BE3LH2300042

Para-Viewer

MSR’s Needle Drops & Isos, Take 2

"I Think That Worked" (like most things until they don't)

Built on SE-3X extremely habit-forming, paraphonic chording throughout, and a legion of instant-grease 'n grind SE-02 basses. Why settle for just one (a question asked by men-y)?

SE-02 Chickin' Pickin' plays nice-nice with juicy bass figures (periodically staccato), which then feed into the faux multi-tracked '02 Wurli (right channel) and "the real thing" (left), punctuated by SE-02 Wormy Lead crew.

All of this happens in the 1st few bars, as you have now entered The Micro Musical Klymit Zone, potentially punishing with it's creative density and attention-to-detail demands, placed upon the listener.

Childhood Heirloom C7 processed piano 3 chord preach, births culminating paraphonic purpose and a frenetic '02 bass/Wurli combo orgone generation.

Enter vintage Grecco Burrato Modmax/Wolftone guitar magic (drips, drops & crunches), and absolutely adorable/incredible '02 LFO gate "Latino Tablino" electro percussion.

Additional miraculous SE-02 multi-tracked polyphony and SE-3X paraphony reveals and revels.

Percolating fake space ensues, interrupted by a booming' SE-80 kick to Super Hero soundtrack vibes—I did just get "Flashed."

Vintage St. Regis/Sembello/Neuble (Michael) 3rd Stone drop and you're almost home... "Groove" Campasso vox; easy with those dope chords.

Dreamy SE-3X surrenders to arpeggiated, mult-tracked SE-02 polyphony.
---

Addl. Boomin' Boomstar Kicks, rims and selected hats were not harmed in the making of...

Enjoy,
MSR 7-5-23

I Think That Worked

This one take rubato—groove sans tempo—SE-3X paraphonic improvisation, shares sonic and emotional space with many SE-02 “split notes” polyphony colors, indulgent ’02 basses, 70’s St. Regis Yamaha C7, Boomstar Brotherhood Drums, and careful & careless SE archive needle-dropping: ModMax/Wolftone Grecco Burrato guitars and Catero Colbert vox being highlights… at least that is what I care to remember, or wish to divulge.

My freeform lullaby & lament inspired one regular listener to write: “Had to listen several times and still hear new things, nascent melodies flying about and chattering mischief sneaking throughout a scene of almost there things, just listened again and thought I heard a real piano at 1:20-1:23. Endless discoveries.”

He did… but no mention of Third Stone Records artists St. Regis’ New Jack Swing drops!?!

Enjoy,
MSR

p.s. Easter Egg features stereo pulsed & piqued Omega8. "That was a gift."

p.p.s. InstaG: https://www.instagram.com/p/CyluI_ZOu0d/

Paraby: Through the NICU Glass

Roman Empire - Poly D patch (Seq)

Came across this dope Ebm @MonteNeuble SE-3X  bassline, in my needle drop travels, which I had to revisit and enlist in a pulsed paraphonic exaltation in DMaj; silky chord changes from “Onward Upward UFO,” a song written & produced in the late 1970s for the St. Regis brothers, by wonderful friend and Parcourse/health food store mentor, Norman H. Landsberg, assisted that sneaky downward modulation. 

The great James Levi (Herbie Hancock fame) and strongman Gary Calvin (on bass) kept the groove going at Bear West Studios in San Francisco—1st 24 track baptism, where “UFO” was recorded—and we brothers have tried to keep the funk analog ever since. Clavinet D6 is still with us: the one Norman unveiled at St. Regis & Leuenberger and taught us to play; ‘cause he was nice with it, "Cry Baby" style.

Celebrating his remarkable life earlier this month—brilliantly and with panache, thanks to Bob Yount (Landsberg & Yount) and Socorro!—brought his lovely spirit, song, and surprising, vast accomplishments to mind:

Founding member of Mountain, featuring Leslie West; Pointer Sisters MD—“Yes We Can Can…”, Lenny Willams (Tower of Power); sampled by Jay-Z (99 Problems), Kanye West, Tribe Called Quest—heard in films like "Barbershop" and "The Taking of Pelham 123.”

His group Hammer opened up for Leon Russell AND Miles Davis at Fillmore West… Wut!?!

“When tears come, remember brighter smiles can then show."

Miss them when they are here; that’s the Power of Love—which evrybody needs.

https://www.dignitymemorial.com/obituaries/san-francisco-ca/norman-landsberg-11515731

https://www.discogs.com/artist/860823-Norman-Landsberg

p.s. SE-02 stereo leads :14; ‘02 “Dorothy Ashby” harp :21; incredible SE-02 Paraphonic Preach: 24; SE-3X dual leads :25; Omega8 “Phat Fu” goodness: 31, :35 Norman’s (Manny Moka) piano :33; Manny Moka And The Band on Fire heavenly perc. break: 39

Boomstar Brotherhood drums assist.

Angel Grey ‘3X photos courtesy of @vcousa

Enjoy,
MSR

Monte Moka

K72VCG

Once Upon a Synthplex:

Tonestar 2600 kick thumps & '80s quality "Simmons" toms + @huston.singletary ’s groove merchant ways / heavy (he is my brother) harmonic vision + layers of SE-02 “split note” polyphony & monophonic bass ’n’ lead bravery + selfless SE3X accents—paraphonic and m-phonic + Boomstar Brotherhood claps, snares, shimmering addl. perc. (Boomstar SE-80 mainly) + a sprinkling of SurgeXT + Grecco Burrato crunch vault gems + Folktek visuals, made this story...

=

"Oh man. Sooooo good. A voyage into layers on layers."
 - Huston Singletary

Wait those MIDIMINI V30 "How do you beat that?" "quica" breakdowns. Nice.

Kingdom Inside—listen to it.

Enjoy,
MSR 5-18-24 / L1721
—

p.s. Medium mastering to preserve dynamic range & detail; so make your 🔊🔊work!!

Kingdom Inside

Sub-ten-minute edit of the Night track:
soundcloud.com/knut-graf/night

Playing a dynamic chord voice driven by flexible intervals.

Video:
https://vimeo.com/530554780

This is a shorter edit of the same performance:
https://soundcloud.com/knut-graf/night-excerpt

This is an alternative take of the same patch:
https://soundcloud.com/knut-graf/night-alternative-take


Patch notes:

Chord oscillator pulse wave root note is mixed in A-138 with third, fifth and sevenths which are attenuated by LFOs on logarithmic VCAs. Voice is gently shaped by Haible wave folder, filtered by LP4 on Ripples and by 6dB lowpass gate on LXD.

Pitches are generated by 5-step sequence on Sputnik Voltage Source plus small amounts of LFO and random walk signal from Mal-2, quantized to Arabian scale on Pico Quant. Sputnik Voltage Source also serves up a sequence of control values that are added to the Maths channel 4 envelope to create playable sustained notes on the chord by keeping the LPG open.

A second channel of the chord voice goes through a clocked delay on Disting.

Same pitch is fed into inharmonic string model on Plaits for percussion, which is triggered on a delay after Chord, via A-171-2 VCS. Pitch CV also modifies filter frequency and Chord pulse width.

Fourth voice is a kick drum from VCD+ driven by zero crossings on Mal-2, and gated for more air in post.

The chord envelope comes from Maths channel 4, which triggers Maths channel 1 when done, which in turn triggers channel 4 after rise. Both channels are modified by the current note pitch, by random walk CV from Mal-2 and by LFOs.
After-rise gate from Maths channel 2 clocks the delay. Channels 2 and 3 in Maths serve as CV attenuators. OR and SUM outputs modulate brightness and decay time on Plaits voice.

Attenuated Mal-2 random walk CV drives voicing and quality variation on Chord.

Note end from Maths channel 4 triggers note sample and hold in pico quant. The note end is also counted by V-Gates in digital binary mode, which triggers delayed sample-and-hold a pitch CV in A148  that is used as modifiers on filter resonance and delay feedback, through AmpTenuverter. V-Gates also triggers row- and column advances on Cellz, which serves a playable matrix of low-to-high control signals to modify the rate and change (repeat pattern to full random) parameters on Mal-2.

Night (Album Edit)

Saved our lives one night from the great beyond: "MARY!".

As did Maria Therezia Capretta Theriot St. Regis.

Some of you spoke to our 1st gen. Italian American mom on the phone, about your Midimoog/SE-1, or were blessed to meet her/know her... listen to her stories, like the childhood fire story hidden in plain sight here.

Beautiful, cagey, often hilarious sparkling soul and singer of touching & torchy songs, she was, and remains in our eyes: A daughter who missed her mother, mystified by the persistence of memory, seemingly without mass or momentum.

Call her and she'll be around.

PS: Felecia's Cry is an Omega/CODE patch and mom's mom's Ellis Island standardized name.

CODE Luxe Dreams & Slaps - Repurposed (and brilliant) @vcousa SE-3X Feedback Rhythms - Tonestar 8106 Bass Brotherhood - "Kingdom Inside" double dips.

Enjoy,
Marc A. Theriot St. Regis
4-10-25

Felicetta's Cry

so many songs that i forget to share. remember, some people don't listen to music, they only hear and are attracted to annoying buildups and sounds, and don't have the patience to listen for 20 seconds to the same sound. they underestimate what music is. they are stuck on one sort of sounding 15 seconds sort of song and everything else is bad in their eyes. a guitar sounds like a guitar, the whole song, so do synths so do my songs. when I listen to my songs, im stunned by myself because I forget how I made it, it's a super complex route I go through for each song to get it how I want. each and every time a different trip. i need more variation, and more buildups, I know but then it's not anymore how I wanted it how it sound.  if it sounds good and beautiful then yeah, ill use it.
im a guy from Belgium, living near the coast.
my passion is making songs that sound different and are different.
they are a dream. I'm a gamer too :), the tools I use to make music is not a secret. never will bé.  everyone can make music :)  
pioneer: Toraiz sp-16
Waldorf: Streichfett
Elektron: Digitone
Novation: Mininova
Korg: wavestate, Opsix, a dead Kaossilator2, MicroX, Electribe A EA1, SQ-1, volca-sample-bass.
Strymon: Bigsky
Yamaha: DJX, YPT-200.
Boss: rc202.
Behringer:BCR2000, BCD3000, Virtualizer-Pro, DJX900-usb, mdx2600, 2x mx400.
Arturia: Beatstep-Pro, Keystep, minibrute2s.
Roland: D2, Tr6s, J6.
Eurorack: UB-1024-Pro.
Tascam: DP02.
Zoom: H1, R16
presonus: studio live 1602
eastbeast.
Headphone: Sennheiser HD205, 2x SONY MDR-ZX110, presonus HD9, dt pro770
daw: Ableton,Trackion.
PreSonus: StudioLive 16
Akai; mpc one plus
m vave: smc mixer
isla instruments: kord bot
soma laboratories: Lyra 8 DIY

Black Decibel is an international genre-blending collective known for its unique fusion of soulful melodies, downtempo rhythms, retro synth textures, and ambient psychedelic sounds. The band's sound borrows elements of soul, jazz, R&B, and pop music, creating a sonic space that is both comforting and emotionally impactful. Their music is characterized by its deep grooves, captivating vocals, and thought-provoking themes.

Techno, Ambient, Synthwave. Inspired by early 90s (Acid, (Hard, Progressive) Trance, Electro, Hardcore), Ambient / Space / Chillout, crossed over and combined with bizarre new elements.
The main ingredients are electronic, futuristic, bizarre, synthetic sounding elements. Mostly combined with some more or less hard techno beats in the range of 140 - 150 bpm.
Equipment: Moog Subsequent 37, Sequential Prophet Rev 2, IK-Media UNO Synth Pro, Roland / Studio electronics SE-02, Behringer 2600, Waldorf Microwave 2 XT, Native Instruments Reaktor, Reaper, a self programmed pattern sequencer, a self made drum machine in Reaktor, Eband Anda 88, Behriger Euphoria UMC1820

Contact:
alexander.eslava@web.de

New tracks tagged #Paraphonic