#casio cz-101

[wikipediapictures]

Casio CZ synthesizers

[ymofan04]

Casio CZ-101 Commercial

[rabidhiss]

Phase distortion is a digital audio synthesis technique that creates sounds by skewing the phase of a waveform without altering its perceived frequency—essentially causing the waveform to time-distort or "squeeze" its shape, and thereby altering its harmonic spectrum.

[dailyalbumrecs]

CZ-5000 Sounds & Sequences - Satoshi & Makoto

The CZ-5000 was a synthesizer made by Casio in 1985 and was a polyphonic digital synthesizer that employed the "phase-distortion" synthesis technology that was used in the Casio CZ-101 and CZ-1000. The album CZ-5000 Sounds & Sequences is like, what I would want from a demonstration record. My favorite song is Crepuscule Leger.

Apple Music:

Bandcamp:

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Source:

[contac]

[thesunlounge]

Reviews 275: Whodamanny

Though his solo productions tend towards the weird, wild, and far-out, Raffaele “Whodamanny “Arcella has an incredibly well-honed pop sensibility, one that is often on full display during his energetic DJ sets and mixes. There you will find delirious collections of Italo dance magic spanning several decades, with Whodamanny cutting ecstatically between all manner of vocal oriented and neon-hued proto-house, synth pop, disco, boogie, and funk. And on the The Dance Sucker 12″, he perfectly combines his interests in futuristic sonic experimentation with the balearic euphorias of these club sets, resulting in some of the strongest and most surprising material yet to come from Periodica Records and the West Hill Studio. I say surprising for several reasons, not least of which is the presence of Arcella’s voice, which here is deliciously foregrounded…a sort of expressive croon moving through sultry serenades, summertime hooks, and sexual soul whispers. The 12” is also a marvel of synth programming, as every non-vocal sound here, including drums, has been sourced from the artist’s beloved Cazio CZ-101…a fact that is all the more remarkable given how colorful and physical everything is, with fat greasy basslines and infectious electro-rhythms dancing beneath a canopy of sci-fi squiggles, synthesized fusion solos, and pads that waver like a mediterranean mirage.

Whodamanny - The Dance Sucker (Periodica Records, 2019) We start with “Future Talk,” which sees space lasers firing as an energetic disco shuffle comes to life. Gooey spacefunk basslines wiggle and slide, tribal tom panoramas rocket through the mix, aquatic ripples flow upwards, and blasts of static billow through the background as Whodamanny drops smooth vocal magic, all sensual and hedonistic…his intimate and soulful murmur eventually erupting into an infectious chorus, with earworm repetitions of “oh I will speak to you” dancing in grooved out syncopation with the fat-bottomed bass motions. Blasts of static billow through the spectrum and layers of glowing space psychedelia drip over everything while elsewhere, the mix is cut down to boogie bass and disco drum minimalism. And near the end, Whodammany whispers “it’s alright” amidst other lyrical eroticisms, his confidence and vocal sass utterly irresistible as we glide and groove through a futuristic fever dream. In “Dance to the Bone,” quivering pads give way to squelching bass synths and drums locked into a downbeat boogie stomp, with claps blasting and disco hats supporting space age fusion leads that flow ear-to-ear…their melodies of yearning and midnight sexuality flowing over the body while sequences composed of smeared crystalline fire swim through the air. There are moments where we break down into pure rhythmic heat, with synthbass and laser squiggles sometimes dancing through sexual harmonizations above skeletal rhythms while at other times, kicks and claps fire together as tambourines rattle into the void. But we always return to the cosmic fantasy leads and the slithering basslines of funkfied grease, with Whodamanny hitting upon a mixture of romantic balearica and downtempo future funk that aligns closely with the recent work of his fellow tribesman Mystic Jungle.

“Troublemaker (West Hill Vocal)” starts right away on an infectious solar drum swing, with bouncey kicks sitting beneath pitch-shifting snares that fizzle through layers of reverb static. Laserbeams morph across the stereo field as lyrical basslines sing songs of summer romance, with Manny soon joining in on the mic and instructing you to “free your body”…the whole thing flowing effortlessly into balearic synth pop perfection. It’s like being transported to an 80s paradise beach, with a crowd dancing together aside crashing waves of blue and every hand raising together towards the shining sun. Vocals and bass intertwine and glide through blissed out motions while Whodamanny’s Casio mimics riffing funk guitars, with everything coming together and evoking the sound of Island Records and the work of Wally Badarou, especially the passages where fantasy pads alight on dreamy new wave adventures. And of course, as poppy as it all is, this is a West Hill Studio production, so Whodamanny naturally intercuts the mix with sci-fi tracers and all-consuming siren blasts. The Dance Sucker also includes “Troublemaker (West Hill Dub),” which sees Whodamanny completely reconfiguring the track a stunning piece of instrumental synth-pop sunshine. There are dramatic differences in arrangement, as the dub version starts with paradise pads and soft claps before the beats cut in, which are overlaid with the Casio synth-guitars in a way reminding me of Whodammany’s own “Dancing Ritual.” But the biggest difference, aside from the lack of vocals, comes via the tripped out percussion midtros…these stretches of mechanical drum ritualism, with claps blasting through cosmic caverns and tom-toms rolling all across the spectrum…like a swaggering tribal dub groove sourced by outer-dimensional androids.

(images from my personal copy)

[yasbxxgie]

Marley Marl Recreates Eric B. & Rakim “Eric B. Is President” Classic Recipes (Dubspot, 11/28/12)

In the second installment of Marley Marl 'Classic Recipes,' he shows you how he produced "Eric B. Is President" in 1986, the debut single for legendary hip hop duo Eric B. & Rakim. Marl talks about meeting Rakim for the first time and discusses the collaborative process with Eric B. that would yield one of the most influential hip hop tracks ever. "Eric B. Is President" combines a bassline from Fonda Rae's bonafide 1982 club hit "Over Like a Fat Rat" and a beat from James Brown's 1974 hit "Funky President." Putting these two parts together was a bit tricky due to differences in tempo, but Marley resolved this problem by replaying the bassline with his trusty Casio CZ-101 keyboard instead of just sampling it.

In this video, Marley Marl recreates the entire track using his Akai MPC Renaissance to play a bass sound similar to the original, and using kick and snare samples from The Honey Drippers' track "Impeach The President." As always, Marley Marl drops priceless nuggets of wisdom and tips for young producers, including a beat programming technique he picked up from the original funky drummer Clyde Stubblefield and knowledge and words to live by from Rakim: "It ain't where you from, it's where you're at."

[fmr]

[fuzzyghost]

[swankyangles]

Casio Cz-1000. Basically a fullsize version of the cz-101.

blood orange - saint

[stone-cold-groove]

Casio CZ-101 Synthesizer.

[zzzwiw]

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Distortion space drone. Casio CZ-101, Akai MFC42, SoundSaw (distortions) and AltiSpace (convolution reverb) on iPad. Full video https://motion-soundscape.blogspot.com #altispace #soundsaw #casio #cz101 #akai #mfc42 #reverb #distortion #ambient #noise #drone #experimental #mobilemusician #mobilemusic https://www.instagram.com/p/CU7uQuDjmkf/?utm_medium=tumblr

[itsmarjudgeloveclassicrock59]

The album was recorded on a budget of $13,000.[5] Satriani's equipment was limited by the budget, consisting of two Kramer Pacer guitars and an adapted Stratocaster guitar, for which he would change the pickups to get different sounds.[5] To save money, the album heavily used drum machines, programmed by Bongo Bob Smith, with Jeff Campitelli recording overdubs of hi-hats, cymbals, toms and snares. Satriani stated this gave the music an "awkward charm", and maintained the combination of loose guitar playing and machine-like drum programming.[5] "Satch Boogie" is the only song to fully feature live drums, played by Campitelli.[5]

The heavy metal-influenced "Crushing Day" contains the only solo on the album that was worked out beforehand, due to its length; the others are improvised. Satriani expressed regret for this decision later, as he felt constrained when having to play the song on stage.[5]

A Casio CZ-101 was used to record the flute and orchestral instruments on "Midnight".[5]

It contains fast and complex songs such as the title track and "Satch Boogie", which helped to further popularize shred guitar during that time.[6] By contrast slower, melodic songs such as "Always with Me, Always with You" and "Echo" provide a change of pace. "Midnight" utilizes the technique of two-handed tapping at high tempo,[6] evoking a Spanish fingerstyle effect. "Ice 9" references the fictional apocalyptic substance from Kurt Vonnegut's 1963 novel Cat's Cradle.[7]

[tmbgareok]

I'm curious: Do you happen to have any info on the sound generators used in the production of Lincoln? Specifically, the slap bass in "Santa's Beard"?

JF: The bass sounds on the second album were created on a Micro Moog, the Casio CZ-101, or the stock sounds in the studio’s Akai S1000. I suspect that really thumpin’ slap on Santa’s Beard is JL on the Akai.

[contac]

[existential-morning-blog]

Lëtzebuerger Journal: Performance from the tube

The time in all 24 time zones of the world can be read from the dial of these world clocks at the same time. Series production of chronographs and wristwatches with a perpetual calendar began in the early 1940s. The mechanical time instruments are a watch manufacturer based in Hohenschwangau, Bavaria. The watches are produced under the name of Prince Wolfgang of Bavaria, a direct descendant of the former ruling family of the Kingdom of Bavaria. For centuries, the Bavarian rulers and kings of the Wittelsbach family were great promoters of watchmaking. The company "Mechanical Time Instruments" continues this tradition of the house Wittelsbach under the patronage of Prince Wolfgang of Bavaria. Köstinger is another loyal confidante of Sebastian Kurz - she served as ÖVP general secretary, short-term national council president iphone 11 bazooka phone case un as minister. Now she will - the environmentalist, for whom she has often been criticized, is giving up. In 1885, a factory was founded in Biel, Switzerland. Bulova's son Arde later took over the management and expanded the company considerably, so that in 1911 it had already become one of the most important businesses in the American watch market. The company soon focused on wristwatches and was one of the pacemakers in the development of automatic winding watches. One of the best known developments was the first Accutron electronic wristwatch with tuning fork transducer, developed by Max Hetzel and produced in America, in 1959/1960. The Bulgari brand was founded in 1884 by the Greek Sotirio Bulgari and is headquartered in Rome. The first new Vulcain models were presented in 2002. The new edition of the "Nautical" was given special priority. In addition to this special watch, the new models were based on historical models from the long history of cricket.

In order to be able to operate internationally, the company name was translated into English for Casio Co. Ltd. In 1965 the first electronic desk calculator with memory was presented. The first digital wristwatch with 10 additional functions was launched in 1976. In 1984 Casio released the first CZ-101 synthesizer and in 1995 the first digital camera was presented.

CSU motorway route: Aiwanger defends itself against scapegoat role

Vienna - The Vienna Chamber Opera is now part of the long, varied series of fundraising events for the benefit of victims of earthquakes, tsunami and radioactive radiation in Japan. Tomorrow, Tuesday, there will be a "top-class" concert at 6.30 p.m., as announced in a broadcast today.

[mudwerks]

do u use plugins or actual synths?

both:

I have an old Micro Korg that i use mostly for sequencing and vocoder stuff, and i have an old Casio CZ-101 that I use for a couple of the classic sounds - the analog bass sound being especially good. 

I also have a cheap yamaha keyboard that i use primarily for triggering midi to synth programs/plugins - it has a decent feel.

the programs/plugins are so much easier to use and quickly switch around things with, I can change parameters, programming etc very easily with most of them so experimentation is much simpler. and they are generally CHEAP

each thing has its own charm - depending on what you are trying to do