"We are honored to share that the Bob Moog Foundation Archives has received a major donation of nearly 300 items from the estate of electronic music pioneer Herbert A. Deutsch, who passed away nearly a year ago, on December 9, 2022, just shy of his 91st birthday.
Highlights of this extraordinary collection include:
1961 R.A. Moog Melodia theremin (the instrument that originally connected Herb and Bob Moog in 1963)
Vintage R.A. Moog Minimoog, serial number 1094 (one of the first one hundred ever produced) that was given to Herb by Bob
Original correspondence between Herb and Bob during the seminal period of their work together between 1963 and 1964
84-minute reel-to-reel tape of Moog explaining how the prototype Moog synthesizer works
Reel-to-reel tape of the landmark “Jazz In the Garden” concert held at the Museum of Modern Art in New York City on August 28, 1969
Sending our deep gratitude to Herb's widow, Nancy Deutsch, for entrusting us with the stewardship of this collection. We look forward to sharing this material with the world for generations to come.
Do you have material that you would like to donate to the Bob Moog Foundation Archives? Please email us at info@moogfoundation.org."
"This sonic experiment was inspired by the Dreadbox Erebus LFO having a whopping 10-minute long cycle time. Therefore, I thought it might be fun to run that LFO into every single filter I have with a CV input, including big analog polys with a VCF control input on the back intended for expression pedals. The honorary VCFs include: 2x Roland System-500 521, G-Storm Electro SH-2 and SH-5, Dreadbox Erebus, Oberheim OB-X8 (OB-X SEM LP mode), Sequential/Oberheim OB-6, Roland Juno-6.
Interestingly the filters on the big polys don't open all the way. I assume this has something to do with the inputs being calibrated for expression pedals rather than Eurorack CV. According to my oscilloscope, the Erebus LFO range is -5v and +5v. This is pretty typical for Eurorack. I set the cutoff at about 50% for all the filter modules. This seemed to work perfectly. But I was not able to do that with the polys. With the cutoff at 50%, the filters would open up all the way, but they wouldn't close nearly enough. I had to bring the cutoff completely down, and as a result, the filters on the polys wouldn't open up all the way. I did alternate takes where I walked around and tried to smoothly nudge each one up in order to get the filters fully open, but that was a disaster. In retrospect, I could have set up a one-shot MIDI LFO to do this and triggered it once at the right moment, but I already had enough things to worry about.
One of my audio interfaces is dead or dying, and it keeps ruining takes and sometimes crashes Logic. I finally turned it off and went with my lone Focusrite Scarlett 8i6, which has always been solid. But now I had an extra synth without an input and I wanted to have the polys on their own tracks so that I could blend them in with the Eurorack stuff to taste. And there's no possible way I could overdub since the whole point is to have one LFO sweeping all of the filters at the same time. I ended up resorting to an old 1989 JVC cassette deck to record the OB-6. So that shot at the opening of the video is legit. There's such a big wall of sound here that it's impossible to tell if it ended up adding any saturation. It definitely added some hiss and crackles but that's fine in this context. The cassette itself is ancient, cheap consumer grade, 60 minutes per side. I ended up recording over some 90's black metal that had been there since, well, the 90's.
To add to the grit and grime, I intentionally ran the filters from the Eurorack straight into the audio interface, bypassing the typical flow through VCAs. Ok, fine, I totally forgot about the VCAs, but it sounded extra dirty, so I didn't stress out too much. I certainly wasn't going to power everything back on, tune everything up and do another take because of it.
Obviously when the filters are closed or nearly closed for several minutes, there needs to be something to fill that gap. That's where the generative stuff comes in. There's 3 different sample and hold circuits feeding different things, including back into themselves in one case. Some voltage is running through different logic gates in conjunction with other, steady LFOs. Since I'm out of filters, the sound consists of pink noise through a VCA, triggered at random by a very short decay envelope. This runs into a recovery tape delay module, that gives sort of a slapback effect.Then there's a single oscillator, pitch controlled by another S/H circuit run through a quantizer and then running into the spring reverb tank. It's also triggered by the same random voltages triggering the noise hits. Then there's the Mutable Instruments Plaits, making the plinky plonky sounds, again everything triggered at random. It's running into the majestic Calsynth Typhoon.
The last thing to note is that the Erebus LFO also acts like an automated fader to increase and decrease the level of the VCA where all the rhythmic sounds are running through. I simply inverted the signal of the LFO output to do this. As the filters open up, the VCA level diminishes. When the filters fully close, the VCA level increases to maximum.
Last last thing. That knob twisting near the beginning isn't for sci-fi FX, though that's an added bonus. I was simply trying to get the LFO back to its "starting position." I didn't quite succeed. I don't believe the Erebus has any sort of LFO triggering mechanism to help with this. All good though.
FX: Audiothingies DoctorA delay and reverb, Boss DM-101 delay
No post processing other than a 30Hz low cut and slight limiting on the master"
The original livestream was glitchy, so I was able to get the stream file from Franck Martin and edit it down - thanks Franck! Thanks also to Colleen (TanukiSpiderCat) for organizing the event.
My set has a few mixing, tuning, & timing issues, but hey it’s live :-P Thanks for watching…
Also the cool arp ratcheting in my set was done with Chris Jeffery’s special new module called GP-82, controlling the Behringer 182 sequencer (Roland recreation). His module is on sale on his Etsy site right now. https://www.etsy.com/au/shop/Maikshif... Go check it out, and support this awesome Aussie. :-)"
"The GP-82 is a 4HP eurorack module that enhances other basic step sequencers (such as the Behringer 182 and 960) by adding ratcheting, clock division, variable step lengths and gate width modulation, from one channel of your step sequencer CV output.
It also has a 2 input Precision Adder which you can use to transpose a pitch CV (eg. a melody from your step sequencer).
It also has a fun Bernoulli gate mode for random, and a number of burst modes as well as a clock shuffle.
Hand assembled in Australia using quality 'through-hole' components, making it easy for DIYers builders (DIY Kits available by the end of 2023)."
"Here we have the newest Eurorack module in the Entity range from Steady State Fate … METALLOID PERCUSSION. This is a simple set of controls for what is under the hood and much more complex circuit for synthesising metallic and noise based percussion. There’s 3 analogue oscillators which get ring modulated alongside having an FM bus for the most metally (move over Metallica) of metal noise sounds! This metallic noise synthesis is then split into two voices with multimode filters, VCAs and envelopes to control and create a huge range of percussion sounds. The trigger inputs are also dynamic, offering a velocity style (loud to quiet) dynamic and musical response to varying input material.
In the video I get snares, claps, rides, crashes, hi hats, gongs, video game coin collection sounds, Star Wars pod racers and plenty more! It’s not a clone of anything, nor is it meant to make one sound. But it’s easily bendable and shapeable to take the place of many classic percussion sounds. Check out the sounds in the timing index below and skip around as you like."
"Includes factory accessories, quick guide cards, and 8GB SD card containing all available factory libraries at the time I updated the OS earlier this year (‘23). + USB-C wall adapter, pair of TRS MIDI adapters. US and international power outlet adapters for UK and EU."
"Mariana is a dual-oscillator, dual-layer software synthesizer that pulls in the Taurus, Minitaur, Model D and Sub Phatty for some seriously analogue monophonic bass synth action."
Oficina de Sonido created by Daniel Llermaly is a project centred on designing music-making tools with Open source in mind. Based on Mexico City
My First Modular, your gateway to the Eurorack synths.
We know that Eurorack Synthesis (or Modular Synthesizers) can seem inaccessible due to its reputation for being expensive and complicated.
That's why we decided to design a modular system that is affordable without compromising on quality. My First Modular is a low cost eurorack modular system, with a precise selection of modules for beginners, versatile and with simple and colorful interfaces. As we are designers and musicians we have made an instrument with the basics to express your musical creativity.
This Opensource Synth design proposal aims to be the most accessible eurorack modular system that exists, where anyone with a little knowledge can use our templates and codes to produce their own modules and, like us, improve them and make them available to the whole community.
This crowdfunding project will allow us to finance the development and manufacturing of the first complete systems, therefore the current price is only for this campaign. Most likely in the future the price of the system and the modules may vary.
Key Features
Affordability: We have designed our Eurorack Module system to be the most affordable option for electronic music lovers. We believe everyone deserves the opportunity to experiment with electronic sounds without going broke.
Ease of Use: Our system is beginner-friendly, which means that even if you're new to Eurorack, you'll be able to start creating music right away. No advanced technical knowledge is required. We deliver the modules pre-built without the need for soldering.
Sound Quality: Despite its affordable price, we have not sacrificed quality. We have carefully selected modules and resources that guarantee a good sound and a satisfying musical experience.
Open Source: crowdfunding this project aims to design an opensource system supported by and released to the community.
"Quetzalcoatl is a Harmonic Vector synthesiser plugin (VST/AudioUnit) for Mac OS & Windows. It features:
An 8 stage crossfading oscillator
Harmonic pitch controls for each stage
Pan per stage
Multistage, multimode filter
4 Multifunction modulation sources
A large and diverse sound library
Quetzalcoatl is open source and can be downloaded freely from my GitHub page, this listing is for an expanded version with additional sounds and presets."
