Make Noise 0-coast and Warlrus Audio Slö 👽👽👽👽👽 #ambient #synthesizer #modularsynth

video upload by Dark Tapes

Korg SQ-1 sequencer.

Dark ditty with CZ-1000, Juno-60, Brigitta, DR-220A

video upload by SynthMania

"I was listening to some old four-track cassette tapes of me from the '80s, and there was a dark tune I did with CZ-1000 and DR-220A (my first synth and first drum machine) in 1987. I reprised it here, plus added a bit of Juno-60 synth lines, and left hand real time sequenced bass from Synthesizers.com Studio-88 (Brigitta). Reverb: MXR 01, an early digital rack unit from the early '80s."

PAiA August 1983 & 1991 Catalog Brochures

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

"The August 1983 catalog is 16-pages of brand new PAiA products: guitar stomp boxes, speech synthesizers, velocity/after-touch controller, Shephard function generator and more. And, of course, the enire line up of PAiA keyboards, synths and modules, books, tapes, studio gear, analog drums and even their old original products such as wind, wind chimes and surf sound effect boxes."

"With the advent of PCs, cheap keyboards from Asia and digital synthesizers, analog was out and DX7s were in. This is often refereed to as the Dark Ages of Synthesis. This affected PAiA greatly and they went into a period of inactivity. No new products were designed from 1983-1991. When interest in vintage analog synths started to happen, PAiA started to emerge from the shadows and started to introduce new products such as the MIDI-CV PROCESSOR, PC-MIDI Interface, along with a Neural Network Analog to Digital Converter. They were still selling their Studio Series line, Guitar Effects, Curtis chips and their CEM based analog synth cards, along with books and tapes.

The 1991 catalog chronicles all of those changes and is fascinating to see what was happening as analog and DIY started to rise from the ashes, like the Phoenix. The catalog is 12-pages and isn't slick looking like previous ones."

CLICK FOR MORE »

Eplex7 DSP releases Replikorp 2249 plug-in instrument for Win / Mac

Published on Jan 13, 2020 Eplex7 DSP

Update: new demo video:

Eplex7 DSP Replikorp 2249 VSTi / AU plug-in retro futuristic instrument with sci-fi analog sounds

"Eplex7 has released Replikorp 2249 plug-in, futuristic sci-fi instrument with vintage analog / early-digital sounds, modular analog sounds, experimental, atmospheric sounds, pads, textures, FXs, soundscapes with vintage dirt and analog dust / noise but with futuristic atmosphere.

This retro futuristic plug-in instrument is compatible with MAC & Windows / VSTi / AU / Mac VST, x32 / x64bit. 

The sounds are perfect for Cinematic Film music / Video Game music, various styles of electronic music: (Intros / Outros for various styles of music, Psytrance, Psycore, Hitech, Darkpsy / Forest, Drum & Bass, Techno, EBM, Industrial, Electro, Witch house, Hardcore, Neurofunk, Synthwave, Retrowave,) to Ambient, Science fiction, Horror music, Experimental and more.

In 1981 one insane, but very talented amateur musician from USSR with ability to see future had a dream. The dream of future in year 2249. People stopped working with hands, almost all work was done by automation, robots. People worked just with their brains, most of economy was moved to weird computer network (later called internet) and digital services because nature was damaged by factory overproduction, global heating and so. Difference between rich and poor people was bigger and bigger, rich people afraid of going outside because of smog, waste, radiation from exploded power plants and gangs of poor criminals. While most of human work was automated, it wasn’t possible to fully automate some kind of jobs, rich people needed assistants, babysitters and serious workers. Intelligent people were extremely lazy and poor people didn’t have skills to do precise work. After year 2220, after approval by the corrupt government, leading genetic company started producing real human clones/assistants which were sold to rich families and companies. These clones had modified DNA, but were still human slaves. Richest people wanted to escape from this dark world full of contaminated nature, smog, waste, unhealthy food produced in laboratory and poor anarchists in streets, they dreamed of colonizing Mars, but after many unsuccessful attempts government stopped this expensive project. This was dark, but realistic night dream / prophecy of musician and clairvoyant Alexander. When Alexander woke up, he was dazed. This dream was disaster. The only way to deal with it was to start making musical story to warn civilization. Firstly he started writing storyboard and preparing sounds for his futuristic soundtrack. He was very talented and innovative amateur music producer, electronic engineer developing first computers in his daily job. He created sounds, samples and presets for this soundtrack with analog modular synthesizers, early digital fm synths and his own computer algorithms which were fully futuristic at that time, he used analog tapes and first 12 bit recorders to record his sounds. He was totally obsessed with making this soundtrack, he understood his music as a mission for humanity. After few weeks he quit his daily job to fully focus on music production and writing storyboard (had problems with government because it was illegal to be unemployed in USSR). But one day he get lost...Nobody don’t know where…maybe it was KGB secret police because his ideas and opinions were dangerous for USSR, or he was closed at psychiatric hospital. After few decades his daughter found tapes and diskettes with his sounds/samples. She sold them to us, we remastered it and bringing you this weird combination of vintage and futuristic madness! 


CLICK FOR MORE »

MATTHS (Matt Hodson) LIVE @SUPERBOOTH19

Published on Aug 16, 2019 MATTHS

"Acclaimed electronic producer #MatthewHodson presents his exciting new project, #MATTHS.

With his debut performance at the #Superbooth Festival 2019, the Brighton-based artist presented two stunning performances, providing a solo heavy dark modular Techno set at the C-Base party and this special performance which enlists drummer Scott Rowe to provide a dynamically charged and captivating performance.

MATTHS new releases ‘Velocet’ and ‘Loop’ which both immediately provide the listener with their masterful, brooding beats, uses a bespoke modular synthesiser setup, that MATTHS has designed and compiled, enabling the creation of textures and tones specific to personal creative concepts.

Recent MATTHS performances include opening for Wire; supporting Alex Banks (Monkeytown Records), Ulrich Schnauss and Rival Consoles (Erased Tapes). MATTHS has worked with the original BBC Radiophonic Workshop on their new material at Peter Gabriel’s Real World Studios.

Buy the new double A-Side here: http://www.matthsmatthsmatths.com/art..."

Update:

MATTHS (Matt Hodson) LIVE @SUPERBOOTH19 PART 2

Published on Aug 18, 2019 MATTHS

MATTHS (Matt Hodson) LIVE @SUPERBOOTH19 PART 3

Published on Aug 21, 2019 MATTHS

Arturia Announces V Collection 7 w/ EMS SYNTHI & Casio CZ-101 Based Synth Engines

Published on Apr 25, 2019 Arturia

Update: mini press release added below.
Update2: User videos added below.

"24 timeless instruments lovingly recreated in #software, and modernized with contemporary features. This is the most comprehensive anthology of classic #synth and #keyboards ever made. This is decades of passionate research, modelling, and development. This is your chance to take your place in music history."

Playlist:
Arturia announces | V Collection 7
Arturia announces | Synthi V
Arturia announces | CZ V
Arturia announces | Mellotron V
Arturia announces | B3 V 2
Tutorials | Synthi V - Episode 1: Overview
Tutorials | CZ V - Episode 1 : Overview
Tutorials | Mellotron V - Episode 1: Overview

New Synths in V Collection 7

Synthi V
BRITISH SILVER MACHINE

Synthi V completely captures the spirit of the unique analog synth that burst out of ‘70s London to inspire the entire emerging electronic music world—and it has new superpowers to inspire your world today.

Synthi V brings you all the experimental excitement of EMS’ legendary 3-oscillator analog synths—now infused with thoroughly modern enhancements. Venture beyond unusual lead and bass sounds to create soundscapes and sci-fi effects ranging from beautiful to bizarre and everything in between.

The British-born EMS family of synths—featuring the sonically identical Synthi AKS and VCS3—were among the first to distill modular synthesizer functionality into a more portable form. Where most competitive designs like the Minimoog sacrificed flexibility to size and simplicity, EMS retained a modular heart through the genius of one of the first matrix patchbays to grace a synth. That additional versatility led to more experimentation outside of melodic norms and into the more electronic realms of psychedelia and sci-fi effects. Cue Pink Floyd’s “On the Run” from “The Dark Side of the Moon” LP.

Synthi V is the perfect evolution of the synth that turned a lot of heads. Now you can use it to turn some heads of your own.

Main Features
A component-level model of the EMS Synthi AKS
3 oscillators with waveform mix, noise generator, 18 dB/oct resonant filter, output section with spring reverb modelling
Modular architecture, allowing to route signals in unexpected ways
Ring Modulator, loopable Envelope Shaper, 2 axis Joystick and Sample and Hold modules for advanced modulations
Original keyboard sequencer module with sync to DAW tempo
2 matrix behavior modes: modern and vintage for cross-talk simulation
5 assignable voltage functions to create multi-point envelopes and LFOs synced to DAW tempo
Advanced joystick automation module for modulating parameters in a 2D space
Matrix pin amounts modulations possibilities (with 4 independent groups)
10 effects, Reverb Phaser, Flanger, Chorus, Overdrive, Delay, ...
Up to 4 voices of polyphony
Over 250 factory presets

CZ V
PHASE DISTORTION CULT CLASSIC
The budget synth that became a legend in its own right. The instrument that brought the digital synth revolution to the masses is now at your command.

A simpler kind of powerful digital synthesis

Released in 1984, the CZ-101 was Casio’s answer to the wildly popular Yamaha DX7. It was significantly less expensive and infinitely easier to program than its rival. Instead of frequency modulation, Casio’s phase distortion (PD) used various user-selected waveforms to modulate the timing of simple carrier waves at the cycle level in order to create more complex wave shapes. This simplified form of digital synthesis made it comparatively easy to perfect a wide variety of timbres spanning warm pads, natural percussion, buzzy digitalia, sci-fi effects and even analog synths. While PD could sound similar to FM, it also had a unique sonic signature all its own.

The CZ sound helped propel artists like Salt-N-Pepa, Was (Not Was), and Vince Clarke into the spotlight. Let’s add your name to the list.

Classic Casio Phase Distorsion
+ cutting-edge Arturia modeling
= infinite sonic possibilities for you

Imagine a virtual instrument that realistically models every nuance of the CZ-101—and with four times the polyphony and zillions more presets. What if it gave you an intuitive graphic interface that unlocked of all the hidden jewels in this unique digital synth? And what if it now had additional envelopes, filters, LFOs, effects, and extensive beat-sync-to-host parameters? Oh, and what if you could interconnect all that via a new super-flexible modulation matrix? We’ve faithfully reproduced the instrument that brought ‘80s pop to new heights.

Yeah... we did that!

Main Features
Two synthesis lines and independent noise source
All CZ-101/CZ-1000 original parameters
8 original waveform and custom waveform editor
Original CZ SysEx import
CZ, DADSR and Multi-Segments envelopes (syncable and loopable) to control pitch, DCW and amplitude
2 Modulation envelopes
4 assignable macros
Advanced modulation matrix
A Sample and Hold module, 2 LFOs with 6 waveforms, 3 sources combinators and an Arpeggiator
4 FXs slots that can be routed in serie or per synthesis line
A synthesis line state viewer for real-time feedback
Emulation of the original CZ DAC
32 voices of polyphony
Up to 8 voices of unison with unison detune
Over 400 factory presets

Update: and the mini press release:

"Arturia have announced the arrival of the latest edition of V Collection : their flagship anthology of reimagined historic synths and keyboards.

Containing 24 premier software instruments and thousands of preset sounds, V Collection 7 is the must-have reference for musicians, producers, sound designers, and keyboard fans.

Legendary keyboards reinvented
In V Collection 7, Arturia have used cutting-edge modelling techniques to create the most accurate software versions of dozens of time-honored instruments. Their exclusive True Analog Emulation® (TAE) and advanced physical modelling put these legendary instruments at your fingertips as software. Over 100 years of music history are now yours to explore, and use to shape the sound of the future.

Launch offer
To celebrate its release, and only for a limited time, V Collection will be available for an incredible price. Whether you are new to Arturia products, want to upgrade from a previous version of V Collection , or own any other Arturia products, you will have access to an exclusive deal that will put the very best synth and keyboard recreations ever made at your fingertips.

Intro offer from $399/399€, ends June 10th.
Street price $499/499€

NEW INSTRUMENTS

MELLOTRON V
LEGENDARY TAPE KEYBOARD
The original instrument redefined what keyboard players could do, unlocking the doors to orchestral and choral sounds at the touch of a key. Arturia’s reinvented versions not only features all original Mellotron tapes, but also lets you import and play your own samples with authentic tape emulation.

SYNTHI V
BRITISH SILVER MACHINE
The quirky British “silver machine” that put a new spin on modular synthesis, reborn in software with exciting new tricks up its sleeve. Advanced component modelling let Arturia model even its wild, unpredictable nature, with advanced modulation and powerful effects added to the mix.

CZ V
PHASE DISTORTION CULT CLASSIC
The budget synth that became a legend in its own right. The instrument that brought the digital synth revolution to the masses is now at your command. Easy to program phase distortion synthesis with custom editor, huge modulation potential and awesome effects.

EXCITING UPDATES
ANALOG LAB 4
INSPIRE, CREATE, COMBINE, AND PERFORM
A treasure trove of amazing synth and keyboard sounds with effects, easy to browse, fun to control, with a new built-in live mode. Your go-to choice for inspiration and performances.

B-3 V 2
THE MOST POPULAR ORGAN REBORN
Our recreation of Hammond’s legendary organ has received a total sound engine overhaul, making it the most authentic, vibrant electric organ virtual instrument ever.

SYNTHOPEDIA
CUTTING EDGE PRESETS
Over 800 brand new, modern sounds created for legacy V Collection instruments. The hottest synths and chart-topping keys are yours to explore.

Arturia have created a series of promotional videos and tutorials to whet your appetite, and get you familiar with the exciting new instruments. Each software instrument also features an in-app tutorial mode, too! Just another one of the fantastic new features in V Collection 7.

To discover more about Arturia V Collection 7 , the stories behind the vintage instrument recreations, and to start your free trial, visit the Arturia website."

Update2: First user videos:



Arturia V Collection 7 - Played by a LEGO Robot - Carl-Mikael's Cabinet of Curiosities
Arturia SYNTHI V Synthesizer (EMS Synthi AKS Emulation) First Look & Sound Demo - SYNTH ANATOMY
Arturia MELLOTRON V First Look & Sound Demo - SYNTH ANATOMY

Todd Barton on BBC Sounds + Multum in Parvo Release

Excerpts of Todd Barton's performance at the Unsound Festival in Krakow is up on BBC Sounds.

"A rebroadcast of excerpts from my performance of Music and Poetry of the Kesh at the Unsound Festival in Krakow last month with a wonderful ensemble of Polish musicians. Here's the link which will be active for a month.

And the first excerpt on the broadcast is from my new solo Buchla Music Easel album, Multum in Parvo with cover art by Ursula Barton! [embed below]

Much more to come in 2019! Gigs in Belgium, NYC and Santa Barbara. New Album releases too.

Happy Holidays!
Best wishes,
Todd"

"If you’re anything like me, then one of your favourite albums of 2018 was Music and Poetry of The Kesh, released on the Freedom To Spend label. Recorded over two years in the mid-1980s, Music and Poetry of The Kesh in truth was never really designed as an ‘album’ as such. It was a cassette bundled with early editions of the legendary author Ursula K. Le Guin’s Always Coming Home novel.

The novel described the art, culture, language and ethnography of a fictional tribe of indigenous inhabitants of North California, 500 years from now. On the tape, Le Guin and her friend and collaborator, composer and sound artist Todd Barton, created a detailed, vivid musical identity for these people - the Kesh.

Listened to in 2018, the sounds of Music and Poetry of The Kesh feel simultaneously ancient and futuristic. Todd designed and built new instruments to realise the Kesh’s music, which were woven among synthesisers and field recordings from the Kesh’s native Napa Valley.

It’s a stunning, singular piece of work, but the story doesn’t end there. Anyone intrigued by Music and Poetry of the Kesh would be well advised to dig further into Todd Barton’s work, starting with Multum in Parvo - a brand new piece Todd composed using the Epoch Modular Benjolin and Buchla Music Easel.

“Don Buchla created a musical instrument that he said had no ‘preconceived ideas,’” Todd recently told the Listen to This website. “He wanted people to figure out how they wanted to interface with it. You see that with Kaitlyn Aurelia Smith, Alessandro Cortini—they’re bringing their own voice to the palette. For my part, I’m obsessed with sound, with the ‘Buchla Paradigm.’

“His approach to synthesis, which was so different from Moog on the East coast, is immediately evident to anyone who has ever touched a Buchla instrument. If you listen to a Buchla, it will start rewiring your synapses.”

Todd honed his craft composing for acoustic instruments - string quartets, small ensembles and orchestras. In the 1970s he was drawn to emergent synthesiser technologies because of their abilities to access tones ‘between’ the standard 12 notes of the Western musical scale, and to have the power to craft music out of glitches and unique sonic gestures that are unplayable on acoustic instruments.

Multum in Parvo is reflective of this approach - it has a definite and logical flow as a composition, but its content is abstract sound sculpted out of pure energy, something only analogue synthesis can offer.

Sometimes sparse, sometimes bristling and jumping with detail, Multum... provides a genuinely multidimensional experience. Listen to it in the dark on your best headphones, you experience your brain moving slowly through a black space where an orchestra of strange, electro-microorganisms seem to swarm, murmurate and disperse, adding their distinct flutters, whispers and calls to an immersive electronic symphony.

Like the classic Forbidden Planet soundtrack, which Todd was inspired by, or indeed Music and Poetry of the Kesh - Multum in Parvo seems to function as part of some unique sonic ecology, according to its own rules, in its own universe and somewhere just beyond time.

Multum in Parvo is available on CD with artwork by the artist Ursula Barton - Todd’s daughter, named after his great friend and collaborator. It is also available on cassette with Blue Tapes artwork as ‘blue twenty-eight’.

Praise for Todd Barton:

"Multum In Parvo creates a very real imaginary place, and then it weaves that imaginary place into exactly where you are right now. I’ve listened to Multum In Parvo a dozen times or more and I’ve never heard the same album twice, because I change and my mood changes but also because incidental noises in my body and my surroundings – from sighs to car horns to distant giggles – all seem to be on very friendly terms with Todd Barton and his Buchla." - The Quietus

“Listen outdoors and the creek water you hear in Le Guin and Barton’s songs may sync up to the muddy river you’re passing; listen during a city’s winter and the percussive rhythm and bell-like tones will commune with your apartment radiator. These are sounds that seek to speak from then and beyond, to right now.” - Pitchfork
credits
released October 5, 2018

Improvised soundscapes by Todd Barton
on the Buchla Music Easel and Epoch Hordijk Benjolin

Cover art by Ursula Barton (ursulabarton.com)"

NYZ - DSP TRX / PPLZ SYNF

Two new releases from NYZ, aka Noyzelab, who's work has been featured here on MATRIXSYNTH numerous times (see the previous two posts). Noyzelab is both a musician and a maker of some pretty esoteric gear. He has worked with Richard D James of Aphex Twin, Chris Watson, Oren Ambarchi, amongst others.

"David Burraston returns for his third release at P / Psi / P, the mindmelting 4-hour DSP TRX. His second 4xCD-R set in our catalog, after the equally monolithic PPLZ SYNF.

DSP TRX is sometimes manic, turning itself into shapes that seem impossible or unfathomable, and at other times it becomes more stable, barely moving like a deep pool beneath an occasional wind gust. As is Burraston's custom, DSP TRX delivers its most potent and stimulating moments after the sounds themselves have sustained long enough to remove your awareness of time as a reference point. Not quite drone, not only synthesizer music, but wholly a displacing other. The shuddering tone fields stretch out for miles, expanding forever, and then contract again into more observable sections, like a muscle. We're never certain if we're hearing feedback with mathematically-divided holes poked in it, or a radio custom-built by Burraston that tunes into millions of digital bubbles, following traced lines toward a central frequency of his own devising. DSP TRX is both bright and dark, a dramatic rapid tremolo of silence and noise, infinitely revolving, inverting and slowing down - or is it speeding up? Once again, Burraston delivers proof that he is not operating on our plane of reality, or the neighboring ones, but above them all, in an undefined place outside time, space and everything in between.

DSP TRX is available as an edited digital edition (2 tracks) or as a full four-disc/16 track excursion. An unabridged digital release will follow later at Boomkat.

released March 27, 2018

W/P by David Burraston. Recorded March & September 2017 onto 2 tracks / edited December 2017 at Noyzelab. Custom programmed in Spin FV-1 Assembler using the Tiptop Audio Z-DSP Eurorack module and Numberz programmer. All recordings were made direct from the Z-DSP outputs, with minimal post processing other than a slight bit of EQ and stereo placement.

Instruments: 2x Braids Macro Oscillators, ALM Akemie's Castle, Tiptop Z-DSP & Numberz, SpinAsm FV-1 DSP Assembler, MOTU UltraLite-mk3 Hybrid, Apple iMac 2.93GHz Intel Core 2 Duo 4GB RAM / Logic Pro 9.

Thanks to Tiptop Audio for the Z-DSP and Numberz programmer (www.tiptopaudio.com/z-dsp/ ) Matthew at ALM for the Akemie's Castle (www.busycircuits.com/alm011/ ) Braids custom dark face build by Finlay Shakespeare (www.twitter.com/FinShakespeare )"

"David Burraston returns to Psøma Psi Phi with possibly his most expansive release to date - PPLZ SYNF. A gigantic 3.5 hour work consisting of seven pieces created using an ongoing self-build (as Burraston notes) of the Serge/CGS Paperface analog synthesizer, in conjunction with a custom built modular rig. Laid to digital disk space at Burraston's Noyzelab studio in August, PPLZ SYNF is a monolith of drone synthesis that absorbs the listener into some kind of greater collective metaconsciousness. It is both an impressive exercise in longform drone music, and an immersive and hypnotic atmosphere that confounds the mind, transfiguring your surroundings from its unique and singular perspective. A monument, literally and figuratively, in the sound field, etched and erected by a master of the craft.

Given the scope and size of such a release, PPLZ SYNF has been committed to a very special, and very limited, triple-cassette set, housed in a dustproof binder. These are extremely finite and assembled by hand in every possible way, making no two copies exactly alike. The digital version available at Bandcamp consists of cuts from the first of the three tapes, while the full release is spread across two 60-minute tapes and one 90-minute tape.

UPDATE 2018.03.04: The 4xCD-R reissue is now stocked at Norman Records in the UK www.normanrecords.com/records/169774-nyz-pplz-synf
credits
released November 14, 2017

W/P by David Burraston. Field recorded in MONO 96kHz/24bit on Zoom F8, August 2017 at Noyzelab (www.noyzelab.com). Created with Serge/CGS Paperface ongoing self build and Mutable Instruments Braids x2 custom dark face build by Finlay Shakespeare. David Burraston and the NYZ logo appear courtesy of Noyzelab. This is Psøma Psi Phi number NYZ-II, and 2nd in Burraston's private NYZ catalog. Cover design by The Analog Botanist."

Tascam 424 + Deepmind 12 - Dark ambient

Published on Mar 3, 2017 Mattias Mårtensson

"Hey!
Here's a spinoff on the ambient series I'm doing, mostly for my own amusement. This time it's mainly the tascam 424 portastudio doing its thing. I'm using old tapes with guitarswells pitched down to oblivion and then playing some simple stuff on top with the deepmind 12. No arranging in before recording. Just recording a track of tascam, then another one and then laying down the lead on top. No click or such.
Hope someone appreciates.

Sorry for the hipstery-halloween visuals. Headphones or decent speakers recommended!
All the Best!"

Sonic Memoirs of a Ghost Hunter

Follow-up to this post. Sonic Memoirs of a Ghost Hunter featuring the Evaton Technologies RF Nomad is now available. The Moog Sub 37, Moogerfoogers and Novation Ultranova were also used. Embed with link above; details below.

"Combining music with an interest in the paranormal, Sonic Memoirs is an album (the 1st in a series) that documents some of my actual paranormal investigations via synthesis.

After 20 years of ghost hunting research & field experience, I find myself rewarded with paranormal evidence found on stacks of video tapes, countless photos, as well as EVP (electronic voice phenomena) recordings. The stories I can share can fill more than a few dark & stormy evenings of friends gathered in a candlelit room. Though I'm writing a book outlining my investigations, I'm finding the process to be slower than anticipated. This being my 20 year anniversary as a ghost hunter, I decided to think more creatively, and as a musician, relay some of my experiences through music. Specifically... synthesis.

All of these tracks are created using analog and digital synthesizers. The majority of the sounds created are made using a eurorack modular synthesizer, though synths like the Moog Sub 37, and the Novation Ultranova, as well as Moogerfooger effects make appearances from time to time as well. No samples were used, and all tracks were performed in one take with no overdubs.

These are not EDM tracks. They are instead artistic soundscapes intended to capture the vibe of how some of my investigations felt while in the moment. Other tracks are intended to give you the essence of what it is like to perform some of the duties of a ghost hunter post & pre investigation.

Each track has a brief description of the investigation or investigative process found below the track outside of this playlist. After listening to the tracks, for the full intended experience, I highly recommend reading these.

The ghost phenomenon is very real. To anyone who does not believe - that's great! After all, skeptics make the best ghost hunters. All you need do is begin the journey with a serious demeanor, and review your findings thoroughly. You will reach a point where you cannot deny the mounting anomalies you encounter as simply coincidence.

Happy Halloween, and Safe Hunting - VDM"

"In C" Performer for iPad & 50th Anniversary of "In C" - sfSoundOrchestra Event

iTunes: "In C" Performer for iPad - sonomatics

"Fifty years ago, Terry Riley essentially launched the Minimalism movement with the premiere of 'In C', influencing iconic composers like Philip Glass, Steve Reich, and John Adams.

Now, you are able to recreate history in the comfort of your own home.

'In C' Performer for iPad allows a single person to play 'In C', normally an ensemble work, as a solo performer. You can play the piece using the Built-In sounds, or via MIDI (through a USB camera connector or WiFi MIDI).

Double-tapping on a sliders will 'group' them together so you can adjust the volume of multiple instruments at once."

"sfSoundSummerSeries

Tuesday, July 8 2014
uptown nightclub
1928 telegraph :: oakland
donation :: 9p
active music series
presents

sfSoundOrchestra
commemorating the 50th anniversary of
Terry Riley's In C


On November 2, 1964 at The San Francisco Tape Music Center, 321 Divisidero, Terry Riley essentially launched Minimalism with the premiere of In C. Performers included Jeannie Brecken, Steve Reich, Jon Gibson, Terry Riley, Warner Jepson, Stan Schaap, Sonny Lewis, Ramon Sender, James Lowe, Morton Subotnick, Tony Martin, Mel Weitzman, Pauline Oliveros, and Phil Winsor. Although this classic work is often cited for its influence on composers like Glass, Reich, and Adams, its use of open instrumentation and dynamic form determined individually during the performance is perhaps more radical, and certainly more relevant to today’s Bay Area experimental music scene.

This performance is also the “App Release Party” of a new iPad app created by sfSound’s Matt Ingalls and Henry Warwick from Ryerson University (Toronto). Prof. Warwick will be present performing on the app as part of the orchestra. This extraordinary piece of software allows one person to play "In C", which is normally an ensemble work, as a solo performer. In this this way, and in a first-of-its-kind performance, he will be performing as an ensemble, with an ensemble.

M U S I C I A N S
Cory Wright, saxophone
Richard Worn, bass
Henry Warwick, ipad
Christina Stanley violin
Meerenai Shim, flute
Aram Shelton, saxophone
Monica Scott, cello
Larry Polansky, electric guitar
Stacey Pelinka, flute
Crystal Pascucci, cello
Theodore Padouvas, trumpet
Aaron Novik, clarinet
Lisa Mezzacapa, bass
Dominique Leone, keyboard
Benjamin Kreith, violin
John Ingle, saxophone
Matt Ingalls, clarinet
Diane Grubbe, flute
Phillip Greenlief, saxophone
Giacomo Fiore, guitar
Mark Clifford, vibraphone
MaryClare Brzytwa, flute
Kyle Bruckmann, oboe/english horn
Jacob Abela, melodica


O P E N I N G S E T S
Gosling
Malocculsion

Malocculsion is the solo recording/performance moniker of Oakland based sound/visual artist malocculsion proto of Ratskin Records. Proto uses voice, tapes, loops, homemade electronics, and field recordings to create a dark mirror of the unknown through audio and visual trap door psychosis and high tension performances. Proto also runs and co-curates the Ratskin Records and Lewcid Joosebox imprints and often can be seen as the lead roadie for the Styrofoam Sanchez project. proto has solo recorded works planned for release on Tusco/Embassy and Ratskin Records.https://soundcloud.com/malocculsion-proto/malocculsion-occams-razor-2013

Danishta Rivero (Voicehandler,Blood Wedding) and Sarah Elena Palmer (EFFT, Lutra Lutra) are Gosling: an electro-acoustic soundscape project that uses analog machines and acapella effects. The Gosling code of conduct is that each improvisation adhere to the journey of the sound, without rush, fear, or assumption."

This one in via Brian Comnes.

WKGB perform Kids Today (studio) - EMS Vocoder

"Winter 1977/78. Guitar, bass, drums, MiniMoog, EMS Synthi AKS, EMS Vocoder, RMI 300B. David Goessling, Dennis Kelley, & me. Mixolydian Studios in Boonton, NJ, 8 tracks & Don Sternecker engineer. Sometime in 1978 or 79 these tapes were used as pre-show tunes for DEVO. The band WKGB (duo of Dave & Dennis) opened for DEVO at Wollman Rink in Central Park that summer.

Dark skies are overhead,
"Not far". God said.
Black smoke and a dead cat,
Kids today know where it's at.

The air is getting hot,
stoned bliss it's not.*
If I could read your mind
I wonder what I'd find.

(kids today know where it's at)

Dark skies are overhead,
"Not far". God said.
Smoke Rise and a dead cat,
Kids today know where it's at.

*or "stoned kids eat snot" depending on my mood that night."

Moogfest Workshops

"MOOGFEST 2010 ANNOUNCES RED BULL MUSIC ACADEMY MOOG WORKSHOPS AND PANELS AT THE MOOGAPLEX

HALLOWEEN WEEKEND – 10/29-10/31 IN ASHEVILLE, NC
MoogFest 2010, the extraordinary three-day festival which celebrates the innovative spirit of sonic pioneer Robert Moog, during Halloween weekend, October 29-31, in Asheville, NC, has already announced most of its outstanding lineup. Now, in addition to MoogFest’s excellent musical offerings, the festival will also give attendees the opportunity to dig deeper into the world of Moog with a wide range of panel discussions and workshops.

The Red Bull Music Academy has teamed up with AC Entertainment, Moog Music and the Bob Moog Foundation to bring together top minds in history, technology and education of Moog. Experts, ranging from Bob's colleagues in the seminal days of synthesis to the more contemporary sound sculptors of today, are coming from around the country to share their ideas and vast experiences. The Bob Moog Foundation will be responsible for the historical content at MoogFest, including items from Bob Moog's archives such as rarely seen vintage photographs and historic audio clips from recently restored reel-to-reel tapes.

News on the other activities will be announced in the coming weeks. With all of these exciting elements solidifying, MoogFest is proving itself more and more to be an essential experience for music fans and sonic adventurers from all over the world.

MoogFest 2010 Red Bull Music Academy Moog Workshops, Demonstrations & Panels:

SYNTH HISTORY PANEL – THE BIRTH OF THE MINIMOOG
Featuring:
Herb Deutsch (co-collaborator on first Modular in 1963)
Dave Van Koevering (first salesman for Minimoog and VP of Marketing at Moog Music in the 70s)
Tom Rhea (Former clinician, design consultant, and director of marketing at Moog Music; wrote Minimoog manual)

Moderated By:
Brain Kehew (Bob Moog Foundation Historian and keyboardist (Moog Cookbook)
TARA BUSCH – ARTIST PERFORMANCE & DISCUSSION ABOUT REMIXING WITH MOOGERFOOGERS
Tara is a synth siren well known as a prominent analog synth-blogger for AnalogSuicide.com. Her performances are ethereal explorations of analog sound.

TECH. PANEL - ADVANCED APPLICATION & SYNTHESIS
Featuring Cyril Lance, Head Engineer at Moog Music, and other Moog engineers.

SYNTH HISTORY PANEL – EXPLORATION OF THE BOB MOOG ARCHIVES

Featuring:
Brian Kehew (Bob Moog Foundation Historian, Keyboardist)
Michelle Moog-Koussa (Executive Director, Bob Moog Foundation)
Seva David Ball (Archive Preservationist, currently restoring Bob Moog's reel-to-reel tapes with a grant from the Grammy Foundation)

TECH. PANEL - MODERN DAY SOUNDSCULPTING

Featuring:
Richard Devine (acclaimed sound designer)
Tara Busch (prominent analog synth-blogger and synth-performer)
RICHARD DEVINE – ABOMINATRON II PERFORMANCE

Richard is one of the world's most acclaimed, young sound designers. His clients include top names in film and advertising. Richard will be performing on Moog Music's Abominatron II, a homage to Bob Moog’s original synthesizer prototype, created with current Moog synthesizers and effects processors.

SYNTH HISTORY PANEL - EXAMINING THE LEGACY OF MINI SYNTHS
Featuring:
Craig Anderton (Founder EM Magazine, signal processing guru, editor EQ Magazine)
Geary Yelton (Associate Editor of Electronic Musician, freelance journalist)
Steven Fortner (Editor, Keyboard Magazine)

Moderated By:
Brian Kehew

THEREMIN PERFORMANCE & LESSON WITH DORIT CHRYSLER
Dorit is an accomplished musician and composer best known for her ethereal Theremin style. After Dorit's performance, Moog Music will distribute 20 Theremins to the audience and participants will receive an interactive lesson from Dorit.


TECH. PANEL – THE POWER OF MODULAR SYNTHESIS
Featuring:
Erik Norlander (Synth rock legend, Moog aficionado, accomplish synth designer)
Amos Gaynes (Moog Music engineer)
The Wall of Doom (Erik's massive custom Moog Modular synthesizer)

MOOG GUITAR SOUND SCULPTING WITH SAUL ZONANA
Saul is a killer guitarist who has worked with Adrian Belew, Ace Frehley, Crash Test Dummies. He will integrate the Moog Guitar, Moogerfoogers, Multi-Pedal, and Little Phatty into an exploration of the guitars amazing capabilities.

All panels, demonstrations, and workshops will take place between Noon and 6:30 PM EST at the Moogaplex, located at the Haywood Park complex. They are first come, first served for those who bought either weekend passes or have a pass for that particular day. The dates, and times will be announced in the coming weeks.

MoogFest 2010 tickets are on sale now. To purchase weekend passes or single day tickets and for more information about the festival visit moogfest.com. To see the weekend schedule visit http://moogfest.com/2010/moogfest-2010/schedule/friday/.

MoogFest 2010 Lineup:

CLICK FOR MORE »

Umbra and the Volcan Siege and the M4000

via Mi2N

photo: Brad Meese

"Chicago, IL September 14, 2010. Chicago-based psych-rockers Umbra and the Volcan Siege have a new weapon in their musical arsenal. Bandleader and mellotron enthusiast Jim Licka reports that he has just received the new M4000 from Streetly Electronics, the foremost experts in mellotron restorations, and the home of the all-new M4000.

Licka, who also plays guitar and Moog synthesizer with Umbra and the Volcan Siege, placed his order for the M4000 in 2007 after visiting Streetly's Staffordshire, England, headquarters and testing a prototype. An older model mellotron is featured on the most recent Umbra and the Volcan Siege EP, 2009's The Beginning of the End.

According to Streetly's official Website, the M4000 was designed as an homage to the original MKII mellotron. It has revolving drums, a chain-linked, failsafe cycling mechanism and includes the following features: 8 stations/24 sounds (equivalent of 8 tape frames in one instrument), inching facility in addition to factory presets, cycling optical failsafe to prevent damage to the tapes while the instrument cycles to the next station, a light and playable MKII keyboard feel, an MKII playing height for comfortable standing position, a positively pressurized cabinet to filter in clean air and protect the instrument from smoke and other contaminants, playback heads that are mounted in revolving collars so that each one can always be positioned for correct response and a standard 24 sound tape set based on Streetly's most popular tape sales over the last 5 years.

The M400 is the newest model of mellotron, an electro-mechanical, polyphonic keyboard that dates back to the early 1960s. Psychedelic and progressive rock bands used the mellotron extensively in the 60s and 70s and the instrument features on such classic albums as George Harrison's Wonderwall Music, King Crimson's In the Court of the Crimson King and Architecture & Morality by Orchestral Maneuvers in the Dark.

In a recent interview with Novo Arts, Licka stated that he purchased his first mellotron in Toronto several years ago and is proud to be among a select number of M4000 owners, including Sir Paul McCartney, Arcade Fire and Medeski Martin & Wood."

Professor William Hoskins and His Mystery Moog

Pictured to the left is Professor William Hoskins (via). What you see there is not the mystery Moog, but his Moog modular system. This post is about another Moog synth, one most likely based on the Sonic VI. If you have any information on what this synth might be after reading this, please feel free to leave a comment or contact me directly. My contact info is on the bottom right of the site. I have already contacted Michelle Moog-Koussa and Brian Kehew author of Kaleidoscope Eyes A Day in the Life of Sgt. Pepper, as well as Trevor Pinch, author of Analog Days [Amazon hardcover & paperback, preview on Google books], and featured in this exclusive post. I also contacted James Husted of Synthwerks, George Mattson of Mattson Mini Modular, Steven Jones of Synthwood, and Carbon111, all of whom know their synth history. None were familiar with what the synth might be.

The story: I was recently contacted by a Paul Rego with the following:

"I've been searching the Internet for over a year now and have not been able find a specific synth. Since you seem to know and work with every type of synth known, I thought I'd ask you...

Around 1973 - 1974, I took private synthesizer lessons at Jacksonville University (Florida). The instructor was Professor William Hoskins and the synth was a custom Studio Moog assembled by Professor Hoskins.

One day, Professor Hoskins showed me his personal, portable synthesizer. He brought out what looked like a brown suitcase. When he opened it, I saw a Moog Sonic VI.

This is nothing new. I've seen lots of images of this synth on the Internet. The one aspect of this particular synth, that I cannot find anywhere, is that it had a touch-sensitive keyboard. The keyboard was made of plastic and had a gray / brown color. Outlining the keys (showing the location of the 'white' and 'black' keys) was an almost medium blue color (about an eighth-inch thick). (He and I tinkered with this synth for about a half-hour to an hour.)

Professor Hoskins passed away several years ago, so I can't ask him about it. I did contact his family but they don't remember anything about this synth.

I do remember Professor Hoskins telling me that he and Bob Moog had 'gone to school together'. I think he was referring to electronics school but I never asked him more about it. I thought I had read somewhere that Professor Hoskins and Bob Moog had briefly worked together on a Sonic VI prototype but I don't know if that's true. (Even if what I saw was a prototype, someone has to own it now and should be proud enough of it to post some photos somewhere.)

I thought the background story might help in your own research on this.

Basically, I'd just like to know if this synth ever existed or am I just not remembering it correctly.

Thank you for your time and attention."

My first obvious guess considering the blue was the Buchla Music Easel or separate Buchla touchplate keyboard modded into the case of a Sonic VI. I sent Paul a couple of links to various images.

Paul replied: "the synth I saw didn't look like the Buchla Easel. Good call though.

The 'blue', which outlined the keys on the Sonic VI I saw was a bit lighter in color than the blue in your photos and maybe had a bit of green in it (closer to turquoise). There was no red or other color on the keyboard (that I can remember) and the entire keyboard seemed to be one piece of plastic with only the blue / green outlines separating the 'keys'.

I also read a story recently about the time when Musonics bought Moog and had a synth ('Sonic V'?) of their own, at that time, but I haven't research this too much yet. One thought I had was the synth I saw was something from Musonics but was never officially released (until it had the 'Moog' name placed on it). I'm pretty sure the synth I saw had the 'Moog' logo and the word 'Sonic VI'. (Not 100% sure but it seems clear in my memory.)"

I also sent Paul images of the EMS Synthi AKS. Paul replied it was the closest, but definitely not it.

I contacted Michelle Moog-Koussa and Brian Kehew to see if they knew of anything. Michelle replied: "...I can tell you that we have several of William Hoskins reel-to-reel tapes in the archives, so there was obviously a significant professional relationship between he and Bob.

I don't ever remember reading anything about the Sonic VI, but maybe Brian does. One thing I can tell you for sure is that Dad began working with John Eaton in 1970 on the Multi-Touch Sensitive keyboard [left via]. The main component of the MTS was the touch-sensitive keyboard, of course. It's not out of the realm of possibility that Dad would have used his work with John to push boundaries on another project."

Brian replied: "Bob didn't design or build the original Sonic V (from Musonics before they bought Moog) that was Gene Zumchak: The Sonic V did have a brown wood style. It's even unlikely Bob did much on the Sonic Six as it was the same thing with a new outer case.

The Sonic VI was the version Moog made in 1972 and later, in a plastic suitcase version. Many of these were made vs the very few Sonic V's. So one might think they saw a Sonic VI when it was the V (same front panel and features). But the brown suitcase and colored keys and touch sensitive thing are ALL unusual. I know a little about Prof Hoskins from the paperwork of the past, but no mention of this synth. Definitely unusual to have keys like that anywhere, anytime!" Followed by: "And there IS touch (velocity) sensitivity on Wendy Carlos' synth by 1971 for Clockwork Orange, but it's used under the normal keyboard. THIS velocity was very possible, but would not make the keys look different. Again - maybe a Sonic V was retrofitted with a cooler keyboard later in the 80s, but why not do so on a BETTER synth!?" :)

On a separate thread, Trevor Pinch got back to me with the following: "Bill Hoskins was important in that he was one of the first people David VanKouvering approached about minimoog reiail sales etc. I have a good album of his somewhere! I think he may have been Bob's favorite composer for a while.

I have no idea about the touch key board but I'm in touch with Gene Zumchak the guy who designed the Sonic Six, so I'll ask him. (I guess you know the joke that the Sonic Six was known by Moog engineers as the Chronic Sick!)

Actually its story might be kinda interesting - Zummy (as he is known) told me that it was made with 741 op amps and in many ways was more advanced than the minimoog.
Maybe it has had an unfair press. I never heard one or saw one for real."

James Husted sent me the image of Professor Hoskins at the top of this post. I sent it to Paul to see if maybe it brought back any memories that might help.

He replied: "The custom Moog modular in that photo is the same one I took lessons on. However, this is an early photo and when I saw that Moog modular, Professor Hoskins had already added a top layer to that cabinet — which included a Moog sequencer. (I have a photo of it, that I took around 1990, but the top part of the photo, showing the upper section, is cut off.)

The reason you didn't see Professor Hoskins' 'Sonic VI' is... I'm guessing that he didn't bring it to the university very often. When I saw it, I was at his home. He had invited me over one Saturday afternoon to see HIS custom Moog modular. It was in his garage, which he had made-over into a nice studio. It also had a two-manual organ, at least two reel-to-reel tape decks and LOTS of recording tape. Later, during that same session, he said 'There's something else I want to show you. Come inside.' We went into the living room and I sat on the couch. He said 'I'll be right back.' After about a minute, he came back carrying a brown 'suitcase'. He set it on the coffee table in front of me and sat down on the couch. He opened it up and... Whoa! I had never seen one of these and it was the first time I had seen a Ring Modulator!

---

I remember seeing Professor Hoskins play his Sonic VI during a live performance of his album 'Galactic Fantasy / Eastern Reflections'. The Jacksonville University orchestra played most of his composition but at one point his Sonic VI was brought out and he played it while at center stage. I could see it clearly from my seat but, of course, I could only see the back of it, which simply looked like the back of a brown suitcase.

---

Sorry it took so long to get back to you. Since I think this is important, I thought I'd try to recreate the 'Sonic VI' I think I saw. I 'Photoshopped' a production Sonic VI and attached it to this message. It's the best image of what I think I saw.

Modifying the image forced my memory to go into more detail. Here's what I'm fairly certain of:

• The outer color of the "suitcase" was almost dark brown.

• The outer shape was more square than the production Sonic VI.

• The thickness of the top and bottom sections was thicker than the production Sonic VI model.

• The keyboard was made of slightly textured plastic, otherwise completely flat, was brown / gray in color and had a vibrant blue outline between the keys. (I'm not 100% sure if the "black" keys were outlined or solid blue.)

• The background color of the back panel and the area surrounding the keyboard was almost dark brown. It looked like it was made out of either pressed cardboard or thin wood. It really reminded me more of the thin 'wood' used in old, tube televisions and radios (during the 1960s).

What I'm not 'fairly sure' of:

• I can't remember if it had a Mod Wheel.

• I think there was more space between the modules.

• I think it had two speakers (placed on the left and right side of the back panel). Each might have been the size of the center speaker-grill in my photo.

• I can't remember if there were any connectors, switches or knobs on the keyboard section."

Update: via Aaron aka theglyph in the comments: "Holy shit! That's the guy from JU. There was an electronics repair/pawn shop here in Jacksonville called Active Electronics that had a bunch of synths back in 90's. The owner had a sign in the store explicitly stating that the synths were not for sale and that customers were not allowed to walk up and look at them or touch them. I walked in day and walked close enough to notice that the MiniMoogs had very low serial #'s. It wasn't until I read Analog Days that I found out that the earliest Mini were sold here in Jacksonville. There so much more to this story that I don't know where to begin but I can say that I did an obscure Moog at the store that I've never seen photographed since and I simply thought I was loosing my mind recollecting it. WOW!

Cheers,
theglyph"

Update: Above, Brian originally mentioned Bill Hemsath as the person that designed the Sonic V. He meant to say Gene Zumchak. This has been updated.

Updates: via Dorothy in the comments:
"HI, as a Hoskins kid, I watched Dad perform on the synthesizer and I know we had the Sonic but I thought it was a "V". Dad had several custom modules built for him by Bob Moog. They were friends but didn't go to school together -- Dad went to Trumansburg NY to work with Bob on the synthesizer that they got for Jacksonville University (in 1969, I think). I will have to go digging in the Will Hoskins letters that I have. Those of you who knew Dad know that he was very meticulous about writing up the components that he bought and what they were for.
Late in Dad's life, when he was basically letting go of most composing effort except for revising existing scores, Bob helped Dad find a collector (in Germany, as I recall), who bought all of Dad's big home synthesizer. I think some of the smaller units were in the hands of Steve Smith, who was Dad's right-hand man at the JU studio for some years. Whatever happened to them, I don't think Dad would have cared as long as someone was using them to create music. He wouldn't have collected synthesizers as museum pieces, he actively used everything he got from Moog until he was ready to let it go."

Followed by: "BTW, that last time I spoke to Bob Moog was after Dad died, when Bob came to Rochester NY http://www.esm.rochester.edu/news/?id=132 which is near where I live now. Bob spoke very fondly of working with Dad, because Dad cared as much about the science of music synthesis as any composer Bob knew. Dad did some work with him on modulators and other components for JU and the Hoskins home studio."

Followed by: "Hoskins synth photo --not a Sonic -- in news article 1970 [link]"

Update 6/6/2010:

Some more interesting bits of Moog history:

Trevor Pinch checked with Gene Zumchak who had the following to say:

"I am not aware of a touch sensitive keyboard on the Sonic V or 6. It did have a two-note keyboard and the highest key pressed and lowest pressed could be routed to Osc 1 and Osc 2.

They removed the keyswitch bus and superimposed a highpitch (100KHz?) tone on the voltage string. This might have been the source of a whine that some users complained about that wasn't present in the Sonic V."

via Josh Brandt: 'Okay, I did hear back from David Mash [VP of IT at Berklee and friend of Bob Moog], who says that the story he was telling me several years ago was about a keyboard Bob was building for John Eaton. I asked about the story he'd told me and if the pictures you posted could be of the instrument he'd been talking about, and he said:

"The story I was no doubt telling was definitely about the keyboard Bob built for John Eaton [middle pic above]. Bob was going to show us the completed instrument (which my friends Jeff Tripp and Paul Derocco helped complete), but we never got to see it due to the way the conversation turned over dinner. I did see the instrument several times during the design/build stages and again later after it was complete.

The keyboard was simply a controller and not a synth, so definitely not the portable synth the blog is referring to. I know Brian, and was involved briefly with him and a bit more with Michelle Moog on the NAMM Museum exhibit, and they used a couple of my photos for the exhibit. They're great people and working hard to preserve Bob's legacy.'"

Update via WmJHeart in the comments:

"Thanks Matrix, for hosting this page. I own a copy of Will's Galactic Fantasy & Eastern Reflections (my personal favorite) recording on vinyl. But I also discovered and listened to the entire album on YouTube recently! Here:"

Galactic Fantasy - Eastern Reflections (1979)[Full Album]

video upload by

Published on Jul 12, 2017 TheHomecoming

"Rare electronic/synth/moog private pressing LP

TITLE 'Galactic Fantasy - Eastern Reflections'

William Hoskins, "Galactic Fantasy, Eastern Reflections" [CP-158]
TRACK 01 AUDIO TITLE "Overture : Stars Are Suns" PERFORMER "William Hoskins" INDEX 01 00:00
TRACK 02 AUDIO TITLE "Intermezzo : Interplanetary Communique" PERFORMER "William Hoskins" INDEX 01 06:39
TRACK 03 AUDIO TITLE "Star Nocturne" PERFORMER "William Hoskins" INDEX 01 08:11
TRACK 04 AUDIO TITLE "Scherzo : Comets" PERFORMER "William Hoskins" INDEX 01 16:35
TRACK 05 AUDIO TITLE "Beyond Beyond" PERFORMER "William Hoskins" INDEX 01 18:54
TRACK 06 AUDIO TITLE "Prolog : Theme and Variation" PERFORMER "William Hoskins" INDEX 01 23:40
TRACK 07 AUDIO TITLE "Lower Heterophonie" PERFORMER "William Hoskins" INDEX 01 27:55
TRACK 08 AUDIO TITLE "Song : Open Skies" PERFORMER "William Hoskins" INDEX 01 31:22
TRACK 09 AUDIO TITLE "Drum Chime" PERFORMER "William Hoskins" INDEX 01 35:28
TRACK 10 AUDIO TITLE "Upper Heterophonie" PERFORMER "William Hoskins" INDEX 01 39:41
TRACK 11 AUDIO TITLE "Epilog : Processional" PERFORMER "William Hoskins" INDEX 01 41:30

A1
Overture: Stars Are Suns
A2
Intermezzo: Interplanetary Communique
A3
Star Nocturne
A4
Scherzo: Comets
A5
Beyond Beyond: An Entropy Study
A6
Eastern Reflections
Eastern Reflections
B1
Prolog: Theme and Variation
B2
Lower Heterophonie
B3
Song: Open Skies
B4
Drum Chime
B5
Upper Heterophonie
B6
Epilog: Processional

Criminally under-rated set of Early American Moog Modular Synthesizer Music - the sole release by composer William Hoskins, the 'Director of Electronic Music and Composer-in-Residence at Jacksonville University in Florida.' Issued in 1979 by the Harriman, NY-based Spectrum - a 'Division of UNI-PRO Recordings, Inc.' the LP consists of a pair of discrete pieces, with each taking up a side of its own."

Update via Kimberly S Beasley in the comments:

"Hello, everyone. I am the current chair of the Department of Music at Jacksonville University and I have the original Sonic VI manuals and one of Hoskin's Moogs....happy to share photos tomorrow."

Kimberly sent in the images with the following:

"This has been in the possession of our Professor Emeritus Dr. William Schirmer as it was given to him by Hoskins. Hoskins' granddaughter Dorothy is also aware of the instrument. We also have a large collection of manuscripts of Hoskins.

There is also a mini-Moog we just refurbished in our recording studio."

You can see WM. Hoskins written on the top right of the manual. Note "Home Copy" on the blue cover. It's kind of neat to think of him perusing through the manual in the comfort of his home.