Thanks, I hate it

Easy - just unplug everything.

or just unplug the output...@@sjh3217

Wow didnt know that

MalcomCecil must be turning in his grave, hearing his sacrilege on video... this massacre!! (bad techno on the tonto! we will have seen everything)...

​​@@DonErikose hecho el maestro Cecil aprobaría que se de un uso a su Synthetizer y sus bases a sonidos y trabajos relacionados con la música electrónica...lo que no soportaría Cecil es que un grupo de Punk Rockeros Krautrock (como Kraftwerk) tomaran su Synthetizer para su Progressive Rock...eso si sería un verdadero sacrilegio.

@@j.maxell3030 You are so wrong he recorded and produced Devo's 'Freedom of Choice' with Tonto which as an album is very krautrock punk-ish.

@@ralphhathaway-coley5460 De hecho las bases de Cecil estaban más relacionada a líneas clásicas de la Música Electrónica (E. Post Concreta, E. Moog, E. Experimental y E. Soundtrack) la cual aplicaba con sus herramientas tecnológicas (T.O.N.T.0) en muchas de sus producciones dónde el verdadero arte y su capacidad se da en el Electro Funk de primera línea (S. Wonder).

You are right. Why not make actual music. “I like that?” Blessedly short.

I think it’s because that sort of synthesizer is so common now so it’s not interesting to just patch up a traditional instrument sound. And with the way modular works with control voltages and logic, it really lends itself to that style of sound output. Call it noise or music or whatever you want.

'......... no one is making any real music with synthesizers anymore.' is just not true, there are thousands of people and groups making original music with synths, the whole ambient space music genre for one, and the old originals are still going strong T.dream, etc. Now you cannot in all seriousness dismiss them as now just recreating famous synth sounds or riffs, as you cite Wendy Carlos and switched on Bach as an example of how they should be used, which is all reproducing someones riffs, Bach's to be precise. 😉 Hearing Wendy in the late 60s early 70s got me into synths in the first place, aided and abetted by Delia Derbyshire and the BBC Radiophonic Workshop of course. Though I agree the obsession with creating mindless, atonal bleeps and bloops is fecking annoying!

​​@@ralphhathaway-coley5460 La persona del comentario principal parece que desconoce sobre la historia, evolución y desarrollo de la Música Electrónica y las mas de 3 olas de productores y desarrolladores pilares y pioneros de este arte músical. Carlos no era relevante dentro de la segunda ola de padres y pioneros de la Música Electrónica Clásica (E Post Concreta, E. Moog, E. Experimental y E. Soundtrack)...ahí tenemos a Scott, Dissevelt, Bebé & Louis, Kingsley, Derbyshire, Garson...entre muchos más. Por cierto en los 70's (tercera ola de productores y desarrolladores) los mas relevantes son Jean M. Jarre y Giorgio Moroder que prácticamente inician la nueva fase de la Electrónica Moderna en concreto con Giorgio Moroder y el inicio del EDM 70's (Concreto) y los 5 géneros electronicos matrices y primarios que nacieron y se forjaron en esta escena electronica: el HI-NRG, Synthpop, Electro, Italo y Electro Funk que son los pilares del House, Techno y Trance (los géneros más representativos del EDM 80's).

This is exactly my feeling. I love synthesisers because of the way Jean Michel Jarre, Vangelis and many of the New Wave electronic groups of the 1980s used synths to create beautiful sounds and music that touched the soul or create artistic soundscapes. I'm fed up with seeing you tube videos from geeky people who are more interested in the hardware than music. These videos generally consist of endless droning on about oscillators, how "phat" the instrument is and a discography of when and where it was used and by whom. This boring lecture will then be followed by about a minute of farting noises.

Same

name one.

@@frantzbarosy8722 Possibly take a look at the systems owned by Hans Zimmer, Tom Holkenborg, and Martin Gore? I'm just assuming without doing actual comparison research but I'm estimating that those three setups are at least physically larger and especially more functionally dense? Tonto is awesome and quite large even by today's standards but a lot of its size seems to be taken up with the cool iconic cabinetry? I have the utmost respect for Malcolm Cecil and those involved, I just disagree with the title of this video. ;-)

@@JohnLRice Ok, maybe Martin Gore's but that's a Eurorack which could go on for ever. That deserves an asterisk.

this is a massacre ! a sacrilege, on this instrument once played by stevie wonder ... and now.. bad and noisy newbie techno ? who are harmony ? Malcom Cecil must be turning in his grave....

@@DonErikos Yeah, they sure didn't do much with all of this capability, even purely in terms of sound design, let alone music.

Indeed. Getting such a synth to do more than “random bleepy bloop” requires a lot of experience. For some genres it is actually desirable to get this kind of output, including the randomness, but to have a sound in mind and recreate that with an analog synth is no beginner’s task.

this is a massacre ! a sacrilege, on this instrument once played by stevie wonder ... and now.. bad and noisy newbie techno by this 3 nameless... Poor Tonto !

@@magicmulder To imitate an existing sound or a sound imagined in one's head, yes, but to make far more interesting sounds than this, no, it does not take much experience, just basic knowledge of subtractive analog synthesis. The size of the synth has nothing to do with it, either, as you can start by patching any oscillator to any filter, and play with the waveforms, cutoff frequency, and resonance. That's beginner-level stuff, yet they would have looked like they knew what they were doing if they had done this, and clearly they were cluelessly twiddling random knobs that probably weren't even involved with the signal path that someone else had set up ahead of time. The latter is apparently based on patching a noise generator to a sample & hold module, and then modulating oscillators and other things with the signal from that. If the guests were knowledgeable, then I figure they would have been permitted to make their own patches. And if they were knowledgeable about synthesis but completely inexperienced with modular synths, then a basic signal path would have been set up for them to start with. Given what had been set up, I suspect that these guests were known to be lacking in knowledge, so random bleeps and bloops would help serve as filler and a distraction. Sometimes those who make videos want to present something as an arcane relic from the past, and you wouldn't do that by bringing in experts, especially since all of this is current knowledge, not an archeological mystery. You bring in "name" artists (are these?) who are clueless about this thing and look just as clueless as they are, but will hopefully provide decent sound bites. That gives the desired overall impression to others who are clueless and can relate, which is most people. The thing here is, though, that this is pretty extreme. How can musicians who use synthesizers be so clueless about them?

Synths have become boring you mean??? Especially “synths” like Fantoms, etc.

Spazzoid Studio You can build the same analog instrument in a much smaller size. And have patches.

It would take months to get used to something like Tonto. They were quite young, they may have never worked with a modular synth, and certainly not one like Tonto. It can certainly do more interesting sounds like random beeps.

on the other hand the music seems to have evolved in the other direction when I hear the massacre on this instrument so fabulous played at one time by stevie wonder.... this is a sacrilege...

The age of the machine has nothing to do with it, and we didn't really see (hear) what it can do. Even much smaller, simpler synths from 50 years ago, such as the Minimoog or ARP Odyssey, are perfectly capable of making far more interesting sounds than this. And you can do even more with older modular and semi-modular synths such as the Moog System 55, ARP 2600, or Roland System 700. Now imagine what a person who actually knows what they're doing can do with a monster system like the TONTO--so many different modules to modulate with others. The possibilities are virtually endless. So what was done with it here was decidedly unimpressive, not the TONTO itself. You're misplacing the blame. Admittedly, with modern synths these "artists" do have better sounds than what they can create themselves available immediately out of the box as presets. But selecting a preset doesn't really count as sound design, does it? That's what a synth is really about: creating your own sounds. Otherwise, you could just buy a sample library of sounds created by people who know what they're doing.

Or synths in general. I agree that they clearly looked like they had no clue, and it has nothing to do with this being a modular synth or so large. I've never worked with a synth this large, myself, but I would do what anyone who has some kind of clue would have done, which is patch a basic signal path and hear what the oscillators and filters (this one probably has many--pick one of each to start with) sound like. Then I'd turn up the resonance and see if I can get the filter to self-oscillate, and then I might put an envelope on the filter and another on the VCA. Obviously, this just scratches the surface with the bare rudiments, but anyone who has any clue would likely start with these steps before doing other modulations, and should look like they know what they're doing. It shouldn't be that hard for established synth musicians, that is, unless their knowledge of synthesis and sound design consists entirely of selecting presets.

3 Perfect nameless (and who should remain so) massacring this fabulous instrument, once touched by other hands (Stevie Wonder) much more cappable!!! Poor Tonto, Poor malcom Cecil ... a Sacrilege!

I think they broke it

In Scotland it means go crazy

è proprio un massacro vuoi dire! questo favoloso strumento una volta toccato dalle mani di stevie wonder, e usato lì per la techno bassa e rumorosa di queste 3 ! un sacrilegio sì ! lo puoi dire! Malcolm Cecil , genio concettore del "Tonto ", deve rivoltarsi nella tomba !!!

Fitting!

and it means dumb in spanish

But.......!

it is above all a sacrilege, a massacre, this fabulous instrument used in the past by Stevie Wonder and other great ... and now by 3 nameless , beginners and under-gifted ! a shame!

Who cares???

you should rather listen to what Stevie Wonder was doing in his time, rather than being noisy, this massacre by 3 nameless beginners...

this is a massacre by 3 beginers ! a sacrilège ! ... Poor Tonto, and poor Malcom Cecil must be turning in his grave....

Use punctuation.

Who has never heard of Moog? :) And I doubt they were given a lot of time to learn the system. Modular synths are a lot more work than, for example, my Prophet 12.

yes, this is a very massacre by 3 beginners nameless ! This Tonto , very exceptional machine once played by Stevie wonders, and Macom Cecil (his conceptor) on Tonto's expanding band : "Zero Time" album