Albireo | Ambient Moog Minitaur + Mavis

video upload by Claus Gahrn

"Longform generative ambient music on the Moog Minitaur and Moog Mavis.

MIDI sequenced in Ableton Live

Software effects: Valhalla Supermassive + Soundtoys Crystallizer

MIDI to CV: MidiVolts Desktop by Space Brain Circuits"

Once awake | Cirklon, Minimoog, Poly Evolver, Prophet 10, Machinedrum IDM electronic music

video upload by MIDERA

"Today I managed to find about an hour to write this track. I've been trying to find a reason to keep the Poly Evolver (although I don't seem to have any local folks interested), and so I figured the best way to do that was to use it in my songs and see how it does.

Sequentix Cirklon 2: Sequencing
Moog Minimoog: Bass
Prophet 10: Bells
Poly Evolver: Pads
Machinedrum MKII UW+: Drums"

"Speaking of Analog" | the album (electronic-ambient music)

video upload by No Lake

"I remastered and compiled my Moog Mother-32 and Subharmonicon jams to create a cohesive series composed almost entirely on these two machines. It was the success of these jams that motivated me to bring them together. Some of these pieces are unreleased. In this very special album, the Novation Summit is just there to add the finishing touch; like a support in the shadows. The Moogs are kings for this album. Take the time you need to enjoy it.

This album is available on every streaming service and feel free to ask for Bandcamp keys, I'll be very happy to offer them to you.

Contact : nolake.music@gmail.com

0:00 : Processing
3:50 : Communion
12:51 : Elysian Fields
28:32 : Inside Immortality
39:03 : Mirage
48:51 : Uroboros
55:14 : My Own Eternity
1:03:51 : Three Mums
1:12:24 : Wait
1:18:14 : Dancing With Saturn
1:24:25 : Zhora's Blues
1:34:40 : Zhora's Eyes"

TMP-3-03 Vintage Synth TV Series from Benge

video upload by Memetune Studio

00:00 Opening Titles
00:17 Introduction
01:27 Switched On 80s
16:14 Synthesiser Club
19:48 Commercial Break
23:57 Patching Today
35:04 Little Black Boxes
38:53 Video Lab
44:22 Outro

////////////////////////////////////////////////////////

Episode three of the third series of the TV program from Benge, made at his Memetune Electronic Music Studio

The series explores his passion for vintage synthesiser instruments and studio gear and how he uses them in his productions and collaborations

////////////////////////////////////////////////////////

It is divided into the following sections:

SWITCHED ON 80s - This third series takes an in-depth look into six classic 80s synthesisers, selected because of their interesting and unique attributes

SYNTHESISER CLUB - A short musical demonstration of a synthesiser classic or three, concentrating on 'families' of synths

COMMERCIAL BREAK - Some shameless Memetune shilling

PATCHING TODAY - A deep-dive into vintage modular systems and how to set up a patch on them, starting from scratch, this time using Cybersynthesis techniques to bring an element of surprise to the patches

LITTLE BLACK BOXES - A further look at some classic rack mount studio gear of the 80s and 90s

VIDEO LAB - A look at old video equipment and how to create experimental visuals, concentrating on a specific device in each episode

////////////////////////////////////////////////////////

In THIS episode:

SWITCHED ON 80s - A detailed presentation on FM synthesis and its history, looking at the DK Synergy (as used on the Tron soundtrack), but mainly the Yamaha DX series of synths

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Moog Little Phatty Stage w/ Gig Bag

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

via this Reverb listing

Additional Three Wave Music Listings

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The Synth Sounds of Rush: "Tom Sawyer," "Subdivisions" & More

video upload by Reverb

"How did Geddy Lee create the era-defining prog rock synth tones in Rush's biggest hits (and fan-favorite deep cuts)? Will Kurk is back to show you exactly how he did it. Learn more and find all the synths used—including the Moog Music Geddy Lee Minimoog Model D—on Reverb.

00:00 - Intro
02:27 - Tom Sawyer
08:17 - Subdivisions
11:39 - La Villa Strangiato
13:39 - Jacob's Ladder
18:29 - The Camera Eye

Photo of Geddy Lee by Fin Costello / Staff / Getty Images."

Jean Michel Jarre Souvenir Of China ~ Vintage Synthesizer Recreation

video upload by RetroSound

"(c)2007-25 by RetroSound
supported by UVI: http://bit.ly/retrosound-uvi

❤️ Support #RetroSound​ channel: https://retrosound.creator-spring.com

My favorite track by JMJ.
Souvenir Of China by Jean Michel Jarre from the album The Concerts in China (1982)

Featured the Oberheim OB-X, the Moog Taurus bass pedals and the E-MU Emulator II (original Fairlight)

This cover song series contains my own recreations of my favourite songs from the last 50 years. The original music from which I take inspiration belong to their respective owners. I recreate tracks only for personal passion and to pay homage to these tracks.
My intention is not to create covers that sound exactly like the original (if you want to hear identical sounds, please listen the original). It's more of an inspiration with my sounds from the old synthesizers from the past and of course the great appreciation for the original performers and producers."

Wendy Carlos: Electronic Music's Transformative Pioneer

video upload by Resident Advisor

"'The word "pioneer' gets thrown around too liberally these days. But in the case of Wendy Carlos, the glove fits. The face of electronic music would look immeasurably different in 2025 without the American trans composer's groundbreaking achievements. Before she came along, electronic music was barely considered music at all—just "funny sounds," as Bob Moog once said.

That all changed in 1968. Produced in collaboration with Rachel Elkind, Carlos's debut album, Switched-On Bach wielded machines to produce sounds that could compete with the symphonic pop and rock of the era. The landmark LP won multiple GRAMMYs, played a key role in popularising the use of synths and became only the second classical music record to sell a million copies.

In our latest video essay, written by Sasha Geffen, we trace Carlos's story from her early experiments with Moog through to her impact on key electronic acts of the past 50 years, including Brian Eno, DJ Sprinkles and Octo Octa.

00:00 - Intro
00:54 - Switched-on Bach
01:57 - Carlos and Bob Moog
03:07 Contribution to synth development
04:36 - A Clockwork Orange Score & The Vocoder
07:20 - Personal Life
08:20 - Musical Development

Producer - Sophie Misrahi
Writer - Sasha Geffen
Editors - Sergey Poltorakov, Guy Clarke
Motion Graphics - Sergey Poltorakov, Dan Derham

Music in order of appearance:

 1.⁠ ⁠Wendy Carlos - Toccata Fugue In D Minor - Switched-On Bach 2000
 2.⁠ ⁠Wendy Carlos - Air On A G String - Switched-On Bach
 3.⁠ ⁠Delia Derbyshire - Quest - Electrosonic
 4.⁠ ⁠Wendy Carlos - Moog 900 series Demonstration
 5.⁠ ⁠The RCA Electronic Music Synthesizer - The Well-Tempered Clavier Fugue No. 2
 6.⁠ ⁠Wendy Carlos - Prelude And Fugue #2 In C Minor - Switched-On Bach
 7.⁠ ⁠Wendy Carlos - Title Music From A Clockwork Orange (From Purcell's Music For The Funeral Of Queen Mary - A Clockwork Orange Complete Original Score
 8.⁠ ⁠Wendy Carlos - Country Lane - A Clockwork Orange Complete Original Score
 9.⁠ ⁠Cybotron - Clear
10.⁠ ⁠Wendy Carlos - Genesis - Digital Moonscapes

CLICK FOR MORE »

The Beatles’ “Here Comes the Sun” - SYNTH PARTS YOU’VE NEVER HEARD BEFORE!

video upload by Anthony Marinelli Music

"I’m going to take you on a quest into one of The Beatles’ most iconic songs, 'Here Comes the Sun', and show you something I recently discovered, that really surprised me. — THERE ARE SYNTHESIZERS IN THIS ACOUSTIC AND ORGANIC SOUNDING TRACK!

I’ll break down the arrangement of this beautiful song and show you how to create all the synth sounds that were used to transcend it's sound. We’ll cover everything from the signature whistle sound, the main lead synth, the intro sound, and the buzzy synth bass that gives the track its vibe. I’ll also discuss the Beatles’ evolution as they started experimenting with effects on traditional instruments, which ultimately led them to integrate synthesizers in ways that completely reshaped what others thought possible.

They used the Moog synthesizer to replace orchestral parts in some sections of the song and to complement the acoustic elements in others. It was all about pushing the boundaries of what was possible at the time but still keeping their unique voice in tact.

What makes this even more special is that I’ve recreated these sounds on my rare, vintage 1969 Moog IIIc — the same model that was shipped just months after The Beatles received their own Moog directly from Bob Moog. This instrument, used on the 'Plantasia' album by Mort Garson, is in fully working order, so it’s my chance to give you a sense of the subtle nuances The Beatles heard when they first explored this revolutionary sound in their music. I’ll bring you as close to the original sound as possible and show you exactly how they used it in 'Here Comes the Sun'.

So, grab your synths (or just sit back and enjoy), and let’s take a closer look at how The Beatles incorporated this groundbreaking technology into their timeless music. You might just discover something new about one of the most loved songs in history and how you can do the same in your music today.

Don’t forget to like, subscribe, and hit the notification bell so you don’t miss out on any of the synth goodness I have coming your way! Also, check out my course Think Like a Synth to learn the exact method I've used for decades on hit records and films — and still use today.

____________________________________
ABOUT ANTHONY

Anthony's musical touch as both composer and performer is connected with some of the most influential creative minds over the last 40 years. He’s composed and conducted original orchestral scores for over 80 feature films including Young Guns , Internal Affairs , The Man From Elysian Fields , 15 Minutes and Planes, Trains & Automobiles , been commissioned by the Los Angeles Philharmonic for his symphonic work 'In the Family Way', written over one thousand TV commercials in a myriad of musical styles, co-founded Levels Audio Post (LA's premiere post production facility) and performed and arranged on big-box-office films and influential hit records such as Michael Jackson's Thriller .

His extensive work as a young arranger, orchestrator and performer for Quincy Jones , Jack Nitzsche , Lamont Dozier , Arthur Rubenstein and Giorgio Moroder was vital in launching his own career. His early years pioneering modular analog synthesizers along with his wide-ranging music scholarship positioned Anthony at the center of the music technology revolution. He attended the University of Southern California School of Music as a piano and composition major.

Website - https://www.anthonymarinellimusic.com"

Cover JM Jarre Oxygen 14 on Mini Moog | Prophet 5

video upload by Welcome at Jose's Vintage Keys

"Vangelis - Schulze - Hammer ....and #jeanmicheljarre - those are my big heroes. Jarre keeps surprising with music that is both Melodic and Electronic - his soundscapes are always recognizable - but never the same. Prophet played a major part in playing this cover of #oxygen 14."

Geddy Lee Minimoog - Unboxing

video upload by hamsterdunce

"Watch the unboxing of this marvelous new synthesizer from Moog Music. Even my cat was interested; surely you will be, too."

See the announcement post here.

Of cyclotrons and sequencers: recreating a 1974 “probability controller” in Eurorack

video upload by Electrum Modular

"This is the first video in a new series exploring the University of Iowa’s Electronic Music Studio. In addition to presenting its historic instruments (including a 1968 Moog IIIP with custom-made modules), and the famous musicians who have used them, these videos will extrapolate ideas to use in your own modular systems. This episode examines a unique random sequencer that was developed in 1974 by Paul Dingman, an electrical engineering student at Iowa. It then shows how it might be recreated using the third lane ('time') on Make Noise’s 0-Ctrl. NOTE: several other Eurorack sequencers also have this feature, as indeed does the Moog’s own 960 sequential controller; alternatively, use an LFO to clock any sequencer and patch the sequencer’s second lane/channel (if it has one) back into that LFO’s frequency input.

0:00 University of Iowa's Electronic Music Studio
0:42 Introducing Dingman's Probability Controller
1:58 Demonstrating the Probability Controller
3:50 Recreating the Probability Controller in Eurorack

My new album:



CREDITS

Thanks to Paul Dingman for answering my questions over Zoom.

Film sequences:
'Atom Smashers' (Encyclopaedia Britannica Films in collaboration with the Division of the Physical Sciences and the Institute of Nuclear Studies at the University of Chicago, 1952)

'The Meaning of Time In Science' (Encyclopaedia Britannica Films, d. Kent Smith, 1973); both archive.org

Portrait of Peter Tod Lewis: https://composers.com/collections/pet...

Music: Peter Tod Lewis, 'Gestes II' (1974), from the Mnemothèque Internationale des Arts Electroacoustiques (University of North Texas Music Library). Program notes for an EMS concert on April 13, 1979, described “Gestes II” as “the generation of musical gestures through coordinated operation of sequential controllers programmed to produce a large but finite collection of voltages, controlling variously oscillators, amplifiers, and filters” (University of Iowa Music Library)."

MOTM / Synthesis Technology's Paul Schreiber Has Passed Away

Paul Schreiber at CONTROL in 2018


It has come to my attention that Paul Schreiber has passed away.

Pictured: Paul Schreiber at the 2006 NAMM show. Top from this previous post (pic by fr1zz), and bottom from this post (pic by Synthtopia) - this is the first image of Paul on the site. There is one comment in that post: "He's a good guy." Indeed.

Readers of the site should be familiar with his work. He was the man behind MOTM and Synthesis Technology.

To say Paul was one of the greats to influence the synth community would be an understatement. He was pivital to the rebirth of modular synthesizers. He started when modular as we know it today was in its infancy, as one of a very small group of large format DIY modular manufacturers along with Blacet, Modcan, Cynthia, Wiard, Oakley, STG, Catgirl/CGS, Tellun/Lower West Side Studio YuSynth, Jurgen Haible, and of course DIY staples like Thomas Henry/ MFOS, Ray Wilson and PAiA (see this post for some modular formats back in 2007). I focused mainly on those offering DIY. There were other manufacturers including Synthesizers.com, Club of the Knobs, MOS-LAB, Moon Modular, MacBeth, CMS, and more. Feel free to mention others in the comments. This post is about Paul, but I think it's important to reflect on some of the large format modular manufactures he was amongst at the time.

Paul created the MOTM format of 5U modules in 1998. MOTM stood for Module of the Month offering monthly DIY kits. From Wikipedia: "MOTM was created by Paul Schreiber in 1998. The system was created in part due to the renewed interest in large-format analog modular systems that occurred in the late 1990s. Between 1998 and 2021, over 8000 modules were sold. The company, Synthesis Technology, also offered a limited number of modules in Eurorack[2] and Frac[3] format."

He was also helped design the Moog/Realistic MG-1. From Wikipedia: "In 1980, Moog Music was seeking to contract manufacture a mass-marketable synthesizer which could be sold via a large retailer. Moog representatives secured an appointment at the Radio Shack corporate offices for a 5-minute demonstration. Radio Shack approved the concept, and Paul Schreiber (then employed by Tandy Systems Development) worked together with Moog on the synthesizer's design to achieve Radio Shack's price requirements.[2][3]"

He later joined the eurorack scene with Synthesis Technology branded modules. FYI, his site for MOTM was always http://www.synthtech.com/, short for Synthesis Technology. The first post to mention Paul and MOTM was posted just under twenty years ago here on MATRIXSYNTH back on August 26, 2005. If you click through you will see it was a post announcing the MOTM/synthtech.com site was going down for the weekend. He announced he was retiring from the synthesizer business in August of 2023.

I beleive the first synthtech eurorack module was the MOTM E340 Cloud Generator. The first demos were posted on July 14, 2009, followed by a mockup of the front panel on July 20. The first post to mention Synthesis Technology was an Epic Son track by John L Rice in August of 2011. Since then there has been approximately 845 posts to feature MOTM, and at least 398 Synthtech.

You can find a number of interviews with Paul in previous posts here.

It's worth repeating, Paul Schreiber was one of the key figures that brought modular back to the masses. He was both respected and loved by the synth community. It's impossible to overstate his influence. He will be missed.

The following are the first the last video interviews with Paul to be featured on the site:

The SynthSummitShow Episode 2: Paul Schreiber (Synthesis Technology) and A.Dapt (music producer) ...

Streamed live on Oct 2, 2015 Flux302 of Fluxwithit.com. Details previously posted here.

SysEx Dumpster - Episode 44 - a conversation with Paul Schreiber
video upload by Sysex Dumpster on Jul 30, 2023. Details previously posted here.

The first videos to feature Paul presenting a module was back on January 3, 2010, and the first interview on SoundCloud in 2013, and he was of course featured in the modular documentary film I Dream of Wires.

Moog One 8-Voice 61-Key Polyphonic Analog Synthesizer

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

via this Reverb listing

Additional Three Wave Music Listings

CLICK FOR MORE »

The World's First Programmable Synthesizer and its Pulitzer Prize Winning Music

video upload by ITSPmagazine

"This synthesizer is the world's first programmable music synthesizer. The first piece of electronic music to win the Pulitzer Prize was made on it.

basically a two voice synthesizer with tone generation and composing in the left hand side and processing on the right hand side, including manual binary for the, uh, ordering of the effects processes. Um, which for its time, uh, essentially like a uh, touring computer. Um, uh, was it You know, one and a half tons, seven feet tall, 14 feet wide, it's quite a behemoth, but now it's a very large paperweight.

Watch the full video:" [The above comes in at 22:41 - vintage Buchla, Serge & more follow. See this post for the red Buchla LSD module]

How Technology is Changing the Way We Make Music | A Conversation with Seth Cluett

video upload by ITSPmagazine

"Guest: Seth Cluett, Director of Columbia University’s Computer Music Center | On LinkedIn: / seth-cluett-7631065 | Columbia University Computer Music Center Bio: https://cmc.music.columbia.edu/bios/s...

Host: Sean Martin, Co-Founder at ITSPmagazine and Host of Redefining CyberSecurity Podcast & Music Evolves Podcast | Website: https://www.seanmartin.com/

Show Notes

Music and technology have always shaped each other, and few places embody that relationship as deeply as the Computer Music Center (CMC) at Columbia University. In this episode of Music Evolves, Sean Martin sits down with Seth Cluett, Director of the Computer Music Center and Assistant Director of the Sound Art MFA program at Columbia, to explore the center’s rich history, its role in advancing music technology, and how it continues to shape the future of sound.

The Legacy and Mission of the Computer Music Center

The CMC is housed in the same 6,000-square-foot space as the original Columbia-Princeton Electronic Music Center, which dates back to 1951 and is one of the world’s oldest university-based electronic music research facilities. This was the birthplace of early electronic music, where pioneers learned to use cutting-edge technology to create new sounds. Many of those musicians went on to establish their own studios around the world, from Egypt to Japan.

The center has played a role in major milestones in music history, including the work of Wendy Carlos, a former student known for Switched-On Bach, the score for Tron, and The Shining. The first piece of electronic music to win a Pulitzer Prize was also composed here. Today, under Cluett’s leadership, the focus remains on creativity-driven technological innovation—allowing composers and artists to explore technology freely and push the boundaries of what’s possible in sound and music.

One of the center’s guiding principles is accessibility. Cluett emphasizes the importance of lowering barriers to entry for students who may not have had prior access to music technology. The goal is to make sure that anyone, regardless of background, can walk into the studio and begin working with 80% of its capabilities within the first 20 minutes.

Exploring the Labs and Studios

The episode also includes a tour of the labs and studios, showcasing some of the center’s groundbreaking equipment. One highlight is the RCA Mark II Synthesizer, the world’s first programmable music synthesizer. Built in the late 1950s, this massive machine—seven feet tall and weighing over a ton—was instrumental in shaping the sound of early electronic music. The system worked by punching holes into paper to control sound generation, similar to a player piano. While no longer in use, the CMC has collaborated with iZotope to model some of its effects digitally.

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Unravel | Minimoog, Spectralis 2, Prophet 10, Prophet 12, Nord Drum 2 electronic music

video upload by MIDERA

"Got 5 hours of sleep last night. Had something frustrating happen (possible loss of $$$), not the worst thing in the world of course, just frustrating. After this track, I'll go back and see what else I can do with the Cirklon.

Moog Minimoog = bass
Sequential Prophet 12 = Main melody line
Sequential Prophet 10 = background chime sound
Radikal Technologies Spectralis 2 = sequencing and lead later in the track
Clavia Nord Drum 2 = drums
Native Instruments Raum = reverb"

Moog Music Introduces the Geddy Lee Minimoog Model D

video upload by Moog Music

"We are proud to introduce the Geddy Lee Minimoog Model D - A tribute to Progressive Rock’s legacy featuring a custom satin red finish, hot-rodded VCA circuit, modern MIDI integration, an exclusive red translucent 10 in vinyl EP, and more. This release offers musicians and fans the opportunity to own a synthesizer inspired by Geddy Lee’s legendary artistry and enduring legacy.

Watch as Geddy Lee reflects on this new synthesizer, sharing his thoughts on its craftsmanship, sonic character, and how Moog’s legendary sound has played a role in shaping iconic ‪@rush‬ tracks like "Xanadu", "Tom Sawyer", and "Subdivisions".

The Moog Music Geddy Lee Minimoog Model D is exclusively available in the US at ‪@Reverb‬.

For international purchases, please visit ‪@andertons‬ (UK) and ‪@ThomannMusic‬ (EMEA/Germany).

Learn more about this collaboration and all that's included with the instrument: https://www.moogmusic.com/products/ge..."

Rush's Geddy Lee and Moog Music Launch Geddy Lee Minimoog Model D

video upload by Reverb

"Get the Geddy Lee Minimoog Model D Exclusively on Reverb.

Rush icon Geddy Lee—synthesist, bassist, and singer for the rock legends—has teamed up with Moog to release the Geddy Lee Minimoog Model D, available for sale exclusively in the US and Canada right here on Reverb.

Video includes excerpts from Rush songs 'Xanadu', 'Tom Sawyer', 'The Trees'."

Press release follows:


GEDDY LEE MINIMOOG MODEL D

Combining the legendary analog sound of Moog with a distinctive aesthetic that honors Rush’s iconic legacy.

The Model D in the hands of Geddy Lee has delivered legendary basses, melodic leads, and rich analog tones that are iconic and indicative of the Minimoog’s creative influence on musicians. Musicians and Rush fans can now tap into a piece of music history that was instrumental in shaping the band's signature sound.

Hand-signed by Geddy Lee and individually numbered, each Geddy Lee Minimoog Model D is a collector’s item to be cherished for decades to come.

"It’s a thrill to see the Minimoog Model D in that stunning red, so representative of one of the most fertile periods in Rush’s creative history.” —Geddy Lee

ICONIC SOUND QUALITY
Originally released in 1970, Minimoog Model D was the world’s first portable synthesizer and served as the archetype for all electronic keyboards that followed.

It was quickly embraced by a diverse roster of performers, including Rush frontman Geddy Lee who enraptured generations with his and the band's unique style of prog rock.

CLASSIC ELECTRONICS WITH MODERN TOUCHES
In addition to Geddy’s signature red finish, this model of the Minimoog offers a hot-rodded VCA circuit, dedicated LFO controls, top panel CV jacks, spring loaded pitch wheel and MIDI integration.

A UNIQUE COLLECTOR’S ITEM
For musicians and collectors seeking both inspiration and history, the Geddy Lee Minimoog Model D combines the legendary analog sound of Moog instruments with a distinctive aesthetic that honors Rush’s iconic legacy. More than a collector’s piece, this powerful synth—celebrated for its playability and unique sonic character—features modern enhancements for today’s music creators.

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New ADDAC 511 Stochastic Voltage Generator

Chance music: from dice to Addac's Stochastic Voltage Generator

video upload by Electrum Modular

"Addac sent me over their latest module: the Stochastic Voltage Generator. It inspired me to delve into the eccentric history of stochastic (or aleatory or chance) music, from Mozart to Marcel Duchamp, John Cage, Morton Feldman, and Iannis Xenakis -- and from Buchla, Moog, and Arp to Eurorack.

The accompanying patch is inspired by Feldman's graphic scores (especially the early "Projections" scores). David Cline's detailed book, The Graph Music of Morton Feldman (Cambridge University Press, 2016), was crucial to understanding Feldman's scores and his complicated relationship to indeterminacy."

Controlled chaos : ADDAC 511 - Stochastic Voltage Generator

video upload by Audiorial

☕ Me soutenir :
✅https://payhip.com/Audiorial
✅Tuto sampling complet : https://payhip.com/b/PO0fq

THE MOST FLEXIBLE VOLTAGE GENERATOR | ADDAC System - ADDAC511 VC Stochastic Voltage Generator

video upload by DANIELE

"This is ADDAC511 by ADDAC System, a fully fledged 4 channel voltage generator capable of all things random, with quantization, probability, distribution, interpolation, time control, clock, states and a 32 step sequencer!"

0:00 Intro
0:26 Overview
1:10 Main screen and buttons
1:36 Channel selection, holds and mutes
2:40 States and their secondary functions
4:51 Voltage screen
6:50 Probability screen
7:38 Quantization screen
9:19 Voltage distribution screen
10:32 Gate out screen
11:52 Smooth screen
13:50 Lock screen
16:26 Time screen
17:24 Time divisions screen
18:15 Clock screen
20:08 CV and logic screen
21:28 Presets screen
21:50 Menu screen
22:40 Patch 1
24:25 Patch 2
25:57 Patch 3

Check with dealers on the right for availability.

"At ADDAC System we love all sources of unpredictability be it by randomness or signal complexity. This module greatly expands on the principles of our ADDAC501 Complex Random from 2013.

This is a fully fledged 4 channel voltage generator capable of all things random, with quantization, probability, distribution, interpolation, time control, clock, states and a 32 step sequencer.

The module panel features a screen for parameter editing, and each button offers access to a single page of changeable parameters. This allows for a fast and fluid workflow across all settings so users can focus on their music. The combination of two encoders along with push buttons allow swift navigation and editing across all pages and their respective settings.

FEATURES

4 independent channels with bipolar CV / Gate outputs and Clock Input that allow all things random.

Each channel can be set to generate either continuous Voltages, Envelopes or as a Quantizer.

Controls over Voltage Range, Quantization with custom scales, Probability, Distribution curves and Smoothing, plus time and bpm ranges, time distribution curves and several clock sources.

A 32 step sequencer per channel that can work completely independent or in sync.

Mutes and Holds per channel.

3 States per channel allow very fast settings changes, from smooth to drastic transitions.

8 Assignable CV inputs and 4 Gate inputs can be internally mapped to any setting of any channel.

3 configurable Logic / clock outputs allows complex logic events comparing different ins & outs or as clock outputs.

Average CV output of all 4 CV outputs. Easy VCO tuning available in the Menu.

Calibration and mapping of all 4 CV outputs is also allowed through the Menu"

CLICK FOR MORE »

1972 Moog MuSonics Sonic V Super Rare Synth #96/100 Made

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

via this Reverb listing

You can find a video covering the Sonic V previously posted here.

"Super-rare Moog MuSonics Sonic V synthesizer from 1972! This is #96 out of only 100 made and the only one I’ve seen with a front panel overlay that differs slightly than others I’ve seen (which, admittedly, is not many and not at all in-person). It’s actually more in the aesthetic style of a VI, as far as that particular detail is concerned.

The elusive predecessor to the Sonic VI was designed by Gene Zumchak, who also designed the 960 Sequencer, 961, and 962 modules. According to advertising literature, it was “designed for the music educator” and features “ring modulation, microtonal keyboard scaling, two-note keyboard capability, and extended modulation resources”.

The sounds this thing can make are absolutely insane. For those of you who are in to noise, sound effects, and sound design — this is a formidable and wildly entertaining beast. It is capable of some really beautiful, melodic sounds, as well, so it’s not just for pure craziness. It’s a unique instrument not often seen out in the wild and only in the collection of distinguished collectors, studios, and synth aficionados. A rare chance to grab an incredibly rare instrument!

Just serviced with the following:

- PSU recap
- all pots cleaned and a few jacks replaced
- ground hum eliminated
- 741 op-amp replaced in Oscillator A
- full calibration"

CLICK FOR MORE »

Moog Sub-37 | Novation Summit - "If Stars Could Wish" (a solo improv)

video upload by eM

"When you don't have the words to express things, music somehow speaks for itself. It's a gift to your soul, when the world is spinning in ways you can't control, music does have a way in putting tings at ease. It's a good thing to find it necessary at times to bring yourself to an instrument, and allow yourself to play. Enjoy. :-)"