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Kristen Roos // Universal Synthesizer Interface Vol II TAPE

Kristen Roos // Universal Synthesizer Interface Vol II TAPE

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Canadian sound designer Kristen Roos released a limited edition of 2022 cassettes from Hotham Sound in Canada in April 4.

Contains 1980 nostalgic IDM-ambient songs produced using 6s MIDI instruments.

As always, the publisher will be completed immediately, so please do so as soon as possible. DL code included.Below is a description of the label.

Hotham Sound announces the long-awaited second volume of Kristen Roos's "Universal Synthesizer Interface" series, which explores the audio of early algorithmic MIDI sequence programs for personal computers. Vol.2 introduced various vintage programs, but Vol.1 focuses on two of Roos's personal favorites.Laurie Spiegel's "Music Mouse" and Frank Barde's "Diablo".

One of the first "intelligent instruments" made for personal computers, Spiegel's "Music Mouse" was a surprisingly intuitive entry into the world of MIDI sequencing for many in the 1s. bottom.Control the placement and parameters of MIDI data with the mouse position, allowing users to quickly select and change the scale, chord voicing, and volume of their work on the fly.The keyboard is used as a control panel, and the digital "cheat sheet" that comes with the software outlines the various shortcuts.The program can only output four MIDI notes (which can then be arranged in short musical phrases or loops), but within this constraint is the enormous amount of capacity that creates musical variation and complexity. It has been done. Roos plays the software with a light touch, maintaining a delicate balance between playfulness and accuracy.

Frank Balde's "Diablo" can literally "draw" MIDI data in a window much like an early digital paint program like MacPaint.Users can record data in loops, change note parameters (tonality, length, velocity, tempo, etc.), capture "snapshots" of their settings, and click in real time.The program is limited to three loops at a time, but like a music mouse, it hides a surprisingly powerful tool for musical expression within that limit. At Roos's hands, the repeating loops overlap, intertwin, and slowly form into a huge sound tapestry, much like a pattern on a digital loom.

Labels and other worksthis /// Click here to see more Hotham Sound Recordings releases available at Tobira.

--------------------------

Edition of 70 copies. Features 5-panel interior j-card.

Hotham Sound Recordings:

"Hotham Sound is pleased to announce the much-anticipated second volume of Kristen Roos's'Universal Synthesizer Interface' series; an ongoing audio exploration of early algorithmic MIDI sequencing programs for personal computers. Where Vol I showcased a wide variety of vintage programs, Vol II sees Roos narrowing his focus down to two of his personal favorites: Laurie Spiegel's'Music Mouse' and Frank Balde's'Diablo.'

One of the first'intelligent instruments' ever created for the personal computer, Speigel's'Music Mouse' was, for many people in the 1980s, a remarkably intuitive introduction to the world of MIDI sequencing. Mouse position controls the placement and parameters of MIDI data The keyboard is used as a control panel, with various shortcuts outlined on a digital'cheat sheet' provided with the software. While the, allowing the user to quickly select and alter the scale, chord voicing and volume of their work on the fly. program is limited to outputting four separate MIDI notes (which can then be ordered into short musical phrases or loops) within these constraints lies an enormous capacity for musical variation and complexity. Roos plays the software with a light touch, maintaining a delicate balance between playfulness. and precision.

Frank Balde's'Diablo' allows for MIDI data to be literally'drawn' into a window very similar to early digital paint programs like MacPaint. The user can then record the data into loops, alter the note parameters (tonality, duration, velocity, tempo) , etc), and capture'snapshots' of their settings that can then be clicked between in real time. The program is limited to three separate loops at a time, but like Music Mouse, its limitations conceal a surprisingly powerful tool for musical expression. In Roos's hands, the repeating loops overlap and intertwine with one another like patterns on a digital loom, slowly forming themselves into enormous tapestries of sound.
 "

Artist: Kristen Roos

Label: Label: Hotham Sound Recordings

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Canadian sound designer Kristen Roos released a limited edition of 2022 cassettes from Hotham Sound in Canada in April 4.

Contains 1980 nostalgic IDM-ambient songs produced using 6s MIDI instruments.

As always, the publisher will be completed immediately, so please do so as soon as possible. DL code included.Below is a description of the label.

Hotham Sound announces the long-awaited second volume of Kristen Roos's "Universal Synthesizer Interface" series, which explores the audio of early algorithmic MIDI sequence programs for personal computers. Vol.2 introduced various vintage programs, but Vol.1 focuses on two of Roos's personal favorites.Laurie Spiegel's "Music Mouse" and Frank Barde's "Diablo".

One of the first "intelligent instruments" made for personal computers, Spiegel's "Music Mouse" was a surprisingly intuitive entry into the world of MIDI sequencing for many in the 1s. bottom.Control the placement and parameters of MIDI data with the mouse position, allowing users to quickly select and change the scale, chord voicing, and volume of their work on the fly.The keyboard is used as a control panel, and the digital "cheat sheet" that comes with the software outlines the various shortcuts.The program can only output four MIDI notes (which can then be arranged in short musical phrases or loops), but within this constraint is the enormous amount of capacity that creates musical variation and complexity. It has been done. Roos plays the software with a light touch, maintaining a delicate balance between playfulness and accuracy.

Frank Balde's "Diablo" can literally "draw" MIDI data in a window much like an early digital paint program like MacPaint.Users can record data in loops, change note parameters (tonality, length, velocity, tempo, etc.), capture "snapshots" of their settings, and click in real time.The program is limited to three loops at a time, but like a music mouse, it hides a surprisingly powerful tool for musical expression within that limit. At Roos's hands, the repeating loops overlap, intertwin, and slowly form into a huge sound tapestry, much like a pattern on a digital loom.

Labels and other worksthis /// Click here to see more Hotham Sound Recordings releases available at Tobira.

--------------------------

Edition of 70 copies. Features 5-panel interior j-card.

Hotham Sound Recordings:

"Hotham Sound is pleased to announce the much-anticipated second volume of Kristen Roos's'Universal Synthesizer Interface' series; an ongoing audio exploration of early algorithmic MIDI sequencing programs for personal computers. Where Vol I showcased a wide variety of vintage programs, Vol II sees Roos narrowing his focus down to two of his personal favorites: Laurie Spiegel's'Music Mouse' and Frank Balde's'Diablo.'

One of the first'intelligent instruments' ever created for the personal computer, Speigel's'Music Mouse' was, for many people in the 1980s, a remarkably intuitive introduction to the world of MIDI sequencing. Mouse position controls the placement and parameters of MIDI data The keyboard is used as a control panel, with various shortcuts outlined on a digital'cheat sheet' provided with the software. While the, allowing the user to quickly select and alter the scale, chord voicing and volume of their work on the fly. program is limited to outputting four separate MIDI notes (which can then be ordered into short musical phrases or loops) within these constraints lies an enormous capacity for musical variation and complexity. Roos plays the software with a light touch, maintaining a delicate balance between playfulness. and precision.

Frank Balde's'Diablo' allows for MIDI data to be literally'drawn' into a window very similar to early digital paint programs like MacPaint. The user can then record the data into loops, alter the note parameters (tonality, duration, velocity, tempo) , etc), and capture'snapshots' of their settings that can then be clicked between in real time. The program is limited to three separate loops at a time, but like Music Mouse, its limitations conceal a surprisingly powerful tool for musical expression. In Roos's hands, the repeating loops overlap and intertwine with one another like patterns on a digital loom, slowly forming themselves into enormous tapestries of sound.
 "

Artist: Kristen Roos

Label: Label: Hotham Sound Recordings