Deep House News Sun, 29 Nov 2015 14:14:56 -0800 Deep House en-gb (Deeper Shades of House) In just a few minutes, mod a Euclidean Sequencer in Reaktor


There are a lot of hugely powerful things you can do with an environment like Reaktor. But that doesn’t necessarily suggest where to begin. The best way to get into a deep tool is often to solve a simple problem. At the Native Sessions installment on Reaktor 6, Nadine Raihani showed us a simple example of taking a user library offering and making some quick changes. The result: a Euclidean polyrhythm sequencer (Euclidean say what?) that you can play from a keyboard.

That turns out to be scary useful: like holding down notes for instant improv techno.

Nadine shows how to go about this in this video:

And actually, I think this is really important. Especially with the power of the Web (aka, a hyper-connected international engine for showing off), it’s easy to lose sight of the value of doing simple stuff.

Just mapping something to a keyboard might not be technically impressive. But I’ve found this in my own work: some of the most compelling performance tools are the ones that are technically the simplest. That leaves the inspiration to, say, hitting some keys and improvising – the human side of the equation. And often working musically with simpler elements can focus your work. (The greatest composers of all time often composed based on very simple kernels of ideas – think “etudes.”)

Ironically, it’s typically experienced developers who have learned to break down problems into small, solvable bits – and beginners who try to do too much at once. So take a tip from them, and think simple.


Key to Snap Internal

Key To Snap Mod

Speaking of how simple can be powerful, the other great thing about patching environments in general is how easy it is to share and reuse work. (The same I suppose can be said of well-written code, but patching environments make the bits immediately visual.) Having worked with Pd and Max and SuperCollider, I’ve seen the same sharing pattern.

And sure enough, as I was preparing this, Nadine wrote me to say her mod of the original sequencer has itself been modded. So check them out:

Euclidean “Snapshots-to-Keys” Mod: Euclidean Sequencer to play on MIDI Keyboard

and the mod of the mod:

Euclidean Polyplexor: 8 Euclidean “Snaps-to-Keys” sequencers to drive Polyplex

And there’s more: the patches from the other Native Sessions presentations are online, too:

Native Sessions Oct 2015: 5 minutes against the Blocks – by Dave Forrester, from the Reaktor team

Native Sessions Oct 2015: ZDF Toolkit Demo – that’s the crazy filter patch by the legendary Vadim Zavalishin from Reaktor. I’ll… see you in about six months, after I get lost in filters.

Enjoy, y’all. And if you post something interesting to the User Library – or make something for your environment of choice – don’t be shy, let us know about it!

The post In just a few minutes, mod a Euclidean Sequencer in Reaktor appeared first on Create Digital Music.

Read more

]]> (Administrator) tech feeds Fri, 27 Nov 2015 13:15:00 -0800
Learn about Reaktor from experts in this two hour video

It’s a marvelous time to be a musician. You can imagine a musical instrument, a compositional invention, and then realize that idea in short order.

So I was glad to get the chance to emcee an evening of discussion with Reaktor experts, including the folks who built the tool, last month in the software’s hometown Berlin. That discussion ultimately was partly about Reaktor, but partly about the act of instrument building itself – meaning there were insights for anyone interested in working with electronics or software to dream up new musical tools.

And since this comes right on the heels of the release of Reaktor 6, the team behind that update got to talk about their work. I certainly felt like anything but a shill; this is software I really admire. I think interestingly, if you put Reaktor alongside the other titans of DIY musical software – SuperCollider, Max/MSP, Pure Data, and Csound – it’s compelling how each has matured along its own course. The only thing I wish I had was more time.

Some highlights from the event:

Jan Werner of Mouse on Mars talked about the philosophy of building instruments themselves, regardless of the particular platform, and making creations that can even be terrifying (like that screaming death whistle).

We got to see how Blocks work – this is the new, real-time patching system that melds Eurorack-style modules with Reaktor’s sounds and interface (and, you know, never running out of modules or cables or cash). But we also saw how this could be combined with a physical modular system.

Artists Deadbeat, Tim Exile, and Errorsmith talked about their relationship to Reaktor (the latter two also developing tools for Reaktor users).

Nadine showed how to get started with modifying a simple example from the user library – we’ll deal with that separately.

And my favorite moment – Vadim did a race-against-the-clock effort with DSP in Reaktor. In fact, he goes so fast, that I want to work with him to break this down, as he’s just about the best mind on the planet when it comes to filter modeling. (Again, it’s not so much Reaktor that this is about as this person’s brain – and it’s nice that his mind touches this software.)

Read more

]]> (Administrator) tech feeds Fri, 27 Nov 2015 03:05:00 -0800
Best of Black Friday Software Deals For DJs + Producers

For Black Friday, many companies put on a super-sized holiday sale – many of which are some of the best prices that DJs and producers will see all year. This is especially true in the software and digital instrument world. We’ve rounded up some of the best deals out there for dance music tools, software, and technology in this article, read on to get to the deals.

Ableton Live 9, Upgrades, Packs – 25% Off


Ableton is a big investment and many producers resort to free tools (or, unfortunately, piracy) in order to avoid shelling out a lot of cash. But for this weekend, the Berlin-based company has made it easier for everyone to get a copy of the software – dropping the price by 25% on every software in their arsenal. This means that Standard and Intro are $337 and $562 respectively. Check out the software here on Ableton’s official site.

Traktor Pro 2 – 50% Off


This is the big one for DJs who are looking to upgrade or switch their software platform to Traktor. Native Instruments has dropped the price of Traktor Pro 2 by 50%. Normally you have to spend $99, or buy one of their all-in-one controllers like Kontrol S2/S4/S5/S8 in order to get the full version of the app. If you’ve been holding off on buying the app for any reason, now would be the best opportunity.

To take advantage of the deal, buy it over on Native Instruments’ site hereOffer ends December 7th. 

Maschine Expansions; Komplete Instruments + Effects


Native Instruments is also taking the same pricing target on their other software products. Maschine expansions are the powerful packs of drum kits, samples, and presets that focus around a central theme – they’re usually a lot of fun to play with. Be sure you own a piece of Maschine hardware already to take advantage of these expansions.

There are over 100 different expansions / instruments / effects to check out – see all of the ones currently on sale here on NI’s site. Offer ends December 7th. 

Lemur App: 60% Off


Update: at time of publishing, it looks like Liine has had to pull the iOS version of the app from the App Store due to a major bug – but they promise the deal will be back on when things are fixed. Follow them on Twitter for updates. 

This app – based on the pre-iPad hardware of the same name – has been long revered as one of the top OSC control surface apps, allowing producers and live performers to manipulate audio applications in a unique way. Have a dream DJ or DAW controller you want to build? Draw it out in Lemur and make it a reality. Trust us, this is much cheaper and less hassle than building your own MIDI controller – although we do have a new great tutorial on that as well.

For Black Friday, they’ve dropped the price down 60% – from $10 down to $4! Not a bad deal – and there’s compatibility for iOS and Android devices. Check it out on the Google Play store or the iOS App Store (Update: link temporarily down).

Sugar Bytes (Effectrix, Turnado, Artillery2, etc): All $69


One of the best effects plug-in companies out there is the Sugar Bytes team. Their tools showed up prominently back in this Real Time Effects roundup article, and they’re also the team behind Serato DJ’s effects and expansion packs. Until Monday night, all of their effects plugins are just $69 / €69 each. It’s a pretty solid deal since many of these plugins are usually over $100.

Check out all the discounts here in their storeExpires Monday night (11/30/15)

Waves Plugin Discounts + Freebie


Waves is one of the most respected effects and instruments design companies in many production circles – and every year they do a pretty big Black Friday “DAW Buster”  sale, dropping many of their plugins down to $49 or $79. They’ve even got a free TrueVerb plugin that they’re giving away, and have made some crazy bundles to let producers get some of the most popular tools for way less cash.

Check out all of Waves’ Black Friday deals here – looks like most of it ends early Saturday morning / late Friday night.

Even More Black Friday Roundups

This is just a selection of our favorite deals we’ve found – we’re not going to list all the major deals out there. Instead we encourage you to check out some of these mega-threads of deals on software and hardware this weekend (most deals will likely end after Cyber Monday):

Of course be sure to check out DJTT’s own mega-sale in the store – almost everything we sell is discounted from 15% to 60% off – ends Monday, November 30th! 

Read more

]]> (Administrator) tech feeds Fri, 27 Nov 2015 01:56:00 -0800
Finding beauty even in fiery oil refineries: meet Jonáš Gruska


He’s an artist who listens to bats, builds microphones (dubbed “ears”) designed to find the most delicate sounds possible, discovers unexpected beauty in the fiery breath of an oil refinery, and helps a label of unusual sounds.

So it’s our pleasure to invite Jonáš Gruska to Berlin next week, to present a concert (2.12) (with fellow Slovak-born artists Nina Pixel and Triple Sun), as well as an Elektrosluch-building workshop (1.12) for anyone who wants to both get soldering and hearing otherwise-inaudible electromagnetic utterances in their world. Both at are Platoon Kunsthalle, in the heart of Berlin. He will even transform its metal container walls into an instrument. We talk to Jonáš about his unique musical imagination:


Jonáš Gruska ≠ Sonic Close-Ups 14 from Gianmarco Del Re on Vimeo.

What is your approach as a sound artist? Do you listen and record for the experience of a concentrated listening itself, or for sharing sounds from your favorite places with others, or do you use your recordings in our musical projects as well? Or something else?

Over the years, I have discovered that there is no unifying way I like to do things. Sometimes I record for the sheer timbral quality of certain sounds, their rhythms or melodies; at other times, I use the field recording as a type of documentary work. As you mention, I also use my recordings in compositions, where I combine them with my own input (either synthetic of acoustic).

I have to say my favorite field recording of yours are Zvuky Slovnaftu – partly also because you are the only person among the angry sleepless crowd who found a certain beauty in all that mess, and also because of the nice, low frequencies of an industrial fire, merged with the soothing sounds of nature. How did you record this — which devices did you use?

For those who don’t know, Slovanft is a oil refinery based at the outskirts of Bratislava. It is known for foul smells and disturbing noises. One day, I heard these unusual, deep rhythmic noises coming from that area. These noise were heard even in the center of the city. Apparently, it was due to some unusual activity, causing huge flame bursts from the refinery’s flare stacks.

It was very much impromtpu recording session, I wanted to be sure that I catch the oportunity. Rode my bike there in the middle of the night, found a good spot and hit record.

The setup I used is a special foam block I made, fitted with two pairs of microphone capsules in parallel. The foam block arrangement is named SASS and it allows one to capture very realistic stereo image with omnidirectional microphones. I love the way it records quiet ambiances.

The recorder I used was a Sound Devices 702.

Zvuky Slovnaftu by Jonáš Gruska

You mostly perform. How do your performances look (sound) like? And how do you choose places for site-specific performances?

Most of the time, the places choose me. I am asked by various curators and promoters to try and make something specific for their space. So far, it always worked out very well. I love the idea of creating my work to exact dimensions of space, its imperfections and resonances.

How will you approach the site-specific performance at Platoon Kunsthalle 2nd December?

My plan for Platoon is to try to make a composition/performance for the metallic walls surrounding the main concert hall. I will be using them as speakers, emitting sound from my custom made software, programed at spot.

You’ve founded the LOM label and you do mastering for many of the albums. Since the music varies a lot on these recordings, how do you choose and gather the right artists for the label — how would you define it?

We’re actually a small collective of people and we discuss releases together. Basically, we don’t limit our releases genre-wise, but we focus on the approaches musicians have towards making music. We love people who experiment, cross boundaries and don’t focus all that much on following certain hypes or predefined ways. There is also field recording edition “FIELDS,” which I curate on my own.

Recently, LOM also became a platform for creating new music software and hardware instruments. Who’s behind each of the instruments created?

At the moment, I am the sole designer of these, but there are some instruments in development by my colleague Anagakok Thoth (both hardware and software). At the moment all instrument sold are assembled by us or by robots.

Your microphones, Uši and Uši Pro (uši means “ears” in Slovak) are sold out. What do you think is the biggest reason they’ve got so popular?

It is hard to talk about your own product without sounding like a salesman, but I honestly love these for field recording. The reason is that they are very small, low-noise, and cheap enough. I am not afraid to experiment with these in various situations, drop them in unknown holes or put them in danger. This allows one to discover new recording techniques and methods for approaching the sound in untraditional way. But obviously, they can be used for regular recordings too.

There are new batches of these planned for next year.

How did the idea for Elektrosluch develop, and how was it designed?

I believe it started in 2011, when I saw a performances by Chris Galarreta and Daniel Davidovsky at Audio Art festival in Kraków, Poland. At that moment, I was working with sonification of wireless networks using various hacked tools. Both of these performers were using electromagnetic fields as parts of their performances. The idea got stuck in my head, and a year after that, I designed my own circuit. It was using old cassette tape heads as the sensor. This head was attached to a little preamplifier of my design and allowed me to experiment with the idea a little more.

Short after that, my friends asked me to build some of these for various artistic projects they had, and it slowly grew to an edition of around 25 devices. The construction was very “DIY” and unprofessional-looking, but it did the job.

With growing interest, I designed a second version and decided to crowd-fund it through Indiegogo. The campaign was successful — I raised twice the amount of the funding required. Amongst the people who ordered it I even found Alessandro Cortini. There were around 200 units sold, worldwide.

Last year, I started working on version 3, which has recently sold out as well. Its casing was designed by a wonderful artist from the US named Birch Cooper, who I met during his tour through Bratislava. It’s the most advanced version so far.

You prepared a smaller version of Elektrosluch for our workshop December 1st at Platoon Kunsthalle. What’s the difference between Elektrosluch 3 and Elektrosluch Mini?

The main difference is the lack of casing and the external input. Otherwise, the circuit is identical.

What are your 3 favorite field recording devices / microphones?
Currently it’s the Uši microphones (of course), Sound Devices 702, and my ultrasonic bat detector.



If you’re near Berlin, don’t miss our event.

First, there’s a special workshop to build your own Elektrosluch mini. Register here – spots are very limited. You get one instrument to call your own, plus instruction (beginners welcome):

DIY Elektrosluch Mini Workshop

Second, we have a concert featuring Jonáš alongside Triple Sun and Nina Pixel:

Triple Sun – Sprint from Martin Blažíček on Vimeo.


RSVP on Facebook:
CDM and PLATOON present “Undiscovered Sounds From Slovakia”: Jonáš Gruska, Triple Sun, Nina Pixel

or on Resident Advisor (see, show them you don’t only listen to four on the floor).

The post Finding beauty even in fiery oil refineries: meet Jonáš Gruska appeared first on Create Digital Music.

Read more

]]> (Administrator) tech feeds Wed, 25 Nov 2015 05:41:00 -0800
DJ Techtools Black Friday / Cyber Monday 2015 Sale

The DJTT annual week-long sale is back! We’re excited to announce that things are kicking off on the holiday front with discount from 15% to 60% in our online store. Forget waiting in line at a big box store or supporting a corporate giant like Guitar Center, and shop here at your own DJ community this holiday season. Check out some of the most exciting discounts inside.

Black Friday DJ Deals

We only throw this type of sale once a year, with major discounts for every DJ and producer to upgrade their DJ setup at an affordable price. Almost everything in the DJ Techtools store is on sale – and if you log into your (free!) DJTT membership account, you can see even more discounts that we’re not allowed to advertise.

As always, we deeply appreciate your support and wish every one of you the best in the coming holiday season!

 Here’s a selection of the best deals, to see everything on sale: 

Click here to visit the DJ TechTools Black Friday page

Midi Fighter 3D + Twister


All four variants of the current Midi Fighter line are at an incredible sale – $150 for any Midi Fighter Twister or Midi Fighter 3D – both regularly $219. 

Traktor Kontrol S5


The new standard for Traktor controllers is affordably priced at $660 – regularly $799.

Chroma Caps: $1/Cap Sale!


Upgrade your DJ controller and make it look amazing – we’re simplifying our pricing this holiday – get any Chroma Cap for just $1

Chroma Cables Half Off


Need to stock up? We are yet again are dropping the Chroma Cables to their lowest price ever just for Black Friday – just $6.25 each! 

MP2015 Mixer


The MP2015 is our favorite modern rotary mixer, score one for $500 off!

V-Moda M-100


One of our favorite sets of headphones is on special for this Black Friday – the V-Moda M-100s are just $199

Traktor Kontrol S8


The Traktor Kontrol S8 – ultimate control over Traktor – is just $995 during our Black Friday event! 

DJTT Soundpacks


All DJTT Soundpacks – Mad Zach’s and Ill Gates‘ – are 50% off for a very limited time! 


Please help support DJ TechTools by spreading the word and sharing this sale with yo’ frandz on social media. Thank you! 

Read more

]]> (Administrator) tech feeds Tue, 24 Nov 2015 23:42:00 -0800
Out-ER’s soundscapes, driven by real research into the feels

simone gatto

We’ve stepped into a music party at OHM, the Berlin venue constructed from a power plant battery room. And it’s clear that the label behind the event, Italian imprint Out-ER, is something out of the ordinary.

For one thing, instead of a normal DJ set, we’re treated to what’s described as a “workshop.” And there are regular pauses that announce the link between tracks and the feelings that inspired them.

But then, Out-ER’s Simone Gatto (seen, top) is not your typical label chief. Gatto is a philosophy graduate who has researched emotions and empathy, linking them to music and perception. He draws on the work of Swiss composer/educator Émile Jaques-Dalcroze – the man behind Eurythmics (the 19th century movement-based music pedadgogy, not the 80s duo with Annie Lennox).

And Gatto is also researching how musicians emotionally engage with their audience when they play. He’s interested in how DJs can intentionally trigger specific emotions.

With Gatto at the helm, Out-ER defies predictable categorization. The label’s music ranges from energetic techno to ambient depths – eschewing the darkness that’s all the rage these days for more playful twists. That includes jazzier and more percussive notes from collaborators like Marieu (The Analogue Cops) and Christopher Rau (as Colours of Obseration), plus outings by Orlando Voorn, Mirror1, Andrea Santoro, and Regen. If that didn’t catch your attention, bigger names Legowelt and Conforce have authored remixes. This is a label on the rise.

Next: “Nuove Sessioni” (“new sessions”), a four-track EP out on December 10th with three contributions by Alessandro Stefanio (aka Buck) and a remix from Ed Davenport as Inland, Inland’s only remix this year.

Listen in its entirety:

Having staged the oddball debut event earlier this year, Out-ER is returning to Berlin to celebrate that release with a party and panel at OHM. On the eve of the event, Gatto and Buck talk to CDM about what motivates them.

CDM: Where exactly is based your label, when and with who have you founded it?

Simone Gatto: I founded Out-ER in 2011 together with Andrea Santoro, Buck, and other friends. We were a group of Italian producers based in Berlin. We spent every single day together in the studio making music and sharing a common vision, trying to define a new sound — our sound. In 2013, we’ve moved back to Lecce, Italy, but we often are in Berlin because we have to take care of label-related activities.

How would someone grasp the musical direction of your label – can you put it in few words/sentences?

Out-ER music is an uncommon platform extending through various declinations of electronic music (house, techno, ambient). We try to keep a creative imprint in short and long terms because our goal is to release music including everything in between mellow and deep sounds and supporting the artists’ ample inspirations.

How do you choose new artists and collaborators for remixes?

I’ve always chosen artists mostly considering the strong emotions I felt by listening to their productions and performances.

Recently, you joined a conference in Amsterdam, where you talked about how to emotionally manage having a record label. Is owning a label emotionally difficult and what are the main helpers, which conclusions did you get to?

Since 2013, I’ve been running research together with some experts from the University of Lecce about the relationship between music and emotions. In Amsterdam, I talked about this topic explaining various aspects – the relationship between sounds and sensations, the empathic process linking performances and audience, specific notes and chords stimulating specific neural areas. It will convey into a book to be published in 2017 and these findings are my main helpers for my personal career and for Out-ER.

Managing a record label in the right way requires dedication and knowledge of the aspects just mentioned plus many others, everything needs to convey in the concept of the sound that express the platform at its best. Pressing plant, promotion, distribution, all needs to be coordinated. Press and communication might have a strong role for a right push to the label in long term and that’s why I decided to have a dedicated professional who cares about it all. This way I can focus on my music, on the artist relation and on the management of the bureaucracy questions.

You’ve organized two parties in Berlin before. What’s special about the event on 26th November?

This time from 10 pm, I’ll introduce the label’s previous and future activities, releases and researches linked to the topic “Music & Emotions”, kicking off a panel discussion together with all the artists. I’ll ask the artists some specific questions which will let them to expose their emotional side of music. Buck will introduce his second EP on Out-ER and will play an experimental jam session with LIMO (head of Transition LAB and part of Fachwerk Records) in order to gently start the party with Marieu, Aubrey and myself.


CDM: Your newest EP is very energetic and has a positive vibe. Yet comparing to your older work, which I find more minimal, Nuove Sessioni sounds richer and mixes together many different elements (vocal samples, strings, acid bass and synth pads all at the same beat). What was your approach of making it and how do you think you’ve evolved as a producer?

Buck: My earlier work turned out to be more minimal really because at that point, my skills of using the analogue machine were more basic. If the results obtained in producing the tracks on the “Nuove Sessioni” EP feel more complete and full of energy, I am happy because I tried very hard to improve this aspect. The energy you feel is produced by giving vent to my strong desire to experiment and to be able to succeed, to improve and develop myself and my intuitions and become more effective.

Do you have some favorite instruments (real or virtual) you like to use in your music?

It’s true I do have particular ties to some instruments and effects but to be honest I really enjoy myself with all instruments. But more with the ones real than the virtual ones because I’m a little bit fed up a mouse and I prefer to touch the knob to feel the sensations and to have direct physical contact with the instruments.

I read you are an analog enthusiast. Which equipment do you use for music making and performing live?

Yes I have really been in love with the analog machines for some time now and I know how to extract from them my ideas and my enthusiasm. I use the drum machine, synth and external sound effects both live and in the studio.

On the party on the 26th, you will play a new live set with Limo. Is it the first time you will be playing together? How will you approach it?

Yes. It is the first time that Limo and I will do a live set together. We’ve shared a lot up till now as friends, DJs, and producers and now we’ve decided to do a live show together because we work really well together and understand each other very quickly in the studio. Limo similarly really understands my approach and passion for analogue machines, and, in my opinion, he is a real talent in the studio. In fact, Limo will be the first release on my new label.

And before the party, there will be a release presentation and panel with you. What can we be looking forward to?

I really like the idea of being able to share, together with my colleagues and those who will be present on the panel, our different points of view on the sounds we create and on the different types of approach in the studio. Thank you very much indeed, Simone and Out-ER, for giving me this possibility. See you in Berlin.

From January, Mørk display their live chops:

Live in Berlin Thursday, Buck and Limo (Fachwerk) will premiere a new live set together. (Watch for this combo in 2016 as they work together on a release on Substrato, Stefanio’s new label.)

On Facebook:
Out-ER presents Nuove Sessioni Release Presentation & Party

also on Resident Advisor


Author Zuzana Friday Přikrylová is CDM’s editorial assistant and has been covering the underground electronic music scene for many years, starting in her native Czech. Apart from CDM, that includes contributions to Secret Thirteen, HIS Voice, and Artalk, as well as her own SkyWireBlog. She’s also booking manager for Bükko Tapes.

For more of her recent underground label finds on CDM:

Discover Nordanvind, and the imaginative woman behind it, Fjaeder

Idyllic nature meets heavy beats on an emerging Paris label

“You learn a lot about the city by asking about its sound”: Peter Cusack Interview, Sounds

The post Out-ER’s soundscapes, driven by real research into the feels appeared first on Create Digital Music.

Read more

]]> (Administrator) tech feeds Tue, 24 Nov 2015 06:44:00 -0800
DIY synth legend Ray Wilson needs help in cancer fight


There’s probably no more prolific man in the DIY synth scene than Ray Wilson. His Music From Outer Space has a galactic-sized library of projects for electronic musicians. And that’s just part of his contributions.

So that means all of us in this community are hugely saddened to learn that Ray faces serious cancer. With self-employed health care still a major challenge in the United States, that brings with it crippling medical expenses. His kids have turned to crowd funding to try to fight to get him treatment he needs.

You can read through that story on the funding site, but in the meantime, I’ll just refer to Ray’s accomplishments – just a few that he’s shared as a musician and inventor:

Music from Outer Space is an extraordinary archive of materials. (I was just referring to it for a story for MAKE in Germany.)

He’s the creator of projects like the Weird Sound Generator.

He has built an entire soup-to-nuts project for making your own modular analog synth, the MFO.

He’s the author of Make: Analog Synthesizers.

And to top all of this (and many other achievements), he has himself contributed to the health of others, in the research and development of implantable defibrillators and pacemakers. I hope dearly that karma can be returned.

You can contribute here:

And in the United States and around the world, this is another reminder that artists and inventors can give more if health care gives to them.

The latest from Ray’s YouTube channel:

And a look at that amazing DIY synth:

There’s a Facebook page to follow, as well:

The post DIY synth legend Ray Wilson needs help in cancer fight appeared first on Create Digital Music.

Read more

]]> (Administrator) tech feeds Mon, 23 Nov 2015 09:21:00 -0800