macumbista.

net » Vector Synthesis 2019-12-03, 9:01 PM

Vector Synthesis

Figure 1. Lissajous figure on Vectrex monitor, Helsinki FI, March 2017.

Vector Synthesis: an Investigation into Sound-

Modulated Light
Performing with Voltage and Vectors

The Vector Synthesis project is an audiovisual, computational art project using entirely analog
synthesis and vector graphics display techniques to investigate the direct relationship
between sound+image. It can be presented as a live performance or a generative installation.
Driven by the waveforms of an analog synthesizer, the vertical and horizontal movements of a
single beam of light trace shapes, points and curves with infinite resolution, opening a
hypnotic window into the process by which the performed sound is created. [1]

http://macumbista.net/?page_id=4869 Page 1 of 19
macumbista.net » Vector Synthesis 2019-12-03, 9:01 PM

Figure 2. Vector Synthesis sketch, Helsinki FI, January 2017.

Technically, the work is based on the well-known principle of Lissajous figures, which are a
mathematical representation of complex harmonic motion. Originally displayed by reflecting
light between mirrors attached to a pair of vibrating tuning forks, we are most used to seeing
them on the screen of an oscilloscope, where they can be produced using pairs of electronic
oscillators tuned to specific ratios. A 1:1 ratio can produce a line, circle, rectangle or square,
depending on the waveform and phase of the oscillators being used. A 1:2 ratio produces a
figure with two lobes, a 1:3 ratio produces a figure with three lobes, and so on. By connecting
the same signals to a loudspeaker, so that it is possible to see and hear the same signal at
once, one can draw a direct correlation between the visual shapes of the figures and the
musical harmonics. Interestingly, Lissajous figures are also used in high-end audio equipment
to monitor the phase relationship between the two channels of a stereo signal–an important
step in mastering for vinyl record production.

The most important piece of equipment in this setup is the Cathode Ray Tube. One’s
relationship to the venerable CRT depends very much on their age. So many of us grew up
with one constantly around in the form of a television set, while the younger generation live in
an era where these objects are rapidly realizing their manifest destiny as e-waste. Unlike
modern flatscreens, CRTs draw their image with a single beam of light shot from an electron
gun at the back of the tube against a phosphorescent film inside the front of the tube, which

http://macumbista.net/?page_id=4869 Page 2 of 19
macumbista.net » Vector Synthesis 2019-12-03, 9:01 PM

gives them their unique visual characteristic.

Video 1. Vector Synthesis: Syntheshape Depth Rotation, Helsinki FI, October 2018.

Conventional video images are said to be raster scanned, i.e. they have been quantized to a
grid of horizontal scan lines traced by this light beam, so that the image you see is drawn one
line at a time by a left-to-right motion combined with variations in the intensity of the beam. In
contrast to this, the light beam of an oscilloscope or vector monitor (such as the one I use)
can freely move horizontally or vertically at tremendous speed responding directly the the
amount of electrical voltage sent to control it, and is limitless rather than constrained in its
resolution.

I use two different vector monitors with this process; one is a Panasonic VP 3830 designed
for technical measurements in a laboratory, the other is a Vectrex video game console from
approximately 1983 which I have modified according to the instructions of Andrew Duff. Each
has three main control inputs to control its light beam: the horizontal axis, the vertical axis,
and the z axis (an adjustment of the brightness of the beam).

My first, entirely analog explorations of these monitors involved a self-made DC (direct

current) voltage mixer which allowed me to combine up to four analog signals to each of the
monitor’s inputs, control the individual and overall levels of those signals, and add an offset
voltage if necessary to move the entire image up and down or left and right. With various
voltage controlled oscillators, I was able to create basic Lissajous shapes from different
waveforms, modulate the frequencies and amplitudes of those waveshapes, and in a fairly
haphazard way derive more complicated shapes from a combination of waveforms sent to
each axis and to the brightness control.

http://macumbista.net/?page_id=4869 Page 3 of 19
macumbista.net » Vector Synthesis 2019-12-03, 9:01 PM

Video 2. SKETCHES for VECTOR SYNTHESIS, Helsinki FI, February 2017.

I quickly realized, however, that obtain more precise, controllable, and reproducable results, I
would need to create the figures with digital signals. To this end, I created the Vector
Synthesis Library. This digital signal processing toolkit allows the creation and manipulation of
2D and 3D vector shapes, Lissajous figures, and scan-processed image and video inputs
using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game
consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data
programming environment.

Eschewing the popular, readymade algorithms used by applications like Processing and
OpenFrameworks to instead code my own 2D and 3D visualization systems using audio
waveforms put me in touch with the earliest roots of computer graphics. Rather than relying
on the experimental approach of the analog oscillators, here I had to engage with actual
mathematics. Soon the shelves in my studio were filled with out-of-print technical textbooks
from the 60’s and 70’s describing matrices, projections, beziers, and splines–all of which are
quite daunting for someone who failed just about every math class they were forced to take in
their life! Even more fascinating were the accounts from the early pioneers of the medium,
such as John Whitney Sr., who described the amount of rendering, photographing, and film-
processing time required for one 20-second sequence as “agony”, or his brother James, who
was so traumatized by the experience of making “Lapis” (1966) with a modified WWII anti-
aircraft gun computer that he never made another computer-assisted film again in his life.

The scan-processing section (developed in parallel with a Max/MSP implementation by Ivan

Marušić Klif) is particularly exciting. It is based on the same process as the Rutt-Etra video
synthesizer from the 1970’s, which allowed direct manipulation of the video raster. One could
think of it as using sound to display low resolution video, and I have explored it using live
webcam feeds as well as stored pictures and film clips. Along with some of the 3D model
rendering functions, it brings a deliberately figurative element to the abstract, geometric
space of the vector graphics.

http://macumbista.net/?page_id=4869 Page 4 of 19
macumbista.net » Vector Synthesis 2019-12-03, 9:01 PM

Figure 3. Scan-processed camera image, Berlin DE, July 2017.

Video 3. Scan-processed photograph, Berlin DE, July 2017.

The main source of the signals I use to alter the shapes of the images is an analog
synthesizer known as the Benjolin. The Benjolin is a standalone synthesizer designed by Rob
Hordijk from the Netherlands. It contains two voltage controlled oscillators, a voltage
controlled filter and a circuit called a Rungler, which allows chaotic cross-modulation

http://macumbista.net/?page_id=4869 Page 5 of 19
macumbista.net » Vector Synthesis 2019-12-03, 9:01 PM

possibilities between the different parts of the circuit. Hordijk refers to the Benjolin as a circuit
which has been “bent by design.” I have been working with this instrument for several years
now, both performing with it regularly as well as building expanded and customized versions
of it for myself and other artists.

Figure 4. Dual “Butterfly” Benjolin instrument, Marfa Texas USA , March 2014.

Video 4. Vector Synthesis: Time/Energy Object, Helsinki, May 2019

My live performances and studio setups so far have involved two of these Benjolin circuits, a
laptop running Pure Data, a DC-coupled soundcard (a MOTU Ultralight Hybrid), and the
vector monitor. Once I have created the core shape with patches from the Vector Synthesis
Library, I can then go on to modulate it with the more intuitive and immediate interface of the

http://macumbista.net/?page_id=4869 Page 6 of 19
macumbista.net » Vector Synthesis 2019-12-03, 9:01 PM

analog synthesizers. The combined signals of the digital vector shapes and the Benjolins are
also heard through the loudspeaker. In this way, a very direct relationship between image and
sound is preserved.

Digital recording and projection of the CRT vector graphics has so far been the most
frustrating element, as it has been impossible to perfectly reproduce the depth, movement
and details I see on the screen with any camera available to me. While in the studio I employ
a DSLR camera with a large aperture lens for what is often called “rescannning” the vector
images, for live performances I follow the adage that the best camera for the job is the one
you have with you, and connect my iPhone camera directly to the venue’s projector. There is
no lost irony in the fact that my “primitive” visual system requires a fast modern computer and
hi-resolution sound card, or that while some of my favorite vector images were displayed on a
tube oscilloscope from the 1950s which weighs perhaps 20kg and produces enough heat to
toast bread, I present my work to the public using the smallest, most utopian electronic device
of the moment.

One could sum up the main benefits of working with analog vector graphics for abstract
audiovisual synthesis as follows:

Analog vectors are generated by a fairly low-bandwidth, audio-frequency-range signal

which can be produced by very common sound hardware and software (as opposed to
video signals which require frequencies of 15.625 KHz – 6.75MHz to produce detailed
results), thus negating the need to invest in upgraded equipment (an important factor for
novices, or for workshop situations).
As opposed to conventional raster graphics, analog vectors have a nearly infinite
graphic resolution, constrained only by the size and sharpness of the beam in relation to
the total monitor area. (There are issues of signal bandwidth which do come into play,
however.)
The control systems for vector synthesis are highly intuitive and the results immediately
tangible.
Vector synthesis maintains a direct, non-symbolic relationship between sound and
image due to the fact that both are derived from the same signal.

http://macumbista.net/?page_id=4869 Page 7 of 19
macumbista.net » Vector Synthesis 2019-12-03, 9:01 PM

Figure 5a & 5b. Vector Synthesis installation, Third Space Gallery, Helsinki FI, January 2017.

I would like to explicitly point out that there is nothing new about this process, although I
would not necessarily consider that a problem. Think of how many novel controllers,
interfaces, and instruments are abandoned precisely at the moment when their newness
wears off, and long before any sort of virtuosity can manifest itself. (Michel Waisvisz’s The
Hands being a classic example to the contrary, it was an instrument where–from a certain
point–technological development was consciously minimized in order to maximize the
process of developing a performing language with it.) Artists and scientists have explored the
use of Lissajous patterns and other mathematically-derived patterns (take the work of Ernst
Chladni, for example) long before there were analog computers, voltage controlled
synthesizers, cathode ray tubes, or lasers. And once all these elements were in place, there

http://macumbista.net/?page_id=4869 Page 8 of 19
macumbista.net » Vector Synthesis 2019-12-03, 9:01 PM

is a wealth of such experiments from the 1950s onward by major figure such as Mary Ellen
Bute, John Whitney, Larry Cuba, Manfred Mohr, Nam June Paik, Ben Laposky, and Steina &
Woody Vasulka for the curious eye and ear to explore.

However, I also strongly believe that techniques and technology take on a radically different
context once the move from the realm of cutting edge or contemporary to the status of
abandoned, outdated, or obsolete. In the past decade, the Cathode Ray Tube has reached
this status of what Garnet Hertz and Jussi Parikka call “zombie media”–a commercially-buried
format resurrected by wilful misuse and creative experimentation. The current vogue of
analog sound and video synthesis has produced a new generation of artists working with
Lissajous patterns, vector graphics and Oscilloscope Music, and I would count among my
peers Robin Fox, James Connolly and Kyle Evans (as Cracked Ray Tube), Jerobeam
Fenderson, Benton C. Bainbridge, and a whole community of intrepid synthesists on the
Video Circuits forum in these adventures.

Utopias and Dystopias in Media Archaeology

Video 5. 3D model visualized on 1960’s tube oscilloscope, Berlin DE, July 2017.

Vector Synthesis is the third project I have under taken with a reference to the discourse of
media archaeology, and the second which explores the relationship of electronic sound and
light. The first project in the media archaeology series, TONEWHEELS (2007-14), drew on
the century-old technology of optical film soundtracks. Inspired by some of the pioneering
20th Century electronic music instruments, such as the Welte Licht-Ton-Orgel (“Light-Tone
Organ”, Edwin Emil Welte, DE 1936), the ANS Synthesizer (Evgeny Murzin, USSR 1937-57),
and the Oramics system (Daphne Oram, UK 1957-62), I developed electronic and graphical
systems for modulating sound with light. In this live performance, transparent tonewheels
printed with repeating patterns are spun over the same kind of light-sensitive electronic audio
circuitry as can be found in a 35mm movie projector, producing pulsations and textures of
sound and light. Using only overhead projectors as light source, performance interface and

http://macumbista.net/?page_id=4869 Page 9 of 19
macumbista.net » Vector Synthesis 2019-12-03, 9:01 PM

audience display, TONEWHEELS aimed to open up the black box of electronic music and
video by exposing the working processes of the performance for the audience to see.

Figure 6a. TONEWHEELS technical overview, Berlin DE 2010.

Figure 6b. TONEWHEELS Hurdy Gurdy instrument, Le festival accès(s) cultures

électroniques, Pau FR October 2012.

The second media archaeology work, Delilah Too, proposed a model of voice encryption
based on the voice scrambling capabilities of the vocoder, a device far better known for its
role in the history of electronic music than for its cryptologic potential. While this work did not
involve any light-based processes, it did give me the opportunity to dive into texts related to

http://macumbista.net/?page_id=4869 Page 10 of 19
macumbista.net » Vector Synthesis 2019-12-03, 9:01 PM

this discourse more deeply, in particular the writings of Friedrich Kittler.

In this media archaeological context, it is important to point out the the history of electronic
sound is more than one hundred years old, and since nearly the beginning it has been linked
with light–either as accompaniment to the century of cinema which closely followed it, or
actually using the optical sound reproduction technology of cinema directly as a means of
creating abstract or performer-less sound.

Throughout these more-than-a-hundred years, the goals and utopias of electronic sound has
changed little. We still aspire to either to imitate existing instruments, to synthesize previously
unheard sounds, or to realize complex works without need of an orchestra. Likewise the
dystopias have also changed little. Electronic sound remains a clumsy approximation of
acoustic sounds, it still employs alienating, cold, un-emotive timbres and tones, and there still
remains a fundamental disconnection between the source of the sound and what is heard.
This on top of the fact that, as Kittler writes, “the entertainment industry is, in every
conceivable sense of the word, an abuse of army equipment.”

Figure 7. Vector Synthesis sketch, Helsinki FI, January 2017.

Vector Synthesis also references the long history of pre-digital computing, where calculations
were made by connecting the various analog signal generators and processors of massive,
patchable systems, and where results were displayed as graphs and functions on a CRT
monitor. One of the first practical applications of the analog computer was in controlling the
trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders
towards London during the Second World War. And as Kittler observed, the relationship of
media technology to military tools of destruction was sealed by moments such as these.

http://macumbista.net/?page_id=4869 Page 11 of 19
macumbista.net » Vector Synthesis 2019-12-03, 9:01 PM

Post-war developments continued in this direction. Tennis for Two, a proto-Pong game
programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National
Laboratories in Long Island NY USA, used an oscilloscope as the display. The laboratory
itself performed government research into nuclear physics, energy technology, and national
security. Indeed, as Bej Edwards writes, some of the earliest computer art–a vector
representation of a Vargas pinup girl–was created by anonymous IBM engineers as a test-
screen for the SAGE (Semi-Automatic Ground Environment) defense computer of the US Air
Force in the late 1950s.

Fig 8. Early computer art created by anonymous IBM engineers on a SAGE (Semi-Automatic
Ground Environment) defense computer. Polaroid photo by Lawrence A. Tipton, 1959, Ft.
Lee Virginia USA.

In the early 1960’s, Don Buchla redesigned the existing function generators of analog
computers to respond to voltage controls of their frequency and amplitude. This gave birth to
the patchable, analog modular synthesizer which was subsequently expanded by others such
as Bob Moog and Serge Tcherepnin. I think of this often when patch-programming my own
modular systems, remembering that the signals I am creating are just as much mathematical
expressions as they are movements of speakers or flashes of light.

Vector graphics were widely adopted by video game manufacturers in the late 1970’s.
Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in
1979. Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable
examples, and also as rudimentary training tools for the future e-warriors who would remotely
guide missiles into Iraqi bunkers at the start of the next decade.
http://macumbista.net/?page_id=4869 Page 12 of 19
macumbista.net » Vector Synthesis 2019-12-03, 9:01 PM

Figure 9. Vector Synthesis sketch, Helsinki FI, January 2017.

Video 6. Vector Synthesis (Ouroboros Fragment), Helsinki FI, May 2017.

My own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake. Rather,
it is an exploration of a once-current and now discarded technology linked with these specific
utopias and dystopias from another time. The fact that many aspects of our current utopian
aspirations (and dystopian anxieties!) remain largely unchanged since the dawn of the
electronic era indicates to me that seeking to satisfy them with ideas of new-ness and
technological progress alone is quite problematic. Or as Rick Prelinger puts it, “the ideology
of originality is arrogant and wasteful.” Therefore, an investigation into tried-and-failed
methods from the past casts our current attempts and struggles in a new kind of light.

–Derek Holzer, Helsinki, February/September 2017

http://macumbista.net/?page_id=4869 Page 13 of 19
macumbista.net » Vector Synthesis 2019-12-03, 9:01 PM

–This text was produced for eContact! 19.2: Light & Sound

[1] The term “vector synthesis” refers to the synthesis of analog vector graphics and
accompanying audio, and should not be confused with waveform-mixing sound synthesis
technique introduced by Sequential Circuits in 1986.

APPEARANCES

10.2018 – Emute Lab 2, Brighton UK

10.2018 – VectorHack Festival, Zagreb HR & Ljubljana SI
08.2018 – Pori Art Museum, Pori FI
08.2018 – Myymälä2 gallery, Helsinki FI
05.2018 – (residency) Radio Belgrade Studio, Belgrade SRB
05.2018 – Mapping Festival, Geneve CH
04.2018 – AAVE Festival, Helsinki FI
04.2018 – Seeing Sound Conference, Bath Spa University, Bath UK
02.2018 – (workshop) Piksel, Bergen NO
02.2018 – Estonian Contemporary Art Museum, Tallinn EE
11.2017 – (performance) Piksel, Bergen NO
11.2017 – Noisy November, Viljandi EE
11.2017 – MuTe Fest, Music House, Helsinki FI
11.2017 – (workshop + perf.) Copenhagen DK
10.2017 – Meq Festival, Montpelier FR
10.2017 – Simultan Festival, Timișoara RO
07.2017 – (workshop + perf.) Spektrum, Berlin DE
06.2017 – Cirkulacija2 Residency, Ljubljana SI
04.2017 – CMT/Sibelius Academy, Helsinki FI
03.2017 – Ääniaalto, Vapaan Taiteen Tila, Helsinki FI
02.2017 – Aalto University Media Lab, Espoo FI
01.2017 – Third Space Gallery, Helsinki FI
01.2017 – De Player, Rotterdam NL
12.2015 – Spektrum, Berlin DE
10.2015 – Signal Culture Toolmaker Residency, Owego NY USA

REQUIREMENTS: PERFORMANCE

High-contrast data projector

HDMI connection from stage to projector
Stable camera tripod
Standard camera tripod screw size = 1/4 inch/6.35mm, 20 threads per inch
As a couple of HDMI projectors have not recognized my HDMI iPhone6 Lightning
connection in the past, a cross converter such as Datavideo DAC-70, DECIMATOR MD-

http://macumbista.net/?page_id=4869 Page 14 of 19
macumbista.net » Vector Synthesis 2019-12-03, 9:01 PM

HX or similar may be necessary to ensure proper data transfer

1m x 2m table set at 1m height
Mackie 1604 or similar mixer, (inquire before substituting pls)
Stereo connection to PA, with sufficient bass for the room
Switched powerstrip with minimum 7 outlets
Two hour setup time
30 minute soundcheck
+/-30 minute performance

BIBLIOGRAPHY

Duff, Andrew. “Vectrex Minijack Input Mod”. 2014.

http://users.sussex.ac.uk/~ad207/adweb/assets/vectrexminijackinputmod2014.pdf

Edwards, Benj. “The Never-Before-Told Story of the World’s First Computer Art (It’s a Sexy
Dame)”. The Atlantic, JAN 2013. http://www.theatlantic.com/technology/archive/2013/01/the-
never-before-told-story-of-the-worlds-first-computer-art-its-a-sexy-dame/267439/

Hertz, Garnet; Parikka, Jussi. “Zombie Media: Circuit Bending Media Archaeology into an Art
Method”. Leonardo, Volume 45, No. 5, 2012, pp 424-430.
http://mediaarchaeologylab.com/wp-content/uploads/2013/06/Zombie-media.pdf

Holzer, Derek. Vector Synthesis Library. 2017. https://github.com/macumbista/vectorsynthesis

Hordijk, Rob. “The Blippoo Box: A Chaotic Electronic Music Instrument, Bent by Design”.
Leonardo Music Journal, Volume 19, 2009, pp. 35-43.

Kittler, Friedrich. Gramophone Film Typewriter, Stanford University Press. 1999.

Klif, Ivan Marušić. REWEREHERE. 2017. http://i.m.klif.tv/rewerehere/

LZX Industries. “Frequency Ranges”. Accessed on 15.02.17

https://www.lzxindustries.net/system/video-synchronization/

Patterson, Zabet. “From the Gun Controller to the Mandala: The Cybernetic Cinema of John
and James Whitney”. IN: Mainframe Experimentalism: Early Computing and the Foundations
of the Digital Arts (Higgins, Hannah B & Kahn, Douglas, ed.). University of California, 201

Prelinger, Rick. “On the Virtues of Preexisting Material”, 2007. Revised in: Contents Issue # 5,
JAN-APR 2013, http://contentsmagazine.com/articles/on-the-virtues-of-preexisting-material/

Torre, Giuseppe; Andersen, Kristina; Baldé, Frank. “The Hands: The Making of a Digital
Musical Instrument”. Computer Music Journal, 40:2, Summer 2016, pp. 22-34.

http://macumbista.net/?page_id=4869 Page 15 of 19
macumbista.net » Vector Synthesis 2019-12-03, 9:01 PM

Vasulka, Steina & Woody. “Bill Etra & Steve Rutt”. IN: Eigenwelt der Apparatewelt: Pioneers
of Electronic Art. Ars Electronica, 1992.

Whitney, John Sr. “Experiments in Motion Graphics”. 16mm film, color, sound, 11:54. IBM,
1968.

Macumbista is a little boy who lives in my mouth…

Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose
current interests include DIY electronics, audiovisual instrument building, the
relationship between sound and space, media archaeology, and participatory art forms.
He has performed live, taught workshops and created scores of unique instruments and
installations since 2002 across Europe, North and South America, and New Zealand.

CONTACT: macumbista AT THE DOMAIN gmail.com

Contents
Subscribe to Posts
Audio
Biography
Contact
Electronics
Macumbista Mini
Macumbista Modular
Tonewheels Electronics
Instruments for Sale
Butterfly Benjolin
Butterfly Benjolin V2
FuzzTone SoundBox
Macumbista Benjolin V3
http://macumbista.net/?page_id=4869 Page 16 of 19
macumbista.net » Vector Synthesis 2019-12-03, 9:01 PM

Macumbista Benjolin V4
Macumbista Custom SoundBox
Macumbista SoundBoxes
WolfTone SoundBox
Media Archaeology Trilogy
Performances
Macumbista Live
Tonewheels live
Vector Synthesis
Programming & Code
8 Bit Mix Tape Tutorial
Particlechamber
Pure Data Benjolin
Pure Data FLOSS Manual
Vector Synthesis
Texts + Lectures
Videos
Vector Synthesis
Workshops
Experimental Sound Instruments
Neanderthal Electronics
Pure Data Workshop
Regenwald Workshop
Sound+Space Awareness
SoundBoxes Workshop
Tonewheels workshop

Blog
Vector Synthesis Book Update August 11, 2019
Vector Synthesis Book July 21, 2019
Vector Synthesis Publication Fundraiser June 16, 2019
Vector Synthesis Oscilloscope+Laser Workshop Helsinki June 16, 2019
Vector Synthesis Workshop Berlin 5-7 JUL 2019 May 23, 2019
Macumbista Benjolin V5 May 4, 2019
Vector Synthesis USA Tour FEB-MAR 2019 February 15, 2019
VectorHack 2018 Review December 25, 2018
VectorHack Festival 2018 1-7 OCT Zagreb & Ljubljana September 19, 2018
Vector Synthesis Helsinki + Pori August 22, 2018

Certain ideas
http://macumbista.net/?page_id=4869 Page 17 of 19
macumbista.net » Vector Synthesis 2019-12-03, 9:01 PM

Search

Dated ideas
Dated ideas Select Month

Scattered ideas

audio belgium benjolin berlin bulgaria chaos club transmediale croatia denmark
Essay estonia field recording finland flier for sale france germany hungary
installation interview italy latvia lecture neanderthal electronics netherlands norway
performance photo playlist pure data rainforest residency review
soundboxes spain sweden synthesizer tonewheels tuned city usa
vectors vectorsynthesis video visa workshop

Other people’s ideas

Robert Henke on VectorHack 2018 Review
Mina on Vector Synthesis Helsinki + Pori
Tides Of Continental Plate – Oscar Santis – Aurales on SoundBoxes Workshop
admin on Vector Synthesis Library for Pure Data
corey on Vector Synthesis Library for Pure Data

Media
Soundcloud audio
VIMEO videos

Networking
Electro-music.com
Facebook
LinkedIn
Muffwiggler
Pure Data Mailing List

http://macumbista.net/?page_id=4869 Page 18 of 19
macumbista.net » Vector Synthesis 2019-12-03, 9:01 PM

…etc etc etc

Log in
Entries feed
Comments feed
WordPress.org

Powered by WordPress v 5.3. Page in 0.556 seconds.

http://macumbista.net/?page_id=4869 Page 19 of 19