In celebrating the 90th birthday of pioneering synthesist Herb Deutsch, the Bob Moog Foundation is excited to announce its fundraising raffle for a fully-restored vintage Minimoog Model D signed by the legend himself.
The Minimoog featured is serial number 11,535, built at Moog Music’s Cheektowaga, NY factory during the late 1970s. It has an estimated value of $10,000. Due to the highly coveted nature of this archetypal synthesizer, and the iconic signature from Herb Deutsch, it is likely to increase in value. This Minimoog has been meticulously restored by revered synthesizer technician Wes Taggart of Analogics, who also crafted its new custom walnut cabinet enclosure. It is in excellent technical and physical condition.
The raffle begins on February 9th, to commemorate Deutsch’s 90th birthday, and serves as an homage to his seminal contributions to the Moog legacy. It ends on March 7, 2022, 11:59pm ET, or when all 4,500 tickets sell out, whichever comes first. Tickets are $20 each, six for $100, 14 for $200, or 40 for $500.
Funds raised from the raffle will be used to expand the Foundation’s hallmark educational project, Dr. Bob’s SoundSchool, which has inspired over 20,000 elementary school students through the science of sound. The raffle will also help support the Moogseum, an immersive, experiential facility located in Asheville, NC, which brings Bob Moog’s pioneering legacy and the science of sound and synthesis alive for people of all ages. The Moogseum, which opened in late May of 2019, has welcomed over 14,000 visitors from all over the world, despite significant challenges due to the pandemic.
"Sound pack of 50 patches with sequences for the excellent Dave Smith Instruments / Sequential OB-6 analog synthesizer. All of these patches use VCO 2 as an audio rate modulation source via the X-Mod section. I decided to make an all FM pack for the OB-6 after doing a set for the prophet-6. It was definitely more challenging at first, but it led me to approaching sounds in some new ways, which produced some amazing results.
Sounds load into slots 400-449 as default. Everything heard here is totally dry, with no effects, EQ or compression. Just playing straight off the synth's front panel.
Drop a comment of what other sound packs you're interested in (more prophet-6, OB-6, prophet-12, Arturia V Collection, or others).
Note these patches use the latest firmware with the "Vintage Knob" functionality.
Playlist:
1. Patch of The Week: The Sonic XV's Wave Folder - So many tones from just 1 VCO's Triangle wave
'Sonic Arps': The Sonic XV Transistor Diode Ladder Filter has a built-in Wave Folder, and in this video I'm using an arpeggiator in random mode to show the many subtle flavours of sound it can achieve from just a simple triangle wave from a single VCO. I will also pull a huge variety of timbres from a sine wave in a similar fashion. The filter is a re-creation and expansion of the VCF from the Musonics Sonic V (5) synth of the 1970's (predecessor of the Moog Sonic Six), and shares a similar character to that of the EMS Synthi and VCS3, also being early diode filters. Bearing that in mind you might expect it to produce aggressive tones and chaotic feedback, which it can do well enough, but you might not have expected that it can also be very subtle, organic and warm in character, particularly well-suited to melodic arps/patterns and percussive sounds. With the added wave shaping functionality that wasn't present on the original, along with 24dB and 6dB low pass modes, and band pass filtering, this module packs a lot of tone shaping into 14hp.
A PDF file of the patch can be downloaded here: https://kvisit.com/8AE/xfUG
Patch notes: Green dots show approximate pot and switch positions. Where a pot has two dots, this illustrates the range I move them during the video. Pots and switches that do not have green dots are not used in this patch, and should be left at their zero or off positions. I'm using the VCA as a mixer so that I can use the outputs from both the BP and 6dB outputs of the Sonic XV. Notice in the video they are set at different volumes at different points depending on the sound - you will need to adjust this too, as different combinations of IN LEVEL, IN MIX, IN WAVE, and filter settings can make a significant difference to volume levels. Modules used from left to right: Vintage Transistor Core VCO, Sonic XV, Contour Generators, Discrete Cascaded VCA.
2. Patch of the Week: 'Schulze School' - Melodic Eurorack performance + 'how-to' guide & patch sheet
This week's patch makes use of the V-Shape wave shaper/wave folder to sculpt the great analogue tone of the MiniMod VCO to create some delicate timbres that reminds us of Klaus Schulze's mesmerising sounds created on his sequencer-driven Moog modular synth systems in the 1970's. It also makes particular use of the Ring SM as a sub oscillator generator, and the rich tones of the Sonic XV diode filter.
Check out the AJH Synth playlists for more 'Patch of The Week' videos, which will be either performances or 'how to' guides detailing a range of sounds, some familiar, some less so, and each containing a patch sheet at the end to show you how to construct it for yourself.
3. Patch of the Week: 'Singing Gemini' - Dual Analogue VCF as a Dual Sine Wave VCO How to & patch sheet
This patch uses each of the 2 analogue filters of the Gemini as a dual VCO, self-oscillating, so that they produce sine waves and can be sequenced melodically using the Korg SQ-1 or any analogue step sequencer. This guide shows you how to make this patch, along with a patch sheet at the end. It is one of the many ways you can use just a couple of Eurorack modules to make music, as modular synthesis can be rewarding even with a minimal gear list.
"New York School of Synthesis T-Shirts in both black and white (sizes: S, M, L, XL) ready to ship all over the planet in plenty of time for the upcoming Holidays. And if you're looking for something different to get for your favorite synthesist (including yourself) we've got a hearty stock of New York School of Synthesis Coffee Mugs. They're the perfect solution for recovering from those late-night synth sessions, wrestling with wayward waveforms and fickle filters, with a steaming cuppa liquid caffein (or hot-chocolate or tea, if that's how your roll). You'll be the envy of all your friends, when out and about, sporting one of these fine NYSS T-Shirts (in black or white). Place your order's now and they'll ship in plenty of time for the upcoming holidays."
From WMD: 'No samples, 100% digital synthesis with the ability to make realistic snare drums of all sizes, shapes, materials, and colors. Similar to Crucible, Kraken uses a network of classic synthesis blocks like delay, digital filters, and noise to create a very unique resonator.
'Crack-in' to the snare drum sound you're into most by adjusting parameters that corelate to physical drum properties such as shell type and size, head tightness, amount of overtone, and how tight and bright the snares sound.
You like snare samples? Great! Although Kraken does not use any recordings to generate sound, you can get a perfectly repeatable snare sound, similar to a sampler by using digital noise to generate the sound of the "snares".
Want your snare to sound more realistic? Try analog noise to imitate the subtle difference of a drummer hitting the snare slightly different on each hit.
Perfect Pitch... kind-of. Optional pitch shifter on the output widens the sonic palette as well as the frequency range, while imparting a unique character of it's own, reminiscent of old school samplers and pitch shifter pedals. Pitch knob and CV input take control of the pitch shifter when in this mode.
Wreck the ship with the Wreck switch and CV input. Three different distortion characters push the envelope that much further with an analog style gained up hard clipping, wavefolding, and bit depth reduction. At some shell settings, gain gets loud like running a snare mic through a distortion pedal. The wave folder sounds like over-the-top compression with lots of high frequency content,. The bit depth reduction setting lets you dial in a desired amount of "vintage" digital artifacts. Moving the switch to these different modes is only a preview. Use the Wreck CV input for the most control and variety in sound.
Kraken is begging to be sequenced. Use the Head, Rim, and Accent gate inputs to start your basic rhythm of hits, sidesticks, rimshots and accented sounds. Sequence the Velocity input with a variable CV source to bring the pattern to life and put the drummer behind the kit.'
"In this video I perform a short pattern on my WMD drum machine that I built. The purpose of this video is to show of the new WMD Kraken Snare module which I was absolutely in love with the moment I heard it.
"Kraken is a physical modeling snare drum module for eurorack modular synthesizers.
No samples, 100% digital synthesis with the ability to make realistic snare drums of all sizes, shapes, materials, and colors. Similar to Crucible, Kraken uses a network of classic synthesis blocks like delay, digital filters, and noise to create a very unique resonator. "Crack-in" to the snare drum sound you're into most by adjusting parameters that corelate to physical drum properties such as shell type and size, head tightness, amount of overtone, and how tight and bright the snares sound.
You like snare samples? Great! Although Kraken does not use any recordings to generate sound, you can get a perfectly repeatable snare sound, similar to a sampler by using digital noise to generate the sound of the "snares". Dial in the decay to cut the sound short, and use different gate lengths to mimic "gate" mode style sounds in samplers. Want your snare to sound more realistic? Switch to analog noise to imitate the subtle difference of a drummer hitting the snare slightly different on each hit.
Perfect Pitch... kind-of. Optional pitch shifter on the output widens the sonic palette as well as the frequency range, while imparting a unique character of it's own, reminiscent of old school samplers and pitch shifter pedals. Pitch knob and CV input take control of the pitch shifter when in this mode.
Wreck the ship with the Wreck switch and CV input. 3 different distortion characters push the envelope that much further with an analog style gained up hard clipping, wavefolding, and bit depth reduction.
At some shell settings, gain gets loud and fedback like running a snare mic through a distortion pedal. The wavefolder sounds like over-the-top compression with lots of high frequency content. The bit depth reduction setting let's you dial in a desired amount of "vintage" digital artifacts. Moving the switch to these different modes is only a preview. Use the Wreck CV input for the most control over your sound.
Kraken is begging to be sequenced. Use the Head, Rim, and Accent gate inputs to start your basic rhythm of hits, sidesticks, rimshots and accented sounds. Sequence the Velocity input with a variable CV source to bring the pattern to life and put the drummer behind the kit. Pair with Crater, Fracture, Chimera, and Crucible for a completely unique set of drums for your Eurorack Modular Synthesizer.
Highlights: - No samples, 100% digital synthesis - 3 built-in distortion types - Digital and analog noise source - Pitch shifter - Wide range of sounds - Two trigger inputs - Hit both simultaneously for a realistic "rimshot" sound."
The first 11 are the CASIO MIDI Users Club Newsletter 3 featuring the AZ-1 keytar on the cover. Below that are some CZ patches followed by Rock School course agendas. To be there at the time... It made me think of the New York School of Synthesis (if you haven't seen it, don't miss it).
"Tickets for our 2021 Minimoog raffle are over halfway sold out!
Check out our gorgeous Model D in custom African Makore wooden cabinet and buy your tickets to enter the raffle: http://bit.ly/MinimoogRaffle2021
The raffle is open internationally from March 1, 2021 until 11:59pm ET on March 29, 2021, or until all 4,500 tickets sell out, whichever comes first.
Funds raised from the raffle will be used to expand the Foundation’s hallmark educational project, Dr. Bob’s SoundSchool, currently inspiring over 3,000 elementary school students per year through the science of sound. The raffle will also help support the Moogseum, an immersive, experiential facility located in Asheville, NC, which brings Bob Moog’s legacy and the science of sound and synthesis alive for people of all ages. The Moogseum was closed for five months in 2020 due to the pandemic.
The vintage Minimoog Model D being offered, serial number 8903, was built at Moog Music's Buffalo, NY-era factory during the late 1970s, has an estimated value of $6,500, and will only go up in value given the highly coveted nature of the synthesizer. This Minimoog has been carefully restored and future-proofed by the renowned synthesizer technician Wes Taggart of Analogics, and is in excellent technical condition. Taggart, also a lauded woodworker, fabricated the custom cabinet from rare African Makore wood, which is known for its beauty, strength, and durability.
"The Bob Moog Foundation is excited to announce its 2021 Minimoog Raffle,
featuring a vintage, iconic Minimoog Model D synthesizer, serial number 8903,
set in a stunning custom cabinet made from rare African Makore.
Update: new video and some pics:
2021 Minimoog Raffle In Custom African Makore Wood Cabinet
The raffle is open internationally from March 1, 2021 until 11:59pm ET on March
29, 2021, or until all 4,500 tickets sell out, whichever comes first.
Funds raised from the raffle will be used to expand the Foundation’s hallmark
educational project, Dr. Bob’s SoundSchool, currently inspiring over 3,000
elementary school students per year through the science of sound. The raffle
will also help support the Moogseum, an immersive, experiential facility located
in Asheville, NC, which brings Bob Moog’s legacy and the science of sound and
synthesis alive for people of all ages. The Moogseum was closed for five months
in 2020 due to the pandemic.
The vintage Minimoog Model D being offered, serial number 8903, was built at
Moog Music's Buffalo, NY-era factory during the late 1970s, has an estimated
value of $6,500, and will only go up in value given the highly coveted nature of
the synthesizer. This Minimoog has been carefully restored and future-proofed by
the renowned synthesizer technician Wes Taggart of Analogics, and is in
excellent technical condition. Taggart, also a lauded woodworker, fabricated the
custom cabinet from rare African Makore wood, which is known for its beauty,
strength, and durability.
"The Korg M1 is famous for its classic piano, organ and pad presets. But there's way more to this synth than these sounds. In this video I'll give an overview of the synthesis possibilities and show of some brand new patches I created that are ready to be used in new productions."
Lets create M1 house like we're back in the 90's (Korg M1)
video by Estuera
"I'm in the process of patching up an old Korg M1 I recently acquired. What better way to test drive than creating some classic house using the famous piano and organ patches. I even threw in some of its drums.
Next to the Korg M1 I used the Roland cloud TR-909. The Arturia DX7 and Stage V and some old school vocal samples.
Chapters 0:00 Intro 0:32 Creating the track 6:42 The finished track"
"Sequential Pro 3 Demo. A demo of the Sequential, or Dave Smith Instruments DSI Pro 3. The Pro 3 boasts three oscillators, three vintage filters, three LFOs, four loopable envelopes, a massive 32-slot mod matrix, and a 16 x 16 x 4 sequencer. Throw in dual digital effects and four control voltage ins and outs, and you’ve got a hugely powerful instrument that’s as exciting to program as it is to play.
The Pro 3 is a hybrid of solid, old-school analog synthesis paired with versatile digital technology. Its two voltage controlled oscillators provide warmth and presence while its third wavetable oscillator provides digital edge and grit. With 32 tables of 16 waves each and wave morphing, tonal possibilities are immense. Tuned feedback with grunge, and analog distortion deliver industrial-grade nastiness on demand."
Update:
Sequential Pro 3 Review
Pure Ambient Drone
"Sequential DSI Pro 3 Synthesizer Review! Today I give my review of the Pro 3 from Sequential, formally known as Dave Smith Instruments."
"Incorporating the power of 8 wavetable oscillators, CRAFTsynth 2.0 is an exciting modern monophonic synthesiser, not confined to just ‘mono synth’ sounds. With its complex and rich sonic spectrum, CRAFTsynth 2.0 produces modern and contemporary synthesiser sounds for new-school musicians, performers, sound designers and producers.
Update as of 9:26 PDT: I made a couple of minor updates in case you read it before then. Sorry!
A quick note on posts like this: I hope you enjoy them. If not, just skip them. When I first started the site I used to share my synth dreams but stopped. Personally I get a kick out of them. I won't share every one, just some of the stand outs. The last one stood out for the humor, this one stood out for the design of the instrument. It reminds me of different makers and their approach. As a maker, do you set out to design a synthesizer, an instrument, or both? Are you locked in by the tools, components, and paradigms of what makes a synth? In my dream both the musician and the maker (who never made an appearance BTW) didn't really know what a synth even was. The maker just designed an instrument and the musician just played it. This reminds me of Don Buchla's original designs and specifically the Buchla Music Easel. This was at the birth of synthesis as we know it. What's interesting is his designs weren't meant to be what they are commonly perceived as today. They were meant to be unique instruments, palettes for sound, hence the Music Easel. I heard even his modular systems weren't meant to be complete fixed instruments, they weren't meant to be mixed and matched. Think about that for a bit. They were modular in design, but they weren't meant to be modular in nature. They were meant to be wholly formed instruments. In the following dream the musician reminded me of Marc-Henri and Barry Schrader to an extent. Marc-Henri almost exclusively uses an Access Virus Ti as a music easel for his compositions. Barry Schrader started with Buchla and then moved to FM synthesis for his compositions. You can find an extensive interview with him here.
And the dream...
I had another synth dream last night. In this one I was at an ensemble event held in kind of a classroom/workshop/gym-type of open space at what felt like an old English or New England boarding school - lots of wood, flat tall ceilings, and windows along the length of the far wall. The ensemble consisted of maybe 18 people in a semi-circle with a small audience in front of them, mainly standing, which I was one of. The instructor had each member of the ensemble introduce their instruments. I was in front towards the left of the ensemble and noticed the last two instruments to be electronic desktop boxes sitting on a card table (synth gathering anywone?), both vintage and almost DIY looking in style. I remember thinking, "I know what these boxes are. They are synths! I can't wait to talk shop with the owners and check them out." Well the instructor starts going around the ensemble starting on the opposite side. Each member introduces their instrument and talks a little bit about them and their technique. There were some interesting brass-like instruments. I think there was one based on an alto trombone, but it was just a flat pipe and no horn at the end. Funny side note is my daughter is currently learning to play piccolo. She plays flute in high school band and decided to finally give the piccolo a try as a stretch goal. If you don't know what a piccolo is, it's a tiny flute for super high notes. She said there were tiny versions of most instruments including the trombone. I looked one up and sure enough there is. A tiny trombone not much longer than a foot exists. The instrument in my dream also bore a resemblance to the ribbon controller featured in the Nunomo QUN post, so I'm guessing that's where it came from - some bizarre mix of the two. Anyway, when the instructor/host got around to the last two instruments, it turned out the first was a theremin based synth minus the antennas. It was made of wood and looked vintage. It would have been interesting if not for the next box. That was something. It was black with white and silver sliders, levers, buttons, and knobs. It was a unique instrument custom made for the owner who knew the maker. The interesting thing was the musician wasn't familiar with synths and didn't even see the instrument as a synth. The maker also wasn't into synths. In the dream he was more like a luthier, more of an artist instrument maker than a synth maker. No offense to synth makers! :) Anyway, it was about the size of an EMS SYNTHI and was black with white levers and sliders and had a bunch of esoteric control blocks with non standard names/labels; similar to something like the Hartmann Neuron where controls are familiar but the names are completely different. For some reason it reminded me of a black Lassence uVentury, Modor NF-1, mixed with some MacBeth and Folktek in design, but again completely different. Again, this maker wasn't into synths. This was a unique instrument. After the talk was over the musician gave a little demo. The sound of it. It was like formant analog but the timbers coming out of it were rich and full, not thin or glossy like most formant synthesis. It sounded like nothing I've ever heard before. After the talks were over I walked over to it to check out the controls and design. I wondered if I could touch it and play with it a little and for some reason, as happens in dreams, I knew it was OK so I started playing with it. There was a thin ivory white reed-like lever about an inch and a half long that controlled a female formant timbre. It was amazing. There was an group of lever-type sliders that controlled a multi band formant filter block and I remember thinking, "Oh this is a filter!" There were envelop sliders and other familiar groups that I now forget, but there were a bunch of interesting controls on it that didn't quite match up to common synths. There were additional effects and shaping tools built into the design and everything just flowed like a natural instrument. Again it kind of reminded me in concept to a Hartman Neuron and Modor NF-1, with maybe a bit of Folktek, but it was more vintage and simplistic in design - just a sold black block with white and silver controls. It was definitely designed as a work of art instrument vs. a synth. Similar in concept to the Buchla music Easel as I mentioned in the intro to this dream above. So after checking it out a little and talking to the owner I realized I should take a video of it for the site! I got the OK to film it, pulled out my iPhone, and started trying to capture some of the controls and timbres it was capable of. When I got to that formant female slider it was gone! I couldn't remember what I did to get that sound and I couldn't find the control again. Damn dreams.... And as in many real world sessions I wasn't getting those rich timbres again. I got lost between timbres! I thought my readers would be disappointed in my programming chops for a split second, but then I reminded myself anyone into programming synths will understand and not care, so I kept tweaking. Well, right then, a foster kid boarding at the school distracted me and started talking to me. I hand gestured to him (no I did not flick him off) to hold off for a second because I was in the middle of filming the synth and trying to capture audio. He understood for like five seconds and started talking again. I asked him to give me a sec but he got upset and said I should be there more for people. I felt bad and wasn't getting anywhere with the instrument at that point, so I stopped filming to talk to him before he left.
And that was it! Everything felt right with the kid so that was good, but that instrument! It's gone forever...
The man himself, Dave Smith takes us on a personal tour of the Sequential Pro 3 at the 2020 NAMM Show.
The Sequential Pro 3 mono/paraphonic synthesizer offers a hybrid of solid, old-school analog synthesis paired with versatile digital technology. Two voltage controlled oscillators provide warmth and presence while its third wavetable oscillator provides digital edge and grit. Filters are a 4-pole low-pass design based on the Prophet-6, a transistor ladder filter with optional resonance compensation, and a 2-pole, state-variable design based on the OB-6. With additional features including a 16-track sequencer, multimode arpeggiator, dual digital effects, analog distortion, extensive modulation possibilities, and control voltage ins and outs, Pro 3 offers impressive sonic power and versatility.
The Pro 3 SE is a special edition version that puts the same synthesis power into a collector-worthy design with a tilt-up control panel and premium-grade walnut trim.
Get more for your money with an exclusive Sequential Pro 3 mono/paraphonic synthesizer bundle from Kraft Music. These package deals include the accessories you'll need to get the most out of your new synth, all for one low price. If you have any questions, please contact us. Our knowledgeable sales advisors will be happy to assist in choosing the bundle that's right for you!"
Playlist:
The ARP 2600: The Story of a Legendary Synthesizer | Reverb Feature
Korg ARP 2600 FS Synthesizer - All Playing, No Talking! - Kraft Music
Korg ARP 2600 FS Synthesizer - Overview with Nick Kwas - - Kraft Music
Korg Arp 2600 - 1st Look - sonicstate
ARP 2600 Semi-modular Analog Synthesizer System Demo - Sweetwater
ARP 2600 Synthesizer | Overview and Demo - Guitar Center
NEW Korg ARP 2600! | Namm 2020 - GAK - previously posted
"The Total Package
More than a synthesizer, the ARP 2600 is a complete sound design studio. Even today, the ARP 2600 stands as a bridge between the individual elements of modular synthesis and the immediacy of a production / performance instrument. Included are an ample supply of oscillators, envelopes, a filter and amplifier – all of the building blocks of analog synthesis. But the ARP 2600 goes even further, with a spring reverb tank and even a pair of built in monitor speakers. Also present is much of the versatility of a vintage modular system, including a ring modulation, lag and voltage processors, an envelope follower, audio preamp, a clock-able switch, noise source, a sample & hold module, signal inverters, an auxiliary mixer, and even a set of parallel-wired/multi jacks.
The ARP 2600 FS reproduces the sounds of these components at the circuit level. Under the supervision of David Friend, the co-founder of ARP Instruments, parts were carefully selected and every detail was adjusted to replicate the original unit's distinctive synthesis.
Profile of David Friend:
Co-founder of ARP Instruments, Inc. together with the founder Alan Robert Pearlman. In addition to designing the ARP 2600 and Odyssey, he was involved with the development of numerous products, and subsequently entered management, eventually becoming president of the company. His achievements as an entrepreneur have also been acclaimed, and in 2010 he received the "Entrepreneur of the Year" (Emerging Technology category) award from Ernst & Young. After serving as the President and CEO of Blue Archive, Inc., currently he serves as the President, CEO and Co-founder of Wasabi, as well as being a lecturer at MIT's Sloan School of Management. He is also an emeritus of the New England Conservatory and Berklee College of Music.
Normalled Pathways
Nearly every slider and switch on the ARP 2600 front panels is hard wired to specific control source. For example, the front panel controls allow the pitch of Oscillator 1 to be controlled by the keyboard (On/Off switch), the output of the Sample & Hold module (slider), the shape of the ADSR envelope generator (slider), and/or by the sine wave output of Oscillator 2 (slider), and each in varying amounts. These hardwired pathways provide massive amounts of immediate control that make excellent use of all the ARP 2600 has to offer, allowing the ARP 2600 to be played as is – no patching needed. In true modular fashion, inserting a patch cord into the jack associated with any hardwired control overrides that internal connection, letting you create a new signal path of your choosing. As a programming aid, the detailed panel graphics clearly show the available signal routings.
Patch Bay Precision
Unlike earlier modular synthesizers that relied on bulky 6.3mm (1/4") jacks and patch cords, the ARP 2600 uses a more streamlined 3.5mm (1/8”) jack that allows for more patch points to occupy the same amount of panel space, delivering more options and more versatility. Most of the patch points are arranged in a single row below the controls of the individual sound modules. This arrangement keeps the main panel clear and unobstructed for tweaking the controls during performance. Needless to say, these patchable connections and the onboard processors can be used to interact with nearly any modular or Eurorack synthesizer system.
3620 Keyboard
While faithful to the original design, the functionality of the 3620 Keyboard has been greatly enhanced for this limited ARP 2600 release. The 3620 Keyboard contains 49 full-size keys, aftertouch, portamento, and is also duophonic, allowing two keys to be played at once – Single or Multiple Triggering is available. In addition, the duophonic keyboard can use an optional foot switch to lock the interval between any two notes, without retuning the oscillators during performance. Vibrato can be added via a dedicated circuit controlled by aftertouch, or by the onboard LFO (Low Frequency Oscillator), using any of three available waveforms. Most noticeable is the addition of a flexible Arpeggiator that allows a user-defined pattern to be manually sequenced and played back. Still present are the original Pitch Bend knob and the Two Octave Up / Two Octave Down Transpose switch. Connecting the keyboard to the main unit now uses a secure eight-pin din cable.
4ms Company offers alternatives to traditional instruments with our poly-rhythmic clock modules that create evolving complex mathematical beat patterns, a resonator that can cast pop music into micro-tonal keys, a multi-channel wavetable oscillator, a routing matrix that's played like an instrument, and many more innovative devices. Rather than replicate concepts from the past, we strive to turn unique ideas into playable musical tools that expand the possibilities of music. We also offer Do-It-Yourself kits, and many of our designs are open-source.
Acid Rain Technology acidraintechnology.com
Acid Rain Technology is a manufacturer of music hardware out of Seattle, WA. We believe hardware instruments enable a unique connection between human and machine, and seek to improve this interaction through interface design for maximum playability.
After Later Audio afterlateraudio.com
After Later Audio is a boutique audio company located in Seattle, Washington. We make high quality Eurorack modules at accessible prices and we pride ourselves on responsive customer service. You can find our products for sale on our website, at various synth shops (Patchwerks, London Modular, Chuck Levin’s, and Modular 8), and on all of the major ecommerce sites.
"Brooklyn, 06.14.2019 - This year the organizers of the Brooklyn Synth Expo (and its sister event the Stompbox Exhibit, now part of it) were able to take the event one step up with the adoption of a new large and suggestive venue in East Williamsburg, and the addition of informative classes and presentations - including a live performance by synthesist extraordinaire Lisa Bella Donna to close day one [third video in the playlist above and posted here].
Roughly 2,000 musicians attended the expo, evenly divided between guitarists and synth-heads, but with a good share of players interested in both formats.
The educational side of the show included a memorable class on FM synthesis by Yamaha's own Phil Clendeninn, a discussion about MPE featuring reps from ROLI and Sensel, introductory Eurorack courses curated by STEM Modular, and classes on synthesis by NYC music school 343Labs.com (who also shot this video of the event) [second video in the playlist above]. A more DIY walkthrough of the Synth side of the show can be seen here [first video in the playlist above].
Several synth companies used the stage to present their new products recently introduced at Berlin's Superbooth; the Brooklyn show's timing works well in this regard, being the first relevant synth event in the US after the big German synth convention, including the new and yet unreleased Motor Synth by Gamechanger Audio. The Latvian company's reps sported classy red and black clothing in perfect Kraftwerk style.
The Synth Expo organizers have other events coming up: the next one will be another synth and pedal expo called Sonic Circuits in collaboration with Montreal's electronic festival MUTEK on August 24-25."
Also see:
Spontaneous visitor feedback (with links to posts) here
Solicited visitor feedback here
"KORG volca modular is a semi-modular analog synthesizer in the KORG volca format that makes modular synthesis more accessible and understandable than ever before. Featuring 50 patch points for using the 20 included patch cables to connect the eight onboard modules in any way imaginable, volca modular was created with 'West Coast Style' synthesis in mind, to offer a unique sound and design that deviates from traditional synthesis norms."
Nick Kwas Demos and jams out on the Korg Volca Modular at Kraft Music.
The Korg Volca Modular is a semi-modular analog synthesizer with eight independent internally-connected modules, 50 patch points, and digital effects. Although focused on the complex and experimental sounds of the West Coast school of modular synthesis, the Volca Modular is equipped with the familiar 16-step Volca sequencer with parameter automation capabilities, as well as flexible scale and key settings. Sync and CV in jacks allow for connection to other Volca units, select Korg synths and sequencers, and modular systems. Like other Volcas, the Volca Modular features a built-in speaker and battery operation.
Get more for your money with an exclusive Korg Volca Modular bundle from Kraft Music. These package deals include the accessories you'll need to get the most out of your new micro modular synth, all for one low price. If you have any questions, please give us a call. Our knowledgeable sales advisors will be happy to assist in choosing the bundle that's right for you!"
Korg Volca Modular - Clock Divider
Published on Jan 14, 2019 Rishabh Rajan
"Tutorial on creating a multi-voice pattern using the clock divider."
Korg Volca Modular - Step Sequencer
Published on Jan 14, 2019 Rishabh Rajan
"A tutorial on some of the functionality of the step sequencer on the Korg Volca Modular."
Korg Volca Modular Micro Modular Synthesizer | Reverb Demo Video
Published on Jan 14, 2019 Reverb
"The synth masters at Korg just announced the Volca Modular, Minilogue XD, and Volca Drum. Starting with the Volca Modular micro modular synth, check out this video demo (as well as those linked below) to learn more about the features in this trio of new offerings from the dream team that created so many of the top-selling synths on Reverb in the past couple years. Read More on Reverb"
"An analog synth composed of modules
Eight modules
The volca modular is a semi-modular synthesizer consisting of independent analog synth modules, digital effects, and a sequencer. Each of the modules has been carefully selected for its stand-alone completeness. The modules are internally connected so that sound can be produced even before connecting the included pin cables, and the routing is shown by white lines on the panel. Module connections via a pin cable take priority over the internal connections, bypassing them.
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This consists of a triangle VCO carrier and a modulator. The complex overtones generated by FM modulation are sent through a wave folder circuit to add additional overtones, producing a distinctive sound. This module is important in determining the basic character of the sound of volca modular.
