FORTRAN – Electronic Music 17.10.18

fortran-17-10-18-v4

Live Electronic Music From:

Sean Clancy https://seanlclancy.wordpress.com/
Ola Szmidt https://olaszmidt.bandcamp.com/album/ep1
Audrey Riley and James Kelly http://www.icebreaker.org.uk/members/audrey-riley/
Myoptik https://myoptik.bandcamp.com/
Mark Towers https://marktowers.net/
Jim Frize and Paul Mazzitelli http://www.sonodrome.co.uk/
Sadfem https://sadfem.bandcamp.com/

Music – 7.30pm – 10.30pm
— FREE ENTRY —

Facebook Event

Leicester College Students Visit R10

Students from Leicester College’s Music and Sound courses were invited to R10 Studios to learn about the Synthi 100 restoration project in conjunction with the Heritage Lottery Fund.

Content related to the early developments of EMS and the Synthi 100 is considered a key component of many music technology courses as synthesisers are still very much at the forefront of modern music-making. Due to the proliferation of software synthesis, the diversity of synthesisers and synthesis methods has never been greater, with the ability of the computer software designer to emulate what would be technologically difficult and prohibitively expensive, to produce if it were ever created in hardware today.

It is considered critical that today’s producer of music is familiar with the terminology and functionality associated with synthesisers in order that he or she is able to control the ever-widening palette of sound.

R10 Welcomes Leicester College

Students from Leicester College’s Music and Sound courses were invited to R10 Studios to learn about the Synthi 100 restoration project in conjunction with the Heritage Lottery Fund.

Content related to the early developments of EMS and the Synthi 100 is considered a key component of many music technology courses as synthesisers are still very much at the forefront of modern music-making. Due to the proliferation of software synthesis, the diversity of synthesisers and synthesis methods has never been greater, with the ability of the computer software designer to emulate what would be technologically difficult and prohibitively expensive, to produce if it were ever created in hardware today.

It is considered critical that today’s producer of music is familiar with the terminology and functionality associated with synthesisers in order that he or she is able to control the ever-widening palette of sound.