Phantom of The Paradise (1974)

via I love hot dogs
via Tycho

That would be TONTO in the background.

You might recognize the shot from the Synths in TV and Film post.

See I love hot dogs for a few more shots and a write-up on the film.

Bottom: nice grill

Hmm... was this the first grill? Is it actually a grill? The grill before the grill? Would be cool if the first grill ever was somehow associated with synths.

Stevie Wonder - Superstition live on Sesame Street

YouTube via RSLweblog

"It doesn't get much better than this.... I can't imagine a better feel good song than this one! Check out the REST OF THE VIDEOS in this collection! Stop by my music webpage (Ryan's Smashing Life) and say hello!"

Some interesting notes via Malcom Cecil on the AH list:
"I engineered and co-produced Superstition and still have the Master Track Sheets, Work Orders and Tape Legends from all of the recordings that I made with Stevie between 1971 and 1975.

The 8 tracks of clavinet are actually 4 stereo pairs, however, there are two very important timed stereo slap back tape tracks that Stevie was listening to while he played the first pass. They bwere created on a two track Ampex with a varispeed.

I recorded them because they are an important intrigal component of the musical line. I timed the slap to be drum track to create the funky feel. I only used the first stereo pair of clavinet tracks that were recorded with those slap back tracks in the final mix. If your tracks are numbered those clavinet tracks are 7 & 8 and the associated stereo slap tracks are on tracks 6 & 9 but if not you can hear which they - you can always listen to the mix!

Stevie recorded the drums (solo) first, then the cavinet/slap echo tracks and then the TONTO bass. Then he put down a reference vocal with "Lal-as" for words (except for "very Superstitious"). The words didn't get written until about two weeks later and the horns were added much later

I am very surprised to hear that that you have copies of the original tracks! I guarded those masters with my life but I gave them all to Stevie when we stopped working together in 1975.

I guess his security system 'aint what it was when I was with him - but then a lot changed when I left.

Peace,
Malcolm Cecil"

TONTO and Stevie Wonder

I made the TONTO and Steview Wonder post from 2006 Featured. Don't miss it.

Synapse Magazine

I haven't put up a post on Synapse Magazine in a while, so I figured why not put one up. Synapse Magazine was a synth focused magazine from the 1970s. Cynthia (yes, this Cynthia) has scanned several of the issues and made them available for free here. Do check them out. Lots of old analog goodness. You will feel just like Malcolm Cecil of Tonto.

MOOG'S MUSICAL EATERY

flickr by tonto--kidd

full size

"The great moog cookbook 'Moog's Musical Eatery' (1978) written by Shirleigh Moog, wife of the late synth genius Robert Moog."

You can actually find this one on on Amazon

I added it to the Synth Books section.

DELIA DERBYSHIRE- "The Wizards Laboratory" (1972)

YouTube via funknroll

"The Women of ELECTRONIC MUSIC! From the 30's to the 70's!

Before synthesizers, electronic music was honed the hard way in universities, by splicing tape loops, distorting sounds, endless dubbing, and blind instinct. Here are the timeless women of future music who created our present...

Since the 1930's, CLARA ROCKMORE was the master of the notoriously difficult Theremin, and later championed by synthesizer-creator Bob Moog; LOUIS & BEBE BARRON created the first all-electronic score for the film "FORBIDDEN PLANET" (1957), using oscillated sounds and tape loops; //STUDIO d'ASSAI (Paris): Danish ELSE MARIE PADE studied under musique concrete founder Pierre Schaeffer, becoming a noted composer; ELAINE RADIGUE used the Buchla and Arp synthesizers in her work, heavily influenced by Buddhist meditation, and records now with laptop improv group The Lappetites; MICHELE BOKANOWSKI has composed for film, televison, and theatre; //BBC RADIOPHONIC WORKSHOP (London): ...was created and directed by DAPHNE ORAM, inventor and sonic pioneer; she was followed by DELIA DERBYSHIRE, who brought Ron Grainer's "DR. WHO" theme to brilliant, eerie life with her studio wizardry; MADDALENA FAGANDINI co-created the proto-Techno single "Time Beat/ Waltz In Space" (1962) with young producer George Martin under the alias 'Ray Cathode'; GLYNIS JONES produced some of the Workshop's classic albums like "Out Of This World" (1976); ELIZABETH PARKER scored many BBC shows including "BLAKE'S 7", and was the person to see the Workshop out in its 1998 finale; //Fluxus performance artist YOKO ONO expanded John Lennon's mind and range with electronic music, musique concrete, and 'happening' experiments; //COLUMBIA-PRINCETON ELECTRONIC MUSIC CENTER (New York): A premiere focal point for international composers since the 50's, including composer and Associate Director PRIL SMILEY; ALICE SHIELDS combined her operatic voice and poetry with the revolutionary synthesizers of the late 60's and early 70's; teacher DARIA SEMEGEN wrote traditional classical music as well as electronic; WENDY CARLOS had massive mainstream success with the all-synth "Switched On Bach", before writing groundbreaking film scores for "A CLOCKWORK ORANGE," "THE SHINING" and 'TRON"; nearby at Bell Labs, LAURIE SPIEGEL spearheaded computer graphics and software design as well as new music; maverick ANNETTE PEACOCK went from Free Jazz piano to the first synthesizers, threading her early 70's raps and rock with freeform electronics; //Argentinian BEATRIZ FERREYRA, who also studied with Schaeffer, is an esteemed composer and teacher; //SAN FRANCISCO TAPE MUSIC CENTER: The crucial West Coast electronic center, including Morton Subotnick, Terry Riley, Steve Reich and PAULINE OLIVEROS in 1962; it moved across the Bay to become the... //CENTER FOR CONTEMPORARY MUSIC (Mills College, Oakland, CA): Oliveros was the first Director, perfecting her signal processing system for live performance; student and now Co-Director MAGGI PAYNE trailblazed video imagery and record engineering along with her music; alum CYNTHIA WEBSTER played in the early synth band Triode, founded electro mag SYNAPSE, and now runs Cyndustries designing software for electronic music, such as the Zeroscillator.

Their innovations led to Progressiv Rock, Krautrock, New Wave, Coldwave, Darkwave, Electro Funk, Industrial, Techno, and Electroclash. Their fringe future music is now the soundtrack of today.

DELIA DERBYSHIRE: This song is from a 1972 LP called "Ultrasonic", collecting music library pieces Delia scored for use in TV shows. It was recently issued on CD, as was "Oramics" by Daphne Oram:
http://www.boomkat.com/item.cfm?id=89395
http://www.boomkat.com/item.cfm?id=35793

See also:
ALICE SHIELDS -"STUDY FOR VOICE AND TAPE" (1968)


"Sound, the infinite frontier! Science had chopped the world into atoms, components from which to build. Modern art deconstructed reality, reconstructing our perceptions of it. And the first Electronic Music likewise took apart sound and turned it inside out for new compositions. Vladimir Ussachevsky founded the first Electronic Music Center jointly with Columbian and Princeton universities in 1952. He brought in avant composers from countries worldwide with new perspectives and radical expirementation. This included women like Daria Semegen, Pril Smiley, Wendy Carlos, and Alice Shields. In the 50's, Electronic Music was distortions of recordings. Sounds on a tape recorder would be manipulated by feedback, repeated spliced loops, overlapping tracks with multiple recorders, and using oscillators and reverb to sculpt the tempo, tone, or texture. This prevailed in continually advancing ways well through the 1960s. Alice used these techniques in creating this composition. A gifted mezzesoprano, she first sang a poem she'd written. She accompanied this with the first analog Buchla synthesizer, a rare and recent device only beginning to draw the attention of the hippest pop musicians. She then manipulated pitch and speed in textural patterns to supplement the freeform song. This was the cutting edge music of the future, usually heard only in academic circles. But it made its way into film soundtracks (from FORBIDDEN PLANET to Wendy Carlos' A CLOCKWORK ORANGE), Fusion Jazz (Miles Davis, Herbie Hancock), Progressive Rock (from George Harrison's 1969 ELECTRONIC SOUND to Krautrock and Kraftwerk), Funk (Stevie Wonder's T.O.N.T.O., Bernie Worrell), on to the synthesizer explosion of New Wave, then Hip Hop (from Bambaataa's ElectroFunk to Public Enemy's radical sculptures of noise), Industrial (synthetic abrasion), and the Electronica music of today; as such, Alice Shields is a godmother of Le Tigre, Peaches, Chicks On Speed, Lesbians On Ecstasy, and Ladytron, to name a few."

MALARIA! -"Your Turn To Run" (1982)

"The Women of 80's ELECTRO! Coldwave, Darkwave, Synthpop, Industrial!

As synthesizers got smaller and cheaper through the 70's, 'future music' went from acedemia to the street. Punk, PostPunk, Funk, and HipHop artists brought attitude and new styles into the pop vocabulary throughout the 80's that forged the music of today. Here are many women from the first Electro rock era..."

http://www.cyndustries.com/woman.cfm
http://www.newyorkwomencomposers.org/...
http://www.aliceshields.com/
http://www.imtheone.net/annettepeacoc...
http://whitefiles.org/rwg/index.htm"

Serge Modular System

images via this auction and this auction.
Auction 1:
QUANTIZER MODULE
ASR MODULE
ASR MODULE
DUAL TRANSIENT GENERATOR MODULE
RANDOM SOURCE MODULE
SMOOTH STEPPED GENERATOR
CV PRO MODULE
DUAL UNIVERSAL SLOPE GENERATOR
EXTENDED ADSR MODULE
SMOOTH FUNCTION GENERATOR
NOISE SOURCE MODULE
DUAL PROCESSOR MODULE
DUAL PROCESSOR SLOPE GENERATOR
PHASER MODULE
VOLT CONTROLLED STEREO MIXER
NEW TIMBRAL OSCILLATOR MODULE
PRECISION VCO (2 MODULES)
WAVE MULTIPLIER MODULE
VARIABLE QVCF MODULE
DUAL TRANSIENT GENERATOR
DUAL AUDIO MIXER MODULE
TOUCH ACTIVATED KEYBOARD SEQUENCER

Auction 2:
"PREAMP DETECTOR
FREQUENCY SHIFTER
C/M MODULE
WILSON ANALOG DELAY MODULE
MIXER MODULE
VARIABLE SLOPE VCF
RESONANT EQUILIZER MODULE
DUAL PHASER MODULE
DUAL CHANNEL STEREO MIXER MODULE

Serge gets its name from Serge Tcherepnin (pronounced "Cher - epp - nin"), a multitalented composer and electronic designer born of Russian-Chinese parents and raised in France. Self-taught in electronic design and circuit building, Serge enjoyed doing 'junk electronic' projects early on, making tape compositions using various electronic noisemakers cobbled together out of transistor radios and the like.

After studying music and physics at Harvard and Princeton, he taught music composition at the California Institute of the Arts. This was the early 70's, the heyday of Moog, ARP, and Buchla synthesizers. Calarts had a few Buchla-equipped studios. These were expensive, highly sought-after instruments, kept under lock and key. Getting studio time on one at Calarts meant being either a recognized staff composer or someone who maneuvered themselves into favor. The Buchla, ARP, and Moog synthesizers were interesting in their way, but could be improved upon. They were both expensive and bulky, a system with a decent number of functions could take up a whole wall in a small room. Serge and students Rich Gold and Randy Cohen wondered what they could do about this. After kicking around some ideas, they decided they were going to do their own synthesizer.

The first modules were designed, soldered, and built at Serge's home in what was essentially a kitchen tabletop operation. Before long, the word got out to other professors, students, and musicians about this new synthesizer. They wanted a piece of the action. Serge set up a strange sort of guerrilla manufacturing operation at Calarts on a second-story courtyard balcony. People paid $700 upfront for parts, worked on the 'assembly line' soldering and building modules, and eventually got themselves a six-panel system. Somehow, the Calarts administration either didn't find out or wasn't too bothered by this.

Another interesting player in this drama was composer Morton Subotnik, a professor at Calarts. He had a long association with instrument designer Don Buchla in the early 60's, the two of them collaborating on fundamental aspects of synthesizer design. When Mort spoke, Don listened. Serge caught on to this, and sought to woo Morton away from the Buchlas, but that was difficult. Eventually, Serge did build Mort some custom equipment.

In the 70's Serge collaborated on the design and construction of TONTO, a large polyphonic modular system. TONTO had the ancestry of many early Serge designs, some packaged behind faux-Moog front panels, including the NTO.

Serge eventually quit teaching and began to build synthesizers more seriously, using the first designs as a springboard. The Serge company was started in 1975, in the West Hollywood area, then headed north to San Francisco's Haight Street a few years later. It was always a humble bohemian concern, running more on enthusiasm and the love of making music than money and hardheaded business sense. Business tapered to a trickle in the middle 80's, and Serge, to support his family, started doing various outside electronic consulting projects. In 1992 Serge decided to move back to France. It was at this point that he sold the closely-guarded circuit designs to longtime associate Rex Probe, who then founded Sound Transform Systems. Production record keeping was pretty informal; it's estimated that "hundreds" of Serge systems were produced in the early years.

Today, Serge is again doing musical composition and is involved in helping Russian Jews move to Israel.
As Moog was a powerful East Coast influence that inspired ARP and Polyfusion, Buchla was the West Coast influence on Serge. Several Buchla designs, including the use of touch sensitive nontraditional keyboards, sequencers, random voltage generators, function generators, and matrix mixers found their way into Serge's repertoire. But that's not to say that Serge is merely a Buchla clone. Serge made many unique contributions, including the wave multiplier module, and some ideas were taken to new heights. Serge's oscillator designs have extraordinary accuracy and stability, especially considering their discrete nature. His philosophy of allowing the easy interplay of audio, control, and trigger signals, combined with the use of banana plugs, makes these systems wonderfully flexible.

There's no denying the amazing staying power of the Serge designs. Largely because of the development of convenient microprocessor-based keyboard synths, the 80's were a nasty time for analog synthesizer makers, practically all of them throwing in the towel. Serge's business slowed way down but never completely went out of production. With the recent clamoring for analog gear fueling successful production, Rex Probe and Sound Transform Systems look poised to carry the cream of analog modular music synthesis over the threshold of the 21st century, into their fourth decade of realization.

Sound Transform Systems has done a great job of continuing the analog modular lineage. Most of the traditional Serge modules are there, a few old ones were dropped, a few new ones added. The details are constantly being improved in many visible and invisible ways. They are still laboriously handmade, though the entire build process has been improved. Turnaround time has been improved from several months to 'just a couple'. All the components are top notch. The panel graphics and layout of many of the modules have been redesigned to make them more compact while keeping or improving the functionality. The circuit designs on many modules have been updated."

Stevie Wonder

YouTube via Mckinley0039.
Herbie Hancock talks about Stevie Wonder. Features Stevie playing the uber Yamaha GX-1.
Via Failed Muso where you'll find an excellent post on Yamaha's Uber Synths. Check it out.
Update: Also see Stevie Wonder and TONTO in this previous post.

Synths in TV and Film

Note: some of the videos below have been pulled from YouTube, but I'm keeping mention of them up as a reference that they are out there.

Let the page load before scrolling - it's a long one.
Be sure to see the Synth Movies list and see the Synth Movies and Synth TV and Film labels for more.

1. Close Encounters of the Third Kind
Synths: ARP 2500 played by Phillip Dodds, head of ARP Engineering, Yamaha CS-?.


2. Fame Synths: ARP 2600, MOOG Minimoog

CLICK FOR MORE »

Serge Modular

Click here for shots via this auction.

Details:
"SMOOTH FUNCTION GENERATOR, NOISE SOURCE, DUAL ANALOG SHIFT REGISTER, DUAL UNIVERSAL SLOPE GENERATOR, DUAL PHASER, UNIVERSAL EQUAL POWER AUDIO PROCESSOR, TIMBRAL OSCILLATOR, PRECISION VCO (TWO OF THESE), WAVE MULTIPLIER, VARIABLE Q VCF, DUAL TRANSIENT GENERATOR, DUAL AUDIO MIXER, TOUCH ACTIVATED KEYBOARD SEQUENCER.

Serge gets its name from Serge Tcherepnin (pronounced "Cher - epp - nin"), a multitalented composer and electronic designer born of Russian-Chinese parents and raised in France. Self-taught in electronic design and circuit building, Serge enjoyed doing 'junk electronic' projects early on, making tape compositions using various electronic noisemakers cobbled together out of transistor radios and the like.

After studying music and physics at Harvard and Princeton, he taught music composition at the California Institute of the Arts. This was the early 70's, the heyday of Moog, ARP, and Buchla synthesizers. Calarts had a few Buchla-equipped studios. These were expensive, highly sought-after instruments, kept under lock and key. Getting studio time on one at Calarts meant being either a recognized staff composer or someone who maneuvered themselves into favor. The Buchla, ARP, and Moog synthesizers were interesting in their way, but could be improved upon. They were both expensive and bulky, a system with a decent number of functions could take up a whole wall in a small room. Serge and students Rich Gold and Randy Cohen wondered what they could do about this. After kicking around some ideas, they decided they were going to do their own synthesizer.

The first modules were designed, soldered, and built at Serge's home in what was essentially a kitchen tabletop operation. Before long, the word got out to other professors, students, and musicians about this new synthesizer. They wanted a piece of the action. Serge set up a strange sort of guerrilla manufacturing operation at Calarts on a second-story courtyard balcony. People paid $700 upfront for parts, worked on the 'assembly line' soldering and building modules, and eventually got themselves a six-panel system. Somehow, the Calarts administration either didn't find out or wasn't too bothered by this.

Another interesting player in this drama was composer Morton Subotnik, a professor at Calarts. He had a long association with instrument designer Don Buchla in the early 60's, the two of them collaborating on fundamental aspects of synthesizer design. When Mort spoke, Don listened. Serge caught on to this, and sought to woo Morton away from the Buchlas, but that was difficult. Eventually, Serge did build Mort some custom equipment.

In the 70's Serge collaborated on the design and construction of TONTO, a large polyphonic modular system. TONTO had the ancestry of many early Serge designs, some packaged behind faux-Moog front panels, including the NTO.

Serge eventually quit teaching and began to build synthesizers more seriously, using the first designs as a springboard. The Serge company was started in 1975, in the West Hollywood area, then headed north to San Francisco's Haight Street a few years later. It was always a humble bohemian concern, running more on enthusiasm and the love of making music than money and hardheaded business sense. Business tapered to a trickle in the middle 80's, and Serge, to support his family, started doing various outside electronic consulting projects. In 1992 Serge decided to move back to France. It was at this point that he sold the closely-guarded circuit designs to longtime associate Rex Probe, who then founded Sound Transform Systems. Production record keeping was pretty informal; it's estimated that "hundreds" of Serge systems were produced in the early years.

Today, Serge is again doing musical composition and is involved in helping Russian Jews move to Israel.

As Moog was a powerful East Coast influence that inspired ARP and Polyfusion, Buchla was the West Coast influence on Serge. Several Buchla designs, including the use of touch sensitive nontraditional keyboards, sequencers, random voltage generators, function generators, and matrix mixers found their way into Serge's repertoire. But that's not to say that Serge is merely a Buchla clone. Serge made many unique contributions, including the wave multiplier module, and some ideas were taken to new heights. Serge's oscillator designs have extraordinary accuracy and stability, especially considering their discrete nature. His philosophy of allowing the easy interplay of audio, control, and trigger signals, combined with the use of banana plugs, makes these systems wonderfully flexible.

There's no denying the amazing staying power of the Serge designs. Largely because of the development of convenient microprocessor-based keyboard synths, the 80's were a nasty time for analog synthesizer makers, practically all of them throwing in the towel. Serge's business slowed way down but never completely went out of production. With the recent clamoring for analog gear fueling successful production, Rex Probe and Sound Transform Systems look poised to carry the cream of analog modular music synthesis over the threshold of the 21st century, into their fourth decade of realization.

Sound Transform Systems has done a great job of continuing the analog modular lineage. Most of the traditional Serge modules are there, a few old ones were dropped, a few new ones added. The details are constantly being improved in many visible and invisible ways. They are still laboriously handmade, though the entire build process has been improved. Turnaround time has been improved from several months to 'just a couple'. All the components are top notch. The panel graphics and layout of many of the modules have been redesigned to make them more compact while keeping or improving the functionality. The circuit designs on many modules have been updated."

Inverseroom, TONTO and Cecil

Image via this thread on the Matrixysnth forum.

"here's me [inverseroom] playing TONTO via a pair of Moog Drums, with Malcolm Cecil looking on...I interviewed him a couple of years ago. Pic by my bandmate Jim Spitznagel."

TONTO on YouTube

TONTO & Stevie Wonder


TONTO in Phantom of the Paradise

Get your freak on...

TONTO Rides Again - Updates

Title link takes you to updates in the original post. Putting this up just in case you missed it and would be interested. Good news is TONTO's Expanding Head Band will be playing live August 5th for those of you in Eastnor Castle in Herefordshire. Bad news is TONTO won't be there as it is too big to travel. The post has also been updated with Malcolm Cecil's comments on the unauthorized recording.

TONTO Rides Again

Update via the comments:
TONTO's Expanding Head Band
Updates via AH: Malcolm Cecil says:
"TONTO's Expanding Head Band will be performing live at the Big Chill Festival on Saturday, August 5th at 9:30 PM the Sanctuary stage. The festival is a 3 day affair held at Eastnor Castle in Herefordshire, about 2 1/2 hrs drive north west of London. The closest big town is Gloucester. They are expecting 33,000 people to show up - 5,000 will spend the whole 3 days camping there. More detailed info on how to get there is on www.eastnorcastle.com and the full festival info is available at: link.

TONTO will not actually be there - way too big and expensive to ship for a one hour performance - I am creating a "Virtual TONTO" and will play live over pre recorded backing tracks with a specially prepared visual show with hundreds of pics of TONTO and Poli Cecil's art pieces.

The TONTO CD with an additional never before released track will be available at the festival. Those who can't attend but want the CD can email me mcecil[]hvc.rr.com"

Malcolm Cecil in regards to this recording:
"It is unauthorized.

I have mixed emotions about it. Its like seeing your mother in law drive over the edge of a cliff :-) in your brand new uninsured Rolls Royce :-( I am gratified that more than 1100 people have downloaded it in 9 months and that half of the people who found it download it. On the other hand I am just about to re-release the CD with an additional never before released track to coincide with TONTO's live performance at the Big Chill in England on August 5th. TONTO will not actually be there - way too big and expensive to ship for a one hour performance - but I am creating a "Virtual TONTO" and will play live over pre recorded backing tracks with a specially prepared visual show with hundreds of pics of TONTO and Poli's (Mrs. Cecil's) art pieces."

Original Post:
"If you are too young to remember those halcyon days, back when all computers were water cooled, and the Future was Now, then you probably do not even know what a multitimbral polyphonic analog synthesizer is.

TONTO is an acronym for "The Original New Timbral Orchestra": the world's first (and still the largest) multitimbral polyphonic analog synthesizer, designed and constructed by Malcolm Cecil. As an analog synthesizer, TONTO was capable of creating virtually any sound. Its warm, fat bass sounds were particularly noteworthy and still cannot be recreated by the current breed of MIDI digital synthesizers and samplers. (See more at link)

With Robert Margoleff, Malcolm produced two LPs - "Zero Time" and "It's About Time" - as "TONTO's Expanding Head Band". I think that "Zero Time" is the best. While I have had the vinyl since forever, the CD is out of print.

I was lucky and persistent enough to find a chap with a copy of the remastered compilation CD, "TONTO Rides Again", and he burned me a copy. I took this and ripped it to WAV with Winamp Pro. Then, I converted to FLAC with dBpowerAMP."

Title link takes you there.

Analog Synth Record Collection

Check out this auction list while it's up. There is a slew of old analog synth records. I saved off the album covers, titles and any details given for each; title link takes you to one monster htm file. I listed the albums below as well for anyone that wants to search for them in the future.



-Moog Synthesizer, The Essential, Perrey & Kingsley
-Moog Synthesizer, Moog Indigo by Jean Jacques Perrey
-Amazing New Sound of Jean Jacques Perrey
-Spotlight on the Moog; Kaleido-scopic vibrations
-The in sound from way out, Perrey - Kingsley
-First Moog Quartet by Gershon Kingsley
-Yankee Transdoodle; ARP 2600 + Obenheim equipt.
-Giorgio; 1977, exclusively electronic keyboards
-It's about time, Tonto
-White Noise / An Electric Storm
-Plugged in Joplin, Minimoog and EMS Synthi AKS, 1974
-Firebird by Isao Tomita
-Ragnarok; Electronic funk by Paul Beaver and Bernard L. Krause
-Skylab; Electronic butterflies play instrumental hits
-Electronic Music for Jean Dubuffet's Coucou Bazar by Ilhan Mimaroglu
-All Good Men by Beaver and Krause
-Beyond the sun, the planets Patrick Gleason and the Eu Polyphonic Synth
-Electric Love Moog synthesizer and strings
-Good morning Starshine with Moog synth by Tartaglia
-Mother Mallards Portable Masterpiece Co recorded at R.A. Moog !
-Short Circuits by Ruth White / Moog Synthesizer
-Moog synthesizer album, Everything you always wanted to hear on the Moog but were afraid to ask
-Music to Moog by Gershon and Kingsley
-Quadradisc Highlights - quadraphonic record album
-Electronic Hair Pieces Mort Garson with Moog synthesizer
-Copper Plated Integrated Circuit - 1969
-Switched On Gershwin - Moog synthesizer
-White Noise 2 David Vorhaus, 1975, Concerto for synth
-Popcorn Gershon Kingsley's First Moog Quartet
-Apollo 100 Masterpieces includes Popcorn
-Hot Butter with Stan Free at the Moog synthesizer
-Realistic Life Mechanical Sound Effects record album
-Flowers Of Evil

Inverse Room 's Ambient Creot

Great way to decompress. Title link takes you to the site with podcast. Via Inverse Room.



Update from Inverse Room on the shot above:
"I'm standing next to Malcolm Cecil's TONTO, the famous Moog/Serge/Oberheim/ARP/homemade synth on all those Stevie Wonder records. I was interviewing Malcolm for TapeOp magazine a while back and got to see the great beast!"

"Dear Friends--

It's time for another of my episodes of Creot Radio--volume 42, AMBIENT
CREOT. This podcast consists of 50 minutes of langourous loops,
reverb'd strings, echoing guitars and synth pads as thick as a
mattress. Also, extra points if you can find the pitch-shifted hair
dryer. I'll be introducing each song in a soothing voice that
guaranteed to lull you into a false sense of personal well-being. The
podcast has just been posted and will be up all week.

http://www.creotradio.net

Creot Radio is an ALL-ORIGINAL weekly (usually) podcast of independent
music. Check out the text that accompanies each podcast for photos,
links, and information about our contributing artists. And visit our
merch section for Creot Radio artists' CD's...and for the stunning
embroidered Creot Radio iron-on patch.

Enjoy the music. Buy the patch. It's the right thing to do.

Yours
John"

TONTO - New Flickr Shot

From Flickr:

"This is the legendary and mythical TONTO modular synth setup, owned by old school synth nerd / producer / tape op Malcolm Cecil. It was featured on alot of Stevie Wonder's best music, including the track, "Superstition". There are ARP, Oberheim, Serge and Moog modules in TONTO, and even some created by Malcolm, himself. If you are a synth geek, and you've never heard of TONTO, consider yourself a synth geek in training, and class is in session. It is rumoured by Malcolm himself that TONTO contains a very large amount of spare wire from an Apollo space shuttle."

Check out the words TONTO in the middle, above the keyboard.

Moog Memorial September 4th

Just found out about this. Missed the show yesterday, but there is still a chance to hear it on September 4th. Click through for more.

"In this special edition of Echoes, we hear comments on Robert Moog and his invention from Wendy Carlos, Redshift's Mark Shreeve, Sun Ra, Klaus Schulze, Robert Margouleff from Tonto's Expanding Headband, Jan Hammer and Jimmy Lavalle of The Album Leaf."