Tuesday, October 11, 2016

New deep electronica mix from Ruxpin for Inside the Rift..

Buspin Jieber – We Came As We Left
Ruxpin – Poly Polly
Ametsub – SkyDroppin
Kelpe – Eye Candy Bath
Christ – Toynbee
Gunnar Jónsson Collider – Transikh
Daveeth – Go Figure
Pastacas – Erikool
AFX – Diskhat
Eric B & Rakim – I Know You Got Soul
Karsten Pflum – Com Sa Faerring
Generate – Lander
Alka – Twilight
Skurken - Hólmur

Friday, December 4, 2015

End of Years

2015, what's in a number...? This year saw continued production on an upcoming alka release: The Colour of Terrible Crystal, but nearly as important, 2015 (and let's throw in 2014 because it's all a blur) saw the completion of many DIY analog synth projects and the restoration of old favorites at the alka studio: Angels' Den which has become the Analog Hospital as of late:

  • MicroMoog restoration - a trash-picked classic, cleaned up and calibrated
  • SN76477 restoration project: an old copper faced wooden-boxed 70's arcade chip synth was brought back to life.
  • Buchla 258r build - for Electric Music Box project
  • Buchla 208r rev1 build
  • Buchla 208r rev2 build - for Electric Music Box project
  • Alka my glitch card design and prototyping for 208 edge connector interface
  • Moog/Realistic MG-1 restoration/rebuild
  • Bleep Labs - Bleep Drum build
  • SN76477 build from vintage Complex Sound Generator schematic :: Daemonous Scratch Box
  • Korg Poly-61 restoration/rebuild
  • Gieskes 3trinsrgb+1c analog audio/video synthesizer build
  • Gieskes Analog HD2, hard drive instrument build
  • Casio CZ-5000 restoration
  • White Noise Generator breakout board for Buchla DIY Electric Music Box





Korg Poly61: Before

Korg Poly61: During repair

Korg Poly61: After

Monday, December 29, 2014

New MultiTracks App

Mate, Roger O'Donnell (The Cure, Thompson Twins, Psychedelic Furs, 99x/10) is featured in a new app, MultiTracks. If you listen closely you can hear a bit of my synth and drum programming in there as well!

Roger O'Donnell's MultiTracks releases from "The Truth In Me" and "Songs From The Silver Box", each song delivered as eight synchronized stereo tracks in a mixer format. You can solo, mute, and adjust the volume on every instrument and vocal track! Only with the MultiTracks App for iPhone, iPad and iPod Touch.

MultiTracks App for iPhone, iPad and iPod Touch for FREE here:

MultiTracks App:


Roger, myself, and Marie Flore are also currently working on a new electronic music release currently slated for a 2015 release... stay tuned for more details.

Tuesday, December 23, 2014

The Synthi Group Volumes I, II, III

In 2009-10, I was fortunate to have been involved with the Synthi Group, a collection of vintage EMS analog synthesizer owners that came together for a series of collaborative releases via Clinical Archives label. Now permanently archived at the Internet Archive site, these releases will hopefully last as long as the instruments that made the tracks...

Formed in 1969, Electronic Music Studios (EMS) quickly became innovators for the recording, production and advancement of electronic music. The ideas and designs that bubbled forth out of the ingenuitive minds of Peter Zinovieff, Tristram Cary, David Cockerell and others, led to the creation of some of the most wildly original musical/sound design equipment ever conceived. The VCS3, Synthi A + AKS, Synthi 100, Synthi E, Synthi Logik and the Soundbeam are among these, almost unworldly, devices.

It is often said EMS gear has attained cult status, reaching a fervor of near worship among its users. The Synthi Group is an example and collection of such users. United through the Synthi blog and forum ( and located throughout the world, the group's members have come together for a planned series of compilation volume releases where the individuality and approach of each member towards their EMS instrument is showcased and broadcasted for all to experience. The listener will hear wildly different examples of styles and sounds that this original, and oft times, vintage equipment can create.

EMS were true pioneers from the very beginning, always looking beyond the culture and times they were surrounded and seemingly trapped in. Still around today, thanks to Robin Wood and Ludwig Rehberg, they are one of the few companies involved with electronic instrument production that have had a continued run since their inception. The Synthi Group have honed the original pioneering spirit and DIY ethic of EMS with their Volume series, a collection of sounds encompassing beautiful dreamscapes, synaesthetic visions, dark ambience, aural abstractions, sonic absurdities, pulsating analog, glitch, ring modulators, and envelope shapers generating trapezoidal geometry. Beginning with Volume 1, the Synthi Group compilations aim to ensure the story of EMS continues well into the future of electronic music production. (alka 2009)

Monday, December 22, 2014


Excited to have recently finished up a remix for "dream pop" specialists, Monster Movie which is of course comprised of Sean Hewson and Christian Savill (also of Slowdive). Their pastoral track Left has always been a favorite of mine and it was kind of them to allow me free reign with the original isolated tracks. I coincidentally had Halsey Shelton's (Young Werewolves/Full Blown Cherry) Moog MG-1 that I had just repaired sitting in my studio so I experimented dropping it into the mix... things went a little strange after that.

If all goes as planned the remix will be included in a deluxe remastered reissue edition of their 2004 mini-LP, Transistor out on Graveface Records early in 2016. Stay tuned...

Monday, October 27, 2014

Bil Herd and the Buchla

After my recent build of a Buchla 208 clone (one 1/2 of the Music Easel) revealed some problems and after gazing ineffectively for hours at the original 1973 hand drawn schematics like they were some kind of Magic Eye puzzle, it was time to call in the help of the pros.

Fortunately, I had just met legendary electronics guru Bil Herd (Commodore, Hack a Day, Herdware). After getting familiar with the ODD (Old Don Design) Buchla layout and functionality, he had the problem isolated in no time: a missing trace from the Enable A from the Envelope board to the Enable A to the Pulser board. A little Telfon wire later and I now have a working 208.

Thursday, September 25, 2014


Chemnitz: Max Kohl, c.1905.
HELMHOLTZ, HERMANN VON. 1821-1894. Chemnitz: Max Kohl, c.1905.

A wood and brass sound synthesizer built by Max Kohl after the design by Hemholtz. 39½ x 29 inch mahogany base with turned feet, fitted with 11 small wooden platforms, each marked with a number and the words “aus” [from] and “ein” [to], 10 of the platforms fitted with tuning forks and accompanying brass Helmholtz resonators, the tallest measuring 18½ high, each pair ranging in size according to their graduating frequencies, 11th platform fitted with 1 large horizontal master tuning fork. All 11 platforms connected together with wire filaments, which are in turn attached to a keyboard fitted with 10 African ivory keys, each numbered and marked with the tones ut [Do, or C] to 4 octaves, mi [E] to 3 octaves, and sol [G] to 3 octaves. Each key is paired with 2 brass knobs, one each on the wooden panel above the key, and one each on the panel below. Opposite end from keyboard fitted with 2 anodes and 2 cathodes, each with accompanying brass knob.

The Helmholtz sound synthesizer was the first electric keyboard. Specimens of these are extremely rare, with only one similar but smaller apparatus located in a US institution that we know of. We have not seen another as large or finely made as this one. The synthesizer was used to combine timbres of 10 harmonics to form various vowel sounds. The system is driven by an intermittent current provided by a large horizontal master tuning fork on numbered wood base, and was operated by pressing on the various keys which sent the current to the corresponding electrically driven tuning forks. These forks, fitted with Helmholtz resonators tuned to the same frequency, would then reproduce the desired tone.

Helmholtz invented his resonator to identify the various frequencies of the pure sine wave components of complex sounds containing multiple tones, showing that the different combinations made could reproduce vowel sounds. Max Kohl of Chemnitz is perhaps one of the most famous scientific instrument makers of the late 19th and early 20th centuries. His work was distinguished by its exacting craftsmanship, and high quality materials.

Currently at auction: