"Shelves brings to Eurorack modular systems something we are all very familiar with: the 4-band parametric EQ typically found in console channel strips. But this time, there’s CV control! The first band is a low-pass shelving filter, the fourth band a high-pass shelving filter, and band #2 and #3 have full-blown parametric controls with bandwidth (Q) adjustment. All analog.
Shelves will provide a subtler spectral shaping & coloring than standard multimode filters. It is particularly useful in the feedback loop of effects or more generally in feedback patches in which the slightest tonal change has drastic consequences. Or as a novel way of shaping sounds obtained by west-coast techniques. Or as a formant-ish filter. Or to emulate the body of instruments in the context of physical modelling patches…
Unlike console EQs, each band is not restricted to a narrow range of frequencies: it can be swept across the entire audio range, from 20 Hz to 20kHz – with unexpected phase cancellations or reinforcements when corrections compete in the same frequency range. All parameters have direct CV control. Global frequency and cut/boost CV inputs allow simultaneous CV control of all channels.
Shelves’ two parametric sections are, behind the scenes, full-blown 12-dB multimode filters. The expander panel gives you access to their low-pass, band-pass, and high-pass outputs"
"Clouds is a granular audio processor – with a couple of twists.
Unlike granular sample players, Clouds is focused on the realtime granularization of incoming audio signals, and the acquisition of textures from them.
Classic controls such as grain position, size, and pitch are provided. Clouds can superimpose up to 16 grains simultaneously and thus create thick textures. Control over texture density, independently of grain size, is thus provided. An external trigger input allows grains to be seeded in sync with LFOs or rhythmic generators.
To provide a richer variety of timbres, Clouds allows the shape of the grain’s envelope to be morphed – from sharp rectangular edges to a smooth bell curve. In addition, a diffusion network can further dissolve the edges of grains into blurry textures.
“Grain mesh” modes automatically adjust grain density, size, and the offset between successive grains in order to generate a continuous stream of audio that can be pitch-shifted / time-stretched in the manner of old-school samplers (or time-domain pitch/time processors).
Finally, to cover various applications of granular synthesis without the need for additional modules, Clouds’ comes with four voltage-controlled “blend modes” for mixing and re-routing its output signal: VC dry/wet balance, VC channel crossfade, VC feedback, and VC reverberation.
Clouds’ delay memory ranges from 1s to 8s depending on audio quality settings."
"Streams provides two channels of extremely flexible signal dynamics manipulation.
Each channel consists of an analog voltage-controlled filter and amplifier (VCFA). The response curve of the amplifier section is continuously variable from exponential to linear. The amplifier gain is directly controllable from a CV input, through an attenuator. But what makes Streams truly unique is the multi-purpose EXCITE input. The signal routed to this input is analyzed by a micro-controller and translated into internal control voltages for the VCFA, turning Streams into a very versatile signal contouring tool:
Envelope generator
The EXCITE input can work as a trigger input, triggering an internal AD or AR envelope routed to the gain and the filter cutoff (in variable amount). With only 6-HP of space, you can shape an oscillator or noise source into a full-bodied sound.
Vactrol curve generator
The EXCITE input is processed by a digital model of a resistive opto-isolator (Vactrol), controlling the gain and the filter cutoff (in variable amount). The digital emulation allows the modification of properties of opto-isolators – such as response time – which are otherwise difficult to control. The virtual vactrol response can be either optimized for processing CVs, or triggers (for “plucked” sounds).
Amplitude and frequency content follower
The envelope and cutoff of the EXCITE signal is measured, and applied to the signal on the VCFA input.
Compressor/limiter
Streams’ VCF is disabled, and the VCA is used to control the dynamics of the input signal. An intuitive control scheme allows the compressor to be used either for peak reduction/limiting operation; or for boosting signal levels with soft-limiting. The EXCITE input can be used as a sidechain."
"Elements is a full-blown synthesis voice based on modal synthesis – an under-appreciated flavour of physical modelling synthesis with a strange and abstract feel.
Elements combines an exciter synthesis section, generating raw, noisy sounds characteristic of bowing (filtered friction noise), blowing (pitch-controlled granular noise), or striking (stick, mallet, hammer or brush sample playback… or bursts of synthetic impulsions). These sources, or external audio signals, are processed by a modal filter bank – an ensemble of 64 tuned band-pass filters simulating the response of various resonant structures (plates, strings, tubes…) with adjustable brightness and dampening. A stereo ambience reverberator adds depth and presence to the sound.
All parameters have a very meaningful and well-delimited impact on the sound. When designing Elements, great care has been taken in selecting parameter ranges and control curves, producing a large palette of sounds – often beyond physical realism – but always well controlled and stable. The “dark spots” of noise and feedback are reached gradually, and they do still react to controls. The module is deliberately menu- and switch-free – what you dial/patch is what you hear!"
Playlist:
The ARP 2600: The Story of a Legendary Synthesizer | Reverb Feature
Korg ARP 2600 FS Synthesizer - All Playing, No Talking! - Kraft Music
Korg ARP 2600 FS Synthesizer - Overview with Nick Kwas - - Kraft Music
Korg Arp 2600 - 1st Look - sonicstate
ARP 2600 Semi-modular Analog Synthesizer System Demo - Sweetwater
ARP 2600 Synthesizer | Overview and Demo - Guitar Center
NEW Korg ARP 2600! | Namm 2020 - GAK - previously posted
"The Total Package
More than a synthesizer, the ARP 2600 is a complete sound design studio. Even today, the ARP 2600 stands as a bridge between the individual elements of modular synthesis and the immediacy of a production / performance instrument. Included are an ample supply of oscillators, envelopes, a filter and amplifier – all of the building blocks of analog synthesis. But the ARP 2600 goes even further, with a spring reverb tank and even a pair of built in monitor speakers. Also present is much of the versatility of a vintage modular system, including a ring modulation, lag and voltage processors, an envelope follower, audio preamp, a clock-able switch, noise source, a sample & hold module, signal inverters, an auxiliary mixer, and even a set of parallel-wired/multi jacks.
The ARP 2600 FS reproduces the sounds of these components at the circuit level. Under the supervision of David Friend, the co-founder of ARP Instruments, parts were carefully selected and every detail was adjusted to replicate the original unit's distinctive synthesis.
Profile of David Friend:
Co-founder of ARP Instruments, Inc. together with the founder Alan Robert Pearlman. In addition to designing the ARP 2600 and Odyssey, he was involved with the development of numerous products, and subsequently entered management, eventually becoming president of the company. His achievements as an entrepreneur have also been acclaimed, and in 2010 he received the "Entrepreneur of the Year" (Emerging Technology category) award from Ernst & Young. After serving as the President and CEO of Blue Archive, Inc., currently he serves as the President, CEO and Co-founder of Wasabi, as well as being a lecturer at MIT's Sloan School of Management. He is also an emeritus of the New England Conservatory and Berklee College of Music.
Normalled Pathways
Nearly every slider and switch on the ARP 2600 front panels is hard wired to specific control source. For example, the front panel controls allow the pitch of Oscillator 1 to be controlled by the keyboard (On/Off switch), the output of the Sample & Hold module (slider), the shape of the ADSR envelope generator (slider), and/or by the sine wave output of Oscillator 2 (slider), and each in varying amounts. These hardwired pathways provide massive amounts of immediate control that make excellent use of all the ARP 2600 has to offer, allowing the ARP 2600 to be played as is – no patching needed. In true modular fashion, inserting a patch cord into the jack associated with any hardwired control overrides that internal connection, letting you create a new signal path of your choosing. As a programming aid, the detailed panel graphics clearly show the available signal routings.
Patch Bay Precision
Unlike earlier modular synthesizers that relied on bulky 6.3mm (1/4") jacks and patch cords, the ARP 2600 uses a more streamlined 3.5mm (1/8”) jack that allows for more patch points to occupy the same amount of panel space, delivering more options and more versatility. Most of the patch points are arranged in a single row below the controls of the individual sound modules. This arrangement keeps the main panel clear and unobstructed for tweaking the controls during performance. Needless to say, these patchable connections and the onboard processors can be used to interact with nearly any modular or Eurorack synthesizer system.
3620 Keyboard
While faithful to the original design, the functionality of the 3620 Keyboard has been greatly enhanced for this limited ARP 2600 release. The 3620 Keyboard contains 49 full-size keys, aftertouch, portamento, and is also duophonic, allowing two keys to be played at once – Single or Multiple Triggering is available. In addition, the duophonic keyboard can use an optional foot switch to lock the interval between any two notes, without retuning the oscillators during performance. Vibrato can be added via a dedicated circuit controlled by aftertouch, or by the onboard LFO (Low Frequency Oscillator), using any of three available waveforms. Most noticeable is the addition of a flexible Arpeggiator that allows a user-defined pattern to be manually sequenced and played back. Still present are the original Pitch Bend knob and the Two Octave Up / Two Octave Down Transpose switch. Connecting the keyboard to the main unit now uses a secure eight-pin din cable.
YouTube Published on Aug 20, 2012 by moogfoundation
"Bob Moog's legacy lives on in the rock stars and panelists at Moogfest 2011. Find out why Bob's extraordinary legacy deserves to be carried forward.
Featuring: Moby, Wayne Coyne, Diego Stocco, Eric Persing, Bryan Bell, Dick Hyman, Terry Riley, David Borden, Joel Cummins, Alan Vega and Torley."
"Asheville, NC - August 20, 2012 - Tomorrow marks seven years since beloved synthesizer inventor Bob Moog passed away in 2005. It has also been six years since his family formally established the non-profit Bob Moog Foundation. The BMF continues to advance Bob’s legacy by announcing several recent projects ranging from educational videos to a Web page tracing the history of synthesizers. The “Moogmentum” that the BMF initiated in the summer of 2006 continues picking up steam.
In cooperation with macProVideo.com, the Bob Moog Foundation introduces a tutorial series titled The Foundation of Synthesis with Marc Doty. Six videos cover the History of Synthesis; Oscillators; Filters; Control Voltage; VCAs, Ring Modulation, and S&H; and Applied Synthesis. Education specialist Doty, best known for his YouTube-based synth instruction, has created custom animations and uses a variety of instruments to demonstrate these six concepts. In addition, keyboardist Erik Norlander makes an appearance to give a brief tour of his massive modular synthesizer affectionately known as the Wall of Doom. The first three videos from this exclusive series will be available on August 23 for individual downloads or to monthly or annual macProVideo.com subscribers. A large portion of the proceeds will go to benefit the BMF.
A new promotional video, produced by Flying Pig Studios in Asheville, highlights the Bob Moog Foundation’s unquenchable desire to inspire innovation and ignite creativity. It features performers and panelists from last year’s edition of the annual music festival held in Bob’s honor, Moogfest 2011. Musicians such as Moby, Dick Hyman, and Wayne Coyne of the Flaming Lips talk about Bob Moog’s lasting impact on the world of music and the importance of continuing his legacy. You can view the video at http://youtu.be/VO-9JtN5-a0. [embed above]
This week the BMF is also releasing free online video coverage of “History of the Minimoog,” one of the most spirited and informative panel discussions of Moogfest 2010. Watch and learn as legendary Moog collaborators Bill Hemsath, Tom Rhea, Dave Van Koevering, and Herb Deutsch discuss their individual roles in developing the Minimoog synthesizer in 1970 as part of a team effort with Bob Moog.
Anyone who has researched the history of synthesizers knows how frustrating it can be to find consistently reliable information. As part of the Foundation’s relentless effort to rid the world of misinformation, the BMF announces its comprehensive Timeline of Synthesis, which will be posted on its website beginning this week.
Dr. Bob’s SoundSchool is making news, too, with its ongoing mission to teach the science of sound through the magic of music. After concluding its pilot program in 8 Asheville second-grade classrooms this past spring, DBSS is expanding to 25 classrooms in Asheville and Buncombe County schools for the 2012–2013 school year. Using traditional and electronic musical instruments with custom educational materials, the BMF plans to expand DBSS to 100 classrooms in North and South Carolina by 2014.
4ms Company offers alternatives to traditional instruments with our poly-rhythmic clock modules that create evolving complex mathematical beat patterns, a resonator that can cast pop music into micro-tonal keys, a multi-channel wavetable oscillator, a routing matrix that's played like an instrument, and many more innovative devices. Rather than replicate concepts from the past, we strive to turn unique ideas into playable musical tools that expand the possibilities of music. We also offer Do-It-Yourself kits, and many of our designs are open-source.
Acid Rain Technology acidraintechnology.com
Acid Rain Technology is a manufacturer of music hardware out of Seattle, WA. We believe hardware instruments enable a unique connection between human and machine, and seek to improve this interaction through interface design for maximum playability.
After Later Audio afterlateraudio.com
After Later Audio is a boutique audio company located in Seattle, Washington. We make high quality Eurorack modules at accessible prices and we pride ourselves on responsive customer service. You can find our products for sale on our website, at various synth shops (Patchwerks, London Modular, Chuck Levin’s, and Modular 8), and on all of the major ecommerce sites.
Adrian Younge's Thesis On Sound ft. Moog Grandmother Published on May 14, 2018 Moog Music Inc
Update: SoundCloud demos added below.
Some "module" components based on vintage Moog modular systems:
CP3 Mixer with asymmetrical clipping behavior
904A Filter
911 Env
902 VCA
905 Spring Reverb
Oscillators based on the Minimoog w/ additional hard sync
"To explore the sonic possibilities and cosmic context of Grandmother, Moog Music visited the Linear Labs studio of artist-composer Adrian Younge (Black Dynamite, Netflix’s Luke Cage).
In this video, Younge gives his personal 'Thesis On Sound' while incorporating Grandmother into his retro-inspired creative workflow at Linear Labs."
The Build & Sound of the Moog Grandmother
Published on May 13, 2018 Guitar Center
"From the Moog Music factory in Asheville, North Carolina we were privileged to get a look at Moog's new semi-modular analog synth, the Grandmother. Engineers Eric Church and Mark Crowley take us through the build process on the production line as well as a demonstration of the features including the interconnectivity with the Mother 32 and DFAM.
Impecable quality, magical sound, semi-modular, fully analog monophonic synthesizer with dual oscillators, arpeggiator, sequencer, and built in spring reverb. Experience it for yourself!"
Moog Grandmother Synthesizer - First Impressions and Sounds with Justin Meldal-Johnsen
Published on May 13, 2018 Musician's Friend
"Introducing the Moog Grandmother synthesizer! Grandmother is a semi-modular analog synth that offers classic Moog sound, an intuitive signal path and endless sound design possibilities, thanks to its expansive 41-point patch system.
To offer you an in-depth look at Grandmother we recently spent the day with musician and producer, Justin Meldal-Johnsen. Justin's production credits include M83, Wolf Alice, Paramore, Metric, Jimmy Eat World, School of Seven Bells and more. Justin is also known for his great bass, guitar and keyboard playing, as a touring and recording musician with Beck, Nine Inch Nails, Air and more.
Grandmother builds on Moog's impressive legacy with circuits inspired by Moog's own classic Modular Synthesizers. Grandmother features a fully-analog sound engine, and features dual oscillators based on the Minimoog, classic Moog 4-Pole ladder filter, an impressive Modulation section and on-board spring reverb."
Today we release Grandmother, a semi-modular analog synthesizer with a built-in arpeggiator, sequencer and spring reverb tank that harkens back to Moog’s modular roots, where synthesis is not only about the end result, but the journey of discovery and experimentation.
Grandmother's semi-modular design ensures that human beings of any skill-level can easily explore and experience the joys and magic of analog synthesis -- start playing immediately with “no patching required”, then explore an infinite sonic playground with Grandmother’s endlessly reconfigurable front panel and analog spring reverb tank."
"Grandmother is a sonic playground that harkens back to Moog’s modular roots, where synthesis is not only about the end result, but the journey of discovery and experimentation. While capable of highly complex sounds and modulation, Grandmother's semi-modular design requires absolutely no patching, ensuring that human beings of any skill-level can easily explore and experience the joys and magic of analog synthesis.
Inspired by the classic Moog modular synthesizers that came before it, Grandmother's sound engine, modulation engine and onboard spring reverb tank are completely analog, resulting in an unrestricted sonic vocabulary of immeasurable beauty and power. In addition, Grandmother also features an easy to use Arpeggiator and Sequencer for added enjoyment and programmable syncopation.
Though not required, creative patching and exploration are the keys to discovering exciting new relationships between modules and to truly unlocking Grandmother’s infinite expanse of auditory inspiration. Patching can also be used to override internal connections, allowing each section to function just as an independent module would.
In addition to its standalone function, Grandmother is also an ideal analog audio processor for external sound sources, and a powerful keyboard front end for expanding a Mother-32, DFAM or Eurorack modular system.
Happy New Year everyone! I want to thank you all for a great 2015 and I wish you all the best in 2016!
The following is my yearly round up for the year. Feel free to dig into this post as much you like, or skip it and leave a comment at the bottom of the post. I'd be curious to hear what stood out for you in 2015. Do you like the direction the synthesizer world is headed in, or would you rather see more or less of any type of product?
Update as of 9:26 PDT: I made a couple of minor updates in case you read it before then. Sorry!
A quick note on posts like this: I hope you enjoy them. If not, just skip them. When I first started the site I used to share my synth dreams but stopped. Personally I get a kick out of them. I won't share every one, just some of the stand outs. The last one stood out for the humor, this one stood out for the design of the instrument. It reminds me of different makers and their approach. As a maker, do you set out to design a synthesizer, an instrument, or both? Are you locked in by the tools, components, and paradigms of what makes a synth? In my dream both the musician and the maker (who never made an appearance BTW) didn't really know what a synth even was. The maker just designed an instrument and the musician just played it. This reminds me of Don Buchla's original designs and specifically the Buchla Music Easel. This was at the birth of synthesis as we know it. What's interesting is his designs weren't meant to be what they are commonly perceived as today. They were meant to be unique instruments, palettes for sound, hence the Music Easel. I heard even his modular systems weren't meant to be complete fixed instruments, they weren't meant to be mixed and matched. Think about that for a bit. They were modular in design, but they weren't meant to be modular in nature. They were meant to be wholly formed instruments. In the following dream the musician reminded me of Marc-Henri and Barry Schrader to an extent. Marc-Henri almost exclusively uses an Access Virus Ti as a music easel for his compositions. Barry Schrader started with Buchla and then moved to FM synthesis for his compositions. You can find an extensive interview with him here.
And the dream...
I had another synth dream last night. In this one I was at an ensemble event held in kind of a classroom/workshop/gym-type of open space at what felt like an old English or New England boarding school - lots of wood, flat tall ceilings, and windows along the length of the far wall. The ensemble consisted of maybe 18 people in a semi-circle with a small audience in front of them, mainly standing, which I was one of. The instructor had each member of the ensemble introduce their instruments. I was in front towards the left of the ensemble and noticed the last two instruments to be electronic desktop boxes sitting on a card table (synth gathering anywone?), both vintage and almost DIY looking in style. I remember thinking, "I know what these boxes are. They are synths! I can't wait to talk shop with the owners and check them out." Well the instructor starts going around the ensemble starting on the opposite side. Each member introduces their instrument and talks a little bit about them and their technique. There were some interesting brass-like instruments. I think there was one based on an alto trombone, but it was just a flat pipe and no horn at the end. Funny side note is my daughter is currently learning to play piccolo. She plays flute in high school band and decided to finally give the piccolo a try as a stretch goal. If you don't know what a piccolo is, it's a tiny flute for super high notes. She said there were tiny versions of most instruments including the trombone. I looked one up and sure enough there is. A tiny trombone not much longer than a foot exists. The instrument in my dream also bore a resemblance to the ribbon controller featured in the Nunomo QUN post, so I'm guessing that's where it came from - some bizarre mix of the two. Anyway, when the instructor/host got around to the last two instruments, it turned out the first was a theremin based synth minus the antennas. It was made of wood and looked vintage. It would have been interesting if not for the next box. That was something. It was black with white and silver sliders, levers, buttons, and knobs. It was a unique instrument custom made for the owner who knew the maker. The interesting thing was the musician wasn't familiar with synths and didn't even see the instrument as a synth. The maker also wasn't into synths. In the dream he was more like a luthier, more of an artist instrument maker than a synth maker. No offense to synth makers! :) Anyway, it was about the size of an EMS SYNTHI and was black with white levers and sliders and had a bunch of esoteric control blocks with non standard names/labels; similar to something like the Hartmann Neuron where controls are familiar but the names are completely different. For some reason it reminded me of a black Lassence uVentury, Modor NF-1, mixed with some MacBeth and Folktek in design, but again completely different. Again, this maker wasn't into synths. This was a unique instrument. After the talk was over the musician gave a little demo. The sound of it. It was like formant analog but the timbers coming out of it were rich and full, not thin or glossy like most formant synthesis. It sounded like nothing I've ever heard before. After the talks were over I walked over to it to check out the controls and design. I wondered if I could touch it and play with it a little and for some reason, as happens in dreams, I knew it was OK so I started playing with it. There was a thin ivory white reed-like lever about an inch and a half long that controlled a female formant timbre. It was amazing. There was an group of lever-type sliders that controlled a multi band formant filter block and I remember thinking, "Oh this is a filter!" There were envelop sliders and other familiar groups that I now forget, but there were a bunch of interesting controls on it that didn't quite match up to common synths. There were additional effects and shaping tools built into the design and everything just flowed like a natural instrument. Again it kind of reminded me in concept to a Hartman Neuron and Modor NF-1, with maybe a bit of Folktek, but it was more vintage and simplistic in design - just a sold black block with white and silver controls. It was definitely designed as a work of art instrument vs. a synth. Similar in concept to the Buchla music Easel as I mentioned in the intro to this dream above. So after checking it out a little and talking to the owner I realized I should take a video of it for the site! I got the OK to film it, pulled out my iPhone, and started trying to capture some of the controls and timbres it was capable of. When I got to that formant female slider it was gone! I couldn't remember what I did to get that sound and I couldn't find the control again. Damn dreams.... And as in many real world sessions I wasn't getting those rich timbres again. I got lost between timbres! I thought my readers would be disappointed in my programming chops for a split second, but then I reminded myself anyone into programming synths will understand and not care, so I kept tweaking. Well, right then, a foster kid boarding at the school distracted me and started talking to me. I hand gestured to him (no I did not flick him off) to hold off for a second because I was in the middle of filming the synth and trying to capture audio. He understood for like five seconds and started talking again. I asked him to give me a sec but he got upset and said I should be there more for people. I felt bad and wasn't getting anywhere with the instrument at that point, so I stopped filming to talk to him before he left.
And that was it! Everything felt right with the kid so that was good, but that instrument! It's gone forever...
Top knob controls the amount of Elvis, and the bottom controls the amount of the New York School of Synthesis power. What they do to my food is anyone's guess. :)
The knobs are actually magnetic knobs courtesy of synthesizers.com.
Below are a couple of pics of Roger Arrick's synthesizers.com business card next to their latest product guide. Apologies for the crinkles - it was an unfortunate victim of the local post office. Regarding the card, take a look at it assembled in the bottom image. How cool is that? The card is scored so it is easy to fold. BTW, you can pick up the cover of the guide as a puzzle as well as the knobs at the synthesizers.com gifts a goodies shop. The knobs are top quality. They are fitted with a magnet underneath.
Update: for those that saw this post before this update, the knobs are available here.
"MOOGFEST 2010 ANNOUNCES RED BULL MUSIC ACADEMY MOOG WORKSHOPS AND PANELS AT THE MOOGAPLEX
HALLOWEEN WEEKEND – 10/29-10/31 IN ASHEVILLE, NC MoogFest 2010, the extraordinary three-day festival which celebrates the innovative spirit of sonic pioneer Robert Moog, during Halloween weekend, October 29-31, in Asheville, NC, has already announced most of its outstanding lineup. Now, in addition to MoogFest’s excellent musical offerings, the festival will also give attendees the opportunity to dig deeper into the world of Moog with a wide range of panel discussions and workshops.
The Red Bull Music Academy has teamed up with AC Entertainment, Moog Music and the Bob Moog Foundation to bring together top minds in history, technology and education of Moog. Experts, ranging from Bob's colleagues in the seminal days of synthesis to the more contemporary sound sculptors of today, are coming from around the country to share their ideas and vast experiences. The Bob Moog Foundation will be responsible for the historical content at MoogFest, including items from Bob Moog's archives such as rarely seen vintage photographs and historic audio clips from recently restored reel-to-reel tapes.
News on the other activities will be announced in the coming weeks. With all of these exciting elements solidifying, MoogFest is proving itself more and more to be an essential experience for music fans and sonic adventurers from all over the world.
MoogFest 2010 Red Bull Music Academy Moog Workshops, Demonstrations & Panels:
SYNTH HISTORY PANEL – THE BIRTH OF THE MINIMOOG Featuring: Herb Deutsch (co-collaborator on first Modular in 1963) Dave Van Koevering (first salesman for Minimoog and VP of Marketing at Moog Music in the 70s) Tom Rhea (Former clinician, design consultant, and director of marketing at Moog Music; wrote Minimoog manual)
Moderated By: Brain Kehew (Bob Moog Foundation Historian and keyboardist (Moog Cookbook) TARA BUSCH – ARTIST PERFORMANCE & DISCUSSION ABOUT REMIXING WITH MOOGERFOOGERS Tara is a synth siren well known as a prominent analog synth-blogger for AnalogSuicide.com. Her performances are ethereal explorations of analog sound.
TECH. PANEL - ADVANCED APPLICATION & SYNTHESIS Featuring Cyril Lance, Head Engineer at Moog Music, and other Moog engineers.
SYNTH HISTORY PANEL – EXPLORATION OF THE BOB MOOG ARCHIVES
Featuring: Brian Kehew (Bob Moog Foundation Historian, Keyboardist) Michelle Moog-Koussa (Executive Director, Bob Moog Foundation) Seva David Ball (Archive Preservationist, currently restoring Bob Moog's reel-to-reel tapes with a grant from the Grammy Foundation)
TECH. PANEL - MODERN DAY SOUNDSCULPTING
Featuring: Richard Devine (acclaimed sound designer) Tara Busch (prominent analog synth-blogger and synth-performer) RICHARD DEVINE – ABOMINATRON II PERFORMANCE
Richard is one of the world's most acclaimed, young sound designers. His clients include top names in film and advertising. Richard will be performing on Moog Music's Abominatron II, a homage to Bob Moog’s original synthesizer prototype, created with current Moog synthesizers and effects processors.
SYNTH HISTORY PANEL - EXAMINING THE LEGACY OF MINI SYNTHS Featuring: Craig Anderton (Founder EM Magazine, signal processing guru, editor EQ Magazine) Geary Yelton (Associate Editor of Electronic Musician, freelance journalist) Steven Fortner (Editor, Keyboard Magazine)
Moderated By: Brian Kehew
THEREMIN PERFORMANCE & LESSON WITH DORIT CHRYSLER Dorit is an accomplished musician and composer best known for her ethereal Theremin style. After Dorit's performance, Moog Music will distribute 20 Theremins to the audience and participants will receive an interactive lesson from Dorit.
TECH. PANEL – THE POWER OF MODULAR SYNTHESIS Featuring: Erik Norlander (Synth rock legend, Moog aficionado, accomplish synth designer) Amos Gaynes (Moog Music engineer) The Wall of Doom (Erik's massive custom Moog Modular synthesizer)
MOOG GUITAR SOUND SCULPTING WITH SAUL ZONANA Saul is a killer guitarist who has worked with Adrian Belew, Ace Frehley, Crash Test Dummies. He will integrate the Moog Guitar, Moogerfoogers, Multi-Pedal, and Little Phatty into an exploration of the guitars amazing capabilities.
All panels, demonstrations, and workshops will take place between Noon and 6:30 PM EST at the Moogaplex, located at the Haywood Park complex. They are first come, first served for those who bought either weekend passes or have a pass for that particular day. The dates, and times will be announced in the coming weeks.
MoogFest 2010 tickets are on sale now. To purchase weekend passes or single day tickets and for more information about the festival visit moogfest.com. To see the weekend schedule visit http://moogfest.com/2010/moogfest-2010/schedule/friday/.
"KORG volca modular is a semi-modular analog synthesizer in the KORG volca format that makes modular synthesis more accessible and understandable than ever before. Featuring 50 patch points for using the 20 included patch cables to connect the eight onboard modules in any way imaginable, volca modular was created with 'West Coast Style' synthesis in mind, to offer a unique sound and design that deviates from traditional synthesis norms."
Nick Kwas Demos and jams out on the Korg Volca Modular at Kraft Music.
The Korg Volca Modular is a semi-modular analog synthesizer with eight independent internally-connected modules, 50 patch points, and digital effects. Although focused on the complex and experimental sounds of the West Coast school of modular synthesis, the Volca Modular is equipped with the familiar 16-step Volca sequencer with parameter automation capabilities, as well as flexible scale and key settings. Sync and CV in jacks allow for connection to other Volca units, select Korg synths and sequencers, and modular systems. Like other Volcas, the Volca Modular features a built-in speaker and battery operation.
Get more for your money with an exclusive Korg Volca Modular bundle from Kraft Music. These package deals include the accessories you'll need to get the most out of your new micro modular synth, all for one low price. If you have any questions, please give us a call. Our knowledgeable sales advisors will be happy to assist in choosing the bundle that's right for you!"
Korg Volca Modular - Clock Divider
Published on Jan 14, 2019 Rishabh Rajan
"Tutorial on creating a multi-voice pattern using the clock divider."
Korg Volca Modular - Step Sequencer
Published on Jan 14, 2019 Rishabh Rajan
"A tutorial on some of the functionality of the step sequencer on the Korg Volca Modular."
Korg Volca Modular Micro Modular Synthesizer | Reverb Demo Video
Published on Jan 14, 2019 Reverb
"The synth masters at Korg just announced the Volca Modular, Minilogue XD, and Volca Drum. Starting with the Volca Modular micro modular synth, check out this video demo (as well as those linked below) to learn more about the features in this trio of new offerings from the dream team that created so many of the top-selling synths on Reverb in the past couple years. Read More on Reverb"
"An analog synth composed of modules
Eight modules
The volca modular is a semi-modular synthesizer consisting of independent analog synth modules, digital effects, and a sequencer. Each of the modules has been carefully selected for its stand-alone completeness. The modules are internally connected so that sound can be produced even before connecting the included pin cables, and the routing is shown by white lines on the panel. Module connections via a pin cable take priority over the internal connections, bypassing them.
SOURCE：
This consists of a triangle VCO carrier and a modulator. The complex overtones generated by FM modulation are sent through a wave folder circuit to add additional overtones, producing a distinctive sound. This module is important in determining the basic character of the sound of volca modular.
I'm normally a lazy, good-for-nothing, apolitical f*#k, but I've somehow become consumed, in the last few weeks, by the plight of three young women, currently facing severe jail terms in Russia for performing 30 seconds of a song critical of Russia's president Vladimir Putin. The women are members of an all-woman punk band called Pussy Riot.
If you're not familiar with the story, I urge you to google 'Pussy Riot' to learn more. Essentially, these young women are being punished by a repressive government for singing a song.
Some people think I ought to be in jail for having written 'Lucky Stars' and rhyming 'dumb' with 'glum', ;-) so, as a songwriter, the Pussy Riot trial has made a strong impression.
I suppose, also, that being here at the Edinburgh Fringe Festival where the streets are teaming with artists/performers exercising their freedom of creative expression every day of their lives, the issue really hit home.
I'm participating in a Free Pussy Riot rally, tomorrow, Friday Aug. 17th at 11:00am at the Sweet Grassmarket venue, Edinburgh, immediately prior to the anticipated 'guilty' verdict to be issued by the Russian court an hour later.
If you happen to be in the Edinburgh area, you're invited to drop by. Three actors will be reading translated transcripts from the trial of the Pussy Riot women's testimony. It's very powerful stuff.
And if you're halfway around the world, give it some thought, and if it strikes a chord, you're encouraged to spread the word.
Edinburgh Fringe performers to participate in global day of action on behalf of feminist Russian punk band, Pussy Riot, currently on trial, facing 7 year prison sentences for singing a song critical of Russia's president, Vladimir Putin.
Fringe performers will gather at the Sweet Grassmarket this Friday 17th August at 11:00am to read trial transcripts, including testimony by Pussy Riot members, prior to the trial's announced verdict due mid-day (BST).
Pussy Riot band members were arrested, and have remained imprisoned since February, after giving an impromptu performance in Moscow's main cathedral to call for an end to Vladimir Putin's rule.
The three women - Nadezhda Tolokonnikova, 23; Maria Alekhina, 24; and Yekaterina Samutsevich, 29 - who have already been in custody for five months, high-kicked and danced as they belted out their "punk prayer" in Christ the Savior Cathedral in February. The youtube video of their performance can be viewed here:
Amnesty International has called the women 'prisoners of conscience'.
The three women were charged with 'hooliganism motivated by religious hatred', which carries a maximum sentence of seven years. The trial has been seen as part of the widening government crackdown on dissent that followed Putin's election in March to a third presidential term.
'With every day an increasing number of people start to realize that if the political machine turned against girls who performed in the Christ the Savior Cathedral for 40 seconds, this means only that this political system is scared of the truth and the sincerity that we bring," Pussy Riot band-member, Tolokonnikova said in her final words, addressing a packed courtroom. "We have more freedom than all those people from the prosecution in front of me - because we can say what we want.'
Defence lawyers have invited activists around the world to show their solidarity with the band by holding a global protest on Aug. 17, the day Judge Marina Syrova is to issue her verdict.
The Sweet performance is part of a global day of action with events planned in dozens of cities around the world. The transcript reading was proposed by poet, Sasha Dugdale and playwright EV Crowe, whose program is to be performed at the same time at London's Royal Court Theatre. The verbatim testimony was translated from Russian by Sasha Dugdale, who has been monitoring live feeds of the trial. She described their words as "extraordinary, poetic, full of passion and innocence".
Director, John-David (JD) Henshaw, Venue Manager of the Sweet Grassmarket (Fringe) Venue remarked, "These three young women - some, mothers with young children - face unconscionable persecution, and severe prison sentences, for merely doing what each and every performer here at the Fringe does every single day of their lives - these women are being punished for exercising the simple basic human right of free creative expression,"
Henshaw continues, "We support them in our modest way by exercising that very same right of creative expression, and in doing so, remind ourselves how much we must always cherish the right of free expression that we enjoy in our own country. We hope for their safe return to freedom and their families, and for their undeniable right to pursue their art."
A verbatim reading of the trial transcripts will commence at the Sweet Grassmarket venue [Apex International Hotel 31-35 Grassmarket, Edinburgh EH1 2HS ] at 11:00 am prior to the Pussy Riot verdict being announced. Attendance is free. Please direct all press enquiries to Lynne Campbell: lynne@sweetvenues.com / phone: 07939-818902.
"Pure Nave sounds, no external FX, no external processing!
All sound examples were directly recorded in Nave´s 4 track recorder."
Programming a Nave Sound in 120 seconds
Published on Jun 12, 2013
"This tutorial shows how to program a wavetable sound within a short amount of time."
"Waldorf advances wavetable synthesis to iPad with Nave
'Nave is wonderful — by far the most impressive iOS synthesizer I have laid my hands on to date.'
- Richard Devine, 2013 (electronic musician and sound designer)
BAD NEUENAHR, GERMANY: high-quality synthesizer developer Waldorf is proud to announce availability of Nave, its first synthesizer app for Apple’s all-conquering iPad, as of June 13...
Jointly created by Stefan Stenzel (audio algorithms), Rolf Wöhrmann (iOS development), and Axel Hartmann (graphic design), Nave transforms any iPad into an advanced wavetable synthesizer fit for truly mobile 21st Century composition, performance, and sound design!
Speaking of which, Nave comes complete with over 500 presets from highly acclaimed sound designers like Richard Devine, Sacha Dikiciyan (of Sonic Mayhem fame), Laurence Rapaccioli (Arksun), David Boldini (7 Skies), and Fletcher Kaufman (Sunsine Audio), amongst many others. All seriously showcase the depth and diversity of this impressive and inspirational iOS synthesizer — so much so, in fact, that Richard Devine was suitably moved to create no fewer than 95 presets alone, all of which are included for free!
For the benefit of those who want to indulge in some serious sound design of their own making, Nave does not disappoint. Its powerful sound engine includes two trailblazing wavetable-based oscillators, leaving all previous attempts at wavetable synthesis severely wanting. While the sound spectrum can cleverly be transposed independently of pitch, the waves can be rendered from perfectly periodic to very noisy and anywhere in between.
Nave’s clear-cut GUI invites both beginners and advanced users alike to experiment both sonically and musically while the hosting iPad’s generous display helps make wavetable creation and editing a blast! Besides integrated speech synthesis, wavetables can also be formed from analysing audio files. Furthermore, stretching, rotating, and shifting in the spectral domain allows wavetables to be refined or distorted in the fullscreen Wavetable Edit Mode. Here users can edit and fine-tune the wavetables using several 3D views that are as easy on the eye as they are to use. And in a reverential nod to Waldorf’s illustrious past and present, factory wavetables from the breakthrough Microwave, mighty Wave, and price barrier-breaking Blofeld synthesizers are all present and accounted for, complemented by an abundance of tasty new ones that make extensive use of those enhanced possibilities!
And if that’s not enough to get your creative juices flowing then Nave additionally includes a classic oscillator with an ultra useful selection of basic waveforms, plus a super-fat-sounding Überwave function for beefing up sounds by up to eight individually detuned oscillators a la Waldorf’s recently released Rocket synthesizer. Nave is, indeed, truly a sound designer’s dream machine!
But, Waldorf being Waldorf, that’s not all: Nave’s flexible Filter section delivers that high-quality synthesizer sound recognisable right away by anyone at all familiar with Waldorf’s noteworthy name, and, as such, features LP (low-pass), BP (band-pass), and HP (high-pass) filter types with either 12 dB or 24 dB slope settings. Its neighbouring Drive section offers contrasting characteristics by being positioned Pre Filter or Post Filter or as a summing overdrive Pre EQ or Post EQ — perfect for those who prefer harsh and screaming sounds rather than delicate wavetable sweeps.
An extended modulation matrix and diverse realtime control functionality also awaits anyone wishing to animate any Nave sound in any desired direction. In addition to the classic virtual chromatic keyboard, Nave can be played with the Blades that allow for dynamic triggering of polyphonic modulation by simply sliding fingers in X and/or Y direction.
Yet more flexible fun is to be had on the FX & Arp page with pro-quality ModFX (Phaser, Flanger, Chorus), Delay, Reverb, parametric Equalizer, and a highly effective Compressor all adding to Nave’s sound and performance possibilities, as does a full-featured Arpeggiator. And last, but by no means least, the Tape & System page plays hosts to an old school, four-track recorder — replete with virtual tape spools. Use it to record complete compositions or simply sketch some musical ideas inspired by the superlative sounds of Nave!
So how does Nave naturally sound, then? Totally in a class by itself. Just like Waldorf! After all, the well-known Waldorf name has been synonymous with high-quality synthesizers for nigh on 25 years; indeed, its innovative position in the musical instrument marketplace dates back to 1989 with the release of the wavetable-based Microwave, an extraordinary reincarnation of the legendary PPG Wave series — arguably amongst the most coveted high-end synthesizers of the early Eighties. Time and technology stand still for no one, of course, and today Nave takes those heady heavyweight hardware developments of yesteryear — and a whole lot more besides — and serves them up to thankful iPad-adoptees at a fraction of the cost of its forebears.
Any adventurous musical iPad owners out there intrigued by the creative possibilities of wavetable synthesis surely owe it to themselves to check out Nave, the advanced wavetable synthesizer from Waldorf. Going for a song on Apple’s App Store, right here, right now!
iPad owners can purchase Nave directly from Apple’s App Store for a five-day special introductory price of €10.99 EUR/$11.99 USD. (Thereafter it will rise to €17.99 EUR/$19.99 USD.)"
I want to start by thanking everyone that comes to MATRIXSYNTH and helps make it what it is - the readers, the supporters, and of course all the sponsors on the right.
THANK YOU and have a GREAT 2015!!!
This site is a labor of love and a ton of work. This site is ultimately meant to be an testament to everything synth in the making. We have over nine years of daily synth history captured here, 119,983 published posts. I can't wait to see what the future brings us in 2015!
That said, here are a few interesting bits from 2014 in the longest post of the year. ;)
Playlist:
1. Patch of The Week: The Sonic XV's Wave Folder - So many tones from just 1 VCO's Triangle wave
'Sonic Arps': The Sonic XV Transistor Diode Ladder Filter has a built-in Wave Folder, and in this video I'm using an arpeggiator in random mode to show the many subtle flavours of sound it can achieve from just a simple triangle wave from a single VCO. I will also pull a huge variety of timbres from a sine wave in a similar fashion. The filter is a re-creation and expansion of the VCF from the Musonics Sonic V (5) synth of the 1970's (predecessor of the Moog Sonic Six), and shares a similar character to that of the EMS Synthi and VCS3, also being early diode filters. Bearing that in mind you might expect it to produce aggressive tones and chaotic feedback, which it can do well enough, but you might not have expected that it can also be very subtle, organic and warm in character, particularly well-suited to melodic arps/patterns and percussive sounds. With the added wave shaping functionality that wasn't present on the original, along with 24dB and 6dB low pass modes, and band pass filtering, this module packs a lot of tone shaping into 14hp.
A PDF file of the patch can be downloaded here: https://kvisit.com/8AE/xfUG
Patch notes: Green dots show approximate pot and switch positions. Where a pot has two dots, this illustrates the range I move them during the video. Pots and switches that do not have green dots are not used in this patch, and should be left at their zero or off positions. I'm using the VCA as a mixer so that I can use the outputs from both the BP and 6dB outputs of the Sonic XV. Notice in the video they are set at different volumes at different points depending on the sound - you will need to adjust this too, as different combinations of IN LEVEL, IN MIX, IN WAVE, and filter settings can make a significant difference to volume levels. Modules used from left to right: Vintage Transistor Core VCO, Sonic XV, Contour Generators, Discrete Cascaded VCA.
2. Patch of the Week: 'Schulze School' - Melodic Eurorack performance + 'how-to' guide & patch sheet
This week's patch makes use of the V-Shape wave shaper/wave folder to sculpt the great analogue tone of the MiniMod VCO to create some delicate timbres that reminds us of Klaus Schulze's mesmerising sounds created on his sequencer-driven Moog modular synth systems in the 1970's. It also makes particular use of the Ring SM as a sub oscillator generator, and the rich tones of the Sonic XV diode filter.
Check out the AJH Synth playlists for more 'Patch of The Week' videos, which will be either performances or 'how to' guides detailing a range of sounds, some familiar, some less so, and each containing a patch sheet at the end to show you how to construct it for yourself.
3. Patch of the Week: 'Singing Gemini' - Dual Analogue VCF as a Dual Sine Wave VCO How to & patch sheet
This patch uses each of the 2 analogue filters of the Gemini as a dual VCO, self-oscillating, so that they produce sine waves and can be sequenced melodically using the Korg SQ-1 or any analogue step sequencer. This guide shows you how to make this patch, along with a patch sheet at the end. It is one of the many ways you can use just a couple of Eurorack modules to make music, as modular synthesis can be rewarding even with a minimal gear list.
"Improvisation of the 11th january 2013 for Little Phatty and Snow Virus played simultaneously through the Little Phatty's keyboard. Film and recording on camera by Nathan Nadal"
Improvisation d'Hiver II
Published on Jan 19, 2013
"Second Improvisation performed the 11th of January 2013, on Little Phatty and Snow Virus, played simultaneously through the Little Phatty's keyboard. Film and recording by Nathan Nadal."
Per the site guidelines, you need to be able to differentiate between the synths in any given post. The idea is you can get a feel for the synth/s featured. In this case it's not as clear what synth is producing each sound, but I thought I'd post it for the unique context. This performance is actually a lecture at a high school in France. It's great to know that students are being exposed to synthesis and the more abstract sonic soundscapes they are capable of.
Via Marc-Henri: "Winter Improvisation I and II are two pieces of music performed live for those of my students who attend the course of Philosophy and Electroacoustic music at "Lycée Edouard Herriot of Lyon". I created this course two years ago with the agreement of the Principal of Lycée Edouard Herriot and the Board of education of Lyon. It takes place among a program of education and culture in which i am absolutely free ti create and test new methods of teaching to transmit the taste for culture to youth. The course is also connected with the Museum of Fine Art of Lyon in which I will give a performance of electroacoustic music and poetry in march 2013.
The pieces of music presented here consist in two improvisations performed friday the 11th of january 2013. I wanted to introduce them to the question of improvisation because we plan for may a performance with a video, a recorded collective piece in which they will take the main part and simultaneously a live improvisation on this canvas. Thus, to give them an example of this kind of thing, I gave them two improvisations with my Little Phatty and my Snow Virus playing simultaneously, the second being controlled by the keyboard of the first one.
In the first attempt, I improvise on part of the recording of De Haute Vallée which is played by the computer, from00:20 until 13:14. My aim was to show them how you can recreate a former composition by playing improvisations on it and it is for me a kind a variation in the same kind of spirit I use in the Hadikat Raja series, except that I simply open a live music field over the root composition and melt it with this root composition instead of changing the position of former elements, erasing some of them, developing others and creating new elements in each new piece to produce a series of work in progress as I do in the Hadikat Raja Series. The Little Phatty played solo ends this first performance from 15:46 to 16:16.
In the second improvisation, the Little Phatty play together and with no recorded part, from the first second to the end.
All sounds are mine on both instruments, as usual, and I had no rehearsal before. This was the first time I used the LP and the Snow, since a long time. Thus, the performance is absolutely improvised.
Both improvisations were shot and recorded on a camera, by one of my students, Nathan Nadal who also created the titles and effects of the first film. I created the titles of the second, adding a the end a recent painting to conclude by a still image.
I hope the quality of sound is not to poor. The filming and recording of these two improvisations had not been planned and since Nathan asked me if he could shoot them I said yes because it is a track of the work we do in this course."
Packed with the latest from Korg & Arturia, including the brand new ARP Odyssey, Kronos 2, along with the MiniBrute, MS-20 Mini, Volca, Electribe and more.
Presenters
Steve McNally: When it comes to hot-shot, blow-your-socks-of keys playing, Steve McNally is an undisputed master. Steve will be flying in especially for the event — brace yourself.
Ross Healy & John Pillans: Ross (VICMOD Records) and John (Mungo Enterprise) are two gentlemen with their fingers firmly on the pulse of the modular synth renaissance. Get across the state of the art in this arcane but endlessly fascinating world of synthesis.
Davide Carbone: Producer, sound designer and founder of the School of Synthesis, Davide has been circling the world making electronica and spreading his love of synthesis.
Josh Abrahams: Aria Award-winning Josh is indeed ‘addicted to bass’ but also a synth nut and composer / producer of world renown. Josh will build a track before your eyes.
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]
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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.
