Playlist: (you can use the player controls to skip around)
1. Synthfest UK 23: Sequential - Trigon 6 Desktop
At SynthFest UK 2023, we had the opportunity to chat with Chris from Sequential, a part of the Focusrite group. Chris introduced us to the Trigon 6 Desktop, the latest addition to Sequential's synthesizer lineup. This compact desktop version of the Trigon 6 packs a powerful punch, offering three oscillators and a distinctive Dave Smith ladder filter. Designed for those seeking a space-saving solution without compromising on sound quality, the Trigon 6 Desktop retains all the features of its larger sibling, including patch recall, a versatile effects section with various modulation possibilities, and the distinctive feedback control that allows you to sculpt sub-harmonic richness.
At Synthfest UK 2023, we caught up with Calc from Sequential, and he gave us the lowdown on the Prophet X. Now, you might be thinking, Prophet X? Haven't we seen that before? Well, you're right, but this hybrid instrument has been quietly making waves in the music world. It combines digital and analog elements, with digital oscillators and a unique twist in the form of multi-sample-based instruments. Yes, you heard that right, it's not just your run-of-the-mill synth; it's a full-on sampler too, boasting an impressive 50 gigabytes of memory for your custom samples. You can treat it like a rompler, a sample player, or even use those samples as oscillators, creating a whole new realm of sonic possibilities.
Plus, it's packed with stereo goodness, allowing you to explore a wide soundstage with ease. It's not your typical synth, and that's what makes its a favourute of Calc's
This post is developing. Check back for new videos and updates below.
Street price appears to be $999. See dealers on the right for availability. In via Alex Timchak.
"We are delighted to announce the release of Syntakt – the 12 track drum computer and synthesizer that fuses digital and analog synthesis together in one music megabox.
Enter this sonic metropolis and experience epic sounds from the past, while pulling others into existence from the future. Syntakt is a drum specialist, full of percussive possibilities, but its four analog and eight digital tracks can be used for melody, harmony, and bass sounds too, giving you a musical melting pot with dozens of machines at your disposal.
Affect the sound of each machine with the intuitive and playful graphics. Add analog distortion and filtering to your mix or separate tracks, using the FX block. Run wild and free with the four expressive modifiers. Access a variety of different scales via the keyboard mode. And create dynamic soundscapes with its phenomenal sequencer.
The streets of Syntakt are never-ending, the neon lights are never-dimming, its underground is fathomless. Discover worlds within worlds."
"Syntakt is a sonic metropolis of machines, fusing digital and analog synthesis together in one drum and melody megabox. A 12 track drum computer & synthesizer melting pot like Syntakt needs a majestic guide. Let the intrepid Elin Piel show you around the many features at your disposal."
Baseck Plays : Elektron Syntakt : 12 Track Analog & Digital Synthesizer / Drum Computer
"Elektron's newest device is finally here : The Syntakt ! A 12 Track Synthesizer and Drum Computer!
Let's see how far our friend Baseck can push this new machine.
Grab one NOW : https://bit.ly/3EEzgOE
"Our pal Mario from Elektron came down to the Perfect Circuit HQ and walked us through the ins and outs of their newest Synthesizer and Drum Computer : Syntakt
0:00 - Intro & overview
1:30 - Machines & Visual Language
3:27 - Beats To Melt Brains To
3:59 - Modifiers
7:40 - FX Track
11:50 - Outro Jams
"Elektron's new instrument, the Syntakt, is a powerful combination of analog drum sounds, digital synthesis, and new performance features not seen on any other Elektron product. In partnership with Elektron, watch as our host Fess breaks down these features."
"In this video I perform one of my new tracks using the Elektron Syntakt and the Octatrack MK2. All the sounds in this video are from the Syntakt, I am using the Octatrack with my performance template.
"Some patterns I’ve made with Syntakt. No processing.
Things I love: The machines! The flexibility!
It can be so many things.
8 tracks of Model cycles chord machines with deeper control, 2x LFO per track, full envelopes, dual filters, p-lockable FX track. Or half a Rytm , plus new digital drum synth and bass/lead synth machines.
Or a mix between.
All with a tasty chunk of analog Heat drive, filter, and EG, but p-lockable!
There is an inverted envelope shape in the analog fx that I use as a master compressor. The drive is lovely.
I also love using some of the analog kicks with a bandpass filter for textures. Can even get kinda of vinyl pops and clicks out of these.
Can have up to 3 simultaneous analog DVCO machines."
"The brand new Elektron Syntakt is here!
I'm doing a brief overview, followed by a SID emulation rendition of Rob Hubbard's theme music for the C64 game 'The Last V8' from 1985. Then it grows into a live jam, using all the 12 digital and analog tracks of the Syntakt, including the features such as analog distortion.
0:00 Intro
1:50 Song starts
3:57 Live jam!"
Full details:
12 Track Drum Computer & Synthesizer
Enter a sonic metropolis with Syntakt. Analog and Digital synthesis. Drum and melody. In full fusion.
All your sound crafting, sequencing, and performance needs are fulfilled, in an all-round music mega box that fits in your lap. Syntakt is a drum specialist, full of percussive possibilities, but its four analog and eight digital tracks can be used for melody, harmony, and bass sounds too. Experience epic sounds from the past, pulling others into existence from the future.
The streets of Syntakt are never-ending, the neon lights are never-dimming, its underground is fathomless. Discover worlds within worlds. Adore now. Explore forever.
Meet the machines There are 35 sound-generating machines to call on, covering a wide range of drum and melodic sounds. Some machines have been reimagined from Analog Rytm and Model:Cycles, with deeper sound control for the latter, while others are entirely new to the world.
For you to create and personalize your sound, we’ve made sure you’ve got a set of parameter controls tailor-made for each machine. They let you quickly tweak the nature of each type of sound, showing you just the relevant options. Comprehensive without being overwhelming. Let loose with analog or digital overdrive, depending on the tracks you’re playing with.
The graphics more than play their part too, with plenty of animated icons offering visual guidance and extra clarity on how each parameter affects the sound. The joys of tweaking shouldn’t only be for the ears after all.
Special effects Syntakt lets you route any of your synth tracks or external audio sources through the FX block. This gives you analog distortion and filtering, and a couple of LFOs to go to town with. Additionally, you can also call on Delay and Reverb as powerhouse send effects.
And all of the above effects can be sequenced with the FX track. Have them kick in at just the right moment. Add accents and dramatic changes to the selected tracks or external audio. Or use it as a master track for ducking and gating effects.
Modify the moment Wield a little extra trig craft using the four modifiers, offering four varied levels of expression. Configure the first two modifiers to give you the retrig or velocity behavior you desire, and use the other two to access custom intensities of other parameters. They’re ready for action regardless of which synth track you’re using.
And the best bit is that they don’t just give you that extra playability fun in the here and now, you can also capture the moment by recording to the sequencer.
The keys to the city Syntakt’s keyboard mode gives you a whole bunch of different scales to play with.
There are some familiar faces and some maybe a little less familiar for you to try out, helping you discover new places and taking things to another level.
Play across a single octave like on a piano keyboard. Or use fold, and have several octaves laid out in front of you.
Deep sound-shaping Syntakt comes full of filter and envelope goodness. All tracks have a Multimode filter to put to use allowing you to emphasize different parts of your sound, with the digital tracks also able to call on Parametric EQ and a Base-width filter – an additional filter giving you even more sonic control.
Choose from two amplitude envelope types to define the ideal contour of your sound. Try out the ADSR envelope – for your wicked synth lines – or the simpler AHD envelope – perfect for transient percussive sounds.
"The drone and strings are Omnisphere imported into the Octatrack. The Octatrack also sequences Nave on the iPad. Nave supplies the metallic-sounding arpeggios, whose timbre can be infinitely modulated with the Kaos pads. Drum samples are rolled in Logic and imported to the TR8s. The brilliant Analog Four does the rest!"
"Analog Four, Digitakt, Digitone, Analog Rytm sequencers all have the conditional locks feature. How it's done, plus some tips on using it to produce musically pleasing patterns."
Note the Clarke IMAGINATOR VCX-378. It's a module from none other than Vince Clarke of Yaz, Erasure, and early Depeche Mode fame. It was introduced back in 2015. What's odd is I haven't seen it featured in any online demos since then. This listing however is only for the stand. The modules and Analog Four are not included.
"Modular Studio Elektron Eurorack Combi SKIFF stand - This stand combines a stand designed to optimize performance and programming positions for Elektron Analog Four, RYTM, Octatrack, Monomachine, Machinedrum with MS SKIFF 66HP comprising 3U space for Eurorack modules
NOT INCLUDED IN THIS LISTING THE OPTIONAL EXTRA 1 U Euro rack accessory rail, this can be purchased separately in a another listing.
The MS Combi SKIFF stand raises the Elektron unit to the right angle for performance and programming making the production workflow a breeze and ensuring cables are not snagged or in the way.
The integral Modular Studio 66HP Skiff can be situated on top or bottom level over or above the Elektron unit.
The MS 66HP skiff is 5.5cm deep so will fit most Eurorack synth modules be sure to check your module depth before purchasing.
The MS Combi SKIFF stand stand can be oriented in 2 positions to have the keyboard face in desktop or upright positions.
The Kit includes 2 x stand cheeks and 4 x screws to attach to the Elektron synth or drum machine plus MS 66HP SKIFF with fixing screws plus screws and nuts to attach your Eurorack modules to use as a desktop Modular Synth / Elektron Combi stand
The Stand has cable slot to pass cables and wires under the side of the stand.
We also have a version identical to the Elektron Combi Skiff stand which includes extra 1U section underneath the 3U modular synth SKIFF
THIS LISTING IS FOR THE MODULAR STUDIO PRODUCT AND DOES NOT INCLUDE ANY SYNTH MODULES"
Just a heads up, the lineup for Moogfest 2017 has been announced. As always, check out moogfest.com for full details on the event. The following is a small capture for the archives via the Moogfest newsletter.
"Hailed as 'the most adventurous and cutting edge' festival of 2016, Moogfest returns with a commitment to futurist conversations and performances that wrestle with our historic moment, and reflect on the festival’s home in North Carolina.
In celebration of its 11th iteration, Moogfest will unveil its lineup over the next 11 weeks through their weekly “Future Thought Future Sound” email newsletter, inviting the Moogfest community to explore program themes like Transhumanism, Techno-shamanism and Protest.
Hi everyone, you might remember, back in July I posted some pics of my newly acquired UltraNova, and mentioned that review posts would eventually follow. Well, I’m happy to tell you the first post is here. The UltraNova is one powerful synth, so to make the overall review a bit more consumable, it will be broken up over time. This first section includes an Overview, the Oscillators, and the Mixer sections. When new sections go up, I will be sure to let you know via a new post.
As with most of my reviews, I will say this one goes pretty deep into the synth engine and all editable parameters. If you are the type of person that likes to dissect and explore all of the available parameters on a synth, then this post is for you. I will touch on what each parameter does and will call out any interesting features and limitations as I do so. There are some pretty special parameters on the UltraNova that give you control beyond most other synths. Hopefully this review will give you some insight into what makes the UltraNova special.
Overview & Quick Comparison to Previous Nova Synths
The Novation UltraNova, released back in 2010, is a 20 voice virtual analog & wavetable synth with three oscillators, two ring modulators and one noise source per voice. The UltraNova also features two audio ins that can be assigned to the oscillator section and/or a 12-band vocoder. It’s worth noting that the Novation Nova from 1999 featured a 40-band vocoder, while the Supernova II from 2000 featured a 42-band vocoder. The UltraNova is a monotimbral synth while the 12 voice Nova was six part multitimbral and the Supernova II (24, 36, or 48 voice) was eight part multitimbral. The UltraNova supports up to 5 simultaneous effects per patch. The Nova supported 42 simultaneous effects, while the Supernova II supported up to 56. The Supernova II also supported FM synthesis while the Nova and UltraNova omit it.
The UltraNova, however, is the first Nova synth to feature wavetable synthesis. An interesting side note is that all of the oscillators on the UltraNova are actually stored as wavetables, including the standard waveforms. According to Novation, “The wavetables in the Supernova series are all calculated. The wavetables in the UltraNova, even the standard analogue waves are wavetable oscillators. This change in oscillator generation was first used on the A-Station and K-Station and subsequently in the KS series, X-Station and Xio.” This allows the UltraNova to have some advanced tricks when it comes to the oscillator section, which will be covered in detail below.
I asked Novation about the lack of FM synthesis and they told me, “FM would have been a lovely addition to the UltraNova, but it would have been asking too much of the DSP to be able to run everything the UltraNova can do and also add in FM. The wavetables were a really good way to introduce a new (to Novation) type of synthesis that is able to cater for some of the synth sounds that FM is known for and also to be able to create lush evolving pads.”
The UltraNova features two routable filters per voice with a total of 14 filter types to chose from including 6dB (no resonance), 12dB, 18dB, and 24dB with Lowpass, Bandpass and Hi-pass modes. The Nova and Supernova II lacked a 6dB mode.
As for hardware, although the UltraNova may have fewer knobs per function than its predecessors, it is extremely well laid out and super intuitive to use. Along with both keyboard velocity and aftertouch, the UltraNova has touch sensitive knobs. They literally respond to touch and can be assigned to various parameters. Worth noting, velocity is configurable, however, aftertouch is not. I found the aftertouch to be good, but it does require a little extra force than I prefer; it’s good for not accidentally triggering it, but not so good for subtle, natural performance.
Please note the above comparisons with the Nova and Supernova II were only for quick reference. The UltraNova of course is its own synth with a few tricks up its sleeves that are lacking in the original Nova line, including a level of control over the synth engine often only found in the modular realm. It sounds incredible, and for the price, currently only $599 new, it is an extremely flexible and powerful synth. You get the current top-of-the-line Novation Nova synth engine with new wavetables and more. The UltraNova is both a performance oriented synth as well as a synth programmers dream. It can be configured for easy access to specific parameters for a live situation, or you can dig as deep as you want with a clearly well thought out interface.
That said, let’s dig in.
The following review and overview will essentially go over the signal flow of the UltraNova followed by performance controls including the arpeggiator and the hardware interface. I’ll go into a little detail on what each feature can and cannot do in an attempt to give you a detailed idea of what the synth is capable of. Because my reviews tend to be a bit on the longer side, I will be posting the sections in chunks over time to make it easier on you to consume and for me to compose.
In this 5th video you can see the name of the synth is the DeepMind12, and it will include routable effects and a graphical screen. You can also see a Powered by KLARK TEKNIK on it. KLARK TEKNIK are makers of signal processors and mixers. Note there are 4 FX slots. Effects seen include various types of Chorus, RackAmp, Delay, Reverb. Mood Filter, Flanger, Enhancer, and Dual Pitch can also be spotted as well. Each affect appears to have a number of editable parameters. You can see the RackAmp has parameters for PRE, BUZ, PMC, CRM, DRV, LVL, LOW, HI, CAE. The DSP algorithms are from Klark Teknik and TC Electronic. There is also expected to be a dedicated iPad Editor. At :16 you can see what appears to be it resting on top on top (screen grab further below). Note the different Reverb types in the editor. At :21 in the video you can see the routing of the effects change. At :34 it appears you can stack the same effect types - you can see Hall Reverb in slot 1 and in slot 4 pictured below. Word is it will have a built in arpeggiator as well.
Update: An update via Uli Bheringer on the new DeepMind12, spotted by Soviet Space Child:
"The DeepMind12 has 4 integrated FX Engines which can we used simultaneously but also synced to the synthesizer itself. Each engine is loaded with more than 30 high-quality FX algorithms from TC Electronic and Klark Teknik. These are true world-class FX, many of which have been derived from TC Electronic's acclaimed signal processors as well as Midas' high-end mixing consoles.
As a world's first, the DeepMind has built in Wifi and allows for full remote control of nearly all parameters - all through typical tablets.
While the price has not been confirmed nor any price indication been given to retailers, we like to manage expectations.
With approx. 4,000 components, the DeepMind12 is one of the most complex synthesizers that has ever been built. Due to its discrete design structure, it has vastly more components than you will likely find in any of the current synthesizers on the market.
While it has always been our company philosophy to work on very small margins, we would however never sacrifice component or manufacturing quality nor sell below cost. Like all our products, the DeepMind12 will come with a 3 Year Warranty program.
These are truly exciting times and thank you for all your interest and support :-)
Uli"
DeepMind12
Powered by KLARK TEKNIK with four FX slots.
iPad with editor resting on top.
Also note the parameters for RackAmp on the DeepMind12's display.
Note the routing is different in this screenshot and below.
Hi everyone! As you know Barry Schrader will be giving his farewell concert at CalArts on September 26. The following is the beginning of my interview with him. I opted to post the questions and answers as they come in. New QAs will get a new post so you do not miss them and they will be added to this post so we have one central post for the full interview. This should make it easier for all of us to consume in our busy lives, and it will allow you to send in any questions that may come to mind during the interview process. If you have anything you'd like to ask Barry, feel free to send it in to matrixsynth@gmail.com. This is a rare opportunity for us to get insight on a significant bit of synthesizer history, specifically with early Buchla systems, and I'd like to thank Barry for this opportunity. Thank you Barry!
A non synth post. Making the exception to this one as this pertains to how we power our synths. Via David Kronemyer:
"It’s astonishing how many synth studios ignore the requisites of proper AC power. Power behind the racks typically is an afterthought. It ends up as a confused jumble of cables. This not only is conceptually offensive, but also results in marked degradation of audio sound quality.
Here is the solution we have implemented (see picture). We have six separate 20-amp AC lines coming into the studio from the main power service. First they go to Tripplite power conditioner-line stabilizers. These maintain the incoming voltage at a steady 120 V and also filter out noise, spikes and other undesirable artifacts. Then they go through a metering panel, which shows amperes – volts – watts. This gives a ready indication of each circuit’s capacity and status. Then they go to balancing transformers manufactured by Equi=Tech. Usually AC line voltage is 0 V on one leg and 120 V on the other. What balanced power does is change this to 60 V on both legs. This promotes common-mode rejection (analogous to balanced audio cabling) and lowers the noise floor by at least 10dB. It also eliminates ground loops (audible as 60 Hz hum) and complex star-grounding schemes. We can turn our main mixing system all the way up without audible hiss or noise. Oversized cabling is used throughout to reduce impedance and promote headroom. We also have uninterruptible power supplies for computers (not depicted).
Here are a few other observations:
1. Most studios have at least three separate cabling systems (AC, audio, MIDI). Power cabling should be physically separated from audio and MIDI. If they run parallel, there should be space between them; if they cross, they should do so at right angles. These same principles apply to digital cabling, computer cabling and time-code cabling.
2. Power to anything but sound-producing keyboards or modules must be on a completely separate AC circuit. Lighting and computers, for example, always should be on their own lines (as seen in the picture, four circuits are devoted to audio and two circuits to non-audio). It is difficult to over-emphasize the importance of this step. Back in the days of 24-track analog tape recorders, we even went so far as to rewire them, segregating power to the electronics from power to the motors. This considerably improved the sound of the electronics, because they did not have to deal with motor factors such as torque and slew. It also improved the performance of the motors, because now they could have a consistent power source without also worrying about powering electronic components.
3. Multiple wall-warts of the same power type (e.g. 12 VAC) easily can be replaced with a single, larger AC transformer. This provides consistent power to all of them and results in significantly improved sound quality. Many modules are 9 or 12 VDC. We have two large transformers (made by Acopian) to make these conversions, then distribute the power along separate lines, to the same effect.
In conclusion, studios typically spend thousands of dollars on gear while at the same time ignoring basic principles of how to make it sound good. This doesn’t make a lot of sense because the way things sound is constrained by the least-satisfactory variable. It’s important to optimize every step of the process in order to achieve a desirable outcome."
"Polyphony - Monophonic (Duophonic via built-in Sequencer)
Oscillators - 2 DCO's with sawtooth, triangle, and square-, variable- or modulated-pulse waveforms and 5 preset digital wavefroms
LFO - 1 LFO with square, triangle, sawtooth waveforms, sample-and-hold
Filter - Two 12dB/oct analog filters which can be linked in series for 24dB/oct configuration. Lowpass, bandpass, highpass modes.
Dedicated ADSR envelope, Frequency Cutoff and Resonance controls.
VCA - Two ADSR Envelopes
Keyboard - 37 keys
Memory - MIDI Model: 12 user, 24 preset patches. MIDI-equipped V3 (latest): 36 programmable patches. Custom Waveforms: 24 programmable digital waveforms.
waves. Sequencer: 24 sequences.
Control - Trigger In, full MIDI spec.
Date Produced - 1985
OSCar
The OSCar is a classic mono-synth from British manufacturer Oxford Synthesiser Company (OSC). It first appeared on the scene in 1983 and was considered then to be in the same class as the Arp Odyssey & Minimoog mono-synths (it is). Its late arrival makes it one of the more advanced programmable mono-synths. Amazing sounds and digitally controlled dual oscillators with analog filters and plenty of programmabilitie. It also has full midi MIDI spec.
The Oscar is monophonic, but can also achieve duophonic capability when using just one oscillator per voice. Waveforms offered include sawtooth, triangle, and square, variable, or modulated-pulse waveforms. In addition to these analog waveforms, there's an additive-synthesis function allowing you to create your own custom waveforms by simply mixing the amplitudes of any of its 24 harmonics using the keyboard. Up to 24 of these custom waves can be stored and used with either oscillator. Once you've got some sounds it's time to hit the filter section - the real analog heart of this synth! It has two 12dB/oct filters which can be linked for a steeper 24dB/oct slope. It features switchable lowpass, highpass and bandpass filtering and your basic frequency cutoff and resonance type controls. The filter has its own ADSR envelope as well (a second ADSR envelope controls the amplifier section). The filter can also be modulated by the LFO. The OSCar's LFO offers triangle, sawtooth, square, and other wave shapes and can also be used to modulate the amp, pitch, or pulse-width. There's even a sample-and-hold function. A simple built-in sequencer gave the OSCar duophonic capabilities! It could play a sequence on one of the oscillators while the keyboard can be used to simultaneously play along with the sequence. It stores up to 24 sequences. With full MIDI spec (V3) you can easily synchronize your OSCar and other MIDI gear together and a computer! The sound patches that are stored in memory can also be dumped via MIDI to more permanent storage mediums. MIDI models also offered 36 programmable memory patches which are assigned to the actual keyboard keys (pre-MIDI models had 12 preset and 24 user patches). The OSCar is very hard to find as there are little more than 2000 in excistence, so now is your chance.
It is working well and has been well maintained over the years by the same qualified engineer who used to work in the famous 'Rod Argents Keyboards' in Denmark Street, London W1, the same place I purchased her back in 1985.
‘Sequencer’
The OSCar's sequencer, operates in step-time mode, and is fairly sophisticated. It features the rare ability to lengthen notes or insert spaces, so that it isn't restricted to producing an
endless stream of notes of identical length. This is done by holding down the required note while advancing the step button, or pressing the Space button just below the wheels.
Twenty-four sequences can be stored (the numbered keys being pressed into service for one more function) but then these can be chained together into more complex sequences, complete with program changes. As a result, with a bit of planning, you can produce really quite sophisticated bass lines and other monophonic sequences, whilst playing a second part over the top, if you want. All this can be triggered externally via a Click In which is ideal for interfacing with the drum machines of the day (Linn, Emu Drumulator, Sequential Drumtrak) and OSCar can often be seen as one half of a very tight rhythm section at live gigs. There is even the facility to sub-divide the incoming clocks to create slower or faster lines without spending hours inserting Spaces or making each note four times the length. The same triggering is available on the arpeggiator, which made it amongst the most flexible of the day with multiple octave ranges and random ordering. Or you can just use your computer for sequencing and a nice midi cable, it's your choice.
Oxford Synthesiser Company OSCar Specifications
* Type: Synth/ keyboard/
* Synthesis Type: Digital Accoustic simulation Subtractive, Additive (24 harmonics)
* Polyphony:
o Max: 2
o Typical in use: 1
* Multi-timbral (number of parts): 1
* Oscillators per Voice :
o Min : 1
o Max : 2
* Controllers : Pitch bend, mod wheel, (sysex?)
* Effects :
o Number of FX units : 0
o Number of different effects : 0
* Keyboard :
o Number of Keys : 37
o Can send on 1 simultaneous MIDI channels
o Responds to :
o Sounds can be split by :
* Memory :
o Patches : First versions: 12 RAM/24 ROM. Later versions: 36 RAM.
o Performances :
* Inputs and Outputs :
o Number of Audio Outs (excluding Phones) : 1 stereo
o Number of Audio Ins : 0
o Number of MIDI Outs (excluding Thru) : 1 (if MIDI'ed)
o Number of MIDI Ins : 1 (if MIDI'ed)
Well known artists credited as using OSCars include:
* Billy Currie, Chris Cross and Midge Ure of Ultravox
* John Foxx
* Geoff Downes (Asia)
* Jean-Michel Jarre and Dominique Perrier
* Keith Emerson
* Stevie Wonder
* Tim Simenon
* Sneaker Pimps
Examples of OSCar sounds on commercial releases include:
* Ultravox - "Love's Great Adventure" (solo, atonal sequence)
* Band Aid - "Do They Know It's Christmas" (bass line)
* Jean-Michel Jarre - "Revolutions Overture" (bass line, solo at climax)
* Stevie Wonder - "Skeletons" (bass line [with Elka Synthex])
* S-Express - "Theme From S-Express" (bass line)"
"ONE OF THE TWO OR THREE MOST IMPORTANT MOOG CUSTOM MODULAR SYSTEMS IN THE WORLD. This is the system Joel Chadabe dreamt up, in collaboration with Robert Moog, and had him build in the late 60s. It is at VEMIA, undergoing restoration - more details later - but is a unique and hugely powerful system, full of Moog custom modules, some very rare, some very early, and some almost certainly unique. Joel Chadabe's book 'Electric Sound' pp286-287: 'In 1966, I got an idea. I drew up a plan for a completely automated synthesizer system, discussed its feasibility with Robert Moog, described it in an article in 'New Perspectives in Music', and got the funding to have it built. That system, which I called the CEMS (Coordinated Electronic Music Studio) System, was ordered from Moog in 1967.... and installed in December 1969. In addition to an extended array of sound-generating and processing modules, an automated matrix mixer, and a digital clock, the system contained a bank of eight analog sequencers with customised logic hardware for running them synchronously, asynchronously, in succession, or in any combination.' '... the world's largest concentration of Moog sequencers.......' 'In 'Drift'.. (1970), icy electronic sounds swooped automatically through a virtual space without my intervention or control. It was the realtime equivalent of algorithmic composition..' '... a few months later, I was using joysticks to control oscillators, filters, modulators and amplifiers. The sequencers, configured to generate pseudo-random patterns, were also controlling the oscillators, filters, modulators and amplifiers. And I was also controlling the sequencers...... .. I was in effect conversing with a musical instrument that seemed to have its own interesting personality.' The CEMS is housed in four tall vertical cabinets, on casters. 1. 4x 960 (s/n 1094-S, 1096-S, 1103-S etc) 4 x 962 (s/n 1062, 1063 etc) 4 x custom delay mixers, 20 trunk lines. All R.A.Moog, mostly 9/69. 2. 4x 901 VCOs, trunks, Portamento, 2x multiples, CP-3 mixer, 984 mixer, 901, Portamento, 911, 2x 902, multiples, Portamento, 901, 904B, 904C, 904A, 904B, pitch/trigger interface, 912, S-trig>V-trig with portamento, 902, 911, multiples, 911, Attenuators, 911, 903, multiples, 3-pin sockets for joysticks etc, Delays, trunk lines. 3. 'Moogus Operandi' 10 digital numeric switches, 104ms- 4 sec delays, with x1 and x100 switches, digital clock with nixie tubes, trunk section with type B sockets (one line empty), 3x 4U Voltage Controlled Mixers, Portamento (R A Moog, no logo), 905, Triggered Controller, R A Moog banana & 3-pin interfaces, 904B, 902, 902, 911, R A Moog Signal Router, Amplifier, 3x Triggered Controller, PSU, delays and trunk lines. 4. similar to cabinet 1. **It also includes five R A Moog joysticks, serial numbers 1002, 1003, 1004, 1005, and... 1008. - and a pre-production model Ribbon Controller, which Mike Bucki at Modusonics can provide a new ribbon for.** Like many other things in this auction, this is from the collection amassed by Felix Visser, former head of Synton. All items were destined for a national technology museum project, many years in the making, but finally cancelled by politicians and planners. They have mostly been stored unused for a number of years. This system has not (as of March 20) been powered up, and is SOLD AS IS unless we have more information in the meantime. (The power supplies are currently at Lucid Sound for testing and servicing where necessary.) Cosmetic state at present: all sequencer lamps present and guaranteed working 100%; all screws, nuts and washers checked, cleaned and replaced where necessary; veneer repaired on the facing edges of cabinets where necessary; casters replaced; module panels cleaned and looking good; many of the silver knob inserts are missing - many are saved ready to stick back on, but some are lost. (We are searching for replacements, or failing that, new knobs are still generally available.) The quality of early Moog modules is remarkable, and we would expect it to be not at all difficult or expensive to restore this to excellent working order - and beautiful cosmetic condition as well. If required, we can source and supervise this work, and would expect it to be very reasonably priced. All photos were taken before cosmetic restoration, and the system now looks a great deal better - superb apart from the missing silver knob inserts. For more of the old pics see: link" You can find this one on VEMIA - Click on Auctions, Search, and search for 5560.
Update via peterwendt in the comments: "I knew I'd seen this before: link... great post with lots of details from Richard Lainhart."
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