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"The Moog Source is a monophonic microprocessor-controlled analog synthesizer manufactured by Moog Music from 1981 to 1985. The Source was Moog's first synthesizer to offer patch memory storage. The design was also the first (and only) Moog synthesizer to feature a flat-panel membrane keyboard to replace the standard buttons, knobs and sliders.
In addition to the memory capable of holding 16 presets, the Source features a 37-note keyboard, and two VCOs that can be selected between three waveforms and three octaves. Programmed presets can be saved to a cassette interface to free up the onboard memory for additional new patches. The 24dB/octave VCF has parameters for keyboard tracking, cutoff frequency, resonance, and envelope amount. There are two ADSR envelope generators that can be set in single or multi trigger modes, one for the VCF and one for the VCA. For modulation, the Source features LFO and sample and hold.
Features:
* 2-VCO
* Micro-processor-controlled
* Programmable monophonic synthesizer
* 16 memory locations
* 3-octave, 37-note (C-C) keyboard
* Arpeggiator and a digital sequencer with memory for two seqences of up to 64 notes
* First to use digital parameter access for programming, a method now commonly found in today's synthesizers, using membrane switches, a two-digit LED display and a single data knob
* VCOs have three available waveforms (sawtooth, triangle, and pulse; with pulse width modulation) and three available octaves (32', 16', and 8'). VCO2 can be detuned at fixed intervals and it can be also synced to VCO1
* Mixer section features levels for VCO1, VCO2 and Noise
* VCF (24dB/octave) has parameters for keyboard tracking (off, 1/2, and full), cutoff frequency, resonance, and contour (Moog's word for envelope) amount
* Two ADSR envelope generators, one for the VCF and one for the VCA
* Envelopes can be set in single or multi trigger modes
* LFO (triangle and square waveforms) can be routed to the VCOs and the VCF
* Sample-and-hold can be routed to the VCF
* To the left of the keyboard is the pitch bend and the modulation wheel, along with two octave-switching buttons
* These and a volume knob are the only dedicated controls.
* Back panel includes audio out, cassette interface, a recessed pitch knob (for fine tuning), and CV and S-trigger inputs and outputs
* 16 factory pre-sets are: Lead 1, Lead 2, Horn, Flute, Clav Bass, Vibes, String Bass, Harpsichord, Organ, Trill Voice, Taurus, Synthevox, Sax, Wind, Snare Drum, and Lead 1 (duplicated here so that if you wanted to, you could use this extra slot to move patches around).
* Programs are saved and loaded via a cassette interface.
* Moog's Source was their first to offer patch memory storage as well as some other new features.
* It boasted 16 memory locations so you could finally save and recall your synth patches.
* A cassette-tape jack was also implemented to transfer your patches to and from an external tape and free up the on-board memory for additional new patches.
* In an effort to modernize with the eighties, the Moog had replaced all buttons, knobs and sliders with flat-panel membrane buttons and a single data-wheel assignment format.
* Parameters are edited not with hands-on sliders and knobs but by assigning a selected parameter to the dedicated data wheel.
* Those famous monophonic Moog sounds are still inside this synth which has two fat analog oscillators and the legendary 24 dB Moog filter."
flickr by Adamo W .Jr. II
click here for drones from the DSI Evolver. Note the sounds are not actually coming from space. It is all the Evolver.
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The guts of this functional art piece include three oscillators which play with each other, causing its ¼” output to spit out droning, spaced-out, ring modish, 80’s video game-ish, psychedelic analog noises. The on/off switch can also be flipped rhythmically, allowing for some wicked bleeping/blooping noises. But, to experience, what you could call, the full potential of this piece, go ahead and hook it up to an audio effect pedal, board, rack, or even your Mac or PC, and explore the infinite world of soundscapes that you can create. The Sound Thrasher has a ¼” input for anything with a strong enough signal to effect the piece. For example the audio clips made with a roland tr-505 drum machine where the Sound Thrasher more than lives up to its name – thrashing and destroying any incoming sound waves and mutating them into sounds of vulgarity or beauty, depending upon your style and taste of audio/sound/noise/music/art.
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"Most Moog Prodigy synthesizers have no interface whatsoever. Only the very few last Prodigies made had CV, gate, and audio input jacks. The following plans describe a method of installing the jacks yourself, if you have a little experience with electronic repair and the soldering of wires and circuit boards. If not, these plans will allow a professional repair shop to add the analog interface jacks for you. It is best to download these diagrams and print them out on paper to look at while working on the instrument and make notes and check off the steps as you go. All repairs and modifications made to your instruments will be done at your own risk and Synhouse Multimedia Corporation assumes no liability for personal injury caused or damage to equipment or loss of use caused directly or indirectly by the use of these plans. If in doubt, don't do it!" click here for more info on Synhouse.
Sighup has been taking the daily Metasonix teaser images going up on umop and piecing them together. Click here to see the full image so far.
via Andrew Haarsager (click through for more info and some examples):
"Encoding the Image
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click here for the full post on trash_audio.
