Among the cavernous nooks of the Sound Bunker reside a number of treasures: a Steiner-Parker Synthacon, a unique monophonic synthesizer conceived by boutique designer, Nyle Steiner (of EWI / EVI fame) in the late 1970s; an EMS DK1 / Cricklewood, the keyboard intended to be used with the British designers’ iconic VCS3 synthesizer; a home-made modular system, which features a circular patching matrix not unlike those of the classic EMS systems; an array of outboard and rackmount gear, including several modules built by the Dutch synthesizer company, Synton; a Buchla Thunder controller, with its innovative ergonomic interface; as well as Roland System 100 modular, PPG 1020, and Korg MS-20 synthesizers.

Sadly, time constraints forced me to prioritize.  My initial strategy was to confine the scope of my explorations to only a few of what I deemed to be the more important or rare instruments – namely the Synthacon, home-made modular, and System 100 modular – so as to come to know them intimately.  Although both the STEIM and Roland modulars provided a trove of sonic surprises, it was Nyle Steiner’s sleek, monophonic gem that captivated a large portion of my attention.  A simple design, based on the three-VCO / VCF / VCA model made standard by the revered Minimoog, yet the timbres slumbering within the Synthacon are quite unlike many other instruments of its era.  To the extent of my experience, anyway, this is due in large part to the instrument’s gloriously resonant high-pass / low-pass / band-pass filter –– spend two minutes sweeping this filter about, and you’ll understand what I mean.  I dedicated two days of my residency to working with the Synthacon, producing a short “etude” of sorts that explores both its delicate and raucous qualities.

That said, throughout the week I did also gather recordings of several hours worth of experimentation on STEIM’s home-made modular system, the Roland System 100, and the Korg MS-20.  And, thus begins the wonderful task of editing!  The aforementioned Synthacon piece, as well as the forthcoming compositions I produce from the material I gathered during my residency at STEIM, can be accessed here: https://soundcloud.com/sarahdavachi.

And, at the end of each work day, I had the pleasure of spending a few minutes staring out over the canal with one of Amsterdam’s many friendly residents:

From May 1 through May 14th, Pete Edwards and Phillip Stearns have been working on developing an open platform for endless musical and electronic invention, exploration, and discovery from the bottom up or the top down. This system is based on minimizing the differences in the input and output “languages” used in various musical electronic formats.  This means finding a way to allow free communication between logic, analog and eventually digital electronics. We are working to achieve this by finding a middle ground between these mediums where signal format and amplitude can be shared freely with minimal need for translators and adaptors. Our proof of concept models have shown that unhindered communication between binary logic and variable analog systems renders wildly adventurous possibilities and a unique musical character.

The form factor ethos is one where our passion for invention and performance are given equal attention. The key to achieving this goal is designing a hardware system with maximal scalability of size, quality and hardware format. Thus allowing the experimenter to quickly and cheaply connect circuit boards with simple jumper wires. Meanwhile the traveling musician may prefer to adapt their system to be held in a rugged housing with large format control hardware. This is effectively achieved by adopting a standard layout for a set of core modules which can be built up to the appropriate scale using a series of shields and pluggable add ons.

After a series of discussion on what such a system might look like and how to establish a standard that could be as flexible as possible, allowing for the nesting of micro and macro elements, we began prototyping modules and stackable hardware interfaces.

Project documentation is still underway, with schematics for the prototypes still in development, however, we have, after only two weeks, produced a functional system that fulfills many of our goals including portability, quick system (re)configuration, open patchable interconnection architecture, and stable breadboard compatible form factor with the potential for stackable shields and interfaces.

Future plans discussed for the project include the development of VCO, VCA, and VCF modules that operate on 5 volts, releasing schematics and system specifications to the public, production of low profile breadboard compatible modules in kit and pre-fabricated form with options for either through hole or smd components.

A video demonstrating the 4000 series CMOS logic based modules can be viewed here.

The Module Prototypes:

Prototype of The Shifter module.

The Shifter - A dual 4-bit serial in parallel out (SIPO) shift register (CD4015) is connected as a single 8-bit SIPO shift register. Two 1 of 8 digitally addressable analog switches control two feedback taps which allow for each of the shift registers 8 outputs to be fedback to the register input. Input to the register is the output of four cascaded dual input XOR gates (CD4070) for a total of 5 possible inputs. The first two inputs are provided by the 1 of 8 switches, the third and fourth inputs are labeled as “mod” inputs for patching of any logic level signal, and the fifth input is connected to a “seed” button located on the lower left corner of the module. A logic level signal on the clock input will shift, or advance, the register once every positive going edge transition. Setting the feedback taps to the same state will fill the register with logic 0 each positive edge transition of the clock input. The register may need to be jump started by pressing the “seed” occasionally in the event that all outputs go low (lock up condition). The edge connector and header row provides connections for ground, power (3-18V), address and inhibit control inputs for each of the 1 of 8 switches, “mod” inputs, 8 parallel outputs of the register, and output from three of the XOR gates (1 = both feedback taps XORed, 2 = the second tap and “mod” inputs XORed, 3 = “mod” inputs XORed).

Prototype of the Divide by 2 by 2 by 2… module.

Divide by 2 by 2 by 2…- A single 12-bit binary counter (CD4040) takes a logic level signal and provides 12 sub-octaves, each available as patch points on the header on the left side of the module. Additionally, three 1 of 8 digitally addressable analog switches (CD4051) provide independent selection of the first 8 sub-octaves generated by the binary counter. The header row along the bottom provides connections for ground, power (3-18V DC), counter clock input, counter reset, address lines and inhibit control inputs for each of the three 1 of 8 switches, and the final four output stages of the binary counter.

Prototype of the Divide by 3-10 module.

Divide by 3-10 - This module divides a logic level signal frequency by integers 3 through 10. A 1 of 8 digitally addressable analog switch allows for the selection of the factor of division. A divide by 2 through 10 counter (CD4018) operates on feedback to establish the division factor and is used in conjunction with a quad 2-input AND gate (CD4081). The header row and connector provide connections for ground, power (3-18V DC), counter clock input, address lines and inhibit control inputs for the 1 of 8 switch, and the sub harmonic output.

Prototype of the Rhythm Brain module.

Rhythm Brain – Three binary rate multipliers (CD4089) share a common clock input and output pulses that are multiples 0-15 of 1/16th the logic level signal on the clock input. All chips share a common “set to 15″ input, which globally resets the pattern. Each chip has independent 4-bit addressable rate multiplication and inhibit controls. The edge connector and header row provide connections for ground, power (3-18V), 3 independent 4-bit address selection of rate multiplication and inhibit controls, and individual output for each chip. An additional set of outputs provide the compliment of the individual outputs on the header on the right side of the module.

Prototype of the 3-bit Digitizer module.

3bit Digitizer – An incoming analog voltage is digitized and quantized in real-time at 3-bit resolution. Two quad opamps (TL074) are used as comparators connected to a resistor network which sets 8 thresholds at equal intervals from 0v to the Voltage supply level. An 8-bit priority encoder (CD4532) is used to convert the comparator outputs to 3-bits. The edge connector and header row provide connections for ground, power (3-18V), 3-bit output in order LSB to MSB, enable output, gate select output, and the 8 outputs of the comparators.

The workshop program begins on June 12th with a 3-day interactive audio-visual performance workshop. Led by visual artist and filmmaker Jamie Griffiths, the workshop is a deep introduction to using the award-winning interactive audio-visual software Isadora. The workshop goal is for every participant to be guided towards developing a fully-functional interactive performance system.

The second workshop takes place the weekend of June 15-16, focusing on the creative possibilities of wireless and networked sensing technologies for performance, dance, and music. This workshop will teach participants how to use the Sense/Stage wireless sensing system in order to incorporate short-range wireless communication and networked, environmental sensing into future projects. The wireless sensing workshop will be led by interactive artist and Sense/Stage engineer Marije Baalman.

Space is limited for these workshops and registration for each must be made in advance. For more information and registration links please follow the links below! Those who attend both workshops receive a €20 discount on the registration fee.

12-14 June – Isadora interactive audio-visual performance workshop

15-16 June – Wireless sensing for music, environments, and performance with Sense/Stage

The program offers up an eclectic selection of some of the most interesting musical acts in the Dutch underground scene. We’re happy to be a part of making it happen. And if you’re going on May 11-12, be sure to check out the instrument building workshop being led by DIY electronic art gurus Peter Edwards and Phil Stearns from the US.

SOTU Festival has completed its lineup of names and program components.With additions of several DJs and acts:: Mik Quantius (DE), Hystery Land 2 (Noise Extravaganza!), EKE,  Duo13 (Aart Strootman & Bram Stadhouders), Homemade Empire, Die Munch Machine (UK), Dj Trish Trash, Dj The No, DJ Baba Electronica, Selektor Depender feat. MC Diamanta & Lorren, DJ Ruwedata,  John Dikeman & Andy Moor, Arnold de Boer, The Sasters, Botfly & Holzkopf Duo, Motel Aurora, Damcase, Pal / Secam, The Exploding Potatoes (NL), Bardo Frings, Alexandros Papamarkou, Loyu and GARTMALEN.. The second edition is of the program is complete, On 5 May on the dOeK Festival (Vondelbunker) and 9 – 12th. May at locations Lost Property, OT301, OCCII, Vondelbunker and Budapest. SOTU Festival aims to present the many facets of the contemporary musical underground, the program contains more than seventy artists (local and international) ranging from indie-rock, improv, electronica, punk, noise, rock & roll, digidub and bass music..Also included within the program are documentaries, workshops, art and performances. This second edition is realized thanks to the dedication and contributions from 25 organizations, collectives and curators.

This year SOTU want to bring the underground closer towards the audience, to emphasize the richness and roots within that, with genres like reggae, punk and rock & roll in a contemporary way.  We do this by asking ourselves where these genres at a certain time have been representing and what new genres you find back in that old mentality.

For more information and festival program visit the official SOTU website.

http://www.sotufestival.com/

- developing a method to measure the proximity from one bicycle to another. We are investigating a combination of Xbee modules – tiny radio frequency modules – and ultrasonic sound – high frequency sound generators which one normally uses to drive mice, insects and other animals insane.

- we are working on our scooter radioplay expedition ‘dus niet brommen’, which we will present at the Urban Explorers Festival in collaboration with art initiative Noordkaap. During this scooter expedition the audience is riding along with 10 brave, young scooter guides. Sitting at the back of these scooters they listen to a radioplay which is being broadcasted live from the central radio scooter (recognizable by its huge antenna). In this radioplay the sounds and movements of the scooters influence the various sounds of the radioplay. Using piezo’s, FM transmitters and computers with wifi connections on the scooters the scooter sounds are transferred to the central radio scooter. Sitting at the back of this central scooter I mix and adapt the sounds to the various locations and send them into the ether.

First week

We did some experiments with Xbee modules which were quite succesful. We walked around outside and inside with Xbee modules connected to our laptops. Inside the Xbee modules do not work that well because the radio waves bounce back from the walls. But outside they work quite nicely within a range of about 50 metres. Actually these are the first sensors we use that work better outside then inside…

For the scooter expedition we found a very nice Stentor FM transmitter. We made an antenna and now we can broadcast our scooter radio programme in a range of a kilometre. Furthermore we worked on the power supplies for the electronic devices on the scooters.

Second week

We are running into quite some problems with the power supplies. The situation is a bit stressful since we have only 1,5 week to make it work. The PandaBoards we are using for the project are now – fortunately – way more stable and performance wise efficient thanks to the brand new linux distribution which Didier put on them. Sjoerd has been working on sound design for the radio play.

Down here you can listen to a sound preview – all sounds except the male voice are being triggered and influenced by scooters.

You can check out a tv item about ‘dus niet brommen’ down here:

General info:
http://steim.org/education/masters-program/
http://www.sonology.org/NL/instruments-interfaces.html
http://www.sonology.org/UK/frameset-uk.html

Applications should be made via studielink:
Nederlands
http://www.koncon.nl/nl/Aanmelden%20en%20toelating/
English
http://www.koncon.nl/en/Application%20and%20enrollment/

Info on tuition and fees:
http://www.koncon.nl/en/Application%20and%20enrollment/Study%20Fees/

The Conservatorium van Amsterdam (CvA) started a high-level master’s programme in September 2012.

It is designed to accommodate the aspirations of performers from any musical background who wish to specialise in combining their traditional instruments with live electronic extensions. The programme is primarily designed for performers with a music-driven interest in electronics and technology, which could also include, for instance, ‘laptopists’ as long as they can show proficiency in music theory and performance practice.

In a world in which electronics are more and more present, and at the same time more accessible and affordable, there is an increasing interest in musicians that can deal with (live) electronics.

The Amsterdam  two-year master’s programme will provide profound education in combining the traditional instrument with live electronic extensions. Through balanced training in using dedicated soft and hardware on one hand and the traditional instrument on the other, students will be enabled to develop their artistic, creative and technological skills in an area which asks for consistent development. Performance, composition, improvisation, multimedia, music technology, computer programming, synthesiser programming, new and vintage hardware, theatre are key subjects.

The programme is completely cross-genre and is not biased towards just one music style or tradition.

Lessons, lectures, workshops are given by an experienced team of CvA teachers, teachers from STEIM and special guest teachers from all around the world.

Closing date for applications is May 15th 2013
Entrance exams will be held on May 29th 2013 at the Conservatorium van Amsterdam
Detailed information about admission requirements can be found at:

<http://www.electronicsamsterdam.info/>

Staff:

Jos Zwaanenburg (co-ordinator)
Jorge Isaac
Jorrit Tamminga
Marcel Wierckx
Frank Baldé (STEIM)
Jonathan Reus (STEIM)

More info to be announced.

Date: Thursday 11 April, 2013
Time: 20:00 hrs
Location: STEIM, Utrechtsedwarsstraat 134, 1017WK Amsterdam
Entrance free