Celebrating the Life of Composer and Synthesizer Pioneer Patrick Gleeson
We received the sad news about about the passing of Patrick Gleeson. With respect to Pat's widow, and in conjunction with the Bob Moog Foundation, we are sharing their Press Release:
Legendary Master Synthesist Patrick Gleeson Dies at 91
On behalf of the estate of Patrick Gleeson, the Bob Moog Foundation shares the passing of the legendary electronic music pioneer. Patrick Gleeson passed away on July 19, 2026; he was 91 years old. Gleeson may be best remembered as the owner of Different Fur Studios, and for his subsequent work with Herbie Hancock. However, his career stretched well beyond those accomplishments, including producing and engineering for a multitude of musicians, recording solo albums, scoring soundtracks, and performing live.
Wendy Carlos once wrote of Patrick, "Our eight-year wait for someone else to explore electroinc music realisation with what we judge to be appropriate technical standards and musical taste has ended. In short, one hears the ears of a gifted musician at work, in a field where one must exercise unprecedented discipline and self-control."
You can read much more about Patrick's significant contributions to the world of synthesis and music HERE."
Extensive Collection of Schematics, Prototypes, and More Donated to the
Bob Moog Foundation Archives
The Bob Moog Foundation is excited to announce an extraordinary donation from inMusic Brands, the parent company of Moog Music. This collection of an astounding 4,489 items includes Bob Moog’s office effects from his final years at Moog Music, over 500 schematics and 700 letters spanning the 1970s through the early 2000s, and vintage synthesizers and prototype models, including a Fairlight CMI synthesizer and Minimoog Voyager bench-model prototype!
Vintage product catalogs from dozens of industry competitors and collaborators, drafted speeches and articles, letters of both a business and personal nature, and plenty of other surprises fill drawer after drawer of Bob's file cabinets. In one file folder, there might be something as everyday as a tax form or an employee review, and in the next, a poignant, handwritten letter from Wendy Carlos or Lydia Kavina! It took almost two years and many volunteers to assist the Bob Moog Foundation in accessioning these historical materials into the Bob Moog Foundation Archives.
Moogerfooger prototypes, a Multiple Resonant Filter (MuRF) test fixture, and a rare Moog Phone Controller model PC-30 are just a few more of the fascinating artifacts included, which altogether shine a fascinating light on some of Moog Music's legacy of engineering and innovation. There are far too many items in this collection to fully share here, but we created a blog post with a few more details and images. And of course, we hope to have a few of these rarities on display in the Moogseum!
Contributions like this, along with the ongoing support of our Members and other Donation sources, empower us to maintain our continually growing collection of over 15,000 historical pieces. Please consider making a donation today so that we can give this world-class archive the attention it deserves.
"Today we talk to modular synth pioneer Suzanne Ciani and MIT Spatial Sound Lab researcher Kamran V. Suzanne and Kamran both love quadraphonic sound, and they have a new quad release coming out on June 4th called Ciani/Orkest. They are on a mission to make quadraphonic music accessible to both musicians and to listeners, and in this interview, Kamran will explain how, you, with no special equipment, can listen to their new album in quad. We'll also get into how analog synthesizers actually work, the early history of Buchla synths versus Moog synths, why Suzanne thinks keyboards diminish the potential of synths, and how Suzanne designed some of the most recognizable sounds of the 1980s. Suzanne Ciani is a Grammy Award nominated composer, electronic musician, and neoclassical recording artist who has released over 20 solo albums, including Seven Waves and The Velocity of Love. Her work has been featured in Hollywood films, video games, and countless commercials. She was inducted into the first class of keyboard magazine's Hall of Fame, alongside Bob Moog, Don Buchla, and Dave Smith. And she was the subject of the feature documentary, A Life in Waves. Kamran V is an arts technologist and MIT Spatial Sound Lab researcher, and he's a National Endowment for the Arts grant recipient. He's worked at Interscope Records, produced immersive music releases for Nine Inch Nails, Sting, and Beck, and he ran the music tech fest, Moogfest. He's also on the board of Dub Lab.
Cited Media:
Music & Albums: Suzanne Ciani - Ciani/Orkest (2025)Suzanne Ciani - Live Quadraphonic (2016)Suzanne Ciani - The Velocity of Love (1986)Suzanne Ciani - Seven Waves (1982)Wendy Carlos - Switched-On Bach (1968)Stevie Wonder - Talking Book (1972)The Rentals Film & TV: 3-2-1 Contact, PBS (1980–1988)Brett Whitcomb - A Life in Waves (2017)Suzanne Ciani on David Letterman (1980) Events & Festivals: MoogfestAES ConventionAmsterdam Dance EventNAMM Tools & Plugins: Kamran V - QUARK Plugin (free) Record Labels & Archives: Finders Keepers Records
Chapters:
0:00 Intro 5:45 Meet the Guests 6:28 Sound Design & Commercials 13:45 High Art vs Low Culture 19:03 Ciani Orkest 24:42 Moog vs Buchla 26:36 How Modular Synths Work 36:15 Quadrophonic Sound 45:13 The QUARK Plugin 50:24 Seven Waves"
"Adventure into the creating lab and headquarters of Noise Engineering Co-Creator Stephen McCaul, where he and Kris create synthesizer modules and pedals that channel sounds from the past, future, and new dimensions. If you love synths, euroracks, modular synthesis, moog's, Wendy Carlos, and everything sci-fi, then this video is for you.
CHAPTERS:
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0:00 - Intro
1:04 - Plus Synth Wall
1:50 - Jam 1 (Sax + Synths)
2:28 - Plus Wall
10:42 - Jam 2 (Sax + Synths)
11:16 - Plus Wall
13:00 - The Mothership (totally insane eurorack modular space station)
15:42 - DX7
16:00 - Fender Rhodes
16:51 - Moog Theremin Synthesizer
18:00 - More Synth Modules
18:49 - Synth Creation Lab (where everything is created)
22:37 - Jame 3 (Solo Synth)
23:07 - Pedal Land
23:43 - Custom Wood Equation Structures
24:06 - Original Designs
25:38 - Execution Space
26:15 - More Pedals (Dystorpia + Batverb)
27:17 - Closing / Thanks For Watching
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"Full, deep dive into creating paraphonic microtonal drones on the Korg and Behringer Monopoly paraphonic synthesisers. This creates deep, mesmerising tones and textures. It's a ticket to space.
If you know of other synths that can do this please comment below and I will update this description for everyone.
Getting into Microtonality: One of the easiest ways to enter the microtonal sphere is to learn to make microtonal paraphonic drones. Once you have the basics, there is an infinite number of microtonal texture to explore, either scales or chords. The Monopoly GUI architecture is unique amongst synthesisers for being able to doing this because of its "chord" store function. If you know of any other synths that can do this too, please comment below and I will update this description for everyone.
Inspired by the drones from the Tanpura and Shruti in Indian music and other cultures, which use drones.
WARNING!!! Once hear this, you can never unhear it.
Effects used on examples: Valhalla SUperMassive reverb Recorded on location on a small planet off the arm of Orion
Gold listening: Wendy Carlos 'Beauty in The Beast' Terry Riley 'Harp of New Albion' (microtonally tuned acoustic piano)
"🎛️ The History of Synthesizers
From the massive Telharmonium of 1901 to today’s sleek soft synths, this video takes you through 150 years of electronic music innovation. Learn how electricity first made sound, how Moog and Buchla shaped the synth revolution, how digital FM and sampling changed everything in the '80s, and how modern VSTs like Serum and Omnisphere continue the legacy.
Along the way, you'll meet legends like Robert Moog, Don Buchla, Wendy Carlos, and Dave Smith—and discover the instruments that changed the sound of pop, rock, hip-hop, EDM, and film forever.
🧠Whether you're a synth nerd or just curious how your favourite sounds came to be, this video is your complete crash course."
Timestamps
0:00 – Intro
0:14 – Overview
0:47 – The Origins of the Electronic Sound
0:59 – Telharmonium
1:46 – Vacuum Tubes
1:54 – Ondes Martenot
2:10 – RCA Mark II
2:40 – The Moog Revolution
2:58 – Theremin
3:10 – Moog Modular
3:58 – East vs West: Moog and Buchla
4:53 – The First Synth Records
5:24 – Minimoog Model D
6:27 – EMS VCS3
8:14 – The Polyphonic Breakthrough
9:22 – Yamaha CS-80
10:12 – Digital Takes Over: FM Synthesis and Sampling
10:32 – Yamaha TX816
11:54 – Sampling
12:32 – Akai MPC60
12:43 – Software and the Analog Revival
13:32 – Impact / Outro
"This is the holy grail of early digital additive synths: a true successor to Bell Labs' Alles Machine, built by Crumar and Digital Keyboards between 1982–85. With only ~700–800 units ever made and fewer than ~100 still running today this Synergy Mk. I stands as an ultra-rare, pro-grade instrument crafted for sonic innovators like Wendy Carlos who used it on the TRON soundtrack as well as her albums Digital Moonscapes and Beauty in the Beast.
This unit is fully functional and fully responsive. It harnesses a formidable engine of 32 digital oscillators capable of additive and phase-modulation tones, delivering 8 or 16 voice polyphony. You have 24 internal presets at your disposal, with cartridge expansion support. It’s standout feature is the ability to layer up to four distinct tones simultaneously, creating lush, shimmering textures or aggressive, harmonically rich leads. Sure, editing is minimal on-board, but that means its extremely user-friendly. Dial in a tone and go."
"The Moog modular was one of the first commercially available synthesizers. Sold in different configurations, the Moog IIIP consisted of 3 portable cabinets. Containing ten (!) 901 series oscillators, the best lowpass and highpass filters in the biz, and a magical spring reverb that makes things sound more organic, we can't think of any other synth that matches the warmth and fatness of this genuine 1969 vintage Moog modular. Wendy Carlos’s classic album Switched on Bach and I Feel Love by Donna Summer were recorded on similar Moog modular systems. We just finished refurbishing this gorgeous example (assuming we don’t find any problems as we continue to test it). Restoration was done in stages and took many months to complete. Total tech time spent was around 85 hours. We hit a snag when some parts we ordered turned out to be fakes - a sadly common occurrence these days - but we eventually managed to track down some legit replacements. We originally planned to sell this system, but after spending some time patching it, we don’t know if we can let this one go! If this system was set up in a commercial studio here in New York City where it was available for use, would you be interested? If so, please email us. Or, make us a serious offer and if it's tempting enough, maybe we'll sell it. We'd also consider trades for similar vintage modular systems (Roland System 700, Buchla 200, Polyfusion, Emu Modular, ARP 2500, etc). We have a smaller (single cabinet) real vintage Moog Model 15 that's ready for sale.
We buy sell trade refurbish vintage synths and electronic musical instruments.
"A 3-cabinet authentic, period correct all RA Moog modules system that dates from 1968.
This instrument forms a part of the RL Music Vintage Synthesizer Collection. We have managed to keep some of the very best examples of Vintage Synthesizers that have come through our business over the last 22 years which we kept for our pleasure and interest. Whilst having a privileged position as a specialist dealer in this genre of equipment, we managed to hang on to particular instruments that were interesting and inspiring. The RA Moog Modular IIIC is one of 40 instruments we have, but is the oldest and most historically important.
"Time to upset some nerds. Programmed the famous clockwork orange, wendy carlos/ purcell piece. A Funeral For Queen Mary. Now with robotic lars ulrich and angry bass behind! Download the wav and mp3 here :-
/ 127565163"
"'The word "pioneer' gets thrown around too liberally these days. But in the case of Wendy Carlos, the glove fits. The face of electronic music would look immeasurably different in 2025 without the American trans composer's groundbreaking achievements. Before she came along, electronic music was barely considered music at all—just "funny sounds," as Bob Moog once said.
That all changed in 1968. Produced in collaboration with Rachel Elkind, Carlos's debut album, Switched-On Bach wielded machines to produce sounds that could compete with the symphonic pop and rock of the era. The landmark LP won multiple GRAMMYs, played a key role in popularising the use of synths and became only the second classical music record to sell a million copies.
In our latest video essay, written by Sasha Geffen, we trace Carlos's story from her early experiments with Moog through to her impact on key electronic acts of the past 50 years, including Brian Eno, DJ Sprinkles and Octo Octa.
00:00 - Intro 00:54 - Switched-on Bach 01:57 - Carlos and Bob Moog 03:07 Contribution to synth development 04:36 - A Clockwork Orange Score & The Vocoder 07:20 - Personal Life 08:20 - Musical Development
Producer - Sophie Misrahi Writer - Sasha Geffen Editors - Sergey Poltorakov, Guy Clarke Motion Graphics - Sergey Poltorakov, Dan Derham
Music in order of appearance:
1. Wendy Carlos - Toccata Fugue In D Minor - Switched-On Bach 2000 2. Wendy Carlos - Air On A G String - Switched-On Bach 3. Delia Derbyshire - Quest - Electrosonic 4. Wendy Carlos - Moog 900 series Demonstration 5. The RCA Electronic Music Synthesizer - The Well-Tempered Clavier Fugue No. 2 6. Wendy Carlos - Prelude And Fugue #2 In C Minor - Switched-On Bach 7. Wendy Carlos - Title Music From A Clockwork Orange (From Purcell's Music For The Funeral Of Queen Mary - A Clockwork Orange Complete Original Score 8. Wendy Carlos - Country Lane - A Clockwork Orange Complete Original Score 9. Cybotron - Clear 10. Wendy Carlos - Genesis - Digital Moonscapes
"This synthesizer is the world's first programmable music synthesizer. The first piece of electronic music to win the Pulitzer Prize was made on it.
basically a two voice synthesizer with tone generation and composing in the left hand side and processing on the right hand side, including manual binary for the, uh, ordering of the effects processes. Um, which for its time, uh, essentially like a uh, touring computer. Um, uh, was it You know, one and a half tons, seven feet tall, 14 feet wide, it's quite a behemoth, but now it's a very large paperweight.
Watch the full video:" [The above comes in at 22:41 - vintage Buchla, Serge & more follow. See this post for the red Buchla LSD module]
How Technology is Changing the Way We Make Music | A Conversation with Seth Cluett
"Guest: Seth Cluett, Director of Columbia University’s Computer Music Center | On LinkedIn: / seth-cluett-7631065 | Columbia University Computer Music Center Bio: https://cmc.music.columbia.edu/bios/s...
Host: Sean Martin, Co-Founder at ITSPmagazine and Host of Redefining CyberSecurity Podcast & Music Evolves Podcast | Website: https://www.seanmartin.com/
Show Notes
Music and technology have always shaped each other, and few places embody that relationship as deeply as the Computer Music Center (CMC) at Columbia University. In this episode of Music Evolves, Sean Martin sits down with Seth Cluett, Director of the Computer Music Center and Assistant Director of the Sound Art MFA program at Columbia, to explore the center’s rich history, its role in advancing music technology, and how it continues to shape the future of sound.
The Legacy and Mission of the Computer Music Center
The CMC is housed in the same 6,000-square-foot space as the original Columbia-Princeton Electronic Music Center, which dates back to 1951 and is one of the world’s oldest university-based electronic music research facilities. This was the birthplace of early electronic music, where pioneers learned to use cutting-edge technology to create new sounds. Many of those musicians went on to establish their own studios around the world, from Egypt to Japan.
The center has played a role in major milestones in music history, including the work of Wendy Carlos, a former student known for Switched-On Bach, the score for Tron, and The Shining. The first piece of electronic music to win a Pulitzer Prize was also composed here. Today, under Cluett’s leadership, the focus remains on creativity-driven technological innovation—allowing composers and artists to explore technology freely and push the boundaries of what’s possible in sound and music.
One of the center’s guiding principles is accessibility. Cluett emphasizes the importance of lowering barriers to entry for students who may not have had prior access to music technology. The goal is to make sure that anyone, regardless of background, can walk into the studio and begin working with 80% of its capabilities within the first 20 minutes.
Exploring the Labs and Studios
The episode also includes a tour of the labs and studios, showcasing some of the center’s groundbreaking equipment. One highlight is the RCA Mark II Synthesizer, the world’s first programmable music synthesizer. Built in the late 1950s, this massive machine—seven feet tall and weighing over a ton—was instrumental in shaping the sound of early electronic music. The system worked by punching holes into paper to control sound generation, similar to a player piano. While no longer in use, the CMC has collaborated with iZotope to model some of its effects digitally.
"Alan R Pearlman was responsible for some of the greatest sounding and most intuitive synthesizers of the modern age, many of which are still highly sought after or emulated to this day. Inspired, as so many were, by hearing Wendy Carlos’s 'Switched on Bach', he founded Tonus in 1969, a company that would soon become ARP Instruments, and began producing synthesizers such as the legendary ARP 2500, 2600 and Odyssey.
Since his passing in 2019 at the age of 93, his daughter, Dina, has been building the Alan R Pearlman Foundation, an organisation that seeks to preserve her father’s legacy and enable as many people as possible to get hands-on with his inventions.
As with all not-for-profits, Dina has faced numerous challenges, but with the help of the likes of Jean Michel Jarre, Herbie Hancock and many other fans of Alan’s work, the Foundation is beginning to realise its objectives with great success.
Chapters
00:00 - Introduction
01:18 - The Alan R. Pearlman Foundation
06:52 - The Main Aims Of The Foundation
09:12 - Women In The World Of Pioneering Synthesis
12:45 - Childhood Memories During The Early Days Of ARP
14:54 - Unearthed Footage Of The ARP Factory
23:27 - About ARPS For All
30:23 - The ARP Paradigm
34:27 - Collaborating With Bjooks
38:55 - Google Arts & Culture: Music Makers & Machines
40:47 - The Future For The Alan R. Pearlman Foundation
Dina Pearlman Biog
Dina is the only child of Alan and Buena Pearlman and grew up with ARP Synthesizers as a backdrop for her childhood, travelling extensively and being exposed to innovative and cutting-edge technology. In her early years, she spent time playing in rock and roll bands, as well as dance and theatre. For the past thirty years, she has worked as a versatile visual arts and design professional, creative director, and educator. She has also worked extensively in photography, graphics and web design for several decades, and has a broad understanding of visual communications media.
In the last few years before his illness, Alan Pearlman started to re-examine the brave new world of synthesizers that exists today, many decades after his iconic and groundbreaking 12 years as the inventor and founder of ARP Synthesizers. During this time, he brought his daughter into the conversation. After his death in January 2019, Dina realised the need of keeping his legacy and passion alive, and with the help and encouragement of many of his former colleagues as well as the wonderful Michelle Moog-Koussa, she started the Alan R. Pearlman Foundation and ARP Archives.
"Digital Keyboards Inc. Synergy II+ synthesizer with MIDI and Kaypro II computer, original owner's manual and all other information about connecting and editing in PDF, all factory and Wendy Carlos sounds on board of the Kaypro, SD cartridge as an extra backup of the sound banks and to save your own sounds, sustain pedals and custom made hardcase available for sale. It's a complete system which you won't find anywhere else in the world at this moment.
Both the synthesizer and the Kaypro have been serviced. Dani Wilson (Hideaway Studios, UK) serviced the Kaypro computer and added two Gotek disk emulators pre-loaded with the SynHCS Host Editor and voice/cart library. The old power supply has been replaced by a modern SMPSU version. The synthesizer got a new psu too, has been recapped and the keyboard contacts were cleaned. The RS-232 SIA cable is also new. Both the service invoices are included as a proof of what's been done exactly. We didn't save money to bring this beauty set back to life.
The Synergy is a very much more powerful synth than many realize - having two complete sets of 16 stage loopable envelope generators per operator which morph between high and low velocity acting on 32 digital oscillators with a remarkable amount of fluid modulation control available all in 16-bit digital audio is just mind blowing for a design that came out of the mid 1970s.
If you want to go deep into the programming side of the synth you need the Kaypro II computer. The complex synth engine gives you the ability to build up sounds from the ground on. It's a joy to build rich pads and melancholic film music sounds. The new owner will receive a testing video with information how to edit sounds prior to the packing process.
Optically there are some signs of use, but the overall condition is very good. The black case of the synth has some scratches, small dents, some missing parts at the edges. The tolex has sings of use too. The upper plastic panel of the SD cartridge is missing and the cartridge itself is in used condition. The Kaypro has some small scratches on the metal case and keyboard. There is a custom made hardcase for the synth which has signs of use too. Please check all the photos and ask for more photos if something is not clear enough.
Both the units are set to 240v. The serial numbers are: 01646 (DK Synergy) and 74313 (Kaypro II)"
"Fully serviced and working great. The Synergy II+ is a digital additive/FM synthesizer that sounds like no other. Somewhat similar to the extremely popular Yamaha DX7, it's tone is mellower and warmer. A popular website states 700-800 were made and estimates less than 100 are in operation today. We don't know how they came up with this estimation, but this one's working great, as we just fully serviced it. Famous users include Jay Wires, Wendy Carlos, BT (crumar gds), Junkie XL and Steely Dan. Carlos used it on the Tron soundtrack and other recordings.
Previously, one needed an old Kaypro computer with special software to edit sounds, but someone recently developed an editor that can be run on a modern computer."
"1984 The Art of Electronic Music ~ 300+pgs w/ Foreword by Robert Moog
Scarce title. The instruments, designers, and musicians behind the artistic and popular explosion of electronic music. Compiled by Tom Darter and Edited by Greg Armbruster, with a foreword by Robert Moog. Covers many synthesizer brand names and their designers, both analog and digital: Yamaha (DX7/FM), Bob Moog, Tom Oberheim, Dave Smith, John Chowing, Don Buchla and many famous musicians like Keith Emerson, Isao Tomita, Larry Fast, Wendy Carlos, Vangelis, and many more.
Apart from a little cover wear, the book is in very good condition. Softcover, 315 pages. First edition, copyright 1984. This item ships WORLDWIDE."
"Here’s the DK Synergy II+ we just refurbished and will soon put up for sale on our website at tonetweakers.com. The Synergy is an incredibly powerful FM / additive synthesizer that sounds somewhat similar to the famous Yamaha DX7 series, but many feel it sounds much better. We love both. Famous users include Jay Wires, Wendy Carlos and Donald Fagen. In the past, one needed to hook up their Synergy to a Kaypro computer running special software to create their own Synergy sounds. However, someone recently developed a new editor that runs on modern computers. This is a game changer - we can’t wait to hook our Synergy up to it!"
"Scarce title. The instruments, designers, and musicians behind the artistic and popular explosion of electronic music. Compiled by Tom Darter and Edited by Greg Armbruster, with a foreword by Robert Moog. Covers many synthesizer brand names and their designers, both analog and digital: Yamaha (DX7/FM), Bob Moog, Tom Oberheim, Dave Smith, John Chowing, Don Buchla and many famous musicians like Keith Emerson, Isao Tomita, Larry Fast, Wendy Carlos, Vangelis, and many more.
Apart from a little cover wear, the book is in very good condition. Softcover, 315 pages. First edition, copyright 1984."
"The long wait is finally over. The Moog Spectravox has finally been released and we couldn't be more excited!
Spectravox, the newest member of the Moog semi-modular family, is a groundbreaking tool for sculpting sound. An analog spectral processor based around a 10-band filter bank, Spectravox creates lively drones and colorful tonal sweeps on its own and adds resonant depth and psychedelic spectral movement to any external sound. Hook up a microphone and Spectravox becomes a 10-band analog vocoder with innovative integrated modulation of all of its filters. An exploration and expansion of the topology of the vocoder and filter bank, Spectravox is a highly flexible instrument and signal processor with a comprehensive patch bay for integration into studios of all sizes.
Synthesists have delighted in playing with the spectrum of sound since the Moog 907 Fixed Filter Bank appeared in the 1960s, creating lush vowel tones and multicolored timbral animation with hands-on level control of each frequency band of a sound. Unlike earlier fixed filter banks, however, the unique filters of Spectravox are no longer fixed in place and will jointly shift around the frequency space, allowing for the creation of otherworldly voltage-controlled spectral animation and vibrant phaser-like sweeps. With 10 filters whose variable resonance can morph from soft precision to shimmering choral effects, Spectravox reshapes the sounds you love into surprising new forms and brings a new world of sonic possibilities to your studio.
Spectravox is a fascinating standalone sculptable synthesizer voice thanks to its built-in carrier sound source of a thick analog Moog oscillator and white noise generator. With its combo XLR/jack program input, Spectravox becomes a fully featured 10-band vocoder with a secondary filter bank for analyzing the spectral makeup of incoming sounds. In VOCODER mode its 10 analysis filters map the timbral characteristics of any external sound onto any other sound you can imagine. Shape the warm analog oscillator of Spectravox with the dynamics of your voice, or use a drum machine to animate guitar chords in a mesmerizing broadband percussive space.
Spectravox uses the pioneering vocoding work of Bob Moog and Wendy Carlos in the late 1960s as its inspiration—work which was based on Homer Dudley's original designs from the 1930s and which was used to prominent effect in Stanley Kubrick's 1972 film A Clockwork Orange. Innovating further from these early designs, Spectravox uses 10 state-variable filters for its filter bank, all 10 of which are capable of being shifted with its internal triangle wave LFO or external control voltage. With the ability to emphasize vowel sounds via the Hiss and Buzz functionality of the Moog 16 Channel Vocoder, Spectravox is both a major step forward for analog filter banks and a loving exploration of early music technology history.
Scramble the frequency spectrum and create wonderfully unpredictable textures with patch points for each filter in the filter bank and included patch cables. Add analog warmth and subtle phasing to digital synthesizers and sound sources. Integrate Spectravox with other Moog semi-modular instruments or Eurorack modules with an extensive patch bay providing control over almost all of its parameters. Spectravox is a boundary-pushing instrument that invites you to explore creative new ways of shaping and sculpting sound."
