EōN by Jean-Michel Jarre vs iVCS3 Usage & Stats

EōN is a new relationship to "recorded" music as we have always known it by immersing the listener in an endless sound (and visual) experience, like an album whose duration would have no fixed limit. EōN produces an infinite music, in constant evolution, abundant in variations, composed by electronic music pioneer Jean-Michel Jarre, accompanied by a constant progression of organic visual elements. Once the EōN app is activated, you will listen and watch a new unlimited music experience constantly unfold, designed to be absolutely unique for each listener, always different each time the app is launched. You can enjoy a different journey everytime, listening as many times and as long as you want, the only limit being your device’s battery! In addition, once downloaded, EōN is fully autonomous requiring no internet connection. Thus it is possible to launch the app anywhere and at any time. JEAN-MICHEL JARRE ABOUT EōN: "-Eon- the name of an ancient Greek God associated with unlimited time and eternity. I named this project EōN as it symbolizes exactly what it is: an infinite musical and visual creation, which offers to everyone a unique experience, which will never happen again: on each device and each activation of the application EōN, you will hear and see an ever-evolving orchestration of music and visuals. EōN is an endless organic work, never repetitive, that will live and grow indefinitely at your fingertip. Like in life, every moment lived in EōN will never happen again. Personally, I truly feel that EōN is probably one of my most exciting creative projects since Oxygene. I always wanted to create a specific music for each listener, able to evolve constantly in terms of rhythms, tones, tempo, melodies and textures. Here it is. EōN is conceived and composed as a different journey for everyone, with no end determined. I had a clear idea of the organic, living visuals I wanted to accompany my music, and I was very lucky to spend some time in Tokyo at Sony Computer Science Laboratories, Inc. (Sony CSL), where I discovered Alexis André and his singular visual world. Sony CSL with Alexis have conceived and developed an algorithm generating an endless flow of ever-evolving graphics, which, like the music, are infinite and never repeatitive. The algorithm and audio engine that orchestrates the music of the EōN app have been engineered by Alexis Zbik & Vianney Apreleff from BLEASS after defining the rules of the system together. " CREDITS Conceived and composed by Jean-Michel Jarre Digital Graphics by Alexis André of Sony Computer Science Laboratories, Inc. (Sony CSL) Music algorithms and audio engine powered by BLEASS Produced by Aero Productions Terms of use: http://jeanmicheljarre.com/eon/terms-of-use

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iVCS3

iVCS3 Official EMS VCS3 emulator The VCS3 was created in 1969 by Peter Zinovieff's EMS company. The electronics were largely designed by David Cockerell and the machine's distinctive visual appearance was the work of electronic composer Tristram Cary. The VCS3 was more or less the first portable commercially available synthesizer—portable in the sense that the VCS 3 was housed entirely in a small, wooden case. The VCS3 was quite popular among progressive rock bands and was used on recordings by The Alan Parsons Project, Jean Michel Jarre, Hawkwind, Brian Eno (with Roxy Music), King Crimson, The Who, Gong, and Pink Floyd, among many others. Well-known examples of its use are on The Who track "Won't Get Fooled Again" (as an external sound processor, in this case with Pete Townshend running the signal of a Lowrey Organ through the VCS3's filter and low frequency oscillators) on Who's Next. Pink Floyd's "On the Run" (from The Dark Side of the Moon) made use of its oscillators, filter and noise generator, as well as the sequencer. Their song Welcome to the Machine also used the VCS3. The bassy throb at the beginning of the recording formed the foundation of the song, with the other parts being recorded in response. The VCS3 was also a staple at the BBC’s Radiophonic Workshop, and was a regular (and most frightening) sound generator for the Dr Who TV series. Many fo the monsters and atmoshere;s created for the show came directly from the VCS3. Description The VCS3 has three oscillators (in reality, the first 2 oscillators are normal oscillators and the 3rd an LFO or Low Frequency Oscillator), a noise generator, two input amplifiers, a ring modulator, a 18dB/octave (pre-1974) or 24dB/octave (after 1974) voltage controlled low pass filter (VCF), a trapezoid envelope generator, joy-stick controller, voltage controlled spring reverb unit and 2 stereo output amplifiers. Unlike most modular synthesizer systems which use cables to link components together, the VCS3 uses a distinctive patch board matrix into which pins are inserted in order to connect its components together. Keyboards controller DK1 keyboard controller Although the VCS3 is often used for generating sound effects due to lack of built-in keyboard, there were external keyboard controllers for melodic play. The DK1 in 1969 was an early velocity sensitive monophonic keyboard for VCS3 with an extra VCO and VCA. Later it was extended for duophonic play, as DK2, in 1972. Also in 1972, Synthi AKS was released, and its digital sequencer with a touch-sensitive flat keyboard, KS sequencer, and its mechanical keyboard version, DKS, were also released. (See: en.wikipedia.org/wiki/VCS3)