Make Noise Interview

This 49-minute video, which was Posted on July 23, 2021, is an Interview with Tony Rolando of Make Noise — Eurorack and stand-alone electronic musical Instruments. The Interviewer is Roey Tsemah, from Synthux Academy — learn to make your own Synths.

In this Interview, Tony mostly talks about the Make Noise “Strega” and part of the collaboration with Alessandro Cortini of the band Nine Inch Nails.

Tony also talks about product development in general as well as the User Interface of the Make Noise Instruments and their graphics.

Here’s the link to the Interview. (The video is almost halfway down this page.):

Here’s the direct link to the Synthux Academy website:

Here’s the link to the Synthux Academy YouTube page:

Here’s a direct link to the Make Noise website:

This is where I first learned about this Interview:

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Klavis Twin Waves MKII

A couple of weeks ago, Sylvia and I bought a Eurorack Oscillator module called “Twin Waves MKII”. It’s made by Klavis. We’ve been wanting to explore this interesting sound source for a while and finally got around to adding it to our System.

Twin Waves is a powerful, versatile Oscillator module which has 2 sound-generating sections. Both of them can be set as audio frequency Oscillators or as LFOs. At only 8hp wide, Twin Waves packs a lot of value for the money and the “MKII” version provides even more flexibility than the original.

While recently exploring this module’s capabilities, I wanted to set everything back to the Factory Defaults. I followed the Manual on how to do this but was a bit confused by its description. I contacted Klavis and they said everything I did was correct. It was simply the Manual’s description of what I would see that was not reflecting the feedback the “MKII” was providing.

They explained exactly what I should see on the module and provided details on what a “Reset” actually does within the Twin Waves MKII.

In order for me to remember this, I simply added the following information to the bottom of Page 19 of the Manual:

Twin Waves MKII
During the Reset, the screen does not scroll. All it does is show “DE” for a second or two. So, as soon as you see the Sine wave, it’s done. The Reset does not affect the 3 modulation pots which are purely analog!

How can you be sure that the Reset did work?
After Reset, the first wave is selected everywhere (Sine for VCO and LFO in both sections) and all parameter tweaks are back to their middle position (when turning the encoder, the display starts from the thin line in the middle). Besides, all clocks, syncs, etc, are disabled.

I’m simply passing this information along, in case there are others who own a Twin Waves “MKII” and haven’t discovered this yet.

Here’s the link to the Klavis website:

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2014 Interview – Jimmy Page Talks About Led Zeppelin

This 13-minute video, from 2014, is an Interview with Jimmy Page, Guitarist for the mega-band, Led Zeppelin.

Here’s the link:

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Eurorack Multiples

In this video, Electronic Music Artist, Mylar Melodies, explains Eurorack “Multiples” and “Switched Multiples”, how they work and provides some examples of how they can be used.

Here’s the link:

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FLASH: The synth built into a MIDI plug

In this video, the Inventor of this WOW-inducing device explains what “Flash” is and how it works.

Here’s the link:

FLASH: The synth built into a MIDI plug

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Lecture On The Haken Continuum

The “Continuum Fingerboard” is a keyboard-like, musical instrument. In this video (from 2019), its Inventor,  Lippold Hakken, explains this unique expressive controller.

Here’s the link to the Continuum’s website:

Here’s the link to the video:

ContinuuCon 2019 – Lippold Haken On The Evolution Of The Continuum Fingerboard

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Bob Moog On 70’s Game Show

This short video provides a small, but fun insight into the life of Bob Moog.

Here’s the link:

Bob Moog On ‘To Tell The Truth’ Game Show

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Behringer Poly D versus the Minimoog

While sifting through some Files on my Mac mini, I re-discovered a few interesting Music-related Links which I thought some of you might find useful.

This first one is to a video where the Narrator compares his Minimoog with the Behringer Poly D.

Here’s the link:

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Synthesizers From Yesteryear

Today begins “NAMM 2021”. NAMM is the “National Association of Music Merchants”. Each year they hold two Expos — “Winter NAMM” in January and “Summer NAMM” around June or July. The Winter version is typically held in California and the Summer version in Tennessee. Each Event occupies the Meeting Rooms of several very large Hotels. This year’s “Winter NAMM”, however, is “virtual” / online-only.
Both NAMM Events are aimed at Music Manufacturers and Music Retailers. This particular NAMM-happening is also open to the General Public and it’s free. Simply visit the NAMM website (link below) and Register.
Music gear manufacturers should be releasing new products all this week and will probably be dripped-out over the next few days. Today, though, two Synthesizers caught my attention. Both are from Korg:
  • The “miniKORG 700FS” (over $2,000). This one’s interesting for two reasons… 1) Korg went back to this one… they’re first mono-synth and 2) This was the very first Synthesizer I ever purchased. At that time, it was known as the “miniKORG 700” (without the “FS” in its name). This was in the early 70s. I was 16 or 17 and still in High School. I don’t remember what I paid for it but it was no where near $2,000. Probably around $200 brand new at that time.
Here’s the link to an article about the new version:
The other Synthesizer that caught my attention today is the “ARP 2600 M”.
Although I’m a Drummer, I also consider myself a “Synthesist”. I enjoy creating all types of sounds and I was attracted to Synthesizers shortly after they were widely available to the General Public, in the early 70s.
I like exploring all the possibilities a Synthesizer has to offer and, even though the miniKORG 700 was my first synth, I quickly discovered its limitations. As I started thinking about replacing it, I kept hearing a fantasticly-rich sound, in the many Rock, Heavy Metal and Progressive Rock songs I listened to every day. Doing some research (with no “Internet” at that time), I learned that this wonderful Synthesizer was the “MiniMoog”. So I saved up my money once again, sold the miniKORG 700 and purchased a MiniMoog. At that time, it cost me $1,495.

It took me quite a bit longer to feel the limitations of the MiniMoog but its sounds were some of the richest I have ever interacted with. Even today.
Many months later, I saw a photo of an “ARP 2600”. It was love at first sight. I just saw a sea of Sliders. Lots and lots of Sliders. It’s potential looked limitless. Especially compared to the MiniMoog. Ring Modulation, Sample & Hold and Patch Points were the biggest attractions for me.
So I saved my money once again, sold the MiniMoog and bought a used ARP 2600. It was the “all-black, with white markings” version. I think I paid about $600 for it at that time (mid 70s).
  • Shortly after this purchase, I became the Drummer for a Top-40 Band in the town I lived in — Jacksonville, Florida. I used that Synthesizer with my acoustic Drums for most of those Gigs. I actually invented a Switch Box so both could be used when I wanted to combine them. I would setup a Patch (sound) on the 2600 before starting the Song. I made sure the Synthesizer setting on the Switch Box was OFF. Then, while playing the Song on my acoustic Drums, I would use a Drumstick to hit a rubberized arm that I created and the Switches I placed under the Drumheads would send their Signals to the Synth. This would allow me to play a sweeping-down sound along “with” the sound of my acoustic Drums. (Hit each Drum and get both sounds.) Of course, I could also Trigger many other ARP 2600 sounds this way.
  • I met my first wife while playing with that Band. After we got married, I quit the Band, sold my Drums and my ARP 2600. At the time, I thought I was doing the “right thing” by “settling down”. It was my own mindset that did me in. That was a big mistake on my part because: 1) My wife married a “Musician” but I turned into an “every day guy” / a “non-Musician” and 2) That was a real working Band. Although we were only a “local” Band at that point, we were good. Very good and just starting to get a foothold to better and bigger opportunities.
  • Just before Sylvia and I got Married, we had heard (still not “Internet”) that the ARP company had just gone out of business. I told Sylvia: “They make the ARP 2600. That’s probably the most important Synthesizer we should have in our set up.” She agreed and we immediately called the ARP company. A man answered the phone and to “me” I always felt as through it was Mr. Pearlman himself. What an honor… not only to be talking to a Synthesizer Engineer “Legend” but to also be purchasing one of the last (or maybe it “was” the last) Synthesizers left in that company. The one we bought was the “all-black with orange lettering” version.
Here’s the link to an article on today’s release of the “ARP 2600 M”:
Here’s the direct link to the NAMM website, to learn more about what’s happening this week:

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Drummer, Lee Kerslake

I think I’ve mentioned in a previous Post that “Drums” are my main instrument. Yes, I’m also a Synthesist but “Rhythms” and “timing placements” of all kinds are interwoven throughout my energies.
While I was skimming through one of my nightly “news digest” sites, I saw a the following title:
  • “Uriah Heep and Ozzy Osbourne Drummer, Lee Kerslake Has Died”
Uriah Heep is one of my favorite Bands. Sylvia also likes them. They were a huge influence on my musical taste and Lee Kerslake’s drumming style still has a huge impact on the goals I’ve set for my own drumming character.
  • Was Lee Kerslake the best Drummer in the world? No.
  • Was he as good as the Drummers from the other great Bands that Sylvia and I admire (Yes, Rush, “Emerson, Lake & Palmer”, Gene Krupa, Buddy Rich, etc.)? Not from what I’ve heard.
  • So why did I immediately start crying when I saw that title?… It’s because Lee Kerslake has a “drumming style”, an “energy”, a “rhythmic character” that I have never felt from another Percussionist. Maybe I’m the only one who hears the subtle additions he’s added to many, many great Songs. It’s almost a “spice”. It’s a background ingredient which is almost not detected but without it those Songs wouldn’t be as great as they are. I can’t explain it

Maybe I cried because Lee Kerslake is more of my “Drumming Idol” than I realized and now that he’s on the other side of the “Veil’, I feel as though I’ve lost that direct connection I had with his energy… or maybe it’s my own laziness that keeps telling myself:

  • “Yeah, I’m going to work hard and sound just like him some day.”
…and now that he’s crossed-over, maybe, inside, I feel like my “goal” of learning his technique can never be achieved.
Lee Kerslake is one-of-a-kind.
  • “Rock-on, my friend. I know “I” will miss you.”
At least his inspirational drumming style has been captured in the many wonderful recordings that he took the Time to create.
Lee Kerslake, thank you for pointing the way.
(I’m still crying as I write thsi)
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