#juno-106

[omp4n]

Session with Koki. Setagaya City. Tokyo, Japan.

[can-you-free-me]

me when I'm watching a youtube video about Korg synthesizers and they mention Matt and his built-in Kaoss pads:

[jolikmc]

Matthew Kane "Zak McKracken Theme" (original 1987 recording) Zak McKracken and the Alien Mindbenders (1987) LucasArts Entertainment Company, LLC

[spiritshrine]

in the midst of it all tonight gals bought a second patchbay to give my setup a little more wiggle room and i'm paying the ultimate price (redesigning my signal flow and rewiring my studio) but i'm making headway...

[e-xx-e]

[hulkwasabi]

this disco/electro rock EP turns 20 this year. lots of analog synths happening. it gained national radio play in its time. i was a kidd back then. where did the time go

[wearelibrarian]

Top Ten Most Challenged Books of 2023 - Banned Books Week (September 22-28, 2024)

Gender Queer: A Memoir by Maia Kobabe - 106 challenges. Challenged for LGBTQIA+ content, claimed to be sexually explicit

All Boys Aren't Blue by George M. Johnson - 82 challenges. Challenged for LGBTQIA+ content, claimed to be sexually explicit

This Book Is Gay by Juno Dawson - 71 challenges. Challenged for LGBTQIA+ content, sex education, claimed to be sexually explicit

The Perks of Being a Wallflower by Stephen Chbosky - 68 challenges. Challenged for claimed to be sexually explicit, LGBTQIA+ content, rape, drugs, profanity

Flamer by Mike Curato - 67 challenges. Challenged for LGBTQIA+ content, claimed to be sexually explicit

The Bluest Eye by Toni Morrison - 62 challenges. Challenged for rape, incest, claimed to be sexually explicit, EDI content

(tie) Me and Earl and the Dying Girl by Jesse Andrews - 56 challenges. Challenged for claimed to be sexually explicit, profanity

(tie) Tricks by Ellen Hopkins - 56 challenges. Challenged for claimed to be sexually explicit, drugs, rape, LGBTQIA+ content

Let's Talk About It: The Teen's Guide to Sex, Relationships, and Being a Human by Erika Moen and Matthew Nolan - 55 challenges. Challenged for claimed to be sexually explicit, sex education, LGBTQIA+ content

Sold by Patricia McCormick - 53 challenges. Challenged for claimed to be sexually explicit, rape

Source: https://www.ala.org/bbooks/frequentlychallengedbooks/top10

[slimetony]

Juno 106 with custom toothpick

[seeminglyranch87]

Taylor & Travis Timeline

October 2024 - Part 3

October 17 - Travis at training

October 18 - Taylor releases a video pre-show with her cat Olivia (x)

View this post on Instagram

A post shared by Taylor Swift (@taylorswift)

The Eras Tour, Hard Rock Stadium, Miami, FL N1. Rain show & the beginning of the final leg of the Era's Tour. Just 18 shows remain.

Donna, Jason, Kylie, Wyatt & Elliotte Kelce attend the Eras tour.

Juno by Sabrina Carpenter is added to the pre-show playlist - getting spicy Tay ;)

Taylor debuted new Fearless, Reputation, acoustic section & Midnights T-shirt dress costumes. as Taylor said:

''I got a new dress and everything.''

Florence & the Machine joined Taylor to perform Florida during the TTPD set.

Tim McGraw x Timeless (x guitar) & This Is Me Trying x Daylight (x piano)

I just wanted you to know that this is me trying and trying and trying… I wanted you to know this is me trying, I just wanted you to know this is me trying. You gotta step into the daylight and let it go, let it go, let it go. And I just wanted you to know that this is me trying to let it go.. LET IT GO (x)

October 19 - Travis arrives in California ahead of game.

The Eras Tour, Hard Rock Stadium, Miami, FL. Night 2

Taylor wore a new dress for Speak Now, Acoustic section & Midnights

Florence & the Machine guest appeared to perform Florida!!! with Taylor.

Should've Said No x I Did Something Bad* (x guitar) & LOML x White Horse (piano)

*The version where Taylor screams viciously "light me up!"

Your'e the loss of my life... but I'm not your princess, this ain't a fairytale I'm gonna find someone someday who actually might treat me well

October 20 - Chiefs v SF 49ers, Levi's Stadium, Santa Clara, CA

Chiefs defeat 49ers 28 - 18. The Chiefs remain undefeated 6-0

The Eras Tour, Hard Rock Stadium, Miami, FL Night 3. Rain show.

Chiefs game on screens in the Hard Rock Stadium prior to The Eras Tour starting.

Notable events at the final Miami show:

Taylor notes this is the final rain show for the Era's Tour as all other shows are indoors.

during the Betty speech, Taylor shares that these songs were written from a narrators perspective but “it reflected my own personal experience through these characters”

Florence and the Machine performs Florida!!! with Taylor for the 4th time during the TTPD era.

Taylor wears a new dress for the acoustic section.

Taylor sings "Karma is the guy on the Chiefs coming straight home to me" in celebration of the Chiefs 6th consecutive win today.

Out Of The Woods x All You Had To Do Was Stay (guitar) & Mirrorball x Guilty As Ain (piano)

October 23 - Are You Smarter Than a Celebrity? airs new episode with a reference to Taylor (x)

Natasha Leggero “We love Lady Gaga, but we don’t love her as much as any other blonde singers. There are some other blonde singers that we like more than Lady Gaga. Nikki Glaser "Not even close" Travis Kelce “I will have to agree with you on that. I do concur.”

New Heights Ep. 106 posted (x). The Kelce brothers discuss Jason's attendance at The Era's Tour in Miami

Addressing the photo (x)(x 12:50) that bestie Beau Allen posted to X, Jason fights back that he was not asleep but vibing and Travis wishes he was there (he had a game so could not attend).

Travis "we got to talk about it, you took a nap at The Eras Tour?" Jason "I did not take a nap" Travis "what is that all about" Jason "Travis you know I didn't take a nap I did not take a nap" Travis "how are you? This show is absolutely electric it's the greatest show that's ever been on stage and you're over here falling asleep!" Jason "Not only was it the greatest show but um obviously I went to the two London shows this Miami show was incredible and I think part of it's like I don't know if it's back the fact that we're back in the US because I think the London uh crowd was incredible but the rain and, dude it was like on another level I texted you halfway through it" Travis "You did" Jason "Like dude this rain, Tay is killing it, dude when reputation came on and she came out in the new outfit" Travis "was it gold?" Jason "and the rain was coming down and the the place could have [f**] erupted I mean it did like it was the amount of energy was insane, it was so exciting"

Travis "Well I had all the fomo in the world…. I wish i was there." (x) Travis “Shout out to Tay Tay for powering through a few rain shows”

A little lyric battle between Beau Allen and Jason Kelce on X ...

October 24 - Stevie Nicks interview with Rolling Stone

Taylor Nation post in celebration of 18 years of Taylor's music (x)....

LISTEN!!!!! Don't we know it @taylornation

Taylor sings "Everything has changed.... in the blink of a crinkling eye... I'll be eighty-seven you'll be eighty-nine, I'll still look at you like the stars that shine in the sky oh my my my" "dude this girl's in love! She is in LOVE!"

** sound up

Go to previous update -> October 2024 part 2

Go to next update -> TBC

[aurora-daily]

chrisgreatti

AURORA - “Your Blood” OUT NOW. I had the major fortune of meeting this Norwegian superstar in the stu this past winter and only 5 hours after we said hello this song was fully formed & all the vocals were tracked. By the next day, it was completely finished - a true lightning in a bottle linkup that left both of us like 👀. To say I’m honored to collaborate with a talent this mega is an understatement, seriously just happy to be here alongside an artist with such an immense desire to spread positivity in the world and use her powerful voice to unite. Aurora, thanx so much for allowing me into your world!!! Heavymetalrules!

Written by Aurora & CG

Produced by CG

Mixed by @_mmccarthy_

All vocals by Aurora

Guitars & Bass by CG

Drums by @asherbank_, arranged by Aurora & CG

Juno-106 by @atlgrandma and CG

Mastered by #alexwharton

Photos by @wanda_martin

A&R @mumford_sam

“Let all inside you burn like a star, it’s after you burn out that you are reborn again”

[sneezilla]

I drew this at the end of December/beginning of January and debated posting this, but figured fuck it. This is TF related. Thomas is a Roland Juno 106 Synthesizer and Guy-Manuel is a Roland TR 909 Drum Machine. Both were used extensively in their early works. Styled in a blend of G1 and TFA! Long rant about both DP and TF, feel free to skip!:

2023, for me, was the year of the robot. Early last year I listened to DP's entire discography, and while in the middle of listening to HAA their 10 year remaster of RAM released. Since then, the entirety of this year has been dedicated to house music. They've always had a special place in my heart, as I was familiar with their standout hits (Get Lucky, Harder Better Faster Stronger, Robot Rock, etc.) but I never took the time to delve in deep. I finally had the time while on a trip with some friends. It's surprising how enjoyable it is to listen to Around the World while stuck in a van with others for hours at a time. Now, whenever people think about me, they think of that song. An earworm that entire week for sure. I remember in June when they released Infinity Repeating. A friend sent me the article of it, and I remember bawling my eyes out while listening to it. Several times, in fact. They were my number one listened to artist last year. I had almost 60k minutes listened, and out of that, I spent 7.7k of those on DP alone. Discovery was my number one album, 196 plays. While not my number one song (just missing the mark by one play), I listened to Face to Face 142 times. All of that is on apple music alone.

When I came back from that trip, I was reminded of Transformers. I, as many youngish people at the time, grew up with the Bay films. I also had the TFA game on my DS, and watched G1 a few times thanks to my little brother, but I definitely wouldn't say it was a core piece of my childhood. I binge watched the Bayverse movies, watched TFA, then TFP, then Earthspark, then G1, then intermittently read the comics (still ongoing with that one), tried watching RID 2015 (couldn't get through it, sorry) and then Cyberverse. All in the span of a few months. It's another thing people know me for, now. Not just in real life, but my online presence here is attached to it. In just this half a year interacting online I've met some amazing people. There's definitely other things to say, like how I know more about Transformers than my dad that grew up watching G1, or how I fondly recall painting my best friends nails while watching the 86 movie (his brother hates when men paint their nails, we wanted to prove a point). There's so many things I could say about this year, how incredibly humbling but exciting it was, how much I've grown and learned this year. But I want to say thank you. To both everyone I've met and everyone that's read this far. Here's to another!

[thebandbis]

Happy Saturday! We still have two more albums to talk about with #30yearsofbis so let's get intimate this evening with Slight Disconnects. More detailed bis deets in the comments from Mr Sci Fi Steven

We didn't really exist during the early 2010's - the odd show here and there but lots of LIFE was happening and the band hadn't been anything approaching an actual job for quite some time. For our 20th anniversary, we put together a 2 CD compilation and recorded a new track Keep Your Darkness with the Data Panik/live bis line up but it didn't feel quite right. Similarly, we had a great song called Boredom Could Be Good For You that we couldn't get right either. I think we'd forgotten how to make records and it didn't seem particularly likely that we'd ever get round to doing a "proper" album again. As always, there were bits and pieces of songs and ideas floating about but no real purpose to see them through, but I bumped into Ian from the then recently born Last Night From Glasgow label at a record fair and he very quickly managed to convince me that making an album was not only something we should do but something the label would be delighted to help with. When it eventually emerged in early 2019, it was the first time we'd felt any buzz about the band for the best part of 2 decades so we'll always be grateful to LNFG for kicking our arses out of retirement. Whilst we've rarely scaled any commercial heights since our "comeback", without the push the label gave us we'd maybe not have got to the 30th anniversary in such relatively rude health.

Anyway, the album. Firstly - the budget = ZERO. Compared to the slickness we'd perfected on Social Dancing/Return To Central, this boy is RAW as sin. Sound of a Heartbreak is distorto-pop and, judging from the reaction at the St Luke's gig, a very fine example. Someone said it sounded like The Cult and I thank them for that. It contains a section in 5/4 (only the second time in bis catalogue history that we break 4/4 - the other is a ¾ section waaay back in Sci-Fi Superstar), an Ants Invasion/Fall chanty bit and ends up precisely in English Roundabout XTC territory but has become a mainstay in the live set and yes, if released in 1997 may have been an actual hit. I wished I'd dialled down the METAL sound of my guitar in the outro though - to be fair we were trying not only to remember how to make records but how to do them at home with no money.

I love I Wanna Go Out With Someone Else (working title Bells as it had more than a slight shade of Sleigh Bells about it) but feel it never connected for some reason so was quietly retired from the set when its release as a single provided entirely zero reaction. Our best Grand Royal/Beastie Boys one since Theme From Tokyo for me but hey, maybe it needed the BIG studio to bring it into commercial territory. Dracula provides some lovely familiar Devo territory (oh aye, I guess it's in 6/4 or something), a bit Clockwork Punk. We should play this more. Keeps our never-ending vampire theme going. I'm going to call a song Commodore 6/4 on the back of hearing this again. Home Economics is windy and wobbly and from this distance, strikes me as another lost hit. Although a hit from 1979-1981. Me and John having a Fripp-fight in the middle is entertaining and we should have asked Lora Logic to do some sax stabs on this. We Dream of Canada is more in Return To Central territory than anything else here so far. We are certainly firmly entrenched in the sounds of 1980 though, hadn't really realised quite how sonically it's lodged in that era. Most of the drum machine samples on this album are definitely of 80's descent and this one adds our banks of Juno 106's and JX-3P's to the mix. Can you be TOO 80's? Possibly.

This Slight Disconnect starts the second half of this very snappy 30-minute New Wave album. Definitely with borrowed bits from (forgotten?) bands of the 2000's - Clor and Baddies specifically. Also, I doubt anymore has ever noticed that the cowbell is stolen directly from The The's Infected. I think this rips off most other records than we normally do - we've become more confident to be bis again - but it's a fun snappy wee number. Hot Dog at the Rock Cafe is the one that people disliked the most but also LOVED the most. It certainly posts the way forward to Systems Music and is more 1989 than 1979. Lyrically too it's in SM4HD territory, pre-Covid nostalgia this time but it's quite possibly the only song in pop history that's about the town of Dunoon (extremely happy to be corrected on this). There is No Point... had been kicking about for a long time but finally found its voice in this form. The most actual PUNK tune on the album, great vocal from Manda here. It's a proper old-school bis throwback job and is both great fun and actually funny. Michael M did us a tremendous video made of old public service short films that captures the essence of this weird little tune. Features an Eno reference, far removed from all the Eno references of Return To Central though.

Combination Rock is mostly John and is my favourite tune on the record. I'm getting XTC/Futureheads/Field Music. We can't play it live because it's too high for any human male to sing. Which is a shame. We then end on Manda's tribute to our tour manager/best pal Stuart Mason who was taken far too young. I wish we had the time/cash to have ramped up the production of this and realised too late that we had stolen an entire section of Playgirl by Ladytron (knew it was naggingly familiar but couldn't quite place it). For me, these songs are as good as anything we'd done but yeah - we were trying to relearn our craft so it's more flawed and vulnerable than what we'd come up with next.

TRIVIA - The Rock Cafe is a real cafe in Dunoon. "The housing was temporary" line refers to the American naval base that was based at the Holy Loch near Dunoon when me and John were wee - I always thought the flats that were built for the American workers and their families were knocked down when the base left, but they're still there. Apologies for the factual inaccuracies.

The guitar melody from The Big Sunshine is stolen from a mad Drum n Bass tune I made in about 1998. We do often dig into the archives for reassessment and this riff was plucked out. The irony of The Big Sunshine is that Stuart would probably have hated it - ear bleeding thrashy punk was much more his style.

[posttexasstressdisorder]

This is the After Dark module Psycho Deli in action on a PowerMac G4 MDD, booted into MacOS 9. 

And here are some screenshots of the different patterns.  One of them just screams “Dr. Seuss” to me...see if you can figure out which one.

They all move similar to the video, a sort of rotating, pulsating, ever-morphing bunch of Eye Candy that I miss greatly.  I still have the files, just don’t have a Classic-OS-Era Mac now.

And a video I made of my old Mac Portrait monitor with the Flying Toasters playing, with music from a CD of ambient tunes I made using my Roland Juno 106.

[spiritshrine]

trying to get the bones of this track finished even though it’s late it still needs mastering, maybe some string synth and noisy bits, maybe some samples and vocals, but i wanted to get what i have so far it on tape because i’m too lazy to save some of these synth patches haha

[kalaplugin1]

Arturia Matrix-12 Download

Tech Specs (MAC & Windows)

Software Type:Music Software

Platform:, MAC & Windows

Upgrade/Full Version:Full Unlocked

Download/Boxed:Download

License Type:Lifetime Activation

Format: Standalone, VST, VST3, AU

Hardware Requirements – PC:Intel / AMD Multi-core CPU, 4GB RAM minimum

OS Requirements – OSX : OS X 10.8 or later M1& M2

Arturia Matrix 12 V Virtual Synth Plug-in at a Glance:

The Matrix 12 story, in all its glory

Arturia models it, to a tee

Unleash your creativity: the sky’s the limit!

The Matrix 12 story, in all its glory

The 1980s were an important – and interesting – decade in the synth world. Polyphony was becoming de rigueur and digital synthesis was gaining a foothold with the Yamaha DX-7 and various digital samplers, while stripped-down synths like the Juno 106 and Korg Poly 6 were making synthesis available to the masses. The stage was set for Tom Oberheim – who had been designing some of the best-sounding synths for over a decade – to introduce a no-holds-barred analog synth. And so the Oberheim Matrix 12 was unleashed upon the world in 1985. It was, indeed, an all-out assault on the state of the art, with glorious sonics and tantalizing modulation possibilities, but its near-five-grand price tag put it out of reach for all but a few fortunate souls. Around 1000 units were produced, many of which are still making music to this day.

Arturia models it, to a tee

When it comes to modeling vintage analog synths, many of us immediately think of Arturia – and with good reason. Their proprietary True Analog Emulation technology (TAE) is truly amazing, and is no doubt a critical component in some of the finest virtual synths we’ve heard. For the Matrix 12 V, Arturia modeled not only the tonal aspects of the original two oscillators and their waveforms, but the 15 filter modes as well. They knew that the Matrix 12’s famously rich, complex sound was forged by its multiple filter modes and by the numerous modulation sources and destinations on tap. With nearly endless modulation-routing possibilities, you can sculpt wonderfully organic sounds not possible with other synthesizers.

Unleash your creativity: the sky’s the limit!

The Matrix-12 V is, just like its hardware predecessor, a multitimbral instrument. In Multi mode, each of the 12 notes can voice a different sound. These sounds can then be split on different zones of your keyboard, transposed individually, played unison – you get the idea! And Matrix 12 V’s elegant software interface makes configuring all this a cinch. While the original Matrix 12 was an amazing synthesis achievement, Arturia upped the ante by adding a new effects chain for additional sound processing. They also doubled the allowable number of modulations from 20 to 40, giving you even more creative options. Factor in the ability to control all of Matrix 12 V’s parameters via MIDI, letting you perform automation in your DAW, and you’ve got a total beast of a soft synth.

Arturia Matrix 12 V Virtual Synth Plug-in Features:

Multitimbral; 12-note polyphonic

Redesigned preset browser

Resizeable user interface for HD displays

Two oscillators, each with:

Triangle, sawtooth, and variable-width pulse wave with PWM

Oscillator 1 may be frequency modulated

Oscillator 2 equipped with white noise generator

Single 15-mode filter with:

Four Lowpass, three Highpass, and two Bandpass modes

Notch and Phase Shift modes

Four additional Combo filter modes

Powerful modulation matrix with 27 sources and 47 destinations

Mod sources include:

Five Envelopes and five LFOs

Four Ramp and three Track generators

Velocity, Pressure, and Keyboard Follow

Two insert effect slots with six studio-grade effects to choose from

Arturia’s amazing-sounding True Analog Emulation technology (TAE)

[gingintigtig]

Remake of the first part of Boys (Summertime Love) by Sabrina, first released May 1987.

It was one of the first uses of the Roland D50 "Linear Arithmetic" Synthesizer released April 1987 and makes heavy use of factory preset 1-5; "Horn Section".

I programmed the Patterns and Song directly on my LinnDrum and Sequential Drumtraks and used a Behringer RD8 as a master clock for them both (the RD8 has MIDI Thru to the Drumtraks and 48ppq clock sync to the Linn).

To keep it period correct in terms of effects, I used "GLOW" by Wave Alchemy as the only reverb plugin as it's a very accurate simulation of the RMX16 Digital Reverb released in 1981 by AMS and was, and still is, used by studios globally. The characteristic BIG 80s snare and kick sound is the RMX16 "Non Linear 2" reverb preset.

I multi-tracked two custom bass patches from the 1986 Casio CZ1, sequenced via MIDI. The off-beat chord stab is a modified Electric Organ preset.

The 2018 Behringer DeepMind 12 was used for some Juno-106 style strings, and finally my 1987 Roland D50 was sequenced via MIDI to achieve the faux guitar pattern in the background. The Horn preset was played by hand and then quantized.

Everything was then compressed using 1176 simulators and finally bounced to a virtual tape machine to get some of that extra warmth and saturation.