To quote the performer, :

“The minuetto/trio (3rd movement) of W. A. Mozart’s Eine kleine Nachtmusik realized on the $299 XioSynth with my own patches!

8 tracks of audio – nothing edited, just raw recordings (with FX) from the XioSynth!

The track is made in the style of Wendy Carlos’ Switched-On series! ”

J.S. Bach – Invention #4 in D Minor, Ralph Press, Keyboard – Watch the top videos of the week here

15 Grave from the Drottningholm music composed by the Swedish composer J H Roman. Performed by Lasse Viklund.

From BTPRO’s YouTube page:
The Joy of the Preset-Synthesizer. First battle is Roland SH-1000 vs SH-2000!

I like Preset-Synthesizer. An engineer made sound with analog technology at the time without the sampling technology. It was often that I heard a sound different from the displayed name in them. I often thought “Is this the sound of the piano?”. But I can imagine a desperate face of the engineers who are going to make a genuine sound with an analog circuit. It is very exciting/humorous for me. Roland SH-1000 is Japanese first synthesizer and SH-2000 is Preset-synthesizer for organist.

Get the low-down on the SH-1000 at Vintage Synth Explorer:

Thomas Grillo has also developed considerable skill with the instrument. Here he is performing “The Swan” by Camille Saint-Saëns.

In a nutshell, here’s how the Theremin works (from WikiPedia):
The theremin is unique among musical instruments in that it is played without physical contact. The musician stands in front of the instrument and moves his or her hands in the proximity of two metal antennas. The distance from one antenna determines frequency (pitch), and the distance from the other controls amplitude (volume). Most frequently, the right hand controls the pitch and the left controls the volume, although some performers reverse this arrangement. Some low-cost theremins use a conventional, knob operated volume control and have only the pitch antenna.

The theremin uses the heterodyne principle to generate an audio signal. The instrument’s pitch circuitry includes two radio frequency oscillators. One oscillator operates at a fixed frequency. The frequency of the other oscillator is controlled by the performer’s distance from the pitch control antenna. The performer’s hand acts as the grounded plate (the performer’s body being the connection to ground) of a variable capacitor in an L-C (inductance-capacitance) circuit. The difference between the frequencies of the two oscillators at each moment allows the creation of a difference tone in the audio frequency range, resulting in audio signals that are amplified and sent to a loudspeaker.

To control volume, the performer’s other hand acts as the grounded plate of another variable capacitor. In this case, the capacitor detunes another oscillator, which affects the amplifier circuit. The distance between the performer’s hand and the volume control antenna determines the capacitor’s value, which regulates the theremin’s volume.[9]

Modern circuit designs often simplify this circuit and avoid the complexity of two heterodyne oscillators by having a single pitch oscillator, akin to the original theremin’s volume circuit. This approach is usually less stable and cannot generate the low frequencies that a heterodyne oscillator can. Better designs (e.g. Moog, Theremax) may use two pairs of heterodyne oscillators, for both pitch and volume.

Today, Theremins are widely available, and are fairly reasonably priced.

From the YouTube page:
A Yamaha YM2151 FM Synthesiser IC playing the Second Movement of Beethoven’s 7th Symphony. The CPU of the synth is a MOS 6510 CPU from a Commodore 64. The music was played over a MIDI interface. If you notice any synchronization glitches with the different instruments it’s because they weren’t recorded at the same time, but separately and mixed later.

Here’s some more SID music (and sound effects) for you:

Text from their YouTube page:
Just like modular synthesizers, people connect with each other in order to achieve diverse objectives. In Voltage, robots, half-human and half-synthesizer, powered by a huge amount of energy, connect to each other in an electric and chaotic trance.

Directed by:
Filippe Lyra e William Paiva

Produced by:
Barros Melo Animation Studio

Director of photography:
Filippe Lyra e William Paiva

Animation:
Filippe Lyra
William Paiva
Marcio Vieira
Felipe Soares
Leo D.
Tony Farias

Design:
Filippe Lyra
Marcio Vieira
Felipe Soares
William Paiva
Natalia Franca

Illustration:
Filippe Lyra
Marcio Vieira
Felipe Soares
William Paiva
Natalia Franca

Editor(s):
William Paiva
Leo D.
Filippe Lyra

Sound:
William Paiva e Leo D

Music:
William Paiva e Leo D

Executive Producer:
Izabella Barros Melo

Bachianas Brasileiras by Heitor Villa-Lobos

From Wikipedia:
Heitor Villa-Lobos (March 5, 1887 – November 17, 1959) was a Brazilian composer, described as “the single most significant creative figure in 20th-century Brazilian art music”.[1] Villa-Lobos has become the best-known and most significant Latin American composer of all time.[2] He wrote numerous orchestral, chamber, instrumental and vocal works. His music was influenced by both Brazilian folk music and by stylistic elements from the European classical tradition, as exemplified by his Bachianas brasileiras (“Brazilian Bach-pieces”).

Bach/Handel Concerto

From Wikipedia:
Johann Sebastian Bach (31 March 1685 [O.S. 21 March] – 28 July 1750) was a German composer and organist whose sacred and secular works for choir, orchestra, and solo instruments drew together the strands of the Baroque period and brought it to its ultimate maturity.[1] Although he introduced no new forms, he enriched the prevailing German style with a robust contrapuntal technique, an unrivalled control of harmonic and motivic organisation in composition for diverse instrumentation, and the adaptation of rhythms and textures from abroad, particularly Italy and France.

Check them out!

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