TubularCorporation

The DIY synth that sounds like a trombone is actually really cool.

Obvious, but

Pornado

In case it isn't already in the thread. Also there's a Google Drive link with a soundfont: I haven't seen one anyplace else and it's a bit of a hassle to make one from scratch.

https://www.urbandictionary.com/define.php?term=woods porn It's a real thing, at least in the USA. I've found woods porn, I know a few other people who has found woods porn, hell even my dad once told me about finding an abandoned cabin FULL of nudie magazines as a teenager back in the early 60s (they had me in their mid 30s, I'm not that old yet), when he was snooping aroun in the woods on property that had belonged to a nudist colony that got chased out of town a few years earlier. So if he's looking for porno magazines and he lives in the USA or Canada, he needs to go out in the woods to find some before even that option is gone. EDIT: it's not jsut a rural phenomenon, in the city he might be able to find some alley porn. Back in the 2000s, my girlfriend and I were walking someplace or other in Boston and a big gust of wind blew an entire magazine worth of gay porn - loose pages - down the street past us like leaves. That's the only pornSTORM I've ever heard of.

A few more examples of good design and then I can't put off work any longer: (Visually I think the earlier, sharp-cornered models up to Hero 4 are nicer, but rounding it off is definitely a better functional design since those sharp corners were a stress point so the newer, rounded models should be less likely to break). (I've never used a Blackmagic controller so my opinion might change after I felt the buttons and jog wheel, but in terms of layout and visual design it's excellent).

I was thinking about it a litte (because this is one of my sort of pet issues) and I think this is a good analogy for what bugs me about the new milled-aluminum TE designs: is to as is to

Not across the board, it's more that I favor a functional, humanist design philosophy and that has been out of fashion for the last 20 years or so. I also think it's hard to talk about functional design if you haven't used the thing hands-on (I haven't built a Lyra 8 yet but I made an exception for it. Everytrhing else I posted is something that I have either owned or used extensively at some point. I think the Hydrasynth is an amazing piece of design from what I've seen, but I haven't used one. I really like the design of the Kilpatrick Phenol and the Linnstrument (even though I'm not a fan of grid cotnrollers in general, aesthetically or functionally). The DrumBuddy is a phenomenal piece of design but I didn't think you'd take it seriously in context. I didn't include the OTO BAM because of it's retro-ish aesthetic, I included it because I've had one for a few years and it has oen of the fastest, most intuitive interfaces of any piece of gear I've handled in my life. I actually think their visual designs are a bit gimmicky, maybe even borderline ugly, but as a tool that you need to physically interact with they're exceptional. Kind of how I feel about Elektron stuff, it's ugly but it's so natural to use that once you spend some time with it the underlying elegance of the design comes out - it's designed for your hands, not your eyes. A bit less so with the newer, square-button stuff. I'm struggling to think of musical equipment from the last 30 years that comes anywhere near the quality of design that goes into the average gamepad, though. Of all the things I posted, the IBM Model M is easily the best and most important.

Most of the commercial products that use electromagnetic feedback like this have been really guitar oriented (the original electromagnetic sustainers that use a mechanically coupled driver were patented over 100 years ago and designed for Hawaiian slack key players, and as far as I know the eBow was the first commercial product that drove the string itself, although the exact same principle has been used for spring reverbs since at least the 1940s). I jsut found out about this while I was checking to see if there were any commercial keyboard instrumnts that drove the strings with electromagnets out there. It's not commercial but it's pretty cool: Composers have been driving piano strings with electromagnets since the 50s at least but this is a whole other level of it. This is all reminding me of back around 2004 when I wanted to convert a turntable into a delay by mounting a disk with some kind of tape-like magnetic coating on the platter and using two linear tracking arms on opposite sides with tape heads where the styluses would normally be, and simple mechanical controls to move them across the radius of the platter. Sort of like a cross between an Echoplex and the Drum Buddy. I didn't have any electroncis experience at all back then, though, and now that I do I don't have easy access to dozens of free (or at least $50-$10) turntables anymore.

All joking aside, though, I like good design and I can appreciate overspending for the sake of it, but I think the TE stuff is butt ugly at any price. I wouldn't shit talk it so much if I actually liked the designs (or if they were really ugly in a way that was funny or charming or even interesting; as it is, if i saw their products at a RISD senior show I'd rank them maybe a C+. But I feel the same way about virtually every Apple design (especially the G3 and newer stuff) so I'm obviously not their target demographic.

It looks to me like they were going for Nagra SNST (those sweet mid-century surveillance recorders that you could actually still find for a couple hundred LESS than this thing until a few years ago), but halfway through someone said "what if we mde it look more like a Yak Bak?" plus equals Plus just a hint of

I read the feature list and product blurbs and it's actually embarassing. Being able to scrub audio with the "tape wheel" like a tiny CDJ it would be a cool gimmick with some actual practical use, if it was under $200 I might buy one to replace my sticky Zoom h5. If I was a performance artist I would buy one and then charge $2000 a head for exclusive shows where I wrapped it up in a Supreme tee shirt and stuck it up my butt.

Dead sober is the only way to listen to Zappa. Tell him he just needs to look in the right place:

Since the nostalgia cycle has gotten to the whole "Y2K aesthetic" thing deep enough that even the most mainstream outlets like CNN have published shallow think pieces on it, does that mean amid 2000s nostalgia wave is on the way? Are we going to see big revivals of stuff like stoner metal and folktronica and mainstream torture porn? Maybe another wave of neo-noir films (4th wave? 5th wave? It seems like there's a neo-noir revival every 10 years or so since Chinatown came out)? Should I start saving up to get my Sunn repaired?

That track The Depths sounds like Michel Huygen.

Yeah, I mean in the long run. If nothing else it's got me thinking about winding some coils soon.

That thing is pretty cool. I pulled a 70s Wurlitzer out fo the trash years ago (not joking) and I finally added an insert to it. Using filters and reverb on the signal to pull out harmonics and extend them BEFORE they reaches the speaker (so that so that the whole thing can acoustically feed back when the damper is up, which it doesn't do stock but does easily and pretty controllably once you start inserting effects) gets into similar territory, but this thing looks a lot more flexible and practical (can't comment on the sound since my Wurlitzer is about 30 years overdue for a recap and doesn't ahve as much hihg end as it used to, even when I got it back around '99). What I can't tell from this demo is: 1) Does it create sustain electromechanically with a driver of some kind, or is it doing it digitally? At 3:58 that sounds like it's digital, done with some kind of microlooping, which makes it less exciting because you can't physicaly manipulate the tines while they're ringing if it's done that way. Hopefully what sounds like a loop is actually acoustic beating from the way the two branches of the tines are tuned or something, and it really is using some flavor of transducer/driver combo to feed the tine back into itself electromagnetically, like an e-bow. I've been playing around with ideas for an instrument similar to this for years and that always seemed like the best way to me, so I hope it's how they did it. 2) It sounds like it emphasizes and de-emphasizes harmonics by using a comb filter tuned to the tine's first few overtones. But is there a single comb filter thatgets retuned on the fly according to which button you press (making it paraphonic), or do they actually have comb filters per tine? My money is on per-tine comb filters, but they're digital to save money and simplify the design a lot. However it works, it's pretty cool to see somethig like this being developed by a company as big as Korg. If I had the money I might even buy one, but I don't.

And I agreed!

4 tracks isn't that many for either of these, though. Not saying you couldn't do a lot of stuff with it as-is, but it would be nice if it had 8 channels.

This would be really exciting if it had at least 4 more channels!

And make the hardware open also. At least if it's taken out of official production.

If the Hydrasynth doesn't click with you then you can give it to me...