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Camp Wiggly 2022 – Diskomaster, Takin, Justin James, Live Techno by Steve Coen

Camp Wiggly 2022

Camp Wiggly flyer. Click to enlarge.

Another great wiggly event, including a 2-hour live set from Steve Coen (“nebula” to some), as well as 2-hour DJ sets from Diskomaster (Duz), Justin James (yes, that Justin James)!

Camp Wiggly 2022 starts Friday, June 17 at 5:00 PM. The precise location, near Windsor, Ontario, will be revealed a couple days before the event.

Wiggly has delivered solid house/techno events throughout southern Ontario for 10 years. Expect a really great vibe at this 3-day campout. Bring swimwear too, because a beautiful beach is just a few minutes’ walk away.
Check out the full lineup, and find out where to get tickets.

DUZ Recordings Launch Party – Detroit, MI

DUZ Recordings Launch Party

The DUZ Launch Party Flyer. Click to Enlarge.


DUZ Recordings is getting off the ground! What better way to celebrate than to feature all of DUZ’s North American artists under one Detroit roof during Movement (Detroit’s Electronic Music Festival).

Monday, May 30, 2022 (Memorial Day) – 8:00 AM to 6:00 PM
Come as you are, fresh or party-stale, and prepare to get your DUZ-weirdstank on.

DUZ Launch Party – The full lineup

  • Steve Coen (live)
  • Boots Boogie
  • Diskomaster
  • Gene Linet
  • Skooba
  • V0INS – back by popular demand!
  • Tym the Traveller
  • Ovthestars
  • Justin James (very special guest)

DUZ: Weird for your ears.

Full Details at https://www.facebook.com/events/680700323180905

I posted this on a forum in response to somebody with a Korg MS-20 and plans to add more modular stuff. I think it is a good quick primer. I’ll update this with more information when I get some time …

Be aware the MS-20 doesn’t play particularly nice with a lot of modular stuff, at least not without some coaxing.

The MS-20 uses S-triggers (closures) for gates, while the Eurorack world generally uses V-triggers (+5V). It is super easy to go from v-trig to s-trig using a simple adaptor, but going the other way requires a more costly conversion.

Also, the pitch CV output from the MS-20 is Hz/V (linear) while Eurorack is 1V/oct (exponential). This means that notes you play on the MS-20 will not translate to the same intervals on Eurorack. You can bring Eurorack V/oct into the MS-20’s modulation input and adjust the modulation amount and tuning – it will track quite well, but musically controlling Eurorack oscillators from the MS-20 again requires conversion.

There are modules that do all of these conversions quite well. But you need to know this stuff if you want to hook up your MS to anything else, including 0-coast.

Finally: the MS’s envelopes and LFO will work to modulate Eurorack stuff with no trouble.

Dave Smith (Sequential) OB-6 Factory Patch List as Text File

Dave Smith / Tom Oberheim OB-6So you have the incredible Dave Smith / Tom Oberheim OB-6 synthesizer, but you are having trouble keeping track of patch storage. You don’t want to overwrite your favourite factory patches, but it’s hard to remember what’s stored where!

There is a patch list on the Sequential site, but it is only available as a PDF. You might want to open it in a spreadsheet so you can manipulate / edit it, so here it is as a text file, which can easily be imported into almost any word processor or spreadsheet app. (Due to the stucture of the PDF on Sequential’s site I found it impossible to extract the text efficiently, so I manually re-typed the entire thing.)

Click here to download:
OB-6-Patch-List.txt

Or click here to read the full post, including the whole patch list, and comments

Why (and How) did I cover Visage’s “Fade To Grey”?

Visage - Fade to Grey 12 inchBack in 2016 I was playing around in the studio, noodling on synths with rhythmic support from my Boss DR-110 “Dr. Rhythm”, a very simple drum machine from 1980. After about 5 minutes of riffing on a simple little syncopated 4/4 pattern I had programmed, I had to hit “STOP” when I realized my beat was almost exactly the same as Fade to Grey by Visage. This inevitable moment, when you realize the riff you’ve been working on is actually something from someone else’s song, is something that happens periodically in every songwriter/producer’s life. When it happens to me, I usually just try to remain cool and start over from a clean slate, or delete the stuff that sounds like the other song and keep exploring.

But in this case I started thinking about that lovely, ghostly melancholy of Fade to Grey, and instead of erasing my work, I decided to trudge onward and see if I could make an instrumental version of the song that would sound great as part of my modern techno set. Within a few hours I had largely recreated the original tune, without vocals, but it took just a few more days of sporadic work before it took on the Steve Coen fairy dust.
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