"A Minimoog Model D used by Billy Joel has a new home in the Bob Moog Foundation Archives!
Imagine the melodies, rehearsals, and performances that might be part of its history. Accompanied by a letter signed by Joel confirming its use 'on tour and/or in the studio,' this instrument offers a tangible connection to one of popular music’s most celebrated songwriters and performers.
Collector Eric Crawley generously donated the Minimoog so that more people could enjoy it. After years of playing it and sharing it at synthesizer events, he has entrusted its next chapter to the Bob Moog Foundation. Read more about Billy Joel's Minimoog ➞
Now, you can see it for yourself. Billy Joel’s Minimoog will be on view at the Moogseum November 12-16, 2026, during 'Minimoog Through the Ages,' alongside other remarkable instruments with stories of their own."
00:00 Overview and patch demos 12:10 System Architecture 15:30 New Oscillator updates 19:42 Filters improvements, types, cascading 25:20 Sequencer modulation
'The Moog One was released in 2018 to much fanfare and high expectations. By all accounts, it was the greatest analog polysynth ever made; 16 voices, 3 oscillators, dual filters, knob-per-function, and Eventide effects. On paper at least, it was unbelievable. In person, it was astounding to play. Sounds were unlike anything ever made, and it lived up to the hype. But there were problems underneath. The volume knob was an unfamiliar taper. The filters didn't really drive much. There was very little distortion because of so much headroom in the mixer. The effects were underwhelming. And the fan noise to cool all that analog circuitry was loud and omnipresent. I know all this, because I beta tested it for over a year. All told, I entered 119 bugs and feature requests. To Moog's credit, they fixed about 89 of them.
When we set out to make this the ultimate homage version, we wanted everything possible, including improvements. But that wasn't enough; it had to play my original patches, offer all the improvements we could think of, and sound exactly like the original, but better.
TL;DR: it does.
The oscillators now include all the familiar analog shapes-- with sharpening, digital wavetables (including your own if you're bold enough), drawable shapes, and much more. The filters include the originals, modelled to within a dB at all ranges, plus most classic analog synth cart type additions, learned from all our other synth models. Plus, we added patch jacks for fast modulation routes. Plus, DRIVE and analog feedback loop lifted from Minimoog circuitry. CP3 mixer technology for even more vintage clarity. Instability along the way that isn't intrusive. Freely routable better snappy envelopes. A sequencer that outputs multiple lanes that you can drag anywhere. Effects that start with what should've shipped in the original, enhanced with legendary features. And if that's not enough, you can use your own VST3 effects inside it-- a world's first! All of this wrapped up in our EZ button. Randomize your way to your next sound and get there faster than you would've guessed. And best of all--- a cooling fan that is near dead silent, measured to within .001 dB of the original, then completely cancelled out!
All new factory patches, plus my original 161 patches for your enjoyment.
Suzanne Ciani will be performing live at the Museum of Music Technology in Harleysville, PA. The concert will actually be livestreamed for free. If you are in the area you can purchase tickets to attend. You can find full details on the event here.
"Suzanne Ciani, a groundbreaking composer and performer who got her start by building Buchla’s instruments in the 1960s and eventually became one of the world's foremost Buchla artists, brings her unique voice and history to this exhibition.
After receiving her master's degree in composition at UC Berkeley, where she collaborated with John Chowning and Max Matthews, Ciani began working with synthesizer designer Don Buchla in the early 1970s. Using a Buchla Analog Modular Synthesizer, she founded her own company, Ciani/Musica, and created iconic sounds for commercials for Coca-Cola, Merrill Lynch, AT&T, and General Electric. In 1981 she became the first woman to score a major full-length Hollywood release with Lily Tomlin's The Incredible Shrinking Woman. She went on to release a series of albums blending electronic and acoustic instruments, earning five Grammy nominations. She was the first woman to receive the Moog Innovation Award in 2017, and her life and work were the subject of the documentary A Life in Waves. Today she performs solo quadraphonic Buchla concerts, bringing her work full circle to its experimental electronic roots.
This event offers a rare chance to see Ciani perform and speak in a small intimate venue."
"***Original vintage Moog, Mini Moog, Model D*** Serial #6642 manufactured by Moog Music, Inc. in Williamsville, New York, dating to approximately 1973 or 74 This is an original 1970s Model D—not a reissue—and a genuine piece of analog history! ***It needs a full service & restoration*** These early ones with the “good” oscillators are quite sought after..."
Note the listing mentions it has the first oscillators for the Minimoog, but I beleive these are Rev2 based on the serial number and date. A quick search on Minimoog Oscillator Revisions online brings up the following:
The Three Main Revisions
Revision 1
(Early Discrete) 1970 – 1971
(Serial #1001 to ~1210) 100% discrete design featuring no operational amplifiers (op-amps). Utilizes a single temperature-compensated resistor ("tempco") shared globally across all three oscillators. Known for a raw, unpredictable, and remarkably "beefy" character. However, it suffers from notorious environmental drift, scaling issues, and poor tuning stability.
Revision 2
(The "Old" Board) 1972 – ~1979
(Serial ~1211 to #10174) Transitioned to utilizing early Integrated Circuits (ICs) while preserving discrete transistor sub-circuits. Features 7 calibration trim holes exposed on the rear panel. This is the most common version found in vintage units. It introduced individual scaling adjustments per oscillator. It successfully retains the classic organic texture and phasing behavior while improving baseline reliability.
Revision 3
(The "New" Board) ~1979 – 1981
(Serial #10175 to end) Completely redesigned to use modern, highly accurate uA726 heated differential pairs (or specialized tempco configurations) for exceptional tracking stability. Features 17 trim holes on the back panel for ultra-precise high-frequency calibration. Delivers rock-solid tuning stability. Purists sometimes debate that its tighter tolerances alter the classic oscillator-phasing behavior, making it sound slightly cleaner or "thinner" compared to its older siblings—though it remains vastly thicker than most standard analogs.
"Meet the Moog Model 210 and Model 112 amps, two premium full-range, flat-response instrument amplifiers built for synths, keyboards, drum machines, electronic instruments, preamps, modeling pedals, and more.
All audio tracks from this video were recorded through the direct XLR outputs of the Moog Model 210 and 112.
With all-analog amplification and effectively zero perceptible latency, both amplifiers preserve the dynamics, low-frequency depth, clarity, and individual character of your instrument from the studio to the stage.
Watch and listen as sonic sorceress Lisa Bella Donna puts both models to the test with an integrated setup of semi-modular synths including Matriarch, Grandmother, Mother-32, DFAM, and Labyrinth."
Moog Model 112 & 210 Instrument Amplifiers - First Look
Dave from Kraft Music takes a first look at the Model 112 and Model 210 instrument amplifiers by Moog.
Moog Model 112 and Model 210 amplifiers are designed to deliver exceptional sound across a wide range of instruments, from keyboards and synthesizers to bass and guitar preamps, modeling pedals, drum machines, and more. Featuring all-analog circuitry, these amps deliver accurate full-range, flat-response sound with effectively zero perceptible latency, preserving the clarity, dynamic response, and low-end depth of modern electronic instruments from studio to stage. In addition, both models provide essential connectivity, with a built-in 4-channel stereo mixer (with 3-band Baxandall EQ), balanced outputs, Bluetooth streaming, and Stereo Link capability.
Get more for your money with an exclusive Model 112 and Model 210 bundle from Kraft Music. These package deals include the accessories you'll need to get the most out of your new instrument amplifiers, all for one low price. If you have any questions, please contact us. Our knowledgeable sales advisors will be happy to assist in choosing the bundle that's right for you!"
Moog press release follows:
MOOG MUSIC LAUNCHES MODEL 112 AND MODEL 210, AMplifiers Designed for electronic instruments
Two all-analog FRFR systems combine full-range amplification, integrated four-channel mixing, professional connectivity, and expandable stereo operation for synthesizers, keyboards, drum machines, and modern performance rigs
ASHEVILLE, N.C. (October 27, 2026) – Moog Music® today announced Model 112 and Model 210, two full-range, flat-response (FRFR) instrument amplifiers purpose-built for synthesizers, keyboards, drum machines, and modern electronic performance rigs.
Model 112 combines a portable 12-inch format with 440W RMS bi-amplified power for studios, rehearsals, personal monitoring, and live performance. Model 210 steps up to a 550W RMS, 2.5-way design with dual 10-inch woofer and deeper low frequency extension for larger stages and more demanding performance rigs.
Both models deliver an all-analog amplification path, 4 stereo inputs and an integrated four-channel stereo mixer, balanced PA connectivity, Bluetooth® streaming, headphone monitoring, and Stereo Link for building a two-amplifier stereo system. Together, Model 112 and Model 210 extend Moog's focus on electronic performance from the instrument itself to how it is monitored and heard on stage, in rehearsal, and in the studio.
"Every great electronic instrument has its own sonic identity," said Joe Richardson, President at Moog Music. "Model 112 and Model 210 were designed to preserve that identity, not color it. From the unmistakable warmth of a Moog synthesizer to the transient snap of a drum machine, these amplifiers allow the true character of the instrument to come through. Musicians work hard to shape their sound. They deserve amplification that delivers it honestly, consistently, and exactly as intended."
MODEL 112: everyday Versatility Model 112 delivers full-range electronic-instrument amplification in a portable format designed to move between studio, rehearsal space, performance, and personal monitoring setups. A 440W RMS bi-amplified system drives a 12-inch woofer and 1-inch compression driver with a frequency response of 40Hz–20kHz. A top carry handle makes Model 112 the more portable choice for musicians who regularly move between creative and performance environments.
MODEL 210: Command the stage Model 210 is the higher-output system in the range, designed for larger stages and demanding electronic performance rigs. A 550W RMS bi-amplified, 2.5-way design combines a 1-inch compression driver with dual 10-inch woofers, one woofer for full range, the second focusing on low frequencies extending down to 35Hz ensuring powerful response for synthesizer bass, electronic drums, sound design, and bass modeling systems. Full-grip side handles and removable casters support transport and stage position, while two Model 210 amplifiers can be connected using Stereo Link for performance setups.
"One of Bach's shortest 2-part Inventions, clocking in at only one minute. I first heard this Invention in D minor on Wendy Carlos' Switched-on Bach album. She had an elaborate customized Moog system. I did my best to pay homage with my rather limited system, and I hope it captures the spirit of Switched-on Bach. Enjoy!"
"A classic, inside the FM-1.
Free firmware. Install straight from the browser and go back to the original whenever you like.
Three oscillators, a ladder filter and plenty of body Each block of the Minimoog panel has its place on the FM-1's 240 × 240 screen, with four real knobs to play it for real.
Oscillator bank Three oscillators with ranges from LO to 2', a waveform each, independent detune on oscillators 2 and 3 and a touch of pitch drift, like analog VCOs.
Ladder filter A four-pole ladder, 24 dB/octave, with saturation in every stage and the feedback lag of the Minimoog circuit. From emphasis 8 up it self-oscillates as a pure sine that follows the keyboard at 1 V/octave. Cutoff reads -5 to +5, as on the panel.
Contours Two contours (filter and loudness) with attack, decay and sustain. The attack is exponential, like the original circuit. Glide, LFO and modulation complete the section.
100 presets Ten groups of ten: a showcase of styles, hard leads, soft leads, basses, pads and strings, brass, plucks, keys, atmospheres and sound effects. About a quarter comes with the arpeggiator already on. Save your own in 32 user slots.
Arpeggiator and sequencer One tap on ARP turns it on and off; holding it sets HOLD. The sequencer records up to 16 notes (REC) and plays them (PLAY). The key LEDs light with the notes.
Effects per preset Reverb, delay, chorus and drive, each preset with its own combination, so basses, leads and pads live in very different spaces."
CHAPTERS
00:00 Demo#1 Complex Arps
03:30 The history of the Radiophonic
08:16 Demo#2 Depp and Devastating Arp
11:00 Oscillators - seven transistor core VCOs
12:19 Filters
15:12 Sound manipulation
18:15 Demo#3 2 Notes is Enough...
22:51 Modulation & control
27:41 The STARSKYPHONIC!!!
27:58 Demo#4 Trance(ish) Arps and Beats
"History, passion, provenance and love. That's the AJH Synth Radiophonic in four words.
This isn't a performance video and it isn't a patch demo - it's the story of what's
actually inside this thing, where every circuit came from, and why a cabinet of 48
modules ends up feeling like one complete instrument rather than a collection of parts.
The Radiophonic was commissioned by Hans Zimmer as the centrepiece for the resurrected
BBC Radiophonic Workshop, and the lineage runs a lot deeper than the wooden case and the
vintage lettering. The oscillators are built around the first-version Minimoog transistor
core - the ones everybody says sound the sweetest - with the thermal drift finally sorted,
and Alan went back to Jim Scott, one of the original version one designers, to get them
right. The filters take in the Moog transistor ladder, the diode ladder that Gene Zumchak
designed for the Musonics Sonic V to sidestep Moog's patents, a dual *SEM*, and the 914
fixed filter bank from the big Moog modular systems. The ring modulator is discrete
transistor EMS Synthi circuitry sitting on top of a Moog CP3 style mixer. And none of it
is a straight copy - there's a wave folder here, resonance compensation there, extra CV
inputs everywhere.
So: seven transistor core VCOs, two transistor ladder filters, two diode ladder filters
with wave shaping, a double SEM, the 914, the Ring SM, three noise sources, a 12-stage
phaser, wave shaping, Tone Science collaborations with Ian Boddy, and more envelopes,
LFOs and random voltage than you'll know what to do with.
A whistle-stop tour, and still an hour's worth of talking squeezed into twenty minutes.
Stay to the end for the full track - everything you hear came out of this one instrument,
with drums from the AJH Bullfrog."
Check with dealers on the right for pricing and availability.
Playlist:
1. MPK Mini Plus II | Expressive Control, Expanded Possibilities
2. MPK Mini Plus II with Drumma Boy | Akai Professional
3. MPK Mini Plus II | Overview
4. MPK Mini Plus II | MPC Integration
Akai MPK Mini Plus MK2 // What's new, review and tutorial
AKAI PROFESSIONAL® INTRODUCES MPK® MINI PLUS II, THE NEXT GENERATION OF ITS 37-KEY MIDI KEYBOARD CONTROLLER
Upgraded keys and MPC pads meet new creative tools, deeper MPC and DAW integration, a full-color display, MIDI and CV connectivity in a compact 37-key controller.
CUMBERLAND, R.I. (October 22, 2026) – Akai Professional® today announced MPK® Mini Plus II, the next generation of its compact 37-key MIDI keyboard, designed for creators who want more performance and production control without moving to a full-size keyboard. MPK Mini Plus II combines an upgraded 37-key mini keybed, eight velocity- and pressure-sensitive RGB MPC pads, a new full-color display, and creative tools including Glitch, Mutate, Strum, Freeze, Chords, and Follow. Direct MPC Standalone and MPC Desktop integration brings deeper MPC control to the keyboard, while USB-C, five-pin MIDI, and CV/Gate connectivity allow MPK Mini Plus II to move easily between software instruments, hardware synthesizers, and modular setups.
"Real Vintage Synthesizer cover of “Blue Monday” by New Order, recreating the iconic sound and atmosphere of this fantastic electronic dance track. Released in 1983, “Blue Monday” became one of the most influential electronic 80s Synthpop tracks of its era. This cover pays tribute to its unmistakable sound using vintage synthesizer and sampling technology inspired by the original production.
For this cover, I used my vintage synthesizers and classic hardware to capture the spirit of the original recording, focusing on the distinctive sounds and textures that made this track timeless.
🎹 Vintage Gear & Sound Design:
Moog Source – Bass sounds and the additional synthesizer parts
E-mu Emulator II – Synth Strings, DMX Drums, Guitar parts and other fx sounds
The goal was to stay true to the original character of Blue Monday, using authentic vintage instruments and sampling technology to bring its unmistakable 80s sound back to life.
If you're into New Order, classic synthpop, vintage synthesizers, analog bass sounds, the Emulator II, and the electronic music production of the 1980s, this cover is for you.
🎧 Listen, enjoy, and let the vintage synth sounds take you back to the golden age of electronic music.
★ supported by UVI: http://bit.ly/retrosound-uvi ★"
"Rare and very limited Moog Voyager Old School in a sweet Whitewash finish. Everything about this synth is in EXCELLENT condition.. in and out. No functional issues and it just sounds and looks amazing. Not many of these were made. This one is perfect for any collector and of course.. player."
Makes me think of a new generation Synth Edit based soft synths. For those of you concerned about them, and M-VAVE, taking over site, don't. I'll be filtering out noise as usual. Note supporting member posts are always welcome as a thank you for supporting the site, so you will see demos coming in that route. That said, posts like this one are mainly for informative purposes only, and to give you a perspective on the topic.
Video description:
"Can you 'Vibe Code' a VST? Of course you can :)
Like many of us in this space, I’ve been looking into what “AI” can and can’t do and more specifically how it can help me with Audio/Video and App Creation. Google Flow recently added the ability to 'Vibe Code' your own VST Plugins and I’ve made a half decent FX Plugin…Nothing that will change the Music World, damn, there’s enough of that going on, but it’s quite a cool little Project."
And another project I came across based on the UI of the Moog Messenger but with a different engine.
Vibe Coding VST3 Synth Based off Moog Messenger Preset Editor Layout
Sound test. UI inspired by the Moog Messenger preset editor. Working Windows VST3 and standalone synthesizer with its own sound engine. I used the Moog Messengers preset editor layout and functionality as a foundation for this synth. This does not edit presets on the Moog Messenger and it's not a skin for the preset editor. This is it's own synth.
Developed native synth with JUCE and C++ with GPT Codex. Tested both the standalone app and VST3 inside FL Studio.
The synth currently features two original synthesis algorithms:
⚙️ Mandible = interacting phase-modulated oscillators and asymmetric wavefolding for biting, metallic basses and aggressive textures.
⚙️ Gullet = harmonically rich synthesis shaped by moving resonances and distortion for throaty, vowel-like growls and smoother bass tones.
Added oscillator shaping and sync, multiple filter modes, envelopes, two LFOs, modulation routing, internal feedback, glide, duophonic playing, MIDI-synced pitch and mod wheels, an arpeggiator, a basic step sequencer, and preset saving. The factory bank now includes 17 presets, with ten dedicated bass patches. This is an independent project, unaffiliated with Moog, and isn’t intended to emulate the Messenger’s sound.
More synthesis algorithms are planned for later, including ideas for fractured waveforms, interacting detuned sources, and feedback driven textures. For now, this demonstration explores what Mandible and Gullet can already do as of now.
Built through experimentation, listening, testing, and one working feature at a time. Work in progress."
"Testing my faulty Micromoog with some helpful modules from AJH Synth: My poor old Moog isn't scaling/tracking correctly, so the V-Scale module is being used to modify the 1V/Oct output of the sequencer to produce the correct notes. Video guide to how this was achieved: • Correcting Vintage Synths with V-SCALE - T... [below]
Normally the Micromoog follows a 0.95V/Oct voltage to pitch scale, but mine can no longer even be calibrated to this with it's internal trimmers, so until it can be serviced (probably with some new components), the V-Scale at least makes it useable with external controllers and sequencers.
Sequenced by the Squarp Hermod+, the synth's faulty tracking is then corrected using AJH Synth's V-Scale module, gates coverted by the AMSynths AM997 Gate to S-Trig converter.
Micromoog filter modulated by AJH Tap Tempo VC-LFO, random gate skip by AJH CHance Delay.
Drone is 3 AJH MiniMod VCOs into Matrix VCF.
Mixed in the Cosmotronic Cosmix Pro, reverb from FX Aid, delay from 2HP DLY, final mix recorded on the Disting Mk4."
"Using V-SCALE to compensate for the tuning/tracking problems on one of my Vintage Synthesizers, this time a Moog Micromoog from the late 70's. Also, showing how PRECISION VOLTAGES can also be helpful, and bringing the TAP TEMPO VC-LFO, CHANCE DELAY, and the MATRIX VCF into a short performance demo - FULL performance video by @DreamsOfWires can be found here: • Moog Micromoog & Modular w/ AJH/MiniMod, H... [above]
V-SCALE at its simplest will function as a highly accurate buffered multiple, but four of its five outputs are adjustable by way of multi-turn trimmers. These allow for very gradual adjustments to outgoing CV signals, so that they can be made viable for synths or VCOs that are not scaling properly.
Here I'm adjusting/modifying a 1V/Oct signal from a sequencer so that it controls my old Micromoog correctly, but it could also be used with incoming signals other than 1V/Oct, or even to correct am incoming signal which itself isn't scaling correctly or as desired. Each trimmer has an adjustment range of +/- 5%.
My Micromoog's tracking is so far off that it cannot even be corrected using the internal trimmers on the synth, so I'm using the Keyboard Output (KBD) as the CV input, instead. of the intended OSC input. This method bypasses the keyboard, so the keyboard voltage isn't added to incoming control voltages, and so doesn't interfere with it. The only drawback is that the root key will have to be changed to match the notes on a keyboard. That's where the PRECISION VOLTAGES comes in - it can accurately offset an incoming control voltage by semitones and octaves, either up or down."
1. Cherry Audio | Introduction to Pentaphonic with Mike Martin
2. Cherry Audio | Translucent Presets for Pentaphonic Synthesizer
3. Cherry Audio | "Pentaphonic Cruise" by Steve Peglar
"Cherry Audio's Pentaphonic synthesizer revives the ultra-rare polyphonic hybrid synthesizer originally developed by Gleeman Instruments in 1981. With fewer than 70 units ever produced, this synthesizer is legendary for its rich tone, distinctive design, and pioneering sequencing capabilities. This emulation faithfully reproduces the lush sound of its digitally controlled oscillator (DCO) and analog-filter architecture while capturing the visual essence of the synthesizer "made to be seen, not just heard."
https://cherryaudio.com/products/pent...
Cherry Audio has taken its capabilities to new heights with expanded polyphony, expressive performance, polyphonic and parameter sequencing, and a library of studio-quality effects. Our visual makeover offers a choice of stunning designs inspired by the various looks it sported during its brief existence."
Cherry Audio Pentaphonic: A rare synthesizer masterpiece reborn
"CatSynth presents a deep dive into the new Pentaphonic from our friends at Cherry Audio. This is a recreation of the extremely rare Gleeman Pentaphonic synthesizer, complete with its unique look featuring crystaline transparent knobs and a translucent body. The Pentaphonic was an analog polyphonic synth with a few twists, including three digital oscillators with microcontroller-generated waveforms that were fed into an analog Steiner Parker filter. We explore the emulation of these unique features as well as Cherry Audio's enhancements for modulation, effects, and motion. We also check out a few of the factory and expansion-pack presets.
"Made to Be Seen, Not Just Heard." Pentaphonic resurrects one of the rarest synthesizers ever made: the 1981 Gleeman Pentaphonic.
Cherry Audio is proud to announce the release of Pentaphonic, an innovative virtual instrument that resurrects one of the rarest synthesizers ever made: the Gleeman Pentaphonic. With fewer than 70 units of the original hardware ever produced, this software version is a compelling opportunity for vintage synth enthusiasts and music producers of all genres.
You can find an English translation of the following video description further below.
"Freedom è un brano di musica elettronica prodotto da Davide Micheli utilizzando sintetizzatori elettronici tra cui alcuni Italiani moderni come il 'GRPA4', ma anche vintage anni 80 come 'Elka Twin61' e 'CRB Diamond 910 Gold M'. Altri sintetizzatori utilizzati sono il 'Moog Voyager XL', il 'Waldrof Quantum', e per ultimo 'Oberheim OB-X8'. La Drum Machine è una Drum degli anni 80 molto famosa ai sui tempi la 'Dynacord P20' 8-Bit Drum Machine.
It took me a while to finish this album, but I’m really happy to finally share these 12 new tracks with you.
The entire album was created using the Moog Matriarch, Novation Peak, Elektron Octatrack MKII, OXI One, Hologram Microcosm, and Arturia MicroFreak.
A lot of experimenting, sequencing, sound design, and late nights went into these tracks. I hope you enjoy listening to Neural Form as much as I enjoyed making it.
"THIS SYNTH IS NEXT LEVEL!
A few years ago, I first met Jacob Brashears at NAMM, where he debuted an extraordinary new synthesizer called the Relic. Now, the Relic is finished and after spending time with it, I think it’s worth asking:
Is this the most impressive synthesizer made in the last 40 years?
In this video, Jacob takes me through the Relic’s front panel and shows how this remarkable
instrument works. Then I get behind the keyboard and play sounds that I created in just a few hours.
The Relic has an incredibly expressive character that seems to combine the best qualities of classic vintage Oberheim, Moog, and ARP synthesizers with some very sophisticated modern technology.
It has the immediacy and character of the great analog instruments of the past, while incorporating modern advancements, routing and expression…and even the ability to continue evolving through future firmware updates.
One of the things that really surprised me is the Relic’s distortion. I demonstrate sounds with distortion that feels remarkably organic and nonlinear, much more like the behavior of a great guitar amplifier than conventional synthesizer distortion.
I’ll also play expressive keyboard sounds, leads, basses, and other patches I created while exploring the instrument, so you can hear what the Relic is capable of in the hands of a musician.
Jacob has clearly put an enormous amount of thought into this synthesizer, and the result is an instrument that feels both deeply connected to synthesizer history and genuinely forward-looking.
Watch Jacob take you through the Relic and hear what happens when I get my hands on it."
"Genuine Moog Sonic Six — the briefcase-style duophonic synth Bob Moog himself used for demos to teach children. Essentially a Mini-Moog in a suitcase. Two VCOs (saw, triangle, variable-width rectangle), two cross-blendable multimode LFOs, ring modulator, noise generator, sample & hold, external audio input, 49-key duophonic keyboard with high-note/low-note/duo priority modes, spring-loaded horizontal pitch bender, built-in amp and speaker.
Condition: Tunes and holds. All controls functional. Speaker and monitor circuit working. Case latches and handle intact. See photos for cosmetic condition.
One of the more sonically distinctive vintage Moogs and increasingly scarce. Sold as-is. Shipped in a custom double-box with foam suspension, or local pickup in Southern California preferred for an instrument this size."
