Moogfest 2014 Presenters Include Makers Roger Linn, Dave Smith, Tom Oberheim, Don Buchla, Forest Mims & More

"Moogfest 2014 Announces Daytime Presenters Including Futurists, Musicians, Scientists, Authors, Filmmakers, and Pioneers of Electronic Music Instrument Design

Phase 1 tickets start at $199 for 5-Day General Admission, and $499 for 5-Day VIP Admission while supplies last through December 19 when Phase 2 GA tickets go up to $299. All prices exclusive of applicable fees.

ASHEVILLE, NC – November 14, 2013 – Moogfest is a five-day festival dedicated to the synthesis of technology, art and music. Since its inception in 2004, Moogfest has been a magnet for artists, engineers, and enthusiasts of Bob Moog. With an experimental lineup of daytime conference programming featuring cultural, artistic and technological luminaries and punctuated by a diverse line up of landmark nightly performances, Moogfest honors the creativity and inventiveness of Dr. Robert Moog and pays tribute to the legacy of the analog synthesizer. This is no ordinary festival.

CLICK FOR MORE »

No More The Sea

Published on May 28, 2013 JohnLRice·204 videos

"Just messing around for fun. Yes, it's full of sloppiness and mistakes, but I edited out most of the worst ones for your listening pleasure! ;-)

Thanks for watching, rating and commenting!

Video clips licensed through www.Pond5.com:
24073250 - Van Lake
11324465 - landscape with sea and timelapse clouds
8619051 - Salt Flats Sunset"

Dave Smith Instruments Prophet 12 Demo by INHALT and The Bunker Studio

Published on Apr 23, 2013 INHALTVIDEO·18 videos

"It's been several months since we last had the Prophet 12 at our studio, and now, the Dave Smith Instruments team has given us a second run to create more factory bank patches. Much has changed, and all for the better, with the Prophet 12.

Firstly, it sounds much larger than before and there are more wavetables. Secondly, the stereo field is incredible. We were able to use very subtle panning modulations to create a strong and wide sense of space with the patches we've programmed. Also, the user interface has been incredibly streamlined providing us with a very speedy workflow while assigning very complex modulations. Lastly, the new arpeggiator is unbelievable.

Our many thanks go to everyone at DSI. It's an honor to be making patches for the next Prophet synth.

This demo was recorded via a Neve Portico Preamp into a Digidesign 192 Pro Tools HD interface. We recorded this synth no differently than we record all of our other synths. Also, there is no MIDI on this demo. Everything was played by hand and used the onboard controls and modulators present on the Prophet 12. And there are absolutely zero Emerson, Lake, and Palmer impressions nor any keyboard equivalents of the "Stairway to Heaven" solo. Nor will there ever be on this channel.

http://www.darkentriesrecords.com/sto...
https://itunes.apple.com/us/album/veh...
https://www.facebook.com/INHALT.US"

BOB MOOG INDUCTED INTO INVENTORS HALL OF FAME

via Moog Music & The Bob Moog Foundation

"It is with great honor that we announce that Bob Moog is one of the United States Patent and Trademark Office 2013 National Inventors Hall of Fame inductees. This is an honor that is bestowed to 'individuals who conceived, patented, and advanced so many of the great technological achievements that have changed our world.'

Bob is being recognized for Patent No. 3475623 more commonly known to Moog fans as the Moog Ladder Filter. Using the new properties provided by transistors, the Ladder Filter was the first voltage controlled filter. By using voltage control such as keyboards and envelopes to steer the harmonic content of music over time, the Ladder Filter allowed new ways of manipulating sound that became part of the basic grammar for a new vocabulary of musical expression.

This humble invention laid the foundation for the electric pulse that beats through all forms of modern music. Bob brought to life basic concepts of dynamic filters used in the mix in every genre of recorded music today. The Ladder Filter allows the organic movement of sound in such a way that people can not only hear its warmth, but also feel its sweep come to life.

Patent No. 3475623 is best known for its use in the Minimoog Synthesizer and its effect can be heard on genre defining albums by artist like Michael Jackson, Kraftwerk, Parliament Funkadelic, Emerson Lake and Palmer, Dr. Dre, Diana Ross, and Brian Eno.

Everyone at Moog Music is grateful to be a small part of continuing Bob's work and the enduring legacy of Patent No. 3475623. We would like thank the USPTO for recognizing Bob's great innovation. This year's induction ceremony will take place May 1st in Alexandria, VA at the USPTO headquarters."


via The Bob Moog Foundation:

"The National Inventors Hall of Fame, founded in 1973, annually honors 'the individuals who conceived, patented, and advanced the great technological achievements since the birth of our nation.' Bob Moog, was identified today on the Invent.org’s website as the man behind Patent Number. 3,475,623, (Electronic High-Pass and Low-Pass Filters Employing the Base to Emitter Diode Ristor for Bi-Polar Transistors).

The organization cites the following:

'In 1964, Moog introduced the first complete voltage controlled modular synthesizer, an instrument capable of producing a wide variety of electronic sounds. The Moog synthesizer helped revolutionize the face of music by giving artists and composers the capability to create a brand new palette of sounds. Composer Wendy Carlos was one of the first to usher the synthesizer into the spotlight with the 1968 Switched-On Bach album. Since then, countless performers and composers have utilized the original Moog synthesizer and the Minimoog®, a smaller, portable version of the original instrument.'

'On behalf of the White House, I add my congratulations to this year’s inductees,' said John P. Holdren, President Obama’s science and technology adviser and Director of the White House Office of Science and Technology Policy. 'Your creativity, perseverance, and entrepreneurialism exemplify the American ‘can-do’ spirit.' Mr. Holdren’s quote was part of the press release issued by the organization.

The National Inventors Hall of Fame is the premier non-profit organization in America dedicated to honoring legendary inventors whose innovations and entrepreneurial endeavors have changed the world. Founded in 1973 by the United States Patent and Trademark Office and the National Council of Intellectual Property Law Association, the Hall of Fame will have 487 inductees with its 2013 induction.

This year’s induction ceremony will take place on May 1, 2013 at the United States Patent and Trademark Office’s headquarters in Alexandria, Virginia. The USPTO founded the National Inventors Hall of Fame in 1973 and has been a long-standing partner since the organization’s incorporation as a separate, non-profit educational foundation."

----

Congratulations to Moog Music, The Bob Moog Foundation,  Michelle Moog-Koussa (Bob Moog's daughter who runs the foundation), and of course the rest of his family and friends!  Heck, congratulations to us, the fans of synthesizers!  :)  This isn't something we see every day.

BTW, it's worth noting that supporting Moog Music & The Bob Moog Foundation not only supports the memory and lifelong work of Bob Moog, but they help introduce that world to new people every day.  I like to think of sites like MATRIXSYNTH as supporting the existing community as well as those that have discovered it, but The Bob Moog Foundation brings it to kids that may have never gotten the opportunity to discover our world.  If you can support them, please do.

On a side note, click here for a search on 1963 (a year prior, and the birth of it all) on MATRIXSYNTH. You'll find Korg was formed, Moog and Buchla came out with their modular systems, and other interesting bits happened in the world of electronic music and synthesizers during that time.

Synth Spotting with ELP Tribute Band Tarkus - Massive Modular Live

TarkusLive - Oct. 18, 2012 - Complete show

Published on Dec 18, 2012

This one in via @Earthnik. It's a long one. If you want to jump to the synth spotting you can mouse over the progress bar for thumbnails. Click on it to get to the clip. I'm curious if that's a Synthesizers.com modular or original Moog. There's a Minimoog and Sequential Six-Trak in there as well.

"Tribute to Emerson, Lake & Palmer. Live at Centre d'Art la Chapelle, Quebec, Canada. (See songs index below)

TarkusLive welcomes every musician and music lover worldwide who cares about the music of Emerson, Lake and Palmer. Playing ELP on vintage instruments is a high-risk endeavour; as such, this video shows the raw deal, no overdubs or doctoring were made outside of switching from a camera to the other. ELP were taking chances every night on stage, this is our nod to their spirit of adventure.

Here is to the show that never ends! Enjoy!

CLICK FOR MORE »

Custom Wood Case for Teenage Engineering OP-1

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

Note the listing is for the case only, not the OP-1.

"The case was designed and built by Gareth Hill of Services in Wood, Greenwood Lake, NY. The retail price was over $150.

The case was made from a single, solid piece of Maple, milled inside to fit an OP-1, and formed, sanded and finished on the outside with a satin finish. It has two recessed hinges that allow the case to close almost completely flush, except for one corner that has a 2mm gap. Gareth lined it with a 3mm black foam, but this can be removed if you want to substitute felt or something else.

The case is a very snug fit and since it's been in my house in northern California, the maple has swelled up a bit and the OP-1 no longer fits completely inside. Some sanding on the part of the new owner should allow the OP-1 to snugly slide in again. It fits so snugly, Gareth designed one corner with a circular clearance so a lanyard around the OP-1 could be used to pull it out.

It is a beautiful piece of wood measuring 13 x 5.5 x 2 inches on the outside. The interior compartment, without the foam liner, is almost 11-3/8 x 4 x .75 inches deep.

It feels and smells great, and with a little work could once again be a snug and elegant home for an OP-1.

And no, the OP-1 does not come with - this auction is for the custom case only."

YAMAHA EX1 FOR SALE POLYSYNTH ELP VIDEO

YouTube Published on Jun 14, 2012 by MarkJenkinsMusic

Update: according to Wikipedia the EX-42 was the stage model of the GX1, not the EX1.

Update: for those pressed on time, don't miss the slide out programmer at 20:14, the inside with the front panel removed/hinged up at 22:22, and the horizontal vibrato at 13:00 for the small keyboard. 13:47 reminded me of Beastie Boys Intergalactic.

"YAMAHA EX1 POLYPHONIC SYNTHESIZER FOR SALE.

My Yamaha EX1 is now for sale. In extremely good playing order, it's located in central UK. Buyer will collect and will need a large van ideally with tail lift.

The Yamaha EX1 is the theatre version of the GX1 as played by Keith Emerson (with Emerson Lake & Palmer on 'Fanfare for the Common Man'), by Led Zeppelin, Stevie Wonder, Abba, Ekseption and more recently by Hans Zimmer. It's thought that maybe a dozen GX1's and 40 EX1's were manufactured.

While the GX1 was fully programmable (with difficulty) and featured a pitch bend strip, the EX1 is easily programmed for three overall patches using a slide-out front panel, and has polyphonic glide and, on the solo keyboard, a unique side-to-side movement for modulation.

The EX1 features two fully polyphonic keyboards (with organ tabs and polyphonic analog synthesizer sounds) which can be slaved together, a top keyboard monophonic analog synthesizer which can be slaved to the upper organ manual, and a monophonic analog synthesizer bass played from the included pedals, or slaved to the lower keyboard. Also included is an analog drum machine, auto chord accompaniment section, and arpeggiator.

Included with this EX1 is the original double width pearl white matching bench, and the user manual. I never took delivery of the matching speakers which are enormous - there are various audio outputs to use Leslie-type rotary speakers, or such effects can simply be added by digital fx units.

Playing condition is exactly as shown in the video, shot in mid-June 2012, and while there are very very minor questions the instrument is basically in full working order. One or two keys are intermittent on some but not all sounds, but are by no means dead and probably just in need of a clean, a couple of panel light bulbs are dead, and it's possible one of the several modulation shapes on the solo synth is non-functional - but then again, it's possible I may have misunderstood some functions, and it's certain that most controls need to be DOWN rather than UP as you'd expect for full level.

To collect the synth you'll need a large and ideally tail-lift van able to reach central UK. The bass pedals, bench and bench legs are all separately boxed. Please do not ask me about shipping of any kind - it's not possible.

Substantial offers please including details of your arrangements for collection. Obviously no dubious payment methods such as Western Union or PayPal will even be considered.

Another good EX1 demo starts here [embed below]

www.markjenkins.co"

Yamaha EX-1 Mega synth / organ tutorial by Miguel Kertsman! (part 1)

Uploaded by MiguelKertsman on Nov 28, 2011

"Composer and Keyboardist Miguel Kertsman demonstrates / explains the legendary Yamaha EX-1 Electone Organ / Synth in this detailed three-part tutorial, including live performances and improvisations!"

More videos here: https://www.youtube.com/user/MiguelKertsman/videos

Moonlight Sonata (Mellotron)

YouTube Uploaded by MikeDickson on Oct 26, 2010

"From 'mellotronworks' http://www.mikedickson.org.uk/mellotronworks

Video by TheTesteccles

Better known as Moonlight Sonata, Beethoven himself seemed to despair of this piece's popularity, famously saying 'surely I have written better things' to the Austrian pianist Carl Czerny who I hope was equally confused by Ludwig's puzzlement. He almost certainly did write better things than this, but why did he view this as little more than a piece of fluff? Maybe he wasn't the best person to judge his own music - this has now become a likely contender for the most recognisable piece of music written for the piano.

Written in a hot Hungarian summer just as his deafness was starting, Ludwig composed this piece for his young student Countess Giulietta Guicciardi to whom he later proposed marriage. Her parents forbade the idea and Beethoven lived the rest of his life as a bachelor. Stories abound about this piece being played for a blind girl to describe the moonlight, but the reality is that it was never known by this name until the poet Rellstab realised that it described the moonlight reflected on Lake Lucerne in the 1830s. The name stuck.

Readers who can play the piano are encouraged not to listen to what I have recorded. For reasons I cannot quite fathom, this is a piece of music that is actually better to play than to listen to. I can't quite pin down the reason for this, but it's a tune for the musician rather than the audience. It certainly seems appropriate, as Beethoven was a real muso's muso, being a fair old bag of firecrackers himself. He drank like a fish, was probably bipolar, suffered from progressive lead poisoning administered by his doctors, had a thing for married women, was notoriously unkempt in his later life, had a nature so irascible that his intended adoptive son attempted to shoot himself in the head to escape his temper, and eventually became something close to sociopathic. He'd storm out of parties if asked to play something, and on the occasions that he was performing he would stop if the audience started talking among themselves and invite them to shut up and listen. Best of all, he had no concept of social rank or status and treated everyone much the same, a concept that Ode to Joy seems to echo in its words promising fraternity and equality, though perhaps not quite as Schiller intended. Eventually, a worn-out Archduke Rudolph let it be known that the mores of court etiquette didn't have to be applied to Ludwig any more as it was utterly pointless to even try.

What a guy."

KORG DS-10 PLUS: 'I Said (Michael Woods Remix)' By Deadmau5 & Chris Lake

YouTube Uploaded by seehanth001 on Nov 4, 2011

"Here's my recreation of the Deadmau5 & Chris Lake song 'I Said (Michael Woods Remix)' created entirely on Korg DS-10 Plus.
'I Said (Michael Woods Remix)' is on the album '4x4=12' by Deadmau5.
Please enjoy!! :)

*This was made last year. I reuploaded it to fix a graphical error in the original video and to show people this recreation. =)

Follow me on Soundcloud for exclusive updates - http://soundcloud.com/anthonyseeha"

Nintendo DSi on eBay
Nintendo DSi on Amazon
KORG DS-10 on eBay

KORG DS-10 PLUS: 'Jounetsu no Daishou (Shinichi Osawa Remix)' by GIRL NEXT DOOR

Uploaded by seehanth001 on Nov 4, 2011

"My Korg DS-10+ recreation of the GIRL NEXT DOOR song, Jounetsu no Daishou 情熱の代償.
This is the Shinichi Osawa remix version.
This song takes advantage of Korg DS-10+'s DUAL MODE.
I've recreated the ending of the song. Please enjoy!! :)

*This was made last year. I reuploaded it to fix a graphical error in the original video and to show people this recreation. =)

Follow me on Soundcloud for exclusive updates - http://soundcloud.com/anthonyseeha"

John Paul Jones Yamaha GX-1 with Programmer Up for Auction?

via this auction

"Here's your once-in-a-lifetime chance to own one of the most famous keyboards in rock-'n'-roll history: the storied Yamaha GX-1 synthesizer owned by John Paul Jones (Led Zeppelin), then Keith Emerson (Emerson, Lake & Palmer/Powell [ELP]), then Hans Zimmer (film composer). Seller acquired it directly from Hans Zimmer in 2003 (authenticated). Yamaha's original retail/list price for the GX-1 was US$60,000.

Provenance: John Paul Jones acquired it circa 1977/78 and used it on Led Zeppelin's album "In Through The Out Door." It was featured on tracks "In The Evening," "All My Love," "Carouselambra" and "I'm Gonna Crawl." On "All My Love," Jones performs a nice string arrangement, and the horn solo demonstrates the GX-1's expressive vibrato capabilities. On the final Led Zeppelin tours, Jones used the GX-1 as his primary keyboard, performing string, organ, clavinet and bass/synth. parts (see photo #3: Jones performing on GX-1 at the Knebworth, UK shows in '79 [top pic in this post]; the last time the original foursome performed together before John Bonham's death). Jones called the GX-1 "a joy," which replaced his repair-prone Mellotron.

Keith Emerson acquired the GX-1 from Jones in the mid-'80s as a spare for Emerson's original GX-1 (used with ELP in the late '70s). Emerson cannibalized some of his original GX-1 for the benefit of this unit. He used this GX-1 most prominently on the "Emerson, Lake & Powell" album & tour in the late '80s, and in the music video of the title track of ELP's "Black Moon" reunion album in the early '90s (see photos #4 & #5 [2nd pic in this post]; keyboard on top of GX-1 not included). "Emerson, Lake & Powell" tracks featuring this GX-1 include "Touch & Go" and his synth. rendition of Holst's "Mars: Bringer Of War." Emerson sold the GX-1 to renowned film composer Hans Zimmer in the mid-'90s, who sampled various sounds on it (see photo #6 [3rd pic in this post]: GX-1 in Zimmer's studio; Moog modular not included). The GX-1 was also used for recording sessions by musicians including Erik Norlander on his "Threshold" album. (Note: Keith Emerson's Wikipedia entry is incorrect: his original GX-1 [painted black] was sold to a European collector, and this unit was sold to Zimmer, then to the Seller)

This auction is for the: keyboard/console (including programmable cartridges; see photo #9), separate ultra-rare Programmer Module (see photo #11), and original Anvil-style case (used by Jones, Emerson, Zimmer and the Seller). Sale does NOT include: the GX-1's bench/pedal section, two TX-II speakers, and the programmable cartridges for the Pedal section only (which were not included when Seller acquired it).

It works, but after playing it for a while, it sometimes makes a noise and must be turned off and then turned back on. Being sold "as is." Seller can refer Buyer to several qualified GX-1 technicians. [Minor] tuning/calibrating will probably be required after shipment. Copies of any manuals (User/Technical/Service/etc.), brochures and other GX-1 information Seller has will be included. Has balanced outputs (see labeled photo #12), which may be custom. John Paul Jones had the switches/LED panel added (over the Electone logo area), which may be disconnected (appear to have no effect anymore)...

Here's some miscellaneous information:
- only about 27-30 GX-1's were ever manufactured and/or sold (unit's Serial Number is 0076)
- the most powerful polyphonic synthesizer in history at the time
- 3 keyboards (2 standard manuals; 1 solo manual); volume pedal; retractable knee vibrato controller
- unheard of levels of touch control (touch/velocity-sensitive, polyphonic aftertouch, etc.)
- approx. outer dimensions of keyboard console 63"(L) x 31"(W) x 46"(H)
- top area (where other keyboards can be placed) is about 60"(L) x 10"(W)
- weight in Anvil-style road case is about/over 1,000 pounds
- was the basis for Yamaha's popular CS-80/etc. synthesizers"
SN 5076

via John

See this post for a close-up of the programmer.

CLICK FOR MORE »

EHX Effectology, Vol.19 "How to turn your guitar into a Moog synthesizer"

YouTube via Effectology | November 30, 2010 | 16 likes, 0 dislikes

"Moog is a trademark of Moog Music, Inc.
Electro-Harmonix Effectology, Vol.19 "How to turn your guitar into a Moog synthesizer"
By Bill Ruppert

Welcome to Electro-Harmonix's "Effectology" series, in which we create a remarkable collection of impossible sounds using just a regular guitar and EHX effect pedals!
No keyboards, samplers or midi pickups were used.

In this episode I show how to turn a regular guitar into a Moog synthesizer!
There is a demonstration of the famous recording Switched-on Bach and Emerson Lake and Palmer's classic synthesizer solo from the song 'Lucky Man".
Both records featured the epic original Moog modular synthesizer."

Hand-assembled Shruthi-1 - SSM2044 filter

via this auction, cutie.
"This is brand new music synthesizer of mutabile instruments top brand. Synthesizer goes by the sissy name of Luxette, and is of well-respected Shruthi royal family. Unknown color, unable to determine: shiny look, red when looked from right, blue when looked from left, yellow and green when looked from top. Not unlike soap bubble at all or visiting angels from faraway suns. Hencefore warning: scares birds - all kinds of birds specifically vengeful birds! Some parts are of static color: Touchable extremites are darkness and citrus. Rectangular 32-symbols writing area is of same colour as orange-froot, and shiny dots of enlightment that go blink-blink are orange-coloured too. Rooftop of electric music synthesizer can be removed to reveal circuit of colour of dark forces. To ensure maximal cooperation rooftop should not be left open for normal operation, cutie.

Vibrations are above 20 hz and below 18kHz as perceptible by human auditory organs. Emits audio vibrations not suitable for dogs and house ferrets. Emits song of indian accordion, song of japanese fairy violin, song of african sitar, song of irish pagan seductress flute, and song of american ghetto beat box. May emit voice of universally acclaimed composer Emirson Lake Palmeer. Awesome beauty for Duran Duran karaoke too, had a blast with Sharmila Lady-fox the other day on chauffeur song. Does not emit though song of galactic spaceship fleet, song of baby faced by imminent danger, song of mother nation working towards visionary goal, song of purest mathematical abstraction, and soundtrack of enamoured tapir. Sorry for that. Now come here and let the voice of Shruthi entice you. Come closer, come closer and see the kaleidoscope spiral, cutie.

Shruthi synthesizer device does not have two voices, three voices, four voices, or thirty-two voices even, no, no, no: have one glorious voice, but wise proverb says unicorns have one mighty horn too, unlike polycorns. Comes with shiny expensive electronical components shaped like candy pills, shaped like baby spider, shaped like blue-faced deity of vedic times, and first class, top rate, award-winning music filtering spider from SSM company of decadent usa, model reference number 2044. Good for your prosperity, your health and successful wife, but still not good enough for the enamoured tapir sound. Might be okey-dokey for smitten capybara or infatuated alpaca sounds. Dunno-dunno, cutie.

Does have multiple endearing menus on the board, great variety and first rate selection of options from all eras : vibrating strings, filtration, the little algebraic curves that go up and down and up and down forever or just once, interconnections, device that makes musical progression when single key of input device is pressed to emulate well-respected performer of great skills, 64 kbits of memory for the sounds of your wicked conception. Does have little hole on the back to insert sound-trunk-appendage, hencefore songs recorded from microphone, videocassette or educational organ are slowly traveling through Shruthi filtering spider. Does have pair of medium-sized holes with 5 little holes for entrance and exit of so-called "Music Interchange Data Inlet". Come and plug your keyboard instrument, cutie.

Does not have moving part that goes schwiiin schwiiiiin when rainy weather! Does not come with snorkeling equipment for underwater exploration! Does not have matching towel! Does not have off/on/sleep contraption! Output magnitude is eternally programmed to auspicious value of 8.537. Move your ears more more far away from loudspeaker for softer, mellower, little ball of fur song. Comes with energy coupling device suitable for insurgent democratic countries of Westeuropa, voltage label says nine. Can work with other house-hold energy coupling device of other countries, insurgent, decadent or glorious. I think this is all you need to know, cutie."

3rd Annual City Skies Electronic Music Festival, April 29-May 1, 2010

"SPONSORED BY GUITAR CENTER and ABLETON LIVE

The 3rd Annual City Skies Electronic Music Festival will be held in the Atlanta area on April 29-May 1, 2010.

Kavarna in the Oakhurst section of Decatur, GA (minutes away from Atlanta) is once again the venue for the Festival Event. Kavarna gives us a perfect vibe for the performances, with great sound and a nice selection of food and beverage for festival attendees. Kavarna is a non-smoking and all-ages venue.

We'll also be streaming the event live on StillStream.com

The list of performers include some of the best electronic musicians from around the U.S. heard on radio stations like Music From the Hearts of Space, Echoes, Star's End, Soma FM, StillStream, Galactic Travels, and more, and are from Georgia, Indiana, New York, Pennsylvania, Tennessee, and Wisconsin.

Musical styles range from ambient to downtempo chillout to Berlin school to IDM to space music to experimental. This is not a DJ event.

There will be numerous giveaways during the event including copies of Ableton Live Intro, performer CDs, and more!

For more information, ticketing, and performer bios and event schedule:
http://www.cityskies.com

From the April 2010 issue of Stomp and Stammer Magazine:

What's not to love about a concert series billed as a showcase for "real electronic music played by humans"? That's what's in store for attendees of the third annual City Skies Festival, April 29–May 1, at Kavarna, the cozy boho bar/coffee house/bistro located in beautiful downtown Oakhurst.

"City Skies was originally conceived as a community build­ing event," said Jim Combs, a soft-spoken Atlanta musician and organizer-promoter of the event. "I wanted to bring together friends and musicians who have inspired me, so we could play, trade stories and find out what everybody is up to in terms of their equipment – you know, get our geek on."

Like its predecessors, the 2010 edition of City Skies will feature a gaggle of musicians from the metro area and beyond, playing an array of mad scientist gear ranging from a marimba lumina – a fly-by-wire percussion instrument built by synthesizer wizard Don Buchla – to an electronic clarinet, DIY laptop contraptions and even iPods, as well as the occasional guitar, flute and drum.

Sharing the Kavarna stage with homeys Allen Welty-Green, Randy Garcia, Killer Haven, Duet for Theremin and Lap Steel, and others will be no fewer than four performers from Tennessee (Michael Peck, Tony Gerber, Mark Mahoney and something called 84001), two Richards (Lainhart and Devine, both considered masters of their respective sub-genres) and an assortment of knob twirling, switch flicking, mouse-wranglers from Kansas, Indiana, Pennsylvania and Wisconsin. One band, The Wiitles, uses Nintendo Wiimotes as instruments to play rock music.

"There will be plenty of experimental things happening, but also stuff that will be familiar," Combs said. "The main idea is to share the passion we have for this music."

Real electronic music performed live by humans!

Performers and schedule for the three-day event are:

Thursday, April 29, 2010
8pm- Harold Timms (Georgia)
10pm- The Wiitles (Georgia)
11pm- citizenGreen (Georgia)

Friday, April 30, 2010
6pm- Slate (Indiana)
7pm- Klimchak (Georgia)
8pm- Twyndyllyngs (Pennsylvania)
9pm- Paul Vnuk Jr (Wisconsin)
10pm- Tony Gerber (Tennessee)
11pm- R_Garcia (Georgia)

Saturday, May 1, 2010
Afternoon session
1pm- dRachEmUsiK (Indiana)
2pm- Burning Artist(s) Sale (Georgia)
3pm- Earthgirl (Indiana) w/Paul Vnuk, Jr.
4pm- 84001 (Tennessee)

Evening session
7pm- Mark Mahoney (Tennessee)
8pm- M. Peck (Tennessee)
9pm- Richard Lainhart (New York)
10pm- Richard Devine (Georgia)
11pm- Duet for Theremin & Lap Steel (Georgia)

All proceeds from ticket sales will go to performers for this event.

Tickets for each session are $5.00 and will be available at the door.

Venue location -
Kavarna, 707 East Lake Drive, Decatur, GA 30030

Please add us as friends on MySpace and Facebook:
http://www.myspace.com/cityskiesfestival
http://www.facebook.com/pages/City-Skies/223286277021"

Sound Pages via Ron

Click here for a number of SoundPage Flexidiscs (flexi disk) sent my way via Ron aka nonbeing. Enjoy. The following is the full track listing:

DISK 1 (One)
1. “Cranes In Their Nest”
Arranged, performed, and produced on synthesizer by Isao Tomita (with Goro Yamasuchi on Shakuhachi)
Soundpage No. 11 (August 1985)
Flip Side: Blank

2. “My Wife with Champagne Shoulders”
Composed, performed, and produced by Mark Isham
Soundpage No. 14 (November 1985)
Flip Side: Blank

3. “Moon Machine”
Jean-Michel Jarre
Soundpage No. 18 (March 1986)

4. Flip Side of 3: “An Introduction to the Kurzweil 250”

5. “Sometimes . . . Not Always”
Ralph Grierson
Soundpage No. 20 (May 1986)

6. Flip Side of 5: “The Kurzweil 250 Rock Block – A Demonstration”
Original music composed and performed by Paul Heckert live to 2-track master using Kurzweil 250 presets only.

7. Synth Sketch for “Varying Lengths”
Lyle Mays
Soundpage No. 22 (July 1986)

CLICK FOR MORE »

B. Killingsworth Electricity Poems, Vol. I and II

Via B. Killingsworth:

"I wanted to invite you to check out my web release on Backporch Revolution records (out of New Orleans). Totally electronic music.. and what I mean is that it is of the type that is more or less just supposed to sound like what it is - raw analog synth sounds. No sequencers used. Enjoy! (or not :) )... "

Description on Backporch Revolution:
"The tempo of cicada and cricket songs vary according to air temperature - drummers dependent on the environment for their pulse.

To say that the environment in southeastern Louisiana had changed by the end of summer 2005 was to put it mildly. A human drummer taking his cue from these surroundings would have short-circuited any second line band.

I wasn't looking for a second line party, but like vomit on Bourbon Street seeking its own level, I needed stability. My drummer would take his cue from 60 pulses per second - electricity itself.


Electricity Poems Vol. 1 & 2 was recorded on the north shore of Lake Pontchartrain in Louisiana."

Vol. 1 (tracks 1-6) late winter 2006
* analog drum synthesizer triggered by an electrical ground loop
* Sequential Circuits Pro One analog synth
* digital delay pedal
* mixer

Vol. 2 (tracks 7-10) summer 2006
* tracks 1-4 of Vol. 1 fed into a modular analog synthesizer
* mixer

Title link takes you there. You can download and/or stream all tracks. Note the only synth on Vol. 1 is the Sequential Circuits Pro One.

BTW, you might remember the name Backporch Revolution from this previous post on Liteworks, another Backport Revolution artist from New Orleans and affected by Katrina.

Moog Tribute by Simon James aka Corky Burger on CDM

Title link takes you to the post and mp3 on CDM. Track list: Walter Carlos, Spring, Columbia Records Richard Hayman, The Windmills of Your Mind, Command records Walter Carlos, Sinfonia to Cantata no 29, CBS Tomita, The Earth – A Hollow Vessel, RCA Gershon Kingsley, Did You Ever Take a Journey, Audio Fideltiy Records Chris Swanson, Snow, n/a Dick Hyman, The Minotaur, Command Circulus, My Body is Made of Sunlight, Rise Above Records C&K Vocal, Generace, Supraphon Emerson Lake and Palmer, Lucky Man, Island The Moog Machine, Aquarius/Let the Sunshine in, CBS Marty Gold, Day Tripper, AVCO Embassy Hugo Montenegro, You Got it Bad Girl, BMG Clara Rockmore, Swan, n/a Walter Carlos, Winter, Columbia Records Dick Hyman, The Moog and Me, Command records Devo, Mongoloid, Warner Herbie Hancock, Earth Beat, CBS Klaus Schulze, Mind Phaser, Bomb Records

George Mattson and The Syntar

I recently engaged in an email discussian with George Mattson, creator of the Syntar. That's him next to Bob Moog who's trying out his Syntar at the 1980 Chicago Summer NAMM Show. The discussion we had was fascinating and private, and I thank him for sharing his story with me. As it was part of synth history I asked George if it would be ok to put up a post here, as I'm sure other synth enthusiasts would enjoy this bit of synth history as well. He gave me the go ahead, so here it is. Note that this was originally private and not meant to be a post - this was just me and George going back and forth. The references to Starship are to Jefferson Starship. Many thanks to George for taking the time to share this with me, and for letting me put this up.

"I was born as a non-Mormon in Salt Lake City, Moved to Anchorage, Alaska in Sept '64 3 weeks before my 10th birthday. Graduated from High School there in 1973. That Fall I moved to Moscow, Idaho where I enrolled in the School of Mines studying Mining and Metallurgy. Bought my first synths at that time-the 101 and 200 when there were only 3 manufacturers. ARP, Moog and EML. I liked the versatility of the EML line and went that route. That was the days that you had to send a certified cashiers check for the full purchase amount and they were made to order. Went to College 5 semesters and stayed a freshman with a 1.18 GPA. My older brother moved down and had a bunch of recording gear so we started a recording studio trying to break into commercials. I had picked up a Poly-box by then and my Yamaha YC-45D. Then bought the EML sequencer and a 300. Couldn't stand the clutter and built the box for the sequencer, Told EML what I was doing. They bought the original cases back from me and credited that against another 416 panel and another 300 just to fill 2 big gaping holes in the box. I had most of the synth panels on one side of my bedroom and all of the keyboards (including a Baldwin upright, a Rhodes and a friends EML 500) including the 101 keyboard on the other side of the room. We'd hire musicians to play the tunes and I ran/programmed the synths. Oct. 04 1978 I was alone in the room running back and forth between the consoles and the keyboards when I said to myself: "what I need is...." and the concept of the Syntar hit me. Then I said "somebody should make one of these" Then I said: "Hey, I could do this!" (I talked to myself a lot.) Jan '79 I moved to Bend, OR. Moved in with my folks and tried to find investors. I built a hand-made prototype using EML circuit modules and went to the 1979 Atlanta NAMM lugging this thing around trying to get a manufacturer to go for it and hire me as a team leader on the project. The only person that had any emotion about it while talking to me was Herb Deutsch from Norlin. He said he'd talk to his Board of Directors and call me. In Jan '80 I went to the NAMM winter market in Anaheim with Michael Garrison (He landed his distribution agreement with Ariola on the way down) and Mike asked if I saw the Moog booth. He took me over and we saw the prototype of the Liberation strapped onto a mannequin. I went home devastated and my folks put up the investment money to get started. They're no slouches; both my Mom and step Dad have electronics degrees. I advertised the Syntar in the mags a month before Moog advertised the Liberation. The thought was if I could beat them to it, at least people couldn't say I copied them. That never worked. They had a little bigger budget than I did. But, anybody researching it will find that I had it first. No big deal now. I had to close shop because we were broke and were facing a takeover. So, I closed it down, called Starship, told them I needed a job and got hired. A year and a half later They wanted me to move to San Francisco rather than flying me back and forth from home. I didn't want my 4.5 and 3 year olds growing up in the California rock and roll scene and moved here in July of 1983. Went out one more time with Starship in Aug/Sept 1983 and told them I was leaving. Been here since doing different things."

"Well, that's the way it went down. Can't change the facts. Of course, I would loved to have made money from all of the work I put into it. The sad part is that I still can't play keyboards. I'm a guitar player since I was 10. Hey, right after I moved to Anchorage."

"That picture was taken in June of 1980 at the Chicago NAMM. That's me next to him- I was 26 YO. Notice that he's playing prototype #3.( The first was the one I hand built from EML circuit modules, the second used forked plasic keys over fluted shafts-that one was later modified and used as a LASER controller by the guy doing the LASER shows for Blue Oyster Cult and Tangerine Dream)) The Syntar hanging in the background is just a panel and cardboard simulated left hand keys. The prototype Bob is playing has curved aluminum keys that dragged a resined string over a pulley. The final (and production)version was much more aesthetic and worked like a charm."

Thanks again George. Fascinating story. I really can't play either. : )
BTW, George also provided the EML Poly-Box Samples in this post.

Update: George later made up the 1.18 GPA with a 3.8 GPA with his AA in Electronics. : )