"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.
"New Systems Instruments sent me their new module, Discrete Map. It’s a deep module, with lots of potential uses, so I’ll be dedicating the next few videos to it. This first, introductory video uses it as a generative sequencer, extracting an evolving melody from a Lorenz chaos trajectory."
"Novum! New Systems Instruments has created a unique and innovative approach to generating sequences with Discrete Map.
New Systems Instruments consistently surprises with innovative designs! Discrete Map fits right in, taking a simple concept and turning it on its head. At its core, it’s an 8-step sequencer that can output a traditional step-by-step sequence. The pitch values are set using the eight upper faders, but what makes it truly special are the eight lower faders, which determine which step is played at any given moment.
The sequencer’s X input accepts any signal, a clock, an LFO, or even another sequence. The lower faders set threshold values, and the switches below them define whether they react to a rising or falling edge. This means the sequence jumps to different steps based on the incoming signal, creating a highly controllable form of randomness! The results are striking! Complex rhythms and surprising melodies that become even more dynamic when paired with the expander for voltage-controlled step selection.
Discrete Map also includes an onboard oscillator. A switch toggles between a slow and fast frequency range. When slow, it functions as a standard step sequencer. Another switch changes from Position mode (explained above) to Length mode, where the lower faders control step duration. When switched to the fast mode tho, it becomes a graphic oscillator that tracks V/Oct.
To round out the package, Discrete Map includes additional utilities for better integration with other modules. The precision adder for example allows an external voltage to transpose the entire sequence.
The A/B/C Expander further enhances functionality, adding three assignable groups for the steps. Each group gains CV-controllable threshold values and dedicated gate outputs for active steps. And because that´s not enough there's also a sequential switch. Several discrete maps and A/B/C expanders can be linked together!
Overall, an incredibly well-thought-out and entirely fresh approach to sequence generation!
Features:
8-step sequencer for a single track Generates sequences based on any input signal 8 lower faders to position steps in time 8 upper faders to set step values One-shot mode Oscillator mode with V/Oct tracking Adjustable output voltage range (-5V to 5V / 0V to 5V / 0V to 2.5V) Precision adder for transposing sequences Gate output Ramp output for internal clock signal"
And an overview from DivKid:
Bend & Twist Time with Voltage Addressed Sequencing // Discrete Map from New Systems Instruments
video upload by DivKid
"Here’s the new Discrete Map and expander from New Systems Instruments. Deeply routed in influence from the Buchla MARF & a Serge Modular style approach to sequencing, coupled with a heady mix of physics and electronics (as New Systems Instruments do so well) the Discrete Map allows you to use voltages to bend and manipulate a time map across 8 stages of voltages. From basic to more advanced sequencing, unique time and rhythm creation to some bonkers graphic VCO applications there’s a lot we get into in the video."
"The VCV MUM M8 brings our unique MUM M8 low pass filter into VCV. The MUM M8 is based on the 'switched capacitor' filter design used in the classic Akai S950 12 bit sampler with the addition of resonance, voltage control, clipped saturation and a dedicated VCA. Here we take a look at some patches showcasing the unique sound and features of the module.
The VCV version provides a realistic sounding emulation of the hardware module’s features with the addition of an optional clock noise setting producing increased bleed like a poorly calibrated hardware MUM M8.
The original motivation for the MUM M8 came from discussing filters in classic samplers with the artist Jack Adams – aka Mumdance. Jack suggested investigating the S950’s filter well known for its use in classic early jungle and hardcore. From that point onward Jack provided inspiration, help and feedback in the development of the filter. Big up Mumdance."
"5/11/25 (Slope generator and sub oscillator sequence) SSL 1240 + LWSS CGS01 + Synthesizers.com Q123 & Q125 + muSonics Attenuators & Multiples & Wave Folder + Happy Nerding FM AID + Zerosum Inertia The Scorpion Tail + Blue Lantern Mixer + Alesis MIDIVERB II + ElectroComp EML 200
I spliced two takes one after the other. In the first, the 440 Hz tone from the Synthesizers.com Q123 Standards module, gated by the Blue Lantern mixer, is the constant bell-ish sound panned left. Throughout the whole video I am selecting divide or multiply on the Lower West Side Studios CGS01 Sub Oscillator, which varies the sequence. The Synthetic Sound Labs Dual Slope Generator bipolar output to CGS01 input A. CGS01 output A to .com Q123 to muSonics Multiples to Free State FX Macro Digital Oscillator V/OCT input and to Happy Nerding FM Aid CV input and to .com Q125, with Q125 output to muSonics Wave Folder CV input. Macro output to FM Aid carrier input. Macro sine out to muSonics Wave Folder to Multiples to Zerosum Inertia Scorpion Tail audio in and to Blue Lantern Mixer input 4, with spectral wave folder switched on, triggered by SSL 1240 fall gate out. CGS01 output B to CV in on Scorpion Tail. FM Aid saw out to Mackie Onyx 1640, panned right, with reverb from Alesis MIDIVERB II. Blue Lantern mixer VCA output to Mackie, panned left, with MIDIVERB II. Zerosum Inertia output panned center, dry. The drone is four VCOs on two EML 200, with internal spring reverb, modulated by their master sine waves."
"Quick janky explanation of the Doepfer 3D Joystick A-174-4 along with some examples of how I use it and a patch breakdown of the patch I'm using it with. I plan on doing a couple more joystick idea videos that are easier to follow. Too many modules being used to list them here so just watch my Full Modular Overview video which I will link below.
There is some annoying color switching at times on the video. I think it's caused the bright white case and moving the camera too much but I'm not sure. Sorry about that.
My engineer decided to do some stereo separation with the frequency shifter track on this one. This has the advantage of a wide phasey sound but the vocally audio rate sound from the frequency shifter is less impactful than it would be if it was stacked with the dry signal in the center. Probably best to listen through headphones for this one."
Full Modular Setup Overview
"Added a couple new things and switched stuff around so decided to do a quick video explaining the rig. Could have talked for an hour or 2 about this but kept it to 10 minutes because of my phone's time limit. Will add a modular grid link below."
"The PPG 1002, one of the rarest and most sought-after synthesizers in music history, is back as a original PPG hardware synthesizer. The PPG 1002 was, alongside the modular synthesizers, one of the last fully analog PPG synthesizer. It laid the foundation for later digital milestones such as the PPG 360, the Wave 2, and the Wave 2.2."
The PPG 1002, one of the rarest and most sought-after synthesizers in music history, is back as a original PPG hardware synthesizer.
The PPG 1002 was, alongside the modular synthesizers, one of the last fully analog PPG synthesizer. It laid the foundation for later digital milestones such as the PPG 360, the Wave 2, and the Wave 2.2.
The PPG 1002 reissue is now available for preorder and is strictly limited to only 102 units. The PPG 1002 is more than just a synthesizer – it represents a symbiosis of technology and ecological responsibility.
Based on Wolfgang Palm's original handwritten drawings, the PPG 1002 returns as an exclusive reissue – meticulously reconstructed and crafted with the highest precision.
This limited edition preserves the authentic analog circuitry of the original, bringing the legendary PPG sound to a new generation of musicians and collectors.
Unlike the original keyboard version, the reissue appears in the classic console-style housing, staying true to the design of the original 1002.
The PPG 1002 is an exclusive reissue of the legendary analog synthesizer designed by Wolfgang Palm in 1975.
The total price is 9,999 Euros excluding shipping costs.
Production begins after your pre-order and a deposit of €4999.
The remaining €5000 is due before delivery."
SPECS
- 2 analog oscillators with transpose switches and mixable waveforms from triangle to saw
- Oscillator 2 also offers square wave and a sub-oscillator
- Oscillator 2 can be synchronized
- Noise generator for audio and modulation
- A ring modulator can be switched on instead of the noise generator
- Routable LFO with pulse and triangle waveforms
- 24dB low-pass filter with resonance
- Voltage-controlled amplifier
- 2 easy edit envelopes
- Switchable modulators for each module, allowing for an almost modular-like routing
- CV and MIDI inputs
- external precision low noise power supply
- Download the manual [pdf captured as images below]
You can find previous posts featuring the original PPG 1002 here.
"THE PPG STORY In 1975, Wolfgang Palm made synthesizer history with the PPG 1002. An early prototype featured retractable patch cables, but in the final production model, these were replaced with rotary switches for more versatile modulation. A key advantage of the 1002 over its competitors was its temperature-compensated VCO circuit, now further refined in this reissue, preserving its iconic sound.
The PPG 1020 (1977) introduced digital oscillators, paving the way for the 360 Wavecomputer in 1979, which marked the beginning of wavetable synthesis. This was followed by milestones such as the PPG Wave 2.3 (1984) with MIDI and the PPG Waveterm B (1985).
After PPG was dissolved in 1987, Wolfgang Palm collaborated with Steinberg and later co-developed the Waldorf Microwave (1989). In the 2000s, he released software synthesizers under his own name, including the PPG Wavegenerator, Wavemapper, Infinite Pro, and Phonem. In 2020, Palm transferred the PPG technologies to Brainworx, which became part of Native Instruments in 2023.
At the same time, Cornel Hecht, part of the PPG team since 2012, reviewed Wolfgang Palm’s original handwritten schematics of the PPG 1002. His mission: to faithfully bring the analog circuitry of 1975 into the present. The first prototype impressed Native Instruments, laying the foundation for this exclusive reissue. Wolfgang Palm: "What's labeled PPG should also be PPG inside! That was and still is my motto. The new edition of the PPG 1002 is based on the original PPG circuitry."
But this reissue is more than just a synthesizer, it’s a fusion of technology and ecological responsibility. The PPG 1002 is produced CO₂-neutral, and every purchase supports sustainable environmental projects, such as Liquid Sky’s reforestation initiative in Portugal. This way, the future of sound remains not only authentic, but also green."
"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.
"dreadbox Artemis – My 2 Cents Artemis is a polyphonic analog synthesizer with six voices and a comprehensive effects section developed by Sinevibes. Housed in a solid desktop chassis, all potentiometers, faders, and buttons feel great, with just the right amount of resistance. On the rear, you'll find a stereo output, a separate headphone output, plus USB and MIDI connections. It doesn't offer a foot pedal input, but it supports MPE (I still need to try that with my Osmose).
Now to the most important part — the sound. It features that great vintage tone I love so much on other dreadbox devices, largely thanks to its creamy-sounding filters. Both filters offer resonance, and the low-pass filter can be switched between 12dB and 24dB slopes.
But it doesn't stop there: thanks to TZFM and filter FM (yes, noise can be a source here too), it can sound very modern as well, making it great for all sorts of electronic music. Although it offers quite a lot of modulation options, I still found myself wishing for features like key tracking for LFO rate, negative envelope amounts, noise as a modulation source in the menu, or meta-modulations. After reaching out to dreadbox about these features, they told me they are already working on them for a future update and/or will look into them. Based on my past experiences with dreadbox, I’m confident we can expect a nice firmware update for Artemis in the future.
The effects section by Sinevibes is also great — it’s just a shame that there are no external inputs like on the Typhon, as those would have made it a fantastic standalone effects unit as well. You get four effect slots (Lo-Fi/overdrive/shaper, modulation, delay, and reverb), each with several options to further tweak the sound. Here, I would love to see a bit more flexible routing, allowing changes to the effect order. But even without that, the effects section is a great addition that melts perfectly into the internal analog sound engine. I'd only recommend not adding too much, as the effects can quickly become dominant.
TL;DR: dreadbox Artemis is a sweet-spot synth that can also show its teeth when desired. Its intuitive interface and great-sounding effects unit make it an excellent companion for live performances. Definitely a highlight!"
Doepfer will be showcasing the above new modules at SUPERBOOTH25. Details on each follow. Check with dealers on the right for upcoming availability.
Module A-119-2 is kind of a dual version of module A-119 without envelope follower. Instead two amplifiers are available and the module width is 4 HP only.
The module contains two amplifiers with separately adjustable amplification levels. Each channel is equipped with an overload display. The module can be used also for stereo signals, e.g. the stereo output of a smartphone.
Controls and displays:
Level 1/2: manual control of the amplification in the range 0 - about 45.
Overload 1/2: overload LED, begins to light up for output levels beyond about 10Vpp (+/-5V)
In 1: audio input 1 (monophonic or stereophonic, see technical details)
In 2: audio input 2 (monophonic)
Out 1/2: audio output (monophonic)
Technical details:
for higher amplifications the two amplifiers can be daisy-chained
normalling options: the signal applied to socket In 1 can be normalled to socket In 2 in different ways by means of a jumper on the pc board:
socket In 1 is connected via a mono patch cable (standard patch cable) to a monophonic signal and this signal is normalled to socket In 2 (i.e. the same input signal for both sub-units): jumper on pin header JP2 in upper position
socket In 1 is connected via a 3.5 mm stereo TRS cable to a stereophonic signal and the second channel of the stereo signal is normalled to socket In 2: jumper on pin header JP2 in lower position
no normalling: jumper is removed from pin header JP2
all inputs and outputs are DC coupled. Thus the module can be used also for the amplifications of control voltages.
"A new project idea to use the synthesizers.com Q170 MIDI GATES module to affect broad changes to the composition within the modular system.
The Q170 has eight output jacks for sending 5V gate or trigger voltages to the modular system. I used my DAW (Cubase) to construct timings for various parts of the modular.
The first four outs were used as pulse gates for the Delptronics and TipTop drum modules. The Kick, Snare and Open and Closed HiHats.
The fifth out is to the Q169 vco's AMP input. That vco is used for the bass line so controlling the on-board vca will mute or enable the voice.
The sixth out was to enable the Dove D900 sequencer to run/stop. The sequencer is feeding pitch voltage to the Synthetic Sound Labs Woven Spirits (MI Plaits). This is the chord pad sound. I used the DAW to pulse the gate info when I wanted the sequencer to reset at certain parts.
The seventh out was to send a continuous gate to the STG Soundlabs Time Buffer. The Time Buffer is receiving a sync-bus 24 ppq clock and run signal. I have a panel access to these with jack inputs so I sent the 5V gate to the RUN input. This allowed me to use this to start and stop all sequencer motion from the DAW.
The eighth out is to a Lower West Side Studios triple switch. This switch is used to add an offset voltage to the Woven Spirits Harmonic control.
The other fun part was playing the LWSS triple attenuator. I had three parts run through the module. The pair of STG VMS sequences were percussive background parts switched in and out as needed. The third part was a pulse version of the pad sound.
The Matrix duet in the mid section was clocked from the STG Time Divider module. Both Matrix were set with very closely aligned slider settings but the "Z" sliders were offset for variety. They sent pitch voltage to the TZ-VCO's from SSL. The duet were sent through the STG Post Lawsuit Filter and an Empress reverb/delay pedal.
Other outboard effects were the Meris Hedra for the bass line and the EMX Grand Canyon for the steady pad sound."
00:00 Opening Titles
00:17 Introduction
01:27 Switched On 80s
16:14 Synthesiser Club
19:48 Commercial Break
23:57 Patching Today
35:04 Little Black Boxes
38:53 Video Lab
44:22 Outro
SWITCHED ON 80s - This third series takes an in-depth look into six classic 80s synthesisers, selected because of their interesting and unique attributes
SYNTHESISER CLUB - A short musical demonstration of a synthesiser classic or three, concentrating on 'families' of synths
COMMERCIAL BREAK - Some shameless Memetune shilling
PATCHING TODAY - A deep-dive into vintage modular systems and how to set up a patch on them, starting from scratch, this time using Cybersynthesis techniques to bring an element of surprise to the patches
LITTLE BLACK BOXES - A further look at some classic rack mount studio gear of the 80s and 90s
VIDEO LAB - A look at old video equipment and how to create experimental visuals, concentrating on a specific device in each episode
SWITCHED ON 80s - A detailed presentation on FM synthesis and its history, looking at the DK Synergy (as used on the Tron soundtrack), but mainly the Yamaha DX series of synths
Click the auction link on top when you get there for additional listings.
VEMIA is Peter Forrest's auction house. He is the author of The A-Z of Analogue Synthesizer Books.
"Four classic mid-seventies modules: one 921A Oscillator Driver, and three 921B Oscillators. Complete with an International Power switchable power supply (now more commonly badged Power One) and a wiring harness / loom wired for five modules - the four 921s here, and a fifth module - until now, the 904 in the previous lot. ***This will need encasing***, and of course the modules will need to go in a simple case or an existing cabinet.
In very nice cosmetic condition, and working well. Bought by the current owner in 2003, and since lightly used in a non-smoking home studio. The power supply has a standard IEC mains socket and fused switch with power light. The fuse will need to be changed if the voltage is switched from USA, where it is currently located."
Click the auction link on top when you get there for additional listings.
VEMIA is Peter Forrest's auction house. He is the author of The A-Z of Analogue Synthesizer Books.
Pic of the inside below.
"Greetings everyone and hope you are having a lovely day. Im putting up for sale this rare very last member of Roland's fully analog drums era... 42 years ago. Instrument itself is in pretty good condition (few minor bruises and scratches, nothing major) and actual drum machine works perfectly (I cannot confirm the other features like chord or bass, since they are active only in cooperation with Roland HP keyboards). Also a sidenote, since it is a very early midi instrument and mainly designed to work with mentioned keyboards, midi works as clock in/out or start, but doesn't allow to trigger individual drums or accent. Unit was originally for Japanese 100V and has been internally switched to 240V and while I was at it, I have replaced power supply filtering capacitors with new ones for good measure. Thank you all the best."
Click the auction link on top when you get there for additional listings.
VEMIA is Peter Forrest's auction house. He is the author of The A-Z of Analogue Synthesizer Books.
"Quite likely the best LM-1 Drum Computer on the planet, improved by Dani at Hideaway, one of the best techs in the world for this sort of classic gear.
From Dani: here is a link to test recording I made of the custom VCA retrofit I designed for this LM-1 along with a couple of pictures of my custom VCA pcb and the Kenton MIDI retrofit I installed: https://soundcloud.com/hideaway-studio/12-channel-midi-vca-test-segue-01 That mod I designed is a full blown custom pcb in there sporting a midi controlled VCA on every drum channel (which can be switched on/off if required) - its the only one of its kind to date.
In excellent cosmetic condition and perfect working order. UK voltage. Serial number 256. Ultra-careful packing 24GBP."
"'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
"Here’s a new sequence, 'Drenched Sweeper' from the Analogue Solutions #TC5000 Patch Pin Matrix Synthesizer—recorded with no external instrumentation, FX, or processing.
With the TC5000’s vast sonic range, no single video can fully showcase its capabilities. We’ll share more sequences to highlight different aspects of its sound design potential.
About the Patch:
The TC5000's pin matrix provides extensive routing options, allowing for highly intricate and dynamic patches. A single pin can introduce subtle nuances or completely transform the sound.
In fact, the complexity of just one patch could warrant an entire essay!
This sequence features multiple waveforms from 3 oscillators, 2 filter types, Dual EG module 5012, Sequencer, and the Preset Voltage module 5052 (randomized with noise), along with the Mix-Sequencer module 5100 (providing the pulsating effect) -- this module is essentially two 4-input mixers. The channels, however, can be muted/switched on/off in the sequencer, in time to either an internal or external clock."
March 26, 2025 - Crows Electromusic, a small synth company from Vancouver, Canada, is thrilled to introduce Lore, a standalone all-analog tool for exploratory sound synthesis, ambient, drone, and noise music. With individual controls for each function, Lore gives direct control of two independent triangle-core oscillators and can be switched to an FM synthesis mode to unlock a wide range of complex tones. The instrument’s unique un-quantized interface is perfect for exploring pure tones, drones, and FM sound textures.
Features:
• 100% analog circuitry
• Two triangle-core oscillators
• Crossfade between triangle and square waves
• One-control-per-function interface
• Fully standalone, just add headphones
• Transparent bioplastic enclosure
• USB powered
• Handmade in Canada
Lore is our second release, building on what we’ve learned making our first product OVUM analog sound explorer. We had two goals in mind during development: first we wanted to make something that could create a harsher and more aggressive sound, and second, we wanted to see how small a synth we could make. On both fronts we think Lore is a success - it measures under 3 x 3 inches, and the FM mode gives you access to a whole range of shimmering, grinding, and metallic sounds. Just like with OVUM, we prioritized immediate control and ease of exploration. No understanding of oscillators, wave shapes, or FM synthesis is required to pick it up and start creating interesting and inspiring sound. We think people of all ages, musical abilities, and experience levels are going to love this instrument.
Lore is available now for $79 CAD / $59 USD.
Crows Electromusic is a small synth company based in Vancouver, Canada. Started by Cory Alder in 2022. Crows’ goal is to develop new hardware instruments that challenge the established ways we interact with sound and music creation. Their first product, OVUM was released in 2023, and their second product Lore is available now.
For more information, please visit Crows’ website at https://crowselectromusic.com or follow us on social media (Instagram, Bluesky) at @crowselectromusic.
"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.
Changes from 1.1.0 to 1.2.0 Synth firmware 1.2 focuses on interface improvements and disabling effects when they aren’t active to free up additional CPU.
NEW FEATURES
Effects (Rev, Mod, Del) are not activated when not used in a scene Dim Mode added to the system settings. Interface improvements to help avoid clipping and distortion Master Volume now shows dB values instead of a line Mixer Level meter turns red when clipping Maximum mixer sends set to 0dB instead of +12 (Old projects will still load with the value saved at +dB settings) Added screen indicators to help troubleshoot when a Synth isn’t playing a sound Added an all note off option to stop hanging notes Access via Main Menu > All Notes Off FIXES
GRAIN Burst Ratio parameter values were playing at double the specified tempo An incorrect engine could load on when mapping PC change options if patches shared the same name Freeze when using Layout and Mode knobs on Grid page simultaneously Clicking when using crossfaders for Mod > Rev or Mod > Del could sometimes occur Aftertouch did not work if a pad was hit extremely hard Preventing hanging of held notes when Local Mode is changed to off PC change could corrupt the loaded patch and browsers The patch preview was removed from PC mapping to prevent this issue Freeze after loading a scene with PC Mappings multiple times Quickly scrolling the program change mapping list sometimes switched the active patch Switching pages would occasionally result in an empty parameter page Main Menu navigation sometimes cut off Held Notes were not highlighted after switching instruments on seq
