldbytes.space/tags/Fairlight" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Fairlight</a> <a href="https://oldbytes.space/tags/Synclavier" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Synclavier</a> In mode 4, the waveform segments are simply sent to the digital to analog converter. It required the voice memory to be quadrupled to 16 kilobytes, making 128 discrete segments, but it meant a couple of seconds of a recording, like a really short mellotron. Mode 4 meant less effort for a more realistic sound. The rest, is history. <commentary>These are all things I can demonstrate, and it really irks me that most of the Fairlight CMI videos are recorded by people who just don't demonstrate the instrument that well, at all. </commentary>

Thomas Cherryhomes<a href="https://oldbytes.space/tags/Fairlight" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Fairlight</a> <a href="https://oldbytes.space/tags/Synclavier" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Synclavier</a> CMI Page 6 was a way to use the light pen to sculpt the waveform of a particular segment. It also had settings for several pre-defined waveforms, and the ability to interpolate them between segments. CMI Page D wasn't a visual gimmick. By laying the individual segments of a voice in a sheared fashion, it was possible to detect all sorts of mistakes like phase errors, which were very important in wavetable voices. One example of implementing a voice in this manner, would be Karplus-Strong synthesis: Create a segment of white noise, interpolating to a sawtooth wave, into a sine wave, simulating the pluck of a string. Mode 1 was initially intended to be the primary voicing method of the CMI, but memory and processing considerations limited the possibility for realistic sounds. The compromise was mode 4

Thomas Cherryhomes<a href="https://oldbytes.space/tags/Fairlight" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Fairlight</a> <a href="https://oldbytes.space/tags/Synclavier" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Synclavier</a> This voice architecture was called mode 1, and required 4 kilobytes of RAM for each voice card. The M8 had other modes too, and you can read about them in its manual. For those keeping score, it is indeed very much like the PPG Wave 340/380 system, which, ironically used the same CPU (Motorola 6800). But the PPG waveforms were longer, and the table was twice as long, however after the 340/380, waveforms had to be symmetrical. CMI Page 4 allowed for the quick sketching of amplitudes for each individual harmonic, as a single view. You could quickly see a bird's eye view of the voice envelope, and apply loop points. CMI Page 5 Allowed for a slice by slice view of each waveform in the table, allowing you to adjust the harmonic profiles for each slice, with an array of faders adjusting the harmonic profile of a given segment.

Thomas CherryhomesI got to know the <a href="https://oldbytes.space/tags/Fairlight" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Fairlight</a> CMI and <a href="https://oldbytes.space/tags/Synclavier" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Synclavier</a> exceptionally well, and squeezed everything I could out of these instruments, by learning all of their features, and writing software for them An example. Most people see the Fairlight CMI as a sampler. Given that page 8 was very easy to use, and the fact that most producers just wanted a particular sound, it would be sampled, and inserted as embellishment in a mix. But that was just one mode. Mode 4. Circa 1979, The CMI was a commercial refinement of an earlier instrument, the QASAR M8. The QASAR synthesizers were early additive synthesizers that initially worked on very harmonically static waveforms. The M8 enhanced this functionality by providing a voice architecture that could quickly step through 32 possible digital waveforms, each containing 128 discrete 8-bit values, with the ability to scan through these waveforms in complex ways.

Gene<a href="https://mastodon.social/@georgebaily" class="u-url mention" rel="nofollow noopener noreferrer" target="_blank">@georgebaily</a> He's using a <a href="https://musician.social/tags/Synclavier" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Synclavier</a> - Cool!

PythonBlueIn additional lighter music-tech news, I'm happy to say there's a slim chance an update idea I had for the <a href="https://mastodon.gamedev.place/tags/Synclavier" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Synclavier</a> Regen <a href="https://mastodon.gamedev.place/tags/synthesizer" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#synthesizer</a> could be implemented, having been informed of updates the other day as well. Will try to reveal the specifics of the idea later.

catsynth / amanda cNew Daily Disc! Frank <a href="https://mstdn.social/tags/Zappa" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Zappa</a>: Jazz from Hell (<a href="https://mstdn.social/tags/Synclavier" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Synclavier</a> album) <a href="https://youtube.com/shorts/fGKaVyDF89o?si=5uZt9YiiEusOLeat" rel="nofollow noopener noreferrer" target="_blank">https://youtube.com/shorts/fGKaVyDF89o?si=5uZt9YiiEusOLeat</a> 😻💿🎹📺

Bas Langereis<a href="https://mstdn.social/tags/NP" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#NP</a>: <a href="https://mstdn.social/tags/NowPlaying" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#NowPlaying</a>: Frank Zappa - 'Feeding The Monkies At Ma Maison' (2011) These are <a href="https://mstdn.social/tags/Synclavier" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Synclavier</a> compositions that <a href="https://mstdn.social/tags/FrankZappa" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#FrankZappa</a> 'finished' before his passing. Abstract, melodic, rhythmic, complex, adventurous, infectious, addictive and stunning <a href="https://mstdn.social/tags/Zappa" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Zappa</a> stuff.

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