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Moog muSonics Sonic V Demo video upload by MOS-LAB
"The sonic V is a synth developed around 1969/1970 by ex Moog employee Gene Zumcheck (the idea of a portable synthesizer had been refused at the time by Robert Moog).
This synthesizer was built by the company muSonics when Gene Zumchek join them, and was released "officially" when the company bought R.A Moog in 1971 under the Moog muSonics badge.
There were less than a hundred units built (mine has serial number 18).
Unfortunately, very few models are still in existence today, making it a very rare instrument. Not having been exported at the time, it was mainly
intended for universities in USA.
Its successor, the Sonic 6 is an improved and portable
version, but with a different filter (Moog ladder filter)
So it doesn't sound quite the same."
Spotted the above video in the listing below. I'm not finding it previously posted so up it goes. You can find additional demos in previous posts.
Sound recorded directly from the back of the synth (No added effects / eq / reverb etc).
CHROMAGENE is an all analog, stereo polyphonic synthesizer with two halves. One half is an 8 voice 2 VCO polysynth where every oscillator can be tuned independently or transposed together, the other half is a polysynth that uses the Ring Modulated output of each pair of oscillators as its signal source.
This wide range of sound sources along with two analog filters and an on-board sequencer give Chromagene a wide palette of tones and textures.
Inspired by the earliest polysynths of the 1970s, it is fully polyphonic (all 16 notes can be played at the same time), can be tuned to any scale or tuning, is multi-timbral and touch sensitive.
The instruments key contacts are Immersion Gold plated and non-corrosive.
At the top, there are 16 tuning controls for the 8 pairs of oscillators. Each tuning control has a momentary pitch bend touch sensor below, so you can articulate each note individually. The top row of tuning controls (VCO-1) also shifts the oscillator below it, but the second row of tuning controls are independent. This allows you to preserve the tonal relationship by using the top tuning controls, or change it by detuning VCO-2.
These tuning controls allow you to tune the 8 pairs of oscillators to any scale, from a standard equal tuning to any microtonal, non-western or even unison tuning.
VCO-1 has a Pulse Width Modulation control and each set of oscillators has a master tuning control and an individual LFO control.
The 8 analog ring modulators take the VCO signals and multiply their output. VCO-2 is converted to a triangle pre-ring-modulator so that the ring modulated signal is fully continuous and not binary like pseudo-ring-modulators in some synths. This means you can create virtually any waveform by carefully tuning the input VCOs, and an endless variety of tones can be generated for each note individually.
The two filters, which can be panned from mono to full stereo using the panning control, are all-analog all-transistor low-pass VCFs, with individual cutoff, resonance and envelope-mod controls. The envelope amount controls go from negative (inverted) to positive. VCF-1 has mixer controls for VCO-1 and 2, and VCF-2, which is for the Ring modulated notes, has LFO cutoff modulation and Panning.
The 16 independent envelope generators have Attack, Decay, Sustain and Release controls. The sequencer can be internally or externally clocked. Custom sequencer configurations can be set up, get in touch.
The synthesizer is built into a hand-made wood case.
Specifications
16 note polyphonic, multi-timbral 16 voltage controlled oscillators, tuneable to any scale 8 ring modulators (true ring mod, not xor) All analog. Class A audio path 2x transistor filters with cutoff, resonance, attack (env mod +/-), lfo/panning controls 16 VC Envelope Generators (Attack, Decay, Sustain, Release) 24 VC Amplifiers (1 per oscillator + 1 per ring modulator) Oscillator LFO modulation Pulse Width modulation Touch-sensitive pitch bends 16-note gold plated touch sensitive keyboard In built sequencer, internally or externally clocked 2.1mm 9v centre negative power input Can run on an external standard type 9v battery (please ask for a special adaptor cable if required) 2x 6.35mm (1/4 inch) audio output 6.35mm (1/4 inch) external clock input 27 x 22 x 5 cm
£1,055 special introductory price.
NOTE This is a pre-order. Delivery will be approximately one month after you pre-order (date will be confirmed via email).
Synth uses a standard guitar pedal type power supply (9v tip negative), I no longer include the power supply as I receive orders from lots of different countries, but I am happy to advise on power supply models."
"Generative Sequencer: Ableton GENE: https://akihikomatsumoto.sellfy.store...
GENE is an innovative MIDI sequencer plugin for Ableton Max for Live, designed to empower music creators across a wide range of genres—from experimental electronic music, ambient, and drone to standard club music. Whether you're crafting intricate textures or rhythmic grooves, GENE streamlines your creative process by generating MIDI sequences without the need for manual piano roll input.
Raw FM textures for forward-thinking bass music producers
This pack captures the unmistakable character of Yamaha’s late 1980s 4-operator FM synths, with all their sharp digital edges and lo-fi charm intact. The TQ5, often hidden in the shadow of its more famous siblings, holds a unique place in synthesis history. It delivers angular, glassy tones that feel both futuristic and retro, with a sound design potential that quietly laid the groundwork for timbres now celebrated in modern club music."
"Generative Sequencer: Ableton GENE: https://akihikomatsumoto.sellfy.store...
GENE is an innovative MIDI sequencer plugin for Ableton Max for Live, designed to empower music creators across a wide range of genres—from experimental electronic music, ambient, and drone to standard club music. Whether you're crafting intricate textures or rhythmic grooves, GENE streamlines your creative process by generating MIDI sequences without the need for manual piano roll input.
Raw FM textures for forward-thinking bass music producers
This pack captures the unmistakable character of Yamaha’s late 1980s 4-operator FM synths, with all their sharp digital edges and lo-fi charm intact. The TQ5, often hidden in the shadow of its more famous siblings, holds a unique place in synthesis history. It delivers angular, glassy tones that feel both futuristic and retro, with a sound design potential that quietly laid the groundwork for timbres now celebrated in modern club music."
Via Brian Comnes: "Here's a link to some tracks I made with daddio, a fan of yours, a synth buddy of mine and sometimes AH contributor...you even did 3 posts on him (aka tapewarm) . Anyway he lives about an hour up the road from me and we try to get together every 5 or 6 weeks and do something. Last night we got 2 tracks in 81506a and b. These are one take affairs, mistakes and all, with only a little EQ post recording. Last night I was using Live's Operator and Big Tick Angelina soft synths with my MIDI guitar, drums courtesy of Microtonic and Gene was peppering it up with a Kaoss Pad and Nord Rack 2.
The other 2 tracks (Daddio1A and 4) were from May and were our first collaboration we recorded - somewhere in there is an OB1, UltraProteus , Kaoss pad and miscellanea, again both are one takes.
I am definitely not looking for a post here.....I mean you do have standards....I just thought I'd grant your wish to hear something.... maybe next time Gene and I will snap some photos .... ..and be warned these are nothing like Stefan Trippler puts out, just a couple of old synth guys making up something on the spot.
Peace Brian
PS the handle sonomarinos is because I live in Marin County and Gene lives in Sonoma County"
Don't sell yourself short Brian. I like it. : ) BTW, I think you just made a bit of Matrixsynth history with the smallest image in a post ever, unless of course, you count my favicon post.
Pictured to the left is Professor William Hoskins (via). What you see there is not the mystery Moog, but his Moog modular system. This post is about another Moog synth, one most likely based on the Sonic VI. If you have any information on what this synth might be after reading this, please feel free to leave a comment or contact me directly. My contact info is on the bottom right of the site. I have already contacted Michelle Moog-Koussa and Brian Kehew author of Kaleidoscope Eyes A Day in the Life of Sgt. Pepper, as well as Trevor Pinch, author of Analog Days [Amazon hardcover & paperback, preview on Google books], and featured in this exclusive post. I also contacted James Husted of Synthwerks, George Mattson of Mattson Mini Modular, Steven Jones of Synthwood, and Carbon111, all of whom know their synth history. None were familiar with what the synth might be.
The story: I was recently contacted by a Paul Rego with the following:
"I've been searching the Internet for over a year now and have not been able find a specific synth. Since you seem to know and work with every type of synth known, I thought I'd ask you...
Around 1973 - 1974, I took private synthesizer lessons at Jacksonville University (Florida). The instructor was Professor William Hoskins and the synth was a custom Studio Moog assembled by Professor Hoskins.
One day, Professor Hoskins showed me his personal, portable synthesizer. He brought out what looked like a brown suitcase. When he opened it, I saw a Moog Sonic VI.
This is nothing new. I've seen lots of images of this synth on the Internet. The one aspect of this particular synth, that I cannot find anywhere, is that it had a touch-sensitive keyboard. The keyboard was made of plastic and had a gray / brown color. Outlining the keys (showing the location of the 'white' and 'black' keys) was an almost medium blue color (about an eighth-inch thick). (He and I tinkered with this synth for about a half-hour to an hour.)
Professor Hoskins passed away several years ago, so I can't ask him about it. I did contact his family but they don't remember anything about this synth.
I do remember Professor Hoskins telling me that he and Bob Moog had 'gone to school together'. I think he was referring to electronics school but I never asked him more about it. I thought I had read somewhere that Professor Hoskins and Bob Moog had briefly worked together on a Sonic VI prototype but I don't know if that's true. (Even if what I saw was a prototype, someone has to own it now and should be proud enough of it to post some photos somewhere.)
I thought the background story might help in your own research on this.
Basically, I'd just like to know if this synth ever existed or am I just not remembering it correctly.
Thank you for your time and attention."
My first obvious guess considering the blue was the Buchla Music Easel or separate Buchla touchplate keyboard modded into the case of a Sonic VI. I sent Paul a couple of links to various images.
Paul replied: "the synth I saw didn't look like the Buchla Easel. Good call though.
The 'blue', which outlined the keys on the Sonic VI I saw was a bit lighter in color than the blue in your photos and maybe had a bit of green in it (closer to turquoise). There was no red or other color on the keyboard (that I can remember) and the entire keyboard seemed to be one piece of plastic with only the blue / green outlines separating the 'keys'.
I also read a story recently about the time when Musonics bought Moog and had a synth ('Sonic V'?) of their own, at that time, but I haven't research this too much yet. One thought I had was the synth I saw was something from Musonics but was never officially released (until it had the 'Moog' name placed on it). I'm pretty sure the synth I saw had the 'Moog' logo and the word 'Sonic VI'. (Not 100% sure but it seems clear in my memory.)"
I also sent Paul images of the EMS Synthi AKS. Paul replied it was the closest, but definitely not it.
I contacted Michelle Moog-Koussa and Brian Kehew to see if they knew of anything. Michelle replied: "...I can tell you that we have several of William Hoskins reel-to-reel tapes in the archives, so there was obviously a significant professional relationship between he and Bob.
I don't ever remember reading anything about the Sonic VI, but maybe Brian does. One thing I can tell you for sure is that Dad began working with John Eaton in 1970 on the Multi-Touch Sensitive keyboard [left via]. The main component of the MTS was the touch-sensitive keyboard, of course. It's not out of the realm of possibility that Dad would have used his work with John to push boundaries on another project."
Brian replied: "Bob didn't design or build the original Sonic V (from Musonics before they bought Moog) that was Gene Zumchak: The Sonic V did have a brown wood style. It's even unlikely Bob did much on the Sonic Six as it was the same thing with a new outer case.
The Sonic VI was the version Moog made in 1972 and later, in a plastic suitcase version. Many of these were made vs the very few Sonic V's. So one might think they saw a Sonic VI when it was the V (same front panel and features). But the brown suitcase and colored keys and touch sensitive thing are ALL unusual. I know a little about Prof Hoskins from the paperwork of the past, but no mention of this synth. Definitely unusual to have keys like that anywhere, anytime!" Followed by: "And there IS touch (velocity) sensitivity on Wendy Carlos' synth by 1971 for Clockwork Orange, but it's used under the normal keyboard. THIS velocity was very possible, but would not make the keys look different. Again - maybe a Sonic V was retrofitted with a cooler keyboard later in the 80s, but why not do so on a BETTER synth!?" :)
On a separate thread, Trevor Pinch got back to me with the following: "Bill Hoskins was important in that he was one of the first people David VanKouvering approached about minimoog reiail sales etc. I have a good album of his somewhere! I think he may have been Bob's favorite composer for a while.
I have no idea about the touch key board but I'm in touch with Gene Zumchak the guy who designed the Sonic Six, so I'll ask him. (I guess you know the joke that the Sonic Six was known by Moog engineers as the Chronic Sick!)
Actually its story might be kinda interesting - Zummy (as he is known) told me that it was made with 741 op amps and in many ways was more advanced than the minimoog.
Maybe it has had an unfair press. I never heard one or saw one for real."
James Husted sent me the image of Professor Hoskins at the top of this post. I sent it to Paul to see if maybe it brought back any memories that might help.
He replied: "The custom Moog modular in that photo is the same one I took lessons on. However, this is an early photo and when I saw that Moog modular, Professor Hoskins had already added a top layer to that cabinet — which included a Moog sequencer. (I have a photo of it, that I took around 1990, but the top part of the photo, showing the upper section, is cut off.)
The reason you didn't see Professor Hoskins' 'Sonic VI' is... I'm guessing that he didn't bring it to the university very often. When I saw it, I was at his home. He had invited me over one Saturday afternoon to see HIS custom Moog modular. It was in his garage, which he had made-over into a nice studio. It also had a two-manual organ, at least two reel-to-reel tape decks and LOTS of recording tape. Later, during that same session, he said 'There's something else I want to show you. Come inside.' We went into the living room and I sat on the couch. He said 'I'll be right back.' After about a minute, he came back carrying a brown 'suitcase'. He set it on the coffee table in front of me and sat down on the couch. He opened it up and... Whoa! I had never seen one of these and it was the first time I had seen a Ring Modulator!
---
I remember seeing Professor Hoskins play his Sonic VI during a live performance of his album 'Galactic Fantasy / Eastern Reflections'. The Jacksonville University orchestra played most of his composition but at one point his Sonic VI was brought out and he played it while at center stage. I could see it clearly from my seat but, of course, I could only see the back of it, which simply looked like the back of a brown suitcase.
---
Sorry it took so long to get back to you. Since I think this is important, I thought I'd try to recreate the 'Sonic VI' I think I saw. I 'Photoshopped' a production Sonic VI and attached it to this message. It's the best image of what I think I saw.
Modifying the image forced my memory to go into more detail. Here's what I'm fairly certain of:
• The outer color of the "suitcase" was almost dark brown.
• The outer shape was more square than the production Sonic VI.
• The thickness of the top and bottom sections was thicker than the production Sonic VI model.
• The keyboard was made of slightly textured plastic, otherwise completely flat, was brown / gray in color and had a vibrant blue outline between the keys. (I'm not 100% sure if the "black" keys were outlined or solid blue.)
• The background color of the back panel and the area surrounding the keyboard was almost dark brown. It looked like it was made out of either pressed cardboard or thin wood. It really reminded me more of the thin 'wood' used in old, tube televisions and radios (during the 1960s).
What I'm not 'fairly sure' of:
• I can't remember if it had a Mod Wheel.
• I think there was more space between the modules.
• I think it had two speakers (placed on the left and right side of the back panel). Each might have been the size of the center speaker-grill in my photo.
• I can't remember if there were any connectors, switches or knobs on the keyboard section."
Update: via Aaron aka theglyph in the comments: "Holy shit! That's the guy from JU. There was an electronics repair/pawn shop here in Jacksonville called Active Electronics that had a bunch of synths back in 90's. The owner had a sign in the store explicitly stating that the synths were not for sale and that customers were not allowed to walk up and look at them or touch them. I walked in day and walked close enough to notice that the MiniMoogs had very low serial #'s. It wasn't until I read Analog Days that I found out that the earliest Mini were sold here in Jacksonville. There so much more to this story that I don't know where to begin but I can say that I did an obscure Moog at the store that I've never seen photographed since and I simply thought I was loosing my mind recollecting it. WOW!
Cheers,
theglyph"
Update: Above, Brian originally mentioned Bill Hemsath as the person that designed the Sonic V. He meant to say Gene Zumchak. This has been updated.
Updates: via Dorothy in the comments:
"HI, as a Hoskins kid, I watched Dad perform on the synthesizer and I know we had the Sonic but I thought it was a "V". Dad had several custom modules built for him by Bob Moog. They were friends but didn't go to school together -- Dad went to Trumansburg NY to work with Bob on the synthesizer that they got for Jacksonville University (in 1969, I think). I will have to go digging in the Will Hoskins letters that I have. Those of you who knew Dad know that he was very meticulous about writing up the components that he bought and what they were for.
Late in Dad's life, when he was basically letting go of most composing effort except for revising existing scores, Bob helped Dad find a collector (in Germany, as I recall), who bought all of Dad's big home synthesizer. I think some of the smaller units were in the hands of Steve Smith, who was Dad's right-hand man at the JU studio for some years. Whatever happened to them, I don't think Dad would have cared as long as someone was using them to create music. He wouldn't have collected synthesizers as museum pieces, he actively used everything he got from Moog until he was ready to let it go."
Followed by: "BTW, that last time I spoke to Bob Moog was after Dad died, when Bob came to Rochester NY http://www.esm.rochester.edu/news/?id=132 which is near where I live now. Bob spoke very fondly of working with Dad, because Dad cared as much about the science of music synthesis as any composer Bob knew. Dad did some work with him on modulators and other components for JU and the Hoskins home studio."
Followed by: "Hoskins synth photo --not a Sonic -- in news article 1970 [link]"
Update 6/6/2010:
Some more interesting bits of Moog history:
Trevor Pinch checked with Gene Zumchak who had the following to say:
"I am not aware of a touch sensitive keyboard on the Sonic V or 6. It did have a two-note keyboard and the highest key pressed and lowest pressed could be routed to Osc 1 and Osc 2.
They removed the keyswitch bus and superimposed a highpitch (100KHz?) tone on the voltage string. This might have been the source of a whine that some users complained about that wasn't present in the Sonic V."
via Josh Brandt: 'Okay, I did hear back from David Mash [VP of IT at Berklee and friend of Bob Moog], who says that the story he was telling me several years ago was about a keyboard Bob was building for John Eaton. I asked about the story he'd told me and if the pictures you posted could be of the instrument he'd been talking about, and he said:
"The story I was no doubt telling was definitely about the keyboard Bob built for John Eaton [middle pic above]. Bob was going to show us the completed instrument (which my friends Jeff Tripp and Paul Derocco helped complete), but we never got to see it due to the way the conversation turned over dinner. I did see the instrument several times during the design/build stages and again later after it was complete.
The keyboard was simply a controller and not a synth, so definitely not the portable synth the blog is referring to. I know Brian, and was involved briefly with him and a bit more with Michelle Moog on the NAMM Museum exhibit, and they used a couple of my photos for the exhibit. They're great people and working hard to preserve Bob's legacy.'"
Update via WmJHeart in the comments:
"Thanks Matrix, for hosting this page. I own a copy of Will's Galactic Fantasy & Eastern Reflections (my personal favorite) recording on vinyl. But I also discovered and listened to the entire album on YouTube recently! Here:"
Galactic Fantasy - Eastern Reflections (1979)[Full Album]
Published on Jul 12, 2017 TheHomecoming
"Rare electronic/synth/moog private pressing LP
TITLE 'Galactic Fantasy - Eastern Reflections'
William Hoskins, "Galactic Fantasy, Eastern Reflections" [CP-158]
TRACK 01 AUDIO TITLE "Overture : Stars Are Suns" PERFORMER "William Hoskins" INDEX 01 00:00
TRACK 02 AUDIO TITLE "Intermezzo : Interplanetary Communique" PERFORMER "William Hoskins" INDEX 01 06:39
TRACK 03 AUDIO TITLE "Star Nocturne" PERFORMER "William Hoskins" INDEX 01 08:11
TRACK 04 AUDIO TITLE "Scherzo : Comets" PERFORMER "William Hoskins" INDEX 01 16:35
TRACK 05 AUDIO TITLE "Beyond Beyond" PERFORMER "William Hoskins" INDEX 01 18:54
TRACK 06 AUDIO TITLE "Prolog : Theme and Variation" PERFORMER "William Hoskins" INDEX 01 23:40
TRACK 07 AUDIO TITLE "Lower Heterophonie" PERFORMER "William Hoskins" INDEX 01 27:55
TRACK 08 AUDIO TITLE "Song : Open Skies" PERFORMER "William Hoskins" INDEX 01 31:22
TRACK 09 AUDIO TITLE "Drum Chime" PERFORMER "William Hoskins" INDEX 01 35:28
TRACK 10 AUDIO TITLE "Upper Heterophonie" PERFORMER "William Hoskins" INDEX 01 39:41
TRACK 11 AUDIO TITLE "Epilog : Processional" PERFORMER "William Hoskins" INDEX 01 41:30
A1
Overture: Stars Are Suns
A2
Intermezzo: Interplanetary Communique
A3
Star Nocturne
A4
Scherzo: Comets
A5
Beyond Beyond: An Entropy Study
A6
Eastern Reflections
Eastern Reflections
B1
Prolog: Theme and Variation
B2
Lower Heterophonie
B3
Song: Open Skies
B4
Drum Chime
B5
Upper Heterophonie
B6
Epilog: Processional
Criminally under-rated set of Early American Moog Modular Synthesizer Music - the sole release by composer William Hoskins, the 'Director of Electronic Music and Composer-in-Residence at Jacksonville University in Florida.' Issued in 1979 by the Harriman, NY-based Spectrum - a 'Division of UNI-PRO Recordings, Inc.' the LP consists of a pair of discrete pieces, with each taking up a side of its own."
Update via Kimberly S Beasley in the comments:
"Hello, everyone. I am the current chair of the Department of Music at Jacksonville University and I have the original Sonic VI manuals and one of Hoskin's Moogs....happy to share photos tomorrow."
Kimberly sent in the images with the following:
"This has been in the possession of our Professor Emeritus Dr. William Schirmer as it was given to him by Hoskins. Hoskins' granddaughter Dorothy is also aware of the instrument. We also have a large collection of manuscripts of Hoskins.
There is also a mini-Moog we just refurbished in our recording studio."
You can see WM. Hoskins written on the top right of the manual. Note "Home Copy" on the blue cover. It's kind of neat to think of him perusing through the manual in the comfort of his home.
"At this year's Winter NAMM show, Vintage King Audio presented the TEC Tracks panel: "Meet the Maker -- Modular Synths".
This panel discussion, distributed exclusively by Sound On Sound, brings together modular synth makers to talk about the booming Eurorack format.
Panelists include:
Dieter Doepfer (Doepfer), Dan Green (4MS), William Matthewson (WMD), Ryan McGuire (Vintage King moderator), Tony Rolando (Make Noise), Brandon Ryan (Roland) and Gene Stopp (Moog Music)"
Sound of Science is a transatlantic duo comprising Tom and Jason of Analogue Solutions.
Tom has been building synthesisers for over 15 years. He has supplied synths to people such as Trent Reznor, Martin Gore, Vince Clarke, Phil Oakey, Daniel Miller, and many more. The designs are directly influenced by his love of electronic music.
Jason is an analogue synth wizard, composer and a lover of all things that make noise. He also produces the legendary Rezfilter videos (see YouTube) that highlight these excellent synthesisers.
Together they have pooled their years of combined experience in songwriting and sound design to produce real songs using real synthesisers.
February Ends vocals via Jayden Frost:
Jayden Frost electrified audiences across the U.S. and Mexico as the voice and face of When in Rome (replacing Clive Farrington and Andrew Mann) on their extensive tour bringing his positive energy to stage performance, radio interviews and television. When In Rome, who's number one hit "The Promise" reached top ten on the pop charts, and #1 on the dance charts in 1989-1990 (and was the most recognized song in the blockbuster film Napoleon Dynamite).
Some of the acts that Jayden Frost has shared the stage with include: Devo (Whip It!), A Flock Of Seagulls (I Ran), Bow Wow Wow (I Want Candy),The Psychedlic Furs (Pretty In Pink), Animotion (Obsession), Deborah Gibson (Only In My Dreams/Foolish Beat), Gene Loves Jezebel (Desire), Dramarama (Anything, Anything), and Tommy Tutone (867-5309).
This is an emulator of the muSonic 5, a synthesizer originally designed by one of the Moog engineers Gene Zumchek (possibly the real father of modern synths), he proposed then eventually designed and built the prototype Mini Moog, the first fixed configuration portable monophonic. After leaving Moog he created the muSonic who themselves eventually bought the bankrupt remains of Moog and released this synth with a few changes as the Moog Sonic-6. The dual LFO configuration is very rich and there are lots of modulation possibilities as well as direct mix and in this emulator some mild stereo reverb.
Interface zooming can be done either with the trackball (Nexus/HTC have them) or enable multitouch via the menu then tap the screen with two fingers at the same time - this will zoom the interface in/out. If you tap with two fingers but keep them held you can move the screen around. This kind of helps out with the dense graphics.
Patches are saved on the SD card along with factory sounds, there is an export and import option to exchange patches.
The emulator will, per default, attempt to run with a set of options that will give reasonable quality and the lowest possible latency/lag. The quality of the audio can be tuned with the menu options however the lowest possible latency for pretty much all Android devices is currently 42ms, on my HTC Desire it is 70ms. If you understand what this means then the value might seem quite high but the app is still a lot of fun.
Twitter @bristolaudio"
"Classic ARP Axxe Synthesizer Emulator
The is an emulation of the ARP Axxe synthesiser, single oscillator, noise, mixer, filter and envelope generator fully emulated in software with modulation. The app supports pressure sensitive touch screens, X/Y accelerometer for pitch and mod wheel, multitouch and zooming interface facilities. The original was a monophonic instrument however the emulator can operate as a polyphonic (duophonic) synth via multitouch when it is enabled. The interface has options for fat-finger, analogue filters and rich oscillators however these will consume extra CPU cycles. The interface also has a full piano keyboard setting.
Interface zooming can be done either with the trackball (Nexus/HTC have them) or enable multitouch via the menu then tap the screen with two fingers at the same time - this will zoom the interface in/out. If you tap with two fingers but keep them held you can move the screen around. This kind of helps out with the dense graphics.
Patches are saved on the SD card along with factory sounds, there is an export and import option to exchange patches.
The emulator will, per default, attempt to run with a set of options that will give reasonable quality and the lowest possible latency/lag. The quality of the audio can be tuned with the menu options however the lowest possible latency for pretty much all Android devices is currently 42ms, on my HTC Desire it is 70ms. If you understand what this means then the value might seem quite high but the app is still a lot of fun.
Tested on HTC Desire/2.2, Emulator hires and lowres. The Axxe is one of a family of emulators."
"Augur-52 Synth
This version of the bristol augur synthesizer is in stereo with a flanger effect to widen out the sound,
This is an emulator of a 80s classic analogue poly synth, the emulator is just dual voice for multitouch. It has dual oscillator, noise, lfo, mixer, filter and a pair of envelope generators. The app supports pressure sensitive touch screens, X/Y accelerometer for pitch and mod wheel, multitouch and zooming interface facilities. The interface has options for fat-finger, analogue filters and rich oscillators however these will consume extra CPU cycles. The interface also has a full piano keyboard setting. There is an emulator 'Unison' switch which will play both voices on a single note to pad out the sound.
Interface zooming can be done either with the trackball (Nexus/HTC have them) or enable multitouch via the menu then tap the screen with two fingers at the same time - this will zoom the interface in/out. If you tap with two fingers but keep them held you can move the screen around. This kind of helps out with the dense graphics.
Patches are saved on the SD card along with factory sounds, there is an export and import option to exchange patches.
The emulator will, per default, attempt to run with a set of options that will give reasonable quality and the lowest possible latency/lag. The quality of the audio can be tuned with the menu options however the lowest possible latency for pretty much all Android devices is currently 42ms, on my HTC Desire it is 70ms. If you understand what this means then the value might seem quite high but the app is still a lot of fun."
"BME-700 Synthesizer
The is an emulation of an esoteric German synth known as the BME 700, very few in existence and using a unique dual filter design, one tracking the envelope and one resonating at a fixed frequency. The envelopes are also interesting, there are two A/R or A/S/R that can be mixed to create ADSR and other ingenious combinations.
The app supports pressure sensitive touch screens, X/Y accelerometer for pitch and mod wheel, multitouch and zooming interface facilities. The original was a monophonic instrument however the emulator can operate as a polyphonic (duophonic) synth via multitouch when it is enabled. The interface has options for fat-finger, analogue filters and rich oscillators however these will consume extra CPU cycles. The interface also has a full piano keyboard setting.
Interface zooming can be done either with the trackball (Nexus/HTC have them) or enable multitouch via the menu then tap the screen with two fingers at the same time - this will zoom the interface in/out. If you tap with two fingers but keep them held you can move the screen around. This kind of helps out with the dense graphics.
Patches are saved on the SD card along with factory sounds, there is an export and import option to exchange patches.
The emulator will, per default, attempt to run with a set of options that will give reasonable quality and the lowest possible latency/lag. The quality of the audio can be tuned with the menu options however the lowest possible latency for pretty much all Android devices is currently 42ms, on my HTC Desire it is 70ms. If you understand what this means then the value might seem quite high but the app is still a lot of fun.
Tested on HTC Desire/2.2, Emulator hires and lowres. The BME700 is one of a family of emulators.
Dennis wrote in to let me know about a book he just started reading called Schismatrix by Bruce Sterling. To his surprise a couple of passages referred to the synthesizer. The following are two passages.
"A second woman knelt silently with her back to the right-hand wall, facing the garden's image. Lindsay knew at once that she was a Shaper. Her startling beauty alone was proof, but she had that strange, intangible air of charisma that spread from the Reshaped like a magnetic field. She was of mixed Asiatic-African gene stock: her eyes were tilted, but her skin was dark. Her hair was long and faintly kinked. She knelt before a rack of white keyboards with an air of meek devotion. The yarite spoke without moving her head. "Your duties, Kitsune." The girl's hands darted over the keyboards and the air was filled with the tones of that most ancient of Japanese instruments: the synthesizer."
"Linday slept, exhausted, with his head propped against the diplomatic bag. An artificial morning shone through the false glass doors. Kitsune sat in thought, toying quietly with the keys of her synthesizer. Her proficiency had long since passed the limits of merely technical skill. It had become a communion, an art sprung from dark intuition. Her synthesizer could mimic any instrument and surpass it: rip its sonic profile into naked wave forms and rebuild it on a higher plane of sterilized, abstract purity. Its music had the painful, brittle clarity of faultlessness. Other instruments struggled for that ideal clarity but failed. Their failure gave their sound humanity. The world of humanity was a world of losses, broken hopes, and original sin, a flawed world, yearning always for mercy, empathy, compassion... It was not her world."
Update via Loren in the comments: "Another book that has an electronic music theme is Thomas Pynchon's The Crying of Lot 49. In the story a bar across the street from Stanford University has a jukebox that has nothing but electronic music on it (since its the 1960s it has mostly stuff like Cage, Stockhausen, Henry, etc). The story revels that this bar is actually a famous hang out for electronic musicians who come and actually perform in the bar, which has its own equipment for such events."
"THE ADS (Advanced Digital Synthesizer) 100 was a high end (there was no given price when the 100 system was introduced) analogue synthesiser, probably most well known for providing the sound effects for 'Star Trek' TV series. The first model 100 system was a dual manual splittable keyboard (microtonally tuneable) ,a video display for envelopes, 'control cube' disk drive with computer hardware, and a multi-coloured buttoned front panel for 64-oscillator additive synthesis and real-time sequencing."
Title link takes you to more on the ADS 200 on Synthmuseum.com. Both the ADS 100 and ADS 200 were digital. Only two of the ADS 200 were ever made and one sold for $30,000.
Update: I remember hearing how the ConBrio ADS 200 would look home on the original Star Trek series. Well, according to 120 Years, it's bigger predecessor, the 1978 ADS 100 was actually used in Star Trek the TV series.
Update: I should change the tagline of this blog to "The Snopes of the synth world, debunking Urban Synth Legend." See the comments for much more. The ADS 100 was not around when Star Trek the TV series was aired. I'm going to shoot 120 years an email on this to see if they know something we don't. Thanks all.
Update: Looks like Retro Synth found the answer to our little mystery. The ADS 100 was used in Star Trek, The Motion Picture. Now that sounds more familiar to me, but who knows, it's all a blur. Too many synths, too little time... : ) As for my favorite digital synth, why it would also be the Wave... But, it would be the Crimson Wave with matte finish. The ConBrio is my favorite Retro Synth, focus on Retro. I had a TV that looked just like it when I was a kid. Warm memories... : ) image via wikipedia.
The Crimson Waldorf Wave
Update on the original Star Trek via the comments: ""Star Trek burst upon T.V. screens in the summer of 1966. The guiding genius behind this massive effort was Gene Roddenberry. Roddenberry recruited a hand-picked technical crew to create the incredible series which became a legen in its own time. The challenge of finding and creating the multitude of sound effects was of particular interest since no television series of this magnitude had ever been attempted before. Virtually all the sound effects were created exclusively for the television series, i.e.: the pneumatic doors of the Enterprise were actually the sound of an airgun played in reverse. Spock's viewing machine was in reality the thump of a torpedo firing pin played backwards.
The final result is a unique library of brilliantly futuristic sound effects that were created principally by Jack Finlay, Douglas Grindstaff and Joseph Sorokin. Grindstaff is one of Hollywood's finest sound editors and the recipient of many awards and is currently the department head of Lorimar Post-Production. Sorokin also works at Lorimar and is the sound editor of "Knots Landing." Jack is now retired.
Just imagine what they could have created for Star Trek if they had access to today's high-tech electronic equipment!""
2. Fame Synths: ARP 2600, MOOG Minimoog 
Via Brian Comnes: "Here's a link to some tracks I made with daddio, a fan of yours, a synth buddy of mine and sometimes AH contributor...you even did 3 posts on him (aka tapewarm) . Anyway he lives about an hour up the road from me and we try to get together every 5 or 6 weeks and do something. Last night we got 2 tracks in 81506a and b. These are one take affairs, mistakes and all, with only a little EQ post recording. Last night I was using Live's Operator and Big Tick Angelina soft synths with my MIDI guitar, drums courtesy of Microtonic and Gene was peppering it up with a Kaoss Pad and Nord Rack 2.
I contacted Michelle Moog-Koussa and Brian Kehew to see if they knew of anything. Michelle replied: "...I can tell you that we have several of William Hoskins reel-to-reel tapes in the archives, so there was obviously a significant professional relationship between he and Bob.
Linux apps on SourceForge here [you might remember the page form this 2007 post]. The following are available on the Android Market
"Classic ARP Axxe Synthesizer Emulator
"Augur-52 Synth
"BME-700 Synthesizer.jpg)
Dennis wrote in to let me know about a book he just started reading called Schismatrix by Bruce Sterling. To his surprise a couple of passages referred to the synthesizer. The following are two passages.
