"ASHEVILLE, NC – November 14, 2012 – Today Moog Music announced the limited edition release of an all white series of its classic analog instruments. Moog has polarized the color of their traditionally black steel and natural wood instruments to a solid white finish. Included in this limited edition white release are the Slim Phatty, Minimoog Voyager, and the Minimoog Voyager XL analog synthesizers. Moog has also included the entire line of Moogerfooger Analog Effects Modules in this all white release.
In addition to the polarized color, the Slim Phatty now ships with 100 new, artist-designed presets made specifically for this limited edition analog synth. The sound designers that crafted the new preset bank are Phil Hartnoll and Paul Hartnoll of Orbital, Production wiz Chad Hugo of N.E.R.D. and The Neptunes, and DJ/Sound Designer Dom Kane. The Slim Phattys optional wood sides, and optional rack ears are also now available in white.
The Minimoog Voyager and Minimoog Voyager XL have also been transitioned to an all white finish with reversed artwork. The pitch and mod wheel of the Minimoog Voyager XL has been upgraded to a white backlit design, which is a feature that was previously only available on the Minimoog Voyager.
Lastly, the Moogerfooger family of analog effects modules are also ghosts of their former selves. The MF-101 Lowpass FIlter, MF-102 Ring Modulator, MF-103 12 Stage Phaser, MF-104M Analog Delay, MF-105M MIDI MuRF, MF-107 Freq Box and the MF-108M Clusterflux have all been transitioned to white and are now a perfect match to the limited edition Minimoog Voyager, Voyager XL and Slim Phatty Analog Synthesizers.
These all white Moog instruments are available for a limited time at select dealers and are shipping now. International customers must check with the Moog distributor in their country for pricing and availability.
About Moog Music:
Moog Music synthesizers and other electronic musical instruments are designed and lovingly handcrafted in the Moog factory in downtown Asheville, N.C. Moog Music and its customers carry on the legacy of Dr. Robert Moog, inventor of the Moog synthesizer and Founder of Moog Music Inc."
Playlist:
White rabbit experimental, effects processor in eurorack
White rabbit and ballerina eurorack
White rabbit and drums
Testing white rabbit, and soundscaper eurorack
EXPERIMENTAL MULTI-EFFECTS
White Rabbit has REVERB and DELAY sound effects. Fall down a rabbit hole with deep sounding spatial effects. You can send your White Rabbit down different paths or take the ERROR door into other spaces. All effected by Y and the big X holding onto time.
White Rabbit is a collaboration between ERROR and TiNRS; connecting their physical and virtual spaces with crazy creativity in object and DSP.
The first switch sends the rabbit down to REVERB or DELAY holes – or sitting in the middle doing nothing.
The second switch choses Standard, Pingpong or Error DELAYS and Hall, Experimental or Error REVERBS.
DELAY
Standard –Shouting down the rabbit hole. X changes time to echo and Y the amount of feedback
Pingpong – Stereo hopping between channels. X determines the airtime of the bounce and Y keeps stacking the signal.
ERROR – Karplus-Strong algorithm plucking your signal. X is the length of the string and Y is the dampening. Set X all the way to the right and connect the output to the input to create a self-oscillating sound that you can control.
REVERB
Hall – Unexpected big space. X is the size and Y the brightness of the space.
Experimental – Cinematic shimmer. Y is pitch bending and X is the size of the space
ERROR – Like sticking your head in a metal bucket. X is the size of the bucket and Y is granular. Set X all the way to the right and connect the output to the input to create a self-oscillating sound that you can control.
The third knob is the Wet / Dry mix. To the left is dry and to the right is wet. Soaking White Rabbit.
Note: Auction links are affiliate links for which the site may be compensated.
video upload by Paul White
"Running through some basics of operation for the Oberheim DX drum machine. Programming a sequence, changing tempo, tuning the voices and testing the various audio output jacks."
Electronic Voyages: Early Moog recordings 1964-1969
(Waveshaper Media - WSM-03 vinyl LP)
A1. Robert Arthur Moog - The Abominatron (1964)
A2. Herbert Deutsch - Jazz Images, A Worksong And Blues (1967)
A3. Joel Chadabe - Blues Mix (1966)
B1. Lothar and the Hand People - Milkweed Love (1968)
B2. Intersystems - Changing Colours (1968)
B3. Ruth White - The Clock (1969)
B4. Max Brand - Triptych (1969)
B5. Paul Earls - Monday Music (1968)
In support of their forthcoming Bob Moog documentary Electronic Voyager, Waveshaper Media have produced a compilation LP of Moog recordings from the 1960s. The first compilation of its kind, Electronic Voyages: Early Moog recordings 1964-1969 contains tracks by Robert Arthur Moog, Herbert Deutsch, Joel Chadabe, Lothar and the Hand People, Intersystems, Ruth White, Max Brand, and Paul Earls. All of these tracks, released here on vinyl in an edition of 1000 copies, have been scarcely heard and difficult to track down, with all but three of them previously unreleased on vinyl.
Bypassing the Moog synthesizer’s backseat appearance on key pop recordings by the likes of the Beatles, the Doors, and the Beach Boys, Electronic Voyages aims to highlight the diverse approach of 1960s musicians and composers who adopted the Moog as their primary instrument; these recordings all feature the Moog synthesizer front and centre. Beginning with an “audio letter” (The Abominatron) from Bob Moog to his musician-muse Herbert Deutsch, demonstrating some of the first Moog synthesizer prototype’s capabilities, Electronic Voyages veers from avant-garde and electronic soundscapes, to psychedelic madness and summer-of-love pop. In the 1960s, the Moog synthesizer was a new, groundbreaking instrument, and its use was completely uncharted territory. The pioneering use of the Moog on all of these recordings sounds fresh today - you can sense the wide-eyed exploratory delight unfolding, and the disparate results range from endearingly naive (Lothar and the Hand People, Paul Earls) to downright eerie (Ruth White, Intersystems).
The musicians and composers behind these Electronic Voyages may have been among the first to adopt Moog synthesizers, but the fact that they so readily found within them expressivity, heart, and a means to translate their wondrous sense of discovery, speaks far more to Bob Moog’s visionary invention and enduring legacy."
Update: Playlist of releases in different order:
Robert Arthur Moog - The Abominatron (1964) - from "Electronic Voyages" LP
Ruth White - The Clock (1969) - from "Electronic Voyages: Early Moog recordings 1964-1969" LP
Intersystems - Changing Colours (1968) - from "Electronic Voyages" LP
Lothar and the Hand People - Milkweed Love (1968) - from "Electronic Voyages" LP
Joel Chadabe - Blues Mix (1968) - from "Electronic Voyages: Early Moog recordings 1964-1969" LP
Paul Earls - Monday Music (1968) - from "Electronic Voyages" LP
Max Brand - Triptych (1969) - from "Electronic Voyages: Early Moog recordings 1964-1969" LP
"Marc Doty, BMF Archive and Education Specialist, in deep conversation with the MiniWoouf beanbag chair. You, too, can have intimate conversation with the Mini by entering our raffle to win it here: http://bit.ly/17mGEvB. Enter soon -- the raffle ends on July 10th!
Thanks to Paul Lewis Anderson for the great image, and to Wicked Weed Brewing for sharing space and spirits with us."
Update: a little birdy told me there will be a number of these pics promoting the raffle. I'll put up new posts for them as they come in and add them to this master post below.
Walk This Way - Bob Moog Foundation Meets Abbey Road
In the spirit of independence, BMF super Executive Assistant Molly McQuillan takes the Mini Beanbag for a spin tubing in Asheville's French Broad River. Only eight days left to enter the raffle to win the coolest beanbag chair in sonic history: http://bit.ly/17mGEvB
Thanks to BMF Rockstar Volunteer and super photog Paul Lewis Anderson for the great photo! — with Molly McQuillan at The Bywater."
"Moogology. Michelle gives the Mini beanbag an anatomy lesson.
Raffle for the Mini beanbag chair ends TOMORROW. Don't miss your chance to school your own sonic student: http://bit.ly/17mGEvB. All proceeds benefit the Bob Moog Foundation.
Thanks to BMF Rockstar Volunteer and super photog Paul Lewis Anderson the image."
The Long Farewell - Last Chance to Win the BMF Minimoog Beanbag
"The long farewell. BMF Archive and Education specialist, Marc Doty (aka Automatic Gainsay), says goodbye to the Minimoog beanbag Wicked Weed Brewing before we send it on its way to a new home.
Who is going to win the coolest "soft synth" ever? RAFFLE ENDS TODAY at midnight. Enter here and support the BMF: http://bit.ly/17mGEvB.
A million thanks to photographer Paul Lewis Anderson for the image."
Update: and the lucky winner has been announced here!
First we have a Moog Online Thanksgiving Sale through 11/26: "Starting at midnight tonight, receive 10% off your entire purchase* on the Moog website. Orders over $250 will also receive a free EP-2 Expression Pedal. This offer is only good for US customers and will end at midnight on Monday, November 26th. Enter discount code: turkeymoog at checkout. Gobble gobble, love your friends at Moog!
Next we have:
"It’s Going To Be A White Christmas
Just in time for the first snows we’re producing a limited run of all white analog instruments. We’ve applied this solid white finish to the Slim Phatty, Minimoog Voyager, Minimoog Voyager XL and the entire line of Moogerfoogers just to brighten your dark winter days.
The White Slim Phatty now ships with 100 new, artist-designed presets from Phil and Paul Hartnoll of Orbital, Production wiz Chad Hugo of N.E.R.D. and The Neptunes, and DJ/Sound Designer Dom Kane.
Like the winter snow, these instruments won’t be around forever, so contact your favorite Moog dealer today.
Also check out our new Moog merch just in time for the holidays!"
"We return to the Luggage Store Gallery in San Francisco for a performance featuring Music For Hard Times - Paul Winstanley and Tom Nunn - plus special guest Thomas Dimuzio on modular and other synthesizers.
For more new and unusual music, please subscribe to this channel and visit www.catsynth.com
________________
Music For Hard Times is a duo with Paul Winstanley, electric bass with multiple effects pedals, and Tom Nunn, original experimental instruments such as space plates, electroacoustic percussion boards and various "skatch" instruments. MFHT has worked together since 2010 and has recorded over 200 sessions, from which nearly a dozen limited run/online CDs have been produced as well as a published CD, "City of Cardboard," and a vinyl record, "Giant Powder Dangerous." MFHT has performed in the Bay Area at venues including Center for New Music, The Makeout Room, [etc.]… In 2015, MFHT was invited to perform as part of the Sudden Sound Festival at the Krannert Art Center in Urbana, Illinois, as well as performing at Experimental Sound Studio in Chicago. Paul’s sounds range from staccato noises to a vastness of sustained tones, using refined implements and highly developed techniques that, at times, defy recognition. Nunn’s space plates, skatchboxes, Lukie tubes and harmonic rods bring a truly unique sound universe to the group that variously blends with, complements and contrasts the “expanded” electric bass. "Music For Hard Times never hit the listener over the head in order to get their attention. They simply get down to the Zen of their other worldly duo exchanges, and, if one is inclined to go along, one will surely find much intrigue." - Mark Pino
Paul Winstanley is an improvising electric bass player from New Zealand who specializes in extended techniques for that instrument. In addition to trying to make his bass sound like electronics he is interested in making electronic music that sounds like natural environments. He has several solo projects including Sci Hi (electronic feedback), Speed Cook (music from sound samples and non-musical sounds) and The Complete Recordings (artificial simulations of field recordings). Paul lived in Auckland, New Zealand for 10 years where he was part of the growing local and national experimental/improvising music scene, playing in groups w/luminaries like instrument inventor Phil Dadson, percussionist John Bell, radical concert brass band The NZ Dominion Centenary Concert Band, folk icon Fats White, abstract electronic supergroup Plains and improvising electronic trio Audible 3.
Tom Nunn has designed, built and performed with original musical instruments since 1976, having received a B.Mus. and M.A. in music composition from the University of Texas at Austin and S.U.N.Y. Stony Brook, and post-graduate work at U.C. San Diego. His instruments typically utilize commonly available materials, are sculptural in appearance, utilize contact microphones for amplification, and are designed specifically for improvisation with elements of ambiguity, unpredictability and nonlinearity. Tom has designed and built well over 300 instruments, representing three basic types: space plates, electroacoustic percussion boards, and skatchboxes. Nunn’s work with experimental instruments since 1975 is thoroughly reviewed in Sudhanshu G. Tewari’s doctoral dissertation, “Confluence: Tom Nunn’s Sculptured Musical Instruments for Improvisation,” University of California Santa Cruz, Dec. 2017.
Thomas Dimuzio is one of unsung artistic figures whose influence and abilities have substantially outstripped his visibility. Composer, multi-instrumentalist, sound designer, experimental electronic musician and recording studio owner, Dimuzio has been busy doing his thing(s) since the late 1980s with critically acclaimed releases issued by the legendary house of audio misanthropy, RRRecords and former Henry Cow drummer (and current Dimuzio collaborator) Chris Cutler’s well-regarded ReR Megacorp label. Equally fluent in a nearly every contemporary post-techno style, Dimuzio’s work clearly demonstrates an insider’s knowledge of older experimental musical forms such as musique concréte and electroacoustic, as well as contemporary ambient-industrial and noise. Thomas Dimuzio has performed and recorded as a solo artist and collaboratively with Fred Frith, David Lee Myers, Dan Burke, Due Process, 5UU'S, Matmos, Wobbly, and many others."
Circle of sound – spilling the Brinta – follow the white dot – banged grain.
Samples three-and-a-half seconds of audio (one moment) cuts it into thousands of pieces. Little grains of sound. You can mix the sound grains in speed and order. You re-arrangement it.
When the red dot is running around the circle it is recording. Your sample becomes the circle. Blue for high frequency, green for mid and red for low. Colours mix accordingly and when they all come together in white-light, you have white-noise. Once your sample is recorded the white dot can run around the circle, spawning little golden heads playing your sample. The size of the grain is how long your play head exists.
"Trois beaux oiseaux du paradis by Maurice Ravel - performed by thereminist, Randy George and the Gaudete Brass Quintet. download video in High Definition at: http://bit.ly/GBQRGM
Arrangement for brass quintet and voice by Paul Von Hoff. Video produced by Randy George. Recorded on September 2, 2010 in Long Beach, CA.
The theremin was invented in 1919, about five years after Ravel composed this work.
The beautiful work of Maurice Ravel is the second of his Trois Chansons for unaccompanied choir.
The music tells of a conversation between a woman and three beautiful birds from paradise, one blue, one white, and one red. The woman's beloved has gone off to war and she is asking the birds for news. The blue and white birds relay a gaze and a kiss respectively. The woman now queries the red bird and the red bird tell her of her beloved's death.
In this edition; the woman is the voice of the theremin, the blue bird is the trombone, the white bird is the second flugelhorn and the red bird is the tuba.
English Translation of the original French text:
Three beautiful birds of paradise, (My beloved is away at war) Three beautiful birds of paradise Have passed by here, The first was bluer than the sky, (My beloved is away at war) The second was the color of snow, The third of reddest red.
"Lovely lottle birds of paradise, (My beloved is away at war) Lovely little birds of paradise, What brings you here?" "I bring a look from blue eyes, (Your beloved is away at war)" "And I, on your snow-white brow, Am to lay a kiss, even purer."
Red bird of paradise, (My beloved is away at war) Red bird of paradise, What do you bring?" "A dear heart all crimson, (Your beloved is away at war)"... "Oh! I feel my heart growing cold... Take it with you."
Randy George Theremin Gaudete Brass Quintet Maurice Ravel"
"This DMX was upgraded by Paul White of Electrongate. He used to work at Oberheim back when DMX’s were being made, and he installed the MIDI in and out, which is based on the original design, and he changed the memory from the battery-backup to a longer lasting flash memory. A couple of buttons double trigger, and this can be addressed by just cleaning the contacts using Paul’s method, which could be found on his website. Aside from that, there’s a small mark on a wood corner and the front left edge has a small area where the paint is missing. Other than that, it is in fine shape. I have tried my best to show any imperfections in the photos. If you need more details, let me know. Even the original screen works perfectly.
Tom personally signed the DMX for my brother a few years ago, and it has been so important to them to keep it. There is also no known record of any other DMX having been signed by Tom himself. Like I said, my brother just got all they could out of it, and it would be best for it to go to someone who can keep it in good shape and enjoy it.
Since my brother produced a lot of work for clients with it, all patterns, songs, and sequences will be deleted, except for a couple that they’re leaving on to allow the next owner to understand how it works and to practice. The rest of the memories are blank and available for your own work, of course."
"Amazing machine, fully functional. Upgraded MIDI installed by the undisputed DX wizard, Paul White at Electrongate. The firmware's new functions are neatly posted along the top. The MIDI works excellent, as does the MIDI thru -- I controlled a variety of machines via this DX.
A couple nicks here and there on the paint, and a bit of the smaller lettering on the back is chipped, but all in all, it's in incredible condition.
The upgraded DX is a powerhouse. So damn punchy, and the tuning pots on the back are a blast -- such a variety of flavors (Prince liked'm tuned looooooow). Buttons work great. Sliders are smooth. Includes Paul's beautiful handmade walnut sides. Absolutely ready to go."
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.
"Once you get the sample in, you can execute all kinds of modifications of the sample. For example, the "reverse" function is worth the price alone. Reverse the sound of a toilet flushing - it is the ultimate alt percussion experience. The unit comes with a PROM chip; to get you started (plug it in to your DMX for new sounds), and be sure to check out Paul White's Electrongate for other details on this neat device. I have printed out the instruction manual, and this is included with the unit, as well as an AC cable."
"Oberheim OBXa made in 1981. Where to start? First she's had her keybed restored with super low action. It almost feels like you're playing a toy, I'm dead serious. Is just that light of a touch now. No more "click click." Next I've added midi to her from electrongate.com which is the business of Paul White who worked at Oberheim all those years. The midi is the exact replica of the factory midi from the early days of Oberheim. Next I've added the MRam card which eliminates the need for a battery PLUS you can store an unlimited amount of programs if you can find it LoL. Of course all these upgrades are not permanent so you can go back to original if you wanted too. Lastly she got some brand new sides, awesome black walnut. Just look at that wood grain! The originals are not included."
"Future musician (I hope) trying out some new custom sounds for a vintage Sakata/Hammond DPM-48 Drum Machine. Custom Electronic Snare EPROM chip added thanks to the work of DMX/EPROM specialist Paul White of Electrongate.com"
"This place also does MIDI conversions and other cool stuff to the DMX - lots of people are doing this to their machines now to sync with their other gear. I preferred using the internal “feel” the DMX provides, create the beats and patterns on the unit itself, then sample and create loops in my DAW. If you’re interested in any kind of service for the DMX, you may want to reach out to Paul White at: Electrongate"
"Oberheim DMX Drum Machine with lots of upgrades, external devices, original and several extra voice cards, hard flight case and more ( see description bellow). This machine was serviced ,modified and upgraded by the great DMX guru Paul White at Electrongate.com US. (please feel free to ask him about this machine at http://electrongate.com/) All original voice cards and functions are in perfect working order!
List of mods, upgrades , external devices and extras:
-Electrongate MIDI board (much better than the old factory one)
-External tuning knobs for each voice card ( you can use then in conjunction with the internal pitch control)
- DTB-8 external device 1u rack for controlling the DMX voices with external triggers (modular or manual) send you triggers to the DTB inputs and it sends them to the DMX with a 3 meter molex connector cable, all included see pictures.
-Modular Trigger OUT sockets (3.5" eurorack style) for EACH BUTTON , imagine controlling your analog gear or modular synthesizer drums with the versatility of the DMX sequencer! Adjustable trigger length for each row in the inside.
- Memory banks upgrade , MORE MEMORY ; MORE PATTERNS TO SAVE.
- New display , replaced at Electrongate.com
- HAndy screw knobs to open the DMX with your hands
-FREE (as a gift) Original Voice cards ( eight of them) with more sounds and Eproms ( see pictures) these are very expensive on ebay, consider it like a present for buying the Best DMX on the Planet! Cards are Linddrum snare, Drumtrax claps, long hihats, cowbells, and much more 80´s sounds
- Very strong hard flight case
- Original Manuals , operation, service and upgrades
I WILL NOT SPLIT THIS COMBO!
This DMX has been heavily modified and in order to do that it was drilled to make holes for the knobs, sockets, etc, a couple of them were covered with black plastic at the top right of the front panel. They can hardly be noticeable, they are at the right of the added tuning knobs), Please see the pictures."
"Spitfire Audio announces update to significant SPITFIRE SYMPHONY ORCHESTRA release recorded at AIR, adding three stunning-sounding soloists
LONDON, UK: Spitfire Audio is proud to announce availability of an update to its significant SPITFIRE SYMPHONY ORCHESTRA release — relatively recently relaunched with reviewed content and an updated UI (User Interface) in a single more user-friendly package that became last year’s bestseller as a set of flagship virtual instruments featuring full SYMPHONIC STRINGS, SYMPHONIC BRASS, and SYMPHONIC WOODWINDS sections (including solo instruments, plus harp, piano, and all core elements of percussion needed to complete the band), beautifully performed by top-tier musicians who have featured on some of the top film scores of the last decade, duly captured in Lyndhurst Hall’s hallowed acoustic at London’s legendary AIR Studios as some of the leading sounds and sample libraries creator’s best, most classic recordings, readily realised as a definitive selection of blockbuster sounds that have already made their musical mark in hundreds of AAA film, game, and TV score productions by the world’s top composers and music- makers — with the welcomed addition of SOLO STRINGS, featuring three stunning-sounding soloists, as of February 6…
"For sale is a 1984 Oberheim DMX with memory expansion running 3.2. I got this from the original owner where it had been collecting dust for almost 30 years. I addressed the cosmetic issues including refinishing the walnut sides with a Tung oil and varnish mixture and cleaned every nook and cranny of dust. I recapped all of the main electrolytic capacitors on the the main board and control board. Removed any components exhibiting corrosion from battery leakage including several IC sockets and chips. Any faulty chips were replaced by examples identical to the original equipment down to the manufacturer and year (not that it makes any difference). The screen was replaced preemptively to ensure years of use. After completing all the service steps in my abilities, I sent it to Electrongate/Paul White for the final debugging. He supplied some new buttons, battery, lid thumbscrews and sorted the last of the gremlins. It's now about as good as they come. The perfect platform for someone looking to add MIDI."
In addition to the polarized color, the Slim Phatty now ships with 100 new, artist-designed presets made specifically for this limited edition analog synth. The sound designers that crafted the new preset bank are Phil Hartnoll and Paul Hartnoll of Orbital, Production wiz Chad Hugo of N.E.R.D. and The Neptunes, and DJ/Sound Designer Dom Kane. The Slim Phattys optional wood sides, and optional rack ears are also now available in white.
