Landmarks - Korg PolySix, ER-1, Roland TR-606, TR-707

Published on Mar 27, 2014 traxus12·11 videos

"Bit of a slow jam with the new hardware setup. I sequence the PolySix by recording a MIDI loop into Ableton then go to town twiddling knobs on the synth itself. The drum machines are all synced with Ableton as master clock. I'm loving the 606 and 707. This has been my first chance to really mess around with them synced together. Feel free to post below if you have any questions or comments!

---Instruments---
Korg PolySix
Korg ER-1 MKII
Roland TR 606
Roland TR 707

---Effects---
Alesis MIDIVERB II
Alesis Quadraverb
Boss RE-20 Space Echo

---Other---
Mackie 1604VLZ3
RME Babyface
Ableton Live, Audacity"

tom bugs "the cube" a sequenced weevil

Published on Dec 29, 2013 Sealion·23 videos

"Tom Bugs made 50 of these instruments. It is/was a fund raiser to help buy a place he plays, the old cinema art space "The Cube" in Bristol, just down the hill from where one of Portishead lives. Its in the town Banksy started out in as a young artist. They succeeded. We need more places like this in the world. Start one where you live. Seriously.

I've been playing out at noise gigs with Tom's designs for a few years, so, here you go: a bit about the first weevil with a sequencer, well not quite what you'd expect, what else would you expect from Tom.
Warning: Turn up your subwoofer and the neighbours will think something awful is happening. Be nice to the SWAT team. They are only doing their job. No harm done. Serve tea and cookies. ; - )"

A New Modular Format Arrives - The Kilpatrick Format Synthesizer

A bold move by Kilpatrick Audio. Make room euro, we have a new format in town. See this post for an image and list of modular formats.

"Introducing the Kilpatrick Format

The Kilpatrick format is a new kind of modular synthesizer system for players that demand something better, different and inspiring. Designed by Andrew Kilpatrick, the Kilpatrick format represents a new generation of modular music making by offering the right combination of look and feel, playability, excellent circuit design, and the perfect blend of old and new concepts that make the system easy and fun to use.

Whether you're an experienced synthesist, or looking to get into synthesizers or modular systems for the first time, the Kilpatrick system has something to offer you. The clean design is easy to learn, but also offers experienced users an uncluttered layout that gets right to making great sounds.

Kilpatrick Format Features:

4U (7") panel height - each panel offers close to 30 in. of panel space
Simple plug and play module installation - rearranging a system or adding new modules is easy
Universal use of banana cables for patching of audio, CV and pulse/gate signals - high quality cables are available in a variety of colors and lengths
Color-coded jacks indicate different signal functions and direction
Separate analog and digital grounds used for low noise signal returns - plenty of power available for digital modules
Total cabinet depth of less than 3" permits table top or rack mounting
High quality brushed anodized panels are rugged and feature clean, futuristic graphics
All modules and systems are hand-assembled and built-to-order in our downtown Toronto workshop
Kilpatrick format products are only available directly from Kilpatrick Audio"

"K1 Mixer Interface

Kilpatrick Format Mixer and MIDI Interface - 1 Space

The K1 Mixer Interface module is a combination of a high quality five channel audio mixer and MIDI to CV converter. The mixer is designed for high level signals from other modules and offers both an AUX send for use with effects, and dual stereo outputs on banana and mini jacks, as well as a headphone amplifier with dedicated volume control.
Mixer Section

The mixer circuit incorporates high quality low-noise inputs on banana jacks. Three mono channels and one stereo channel all contain input level indicators and input level controls. The stereo channel offers an AUX send level control which sends a post-input level blend of the left and right channels to the AUX output.

The mono inputs offer level controls, a post-input level AUX send, as well as a pan control. Channel 5 offers a CV input for panning instead of a pan control.

The master output contains a stereo level control and a pair of banana jacks suitable for connection to other modules or daisy-chaining several mixers. A pair of mini jacks offer line-level signals that can be output to external audio equipment. Signal level indicators show the levels at the output jacks and sense the levels after the MASTER volume control. A ground jack provides access to the analog ground on the system.

A dedicated heaphone amplifier provides a stereo output on a mini jack with a dedicated level control. This output can also be used for powered speakers or stereo recorders that work more conveniently with stereo mini cables.
MIDI Interface Section

The K1 also contains a small but useful MIDI to CV converter. Built on the success of the K1600 MIDI Interface, the MIDI to CV converter on the K1 supports a number of useful MIDI to voltage conversions, plus a MIDI THRU jack for daisy-chaining. Outputs can be assigned to note, control change and pitch bend messages. Note playing modes include single (mono) mode, split keyboard mode, two-voice polyphonic mode, which is expandable up to 16 voices with additional modules, Arp Odessey-style duo-phonic mode, and single (mono) mode with velocity output on the second CV output jack.

Outputs are programmed by pressing the SET button to select the output mode to program and then sending a MIDI message to the unit. The MIDI channel, output type and other parameters are stored automatically in the module and restored at power-on."

"K2 // Pitch Oscillator

"Kilpatrick Format Analog VCO - 1 Space

The K2 Pitch Oscillator is a fully analog voltage-controlled oscillator (VCO) with a traditional sawtooth core and waveshapers that provide sine, triangle, ramp and pulse outputs. Two different pulse modes offer either standard PWM pulse shaping or a unique multi-pulse mode that generates different timbres by producing multiple narrow pulses. Both modes can be pulse width modulated.

Front panel tuning is accomplished with coarse and fine tuning controls. Additionally a range switch allows a second coarse control to be added to the tuning signal allowing two ranges of tuning, or offering even more tuning range.

A special blend mixing section allows mixing of sine, triangle, ramp and pulse outputs. Two controls blend between sine and ramp, and triangle and pulse waveforms. These two signals are fed into a voltage controlled blending circuit which can be control with the BLEND MIX control or input control voltage.

Inputs include a calibrated V/octave input, linear and exponential CV inputs with bi-polar input level controls, a PWM input with level control, and a sync input which can be used to hard sync the oscillator with input pulses from another oscillator. Outputs are provided for the blend mix circuit and also separate outs for sine, triangle, ramp and pulse outputs."

"K3 // Digital Effects

Kilpatrick Format Digital Effects Processor - 1 Space

The K3 Digital Effects module contains two different digital effect units in a single module. The top REVERB / DELAY section produces high quality reverb and delay effects, all processed at 24 bits. The lower ITTI BITTI section produces lo-fi effects such as bit crushing and sample-rate reduction, wavefolding, distortion and signal multiplication. Reverb and delay effects are geared towards audio signals, whereas the ITTI BITTI effects can be used for both audio and low frequency control voltage signals.
Reverb / Delay

The REVERB / DELAY section provides high quality stereo reverb and delay effects with a dedicated audio DSP. A mono input and level control are used to feed audio into the processor. The output generates a left and right channel which create expansive reverbs and stereo delays. Three controls allow the reverb mix, delay mix and delay time to be controlled. The delay time can also be controlled with a voltage to create pitch shifted and sped up / slowed down effects. Two reverb algorithms and three delay algorithms are selected with the main PROGRAM control.
ITTI BITTI

The ITTI BITTI section occupies the lower half of the module. It generates low fidelity audio and CV effects using non-oversampled 12 bit analog converters to create a number of interesting types of distortion and digital processing of both control voltages and audio signals. It creates digital multiplication of two signals, sample and hold with sample-rate and bit depth reduction controls, wave folding with adjustable drive and break points, and a digital distortion effect which creates harmonically rich timbres from simple waveforms. The sample rate of the system is internally generated, or can be fed from a pitch oscillator or other source of pulses."

"K4 // Envelope Modulator

Kilpatrick Format Envelope Generator / LFO - 1 Space

The K4 Envelope Modulator combines two envelope generators and two LFOs into a single module. Each section supports a number of different uses in many types of patches.
Envelope Generator Section

The two identical envelope generators can operate in one of three modes: attack / hold / release, attack / release, and auto-repeat mode. Both a gate input and manual trigger button can be used to start and stop the evelopes, and the up and down times are voltage controllable. The outputs generate both a variable voltage and a pulse which activates during the release phase of the envelope.
LFO Section

A dual LFO section generates periodic signals of various speed and amplitude. The speed can be controlled by a voltage as well as by the panel control. The output level can be adjusted over a wide range including the ability to internally clip the output to max and min values.

Both channels of the LFO section can be synchronized together and the phase of the second channel can be adjusted ahead or behind by up to 180 degrees. This can be used to generate waveforms which have a known phase shift between them."

"K5 // Filter Amp

Kilpatrick Format Quad Filter / VCA - 1 Space

The K5 Filter Amp is a quad VCA and low-pass filter combination. Four identical channels offer manual or voltage controlled wide-band VCA, and also a low-pass filter section with controllable resonance. Both circuits operate in tandem with the same CV and input signal, but producing two simultaneous outputs.

The K5 uses high-quality, low-noise VCA circuitry throughout. The response is designed to smoothly track the input signal for optimum fades for use with an envelope generator or other type of modulation source. The LEVEL control can be used to tweak the response to suit the type of CV control and input signal.

The low-pass filter output has a resonance control which adjusts the response from slight peaking around the cutoff frequency, to extreme settings. The filter is not designed to self-oscillate but it does produce percussive pitched bursts when fed with very low frequency pulses."

via Kilpatrick Audio

Monthly Synth Module Building Workshops at Robot Speak

"Monthly Synth Module building workshops at Robot Speak starting @ 12:00 on Saturday May 19th!

Every third Saturday of the month we will get together and build up a synth module in a group.

How much does it cost and what do you get ?:

$150- Per seat includes pcb and all parts to build a module. There will be a group there to help make sure your module is completed in that Saturday session.

Never soldered before ? Can't read schematics ? ....

Don't worry. Show up early and we will show you how.

What do I need to bring?

Soldering Iron, Wire strippers, Solder sucker, any tools. ( If you don't have them all the first time its ok. contact Dmitri before hand and we will sort something out).

Will it work with my Eurorack system ? How about panels ?

We are working on making these workshops Non Format Dependent. What we mean by that Is we plan to do circuits that will fit behind most panel sizes. While some pcbs already have panels available for them on the market. We are working with some very talented panel designers to help do custom panels for the group.

Projects will also include power regulation when needed for +-12v and +-15v systems.

Ok are you sold yet ? As if that weren't enough. We received the ok from Ken Stone to build his Serge licensed pcbs. Serge lived across the street in the 70s and 80s.

upon hearing about this Cynthia Webster of Cyndustries fame has joined us and will be giving the first workshop on May 19th! Cynthia was here in SF's modular heyday and used to hang out and solder with Serge. She is designing a very special top secret circuit for us to be unveiled at the workshop! We can say that you will be able to use it with your modular system.

So for $150- I get to build a circuit/module designed by Cynthia Webster for my modular even if i never built a module before ?

Yes. You don't have to source the parts your self. This will be a module that is not yet on the market so... You couldn't buy it if you wanted to. Social learning and building. I could go on and on about what kind of a value this is but I won't. Did I mention that she will be traveling up from So Cal to give the workshop in person?

She is doing this, We are doing this to help kick start some communal modular SDIY in SF. We have rich history here but when someone comes from out of town to visit the old mecca of modular there isn't much to see... We aim to change that. We aim to build this monthly thing, purvey the art of SDIY, Celebrate the history.

A link to Dmitri's blog post explaining how this all started.


Link to an interview with Cynthia Webster

Cyndustries website

We are going for it and you can be there to dial it all with us as it happens!

Space is extremely limited

Email info@robotspeak.com or call 415-554-1977 to reserve a seat."

An Interview with Alessandro Cortini

Alessandro Cortini is the man behind SONOIO. He played synths for Nine Inch Nails and brought us the SuONOIO synthesizer produced with Scott Jaeger of The Harvestman.  Alessandro  is known for his use of Buchla systems new and old.  He currently has a new free release featuring remixes from Alan Wilder, Telefon tel aviv, Eric Avery and more. There is also a 7 inch for sale on www.sonoio.org.

The following is my interview with him primarily focused on synths.

1. How did the world of synths start for you?

"I was schooled on guitar, back in italy. I am from a very small town so there weren't a lot of bands to play with... I got asked to "help" and record guitars on a record by a local band, called Autobeat, fronted by Franco Naddei (now francobeat). He was really into synths and electronica, so he basically opened a whole new world to me.... He ended up doing a remix for SONOIO on the upcoming remix record which is very cool, considering he was the one who introduced me to Depeche Mode (Alan Wilder is doing a remix too)."

2. What were your first synths and what did you think about them?

"Besides from my friend's instruments, my first "synth" was a Casio VL series, if I recall correctly, when i was 10 years old. On a more involved level, I personally started with software. The first one was Seer Systems Reality on PC...I moved to mac as soon as i could, and started using Cubase's Neon a lot (a small built in VST). Next were Bitheadz Retro AS-1 for synths and Unity DS-1 for samples, all "synced" to Logic (it definitely wasn't as elegant as it should have been).


Emagic's ES-1 was sort of a "step up" because of its integration with Logic...but didn't sound too good.

Bottom line is that I recall being extremely excited and happy for being able to record and compose on my laptop wherever I was, and didn't see the need for hardware synths.... until I borrowed a minimoog and spent a good 4 hours with headphones, a pencil stuck in a key to keep it going and tweaking knobs: that made it obvious that interface, much more than sound, were the reason why it was worth to commit to a dedicated hardware unit.

My infatuation with the minimoog quickly vanished, and moved onto NordLead, Nord Modular and lastly a small used Analogue Systems modular synthesizer. The AS was the beginning of a long relationship with modulars: for once, there were no rules, no predefined paths and no wrong moves (almost).

I expanded my AS until I sold it in order to buy an old paper faceplate Serge, which was then sold once I got Buchla fever…."

3. I still remember the day you announced you'd be working with Nine Inch Nails. What synths did you use at the time and what was that experience like?

"At the time I was still using my nord modular and AS modular.... The audition was odd: I was basically instructed to play on top of a live recording, which I did. The first two songs I played were Wish (on guitar and synths) and Closer. I remember preparing my little patches on the Nord Modular for the audition... I wish I kept those sounds cause they were pretty funny.


The whole NIN experience was amazing, especially the time in the studio working on Ghosts.
I have to admit the reason I left was touring, which became a bit too strenuous and not enjoyable anymore.

I got very involved in the studio side of things: I feel much more at ease working on music in a studio environment than performing live. Live performance always feels like a test, to different extents, generally with little room for spontaneity (my opinion, of course)."

4. Did you explore any interesting synths or new forms of synthesis at the time? I recall Trent Reznor used the Dewanatron Swarmatron for "The Social Network" He is also known for having a few coveted pieces of gear including one of two Waldorf Shadow XTks.

"Trent has a studio full of toys so I had the chance to play with a myriad of instruments I have never seen or heard before...but in the end I would always gravitate towards the modular."

5. You are known in synth circles for you use of Buchla modulars. How did you get introduced to them and what was it that gravitated you towards them vs. other synths? How do you approach the Buchla and how has it impacted your music?

"When I was teaching synthesis at Musicians Institute I basically had to write the curriculum myself. Part of it included an introduction to the history of these instruments and I remember being completely mesmerized by some of the Buchla photos I was able to track down... the way the instrument looked like a toy, like a self contained instrument that first and foremost called you to play with its looks.

I remember when Don announced the 200e series in 2004: I printed the whole site so i could have in my student role book and read it during breaks... I was obsessed.

Peter Grenader was responsible for introducing me to historical Buchla records such as Subotnick's Sidewinder and Sky of Cloudless Sulfur, and his Plan B modules kept my hunger for Buchla inspired technology in check for a while... until I was able to afford my own 200e system.


I am fortunate enough to own both a 200e and a vintage 200 system."

6. How do the Buchla 200e and 200 compare in your opinion, specifically in regards to sound and interface?

"I would say the interface is very close, unless you start analyzing high density 200e modules such as the 251e, where there's a lot going on in a small space. Soundwise, there are similarities, yes, but I see them as two different instruments, and approach them as such.


I love the 200e's 259e wavetable waveform generators, and the ability to use patch storing in a creative way.The 291e is undoubtedly superior to its 200 version, in my opinion. The 222e/223e input port is the culmination of Don's 40 years tinkering with touch surfaces.

The 200e has its own sound and you'd be disappointed if you wanted it to sound like a 200. It just doesn't do it well, mainly because it wasn't designed to recreate that aspect of the 200 instrument, in my opinion, but mostly its interface, applied to modern technology.

7. Recently you've been using the Teenage Engineering OP-1. What are your thoughts on it? How do you like working with it, specifically the physical design and interface, and of course as an audio processing tool?

"I think the OP-1, with its limitations and quirkiness, is a very creative instrument. I can't deny being a bit disappointed by the electro style demos that started popping up once it was announced, but as soon as I got my beta unit it was undeniable it could be used to do completely different things. It goes wherever I go!!! I enjoy the well laid out interface and its sound engines, which are fairly unique in their incarnation. It's a great sketchpad for ideas and sound design, and I have been using it on tour as a vocal effect also."

8. Aside from the Buchla and OP-1, what other synths and/or forms of synthesis do you find yourself gravitating towards when experimenting with sound and music?

"Definitely the more odd looking/sounding ones, preferably without a keyboard."

9. You recently worked with The Harvestman on the SuONOIO. How did that come about and what was that experience like?

"Once I finished recording the first SONOIO record, Blue, I wanted to come up with an interesting product to accompany its release. Something similar to a Buddha Machine, but playable, and something original like a BugBrand synth, but still linked to the album release.... It became clear that it had to be an analog/digital hybrid. Scott was the first to come to mind, as i believe he is extremely talented in bringing the advantages of digital design to an analog interface. After a few phone calls and 3 weeks later, we had the 1st prototype ready....2 protos later, the instrument was done. It was a very quick back and forth collaboration... almost makes us feel guilty, since we had so much fun making it!"

10. Do you see yourself more as a performer, an explorer of synthesis or a bit of both depending on context?


"I really just like playing with instruments and come up with interesting sounds. I am not too good at describing what I do... I just do it!"

11. Is there anything else you'd like to share with our readers?


"I am working on releasing my first instrumental record...it should be out early next year...i am very excited to release it!"

Photos above by Sarah Sitkin



You can find Alessandro Cortini's work at http://sonoio.org/. He currently has a new free release featuring remixes from Alan Wilder, Telefon tel aviv, Eric Avery and more. There is also a 7 inch available.

Astronauta Pinguim - live at CCSP - Complete Performance

YouTube Uploaded by astronautapinguim on Dec 16, 2011
1 Intro, 13 tracks & 2 MATRIXSYNTH Ts! :) Thank you Astronauta Pinguim!!!

"Astronauta Pinguim and Ramiro Pissetti live at CCSP (Centro Cultural São Paulo) on december 11th, 2011."

Crumar Tocata, Moog Minimoog & Prodigy, KORG VC-10 Vocoder.

Playlist:
Astronauta Pinguim - live at CCSP (intro)
Wir sind nicht allein - live at CCSP
Astronauta Pinguim - Modern Machine
Astronauta Pinguim - Fly by wire
Astronauta Pinguim - Modern Machine
Astronauta Pinguim - Lisa Boyle (live at CCSP)
Nastassja Kinski (CCSP)
Astronauta Pinguim - Ghosts inside your house (CCSP)
Astronauta Pinguim - Harajuku Girl (live at CCSP)
Astronauta Pinguim - (we are) the space guys
Astronauta Pinguim - V.C.O. (live at CCSP)
Astronauta Pinguim - Oscillations (live at ccsp)
Astronauta Pinguim - Guess who is coming to town + Hung up
Astronauta Pinguim - Welcome to the central lab (to Dr. Robert Moog and Peter Zinovieff)

MEECAS 2011 Midwestern Experimental Electronics Conference and Showcase

"MEECAS 2011
What have you been tinkering with?

Saturday, October 22
12 Noon - 12 Midnight
Lizard's Liquid Lounge
3058 W Irving Park Rd. (map)

The annual Midwestern Experimental Electronics Conference and Showcase (www.MEECAS.com) is a free, day-long, inventors' networking symposium highlighting the past year's innovations in the areas of Musical Instrument Design, Performance, Circuit Bending, Data Hacking, and Video Art.

There are lectures, demonstrations, interactive installations, a daytime circuit bent open mic, and an evening's showcase of the Midwest's most innovative artists and inventors. Children welcome from Noon - 4:00 PM if accompanied by a parent.

Inventors, Artists, and Musicians are encouraged to bring their latest experiments, instruments, videos, etc. to demonstrate during the circuit bent open mic or to place on the "work table" as part of the interactive installations section of the event. Audio-based installations should include headphones.

EVENING SHOWCASE: 6:00 PM - Midnight
This year's Evening Showcase features the work of:
- TOYDEATH, Toy Town, Sydney, Australia (their first ever webcast!)
- Tim Kaiser, Duluth, MN (last performance of his Fall tour!)
- Talking Computron, Minneapolis, MN (the force behind Get Lo Fi)
- Spunky Toofers, Columbia, MO (part man, part circuit, all jazz)
- Space Gun Bunny, Fort Wayne, IN (design, explore, repeat)
- ROTH MOBOT, Chicago, IL (circuit bent toys, granular synthesis, & electroacoustics)
- The Ring Toss Twins, Minneapolis, MN (witchy use of technology)
- Mother Daughter Crime Team, Chicago, IL (sychronized MIDI/CV circus)
- Dustin E., St. Louis, MO (noise artist extraordinaire)
- CMKT4, DeKalb, IL (pioneers of future fusion)
- Alex Inglizian, Chicago, IL (musician engineer)
- adamon, Topeka, KS (synth drone lord)

VIDEO PROJECTS: Noon - Midnight
Various Artists (Experimental electronic video projects welcomed!)

INTERACTIVE INSTALLATIONS: Noon - Midnight
Various Artists. (Experimental electronic projects welcomed!)

WORKSHOPS, PRESENTATIONS, DEMOS: Noon - 6:00 PM
Noon - 1:00 PM, Vactrol Fever with Patrick McCarthy
1:00 PM - 3:00 PM, Build a Bending Buddy and/or Build a Contact Mic with CMKT4
3:00 PM - 6:00 PM, What is Circuit Bending? with Various Artists
5:30 PM - 6:00 PM, Brains from the Thunderbirds, The Audio of the Aurora Borealis with Sam Piro

MEECAS STORE: Noon - Midnight
Exhibiting and performing artists will be selling recorded works, experimental musical instruments, electronics kits, apparel, etc. to offset their costs.

LIVE WEBCAST: 5:30 PM - Midnight, CST
www.ustream.tv/channel/meecas-2011

CALL FOR DEAD BATTERIES: Noon - Midnight
Bring your dead batteries to the MEECAS and we will send them to a proper eWaste recycling center. Last year the MEECAS audience brought enough batteries to fill a bucket!

Astronauta Pinguim

YouTube Uploaded by astronautapinguim on Aug 14, 2011
Performance starts around 1:25.
"Astronauta Pinguim playing "Wir sind nicht allein" live at CCJ (Centro Cultural da Juventude), São Paulo, on a friday, august 12th, 2011.

The intruments: Crumar Toccata organ, Korg VC-10 vocoder, Moog Prodigy (through the VC-10 vocoder), Minimoog model D and pre-recorded background music.

Filmed by Kay Mavrides"

Playlist:
Wir sind nicht allein - Astronauta Pinguim
Modern machine - Astronauta Pinguim
Ghosts inside your house - Astronauta Pinguim
Fly-by-wire - Astronauta Pinguim
Lisa Boyle - Astronauta Pinguim
(we are) the space guys - Astronauta Pinguim
(welcome to) the central lab - Astronauta Pinguim
Guess who is coming to town - Astronauta Pinguim

Remembering Bob Moog

[ Note: This post stays on top for the day. Tons going up below. Originally posted at 8:36 AM PST. ]

Today marks the fourth year of Bob Moog's passing. Play a little something for him today.

Be sure to visit The Bob Moog Foundation, and Moog Music where you'll find this wallpaper free of charge.

Don't forget, the "Waves of Inspiration: The Legacy of Moog Museum Exhibit" runs from August 29 - April 30. Keith Emerson and others will be there opening weekend.

Thank you for everything Bob. The synths, the inspiration, the humor, positive vibes and the magic.

Update: Mark Pulver's Moog tattoo. Mark was good friends with Bob Moog. I remember him getting this tattoo after his passing.

BTW, if you have anything Moog specific you'd like to send in, feel free. You can reach me at matrixsynth at gmail. Of course feel free to comment.

Also, I don't ask for a dime to run this site. I've had people suggest I put up a Paypal Donate Here button. I don't because I do have ads on the site and I believe in offering the site for free. But if you do want to donate, even just a few bucks, donate something to The Bob Moog Foundation. Little donations can add up. They are keeping not only Bob Moog's memory alive, but the magic and history of synths.




Update: On the technical side of things, here is a list of patents (creations) from Bob Moog via Jerry on the SDIY list: "well to name a few, "Voltage-Controlled Electronic Music Modules" (R.A. Moog, Journal of the Audio Engineering Society , Vol.13, No. 3, pp 200-206, July 1965...

Update on the Patents via ASSI:
Here's the fulllist of patents where he is named an inventor:
EP000000157821A4 PEPPER WILLIAM JR MOOG ROBERT A [DE] LEITFÄHIGE
ELEKTRODENMATRIX UND MATRIX VON WIDERSTANDSELEMENTEN ... no
EP000000157821A1 PEPPER WILLIAM JR, US MOOG ROBERT A, US [DE] LEITFÄHIGE
ELEKTRODENMATRIX UND MATRIX VON WIDERSTANDSELEMENTEN ... yes
US000004778951A PEPPER JR WILLIAM, US MOOG ROBERT A, US [EN] Arrays of resistive
elements for use in touch panels and for producing ... yes
US000004280387A MOOG ROBERT A [EN] Frequency following circuit yes
US000004213367A MOOG ROBERT A, US [EN] Monophonic touch sensitive keyboard
yes
US000004202238A MOOG ROBERT A, US [EN] Compressor-expander for a musical
instrument yes
US000004180707A MOOG ROBERT A, US [EN] Distortion sound effects circuit yes
US000004166197A MOOG ROBERT A, US WALBORN RICHARD M, US [EN] PARAMETRIC ADJUSTMENT
CIRCUIT yes
US000004117413A MOOG ROBERT A [EN] AMPLIFIER WITH MULTIFILTER yes
US000004108041A MOOG ROBERT A COX ROGER FLAVIUS [EN] Phase shifting sound effects
circuit yes
US000004050343A MOOG ROBERT A [EN] Electronic music synthesizer yes
US000003475623A MOOG ROBERT A [EN] ELECTRONIC HIGH-PASS AND LOW-PASS FILTERS
EMPLOYING THE BASE TO ... yes
WO001985001375A1 PEPPER WILLIAM JR, US MOOG ROBERT A, US [EN] CONDUCTIVE
ELECTRODE ARRAYS AND ARRAYS OF RESISTIVE ELEMENTS FOR ... yes

Other patents listed at the site of Don Tillman are either from employees of Moog
Music or related to some inventions that have been used in Moog products (like the
Bode frequency shifter). This is not to take away from Bob, but I'm sure he would
have been the first to point out that some other guy had invented something. The
patent family he's got together with Mr. Pepper is of course for the touch panel
for the Voyager.
Polyphonic Modes
US 4,778,951: Arrays of Resistive Elements for use in Touch Panels and for Producing Electric Fields"

Update via The Bob Moog Foundation:
"August 21, 2009 -- A Moog Day of Rememberance and Celebration
When August 21st comes around each year, we pause to remember Bob and the remarkable legacy that he left for us all to enjoy. His impact is so widespread that people remember him in all kinds of ways that are meaningful to their particular connection with him. Take a moment today to pay tribute to Bob by:

* Connecting with Bob through your instrument. Lay down a killer lead on your synth or play an ethereal melody on your theremin.

* Listening to some of your favorite Moog tunes. Bob loved working with musicians and fed off their creative drive. He was often astonished at what they could do with his instruments.

* Going out and hear some live music tonight. Bob believed deeply in live music as a force that brings people together in community.

* Reading about Bob's life, work, and legacy. Visit the CaringBridge site and read Ileana Grams-Moog's reflection on today's significance.

* Supporting the Bob Moog Foundation. We carry Bob's legacy forward by inspiring and educating people through electronic music. Donate here so that we can continue our important work.


Today we also celebrate the Bob Moog Foundation's third anniversary of making waves. Next week we head to the Museum of Making Music in Carlsbad, CA for the opening of the first exhibit featuring Bob's archives. The exhibit, Waves of Inspiration. The Legacy of Moog, pays tribute to Bob's impact and celebrates his legacy, just as we are doing at the foundation today.


The Bob Moog Foundation

Make Waves by donating to the Bob Moog Foundation"

Update via Richard Lainhart in the comments:
"Here's a link to Part 1 of Jordan Rudess and Richard Lainhart's Moog Birthday Space Jam, from May 23, 2004, featuring an introduction by Bob Moog:

http://www.otownmedia.com/Polaris_Part_1.mp3 [link updated]

"50 years ago, American maverick inventor Robert Moog began developing electronic instruments that altered the course of modern music for all time and have since become an integral part of our musical culture. Jordan Rudess, keyboard virtuoso, and Richard Lainhart, synthesist extraordinaire, will be performing live online on Sunday, May 23, at 1 PM Eastern Daylight Savings Time, to honor Bob Moog on his 70th birthday, and on the 50th anniversary of his company Moog Music. We'll be using old and new Moog instruments exclusively, including a vintage Mini-Moog, a modern Moog Voyager Mini-Moog, Arturia's Moog Modular V software, and a Moog Etherwave Theremin, in a classic electronic space improvisation streaming live on the Internet from O-Town Live."

Bob was a great man, and a good friend, and we still miss him."

Update: new flickr images in today

Vintage analog synthesizer - Moog

flickr by nra24

Below: moog hockey
Hmm...
flickr by theres no way home

Update: the Moog hockey table has been verified as real. You might remember the Moog phone. Note these were made by Moog in the 80s long after Bob Moog left the company.

Update via NOISECOLLECTIVE
Saint image below with Moog and Roland and: "Here are some pictures of my moog prodigy exposed @the past 'TORINO SYNTH CLINIC'"

Update on the hockey game via brian in the comments: "It's not called Moog hockey, but "Super Chexx" hockey. Sadly, the Super Chexx game has ALWAYS been collectible in the arcade world anyway, due to it's clear plastic bubble look and the sound effects.

With "sound by Moog" written up there at the top as I recall. It sounds REALLY bad, but grainy as hell in a good way. I'd be surprised if it was 8-bit. More like 4..."

iDrum Video Game Edition

YouTube via izotopeinc
"ALL YOUR BASS ARE BELONG TO US

Classic arcade game music for you to remix. Relive the glory days with retro 8-bit samples and thumb-numbing, heart-pounding, blow-on-the-cartridge musical sequences.

Just tap squares, make a visual pattern, and youre making music.

Comes with 20 original songs including:
A Heros Path ▪ Alpha Commander ▪ An Epic Quest ▪ Boss Fight ▪ Chase ▪ Chipmunk Sidescroller ▪ Circuit Racer ▪ Dragon Battle ▪ Future Zone ▪ Home Town ▪ Hydro Battle ▪ Island Fun ▪ Jungle Run ▪ Rad Fighter ▪ Space ▪ Speed Demon ▪ Star Zone ▪ The Dungeon ▪ Vampire Lair ▪ You Will Never Escape ▪ Or make your own

Pop in a quarter. Bust out a beat.

iDrum is the addictive app that lets you create your own music, even if you have no musical experience! The Video Game Edition includes a huge selection of drum, percussion, melody, voice, and effects samples made to sound like classic video game arcades and consoles. Start with a selection of amazing kits and patterns, then customize them to make them your own.

Whether you're new to making music or a beatmaking expert, iDrum is for you. Build beats layer by layer by tapping the touch screen, or create music with simple shapes and color combinations that help you visualize the rhythm.

Features:
▪ The fun and simple way to make music on your iPhone or iPod touch!
▪ Includes hundreds of retro sounds and 20 pre-made kits
▪ Tap the touch screen to play and record your own musical patterns
▪ Bring sounds in and out of the mix to make songs on the fly and perform live
▪ Customize patterns to create your own unique beats
▪ Take control of the rhythm of every drum sound and sample
▪ Transfer custom kits and samples to and from your computer (requires iDrum for Mac/PC available from www.izotope.com or an Apple Retail Store)"

Salamander Music Systems

via Wavedeform in the comments of this post. I actually posted about the SMS website back on 7/12/2006. You can find all SMS posts I've put up here. Note there are three SMSes: Synthetic Music Systems, makers of the SMS MARS analog synth, Salamander Music Systems, and of course the fake SMS 2000. That said, here is the following via Wavedeform. Be sure to check out the site.

"My rather sparse Salamander site can be found here.

Salamander Music Systems (SMS) was started by Dennis Saputelli, an amazing designer. For its entire history SMS also manufactured lighting consoles, which was a much more lucrative business. Pretty much everyone involved with SMS was into it for synth-geek reasons, though, and saw the lighting stuff as the necessary evil that needed to be done to finance the synth stuff.

I worked at Salamander from roughly 1977-1985. The goal was to build the no-compromise synthesizer we all wanted. This meant that we were somewhat more expensive than a lot of systems of that era. At one point we had some pens made up that read: "SMS - When you don't care _how_ much it costs." There were a handful of (mostly large) modular systems shipped, and somewhere between 30-50 Voice 400s. Quite a lot of custom work was done also. For example, Mike Cotten of "The Tubes" had a bunch of SMS stuff, including a cool custom sequencer.

The modular was really amazing for its time. It used high quality sub-modules for all of its core functions. We started out using EMu sub-modules for the 97 Dual Oscillator, 147 UAF, and maybe one other module (I seem to remember a four pole LPF, too). The EMu modules were really expensive, and hard to get, so early on we designed our own sub-modules, some discrete, some based on SSM and Curtis chips.

The power distribution was perhaps overkill, but it also had significant advantages. Basically, there is a system wide, loosely regulated, +/- 18 VDC, and +9 VDC power supply. Each module has it's own local regulators to bring that down to +/- 15 VDC and +5 VDC. Because a module has its own power supply, it can be swapped around from system to system without the need for re-calibration. It also spread the heat around more evenly. The 1" modules didn't really have room for regulators, so they had their own regulated distribution scheme.

The Voice 400 was also really nice, but came out a little after the Prophet V, and a little before the DX-7; polyphony was the order of the day. A great sounding programmable monosynth, even with a programmable analog delay, was not what people wanted. I had one music store salesman tell me, flat out, that effects in a synthesizer were a bad idea, and that no one would want them. It turns out that they may, in reality, be a bad idea, but everyone wants them, anyway :-).

After SMS had been selling systems for a few years, Serge Systems relocated from Hollywood to San Francisco, just across town. There was a good natured rivalry between Darrell Johansen, Paul Young and the crew from Serge, and the SMS crew. If the respective companies were bigger, and we weren't all pasty-skinned synth-geeks, we would have had rival baseball teams or something. I had been a Serge user, as had Salamander user Naut Humon, currently of Asphodel/Recombinant Media Lab, and his bandmate at that time in "Rhythm & Noise", Rex Probe. Rex was also affiliated with SMS, doing assembly mostly, but a little design, too. Somehow illustrating the cycles of life is the fact that Rex is currently running Serge Modular.

Dennis Saputelli is still doing some lighting stuff, but mostly he does custom design and assembly, on an OEM basis. His company is called Integrated Controls http://integratedcontrolsinc.com/ , and is still in the same warehouse as the Salamander of old. Since I worked there, he has expanded into all the available space on the first floor of the building, and seems to be doing well."

Live Moog Space Jam Part II

"On Friday evening, May 19, starting at 7:00 PM EDST, musicians Jordan
Rudess and Richard Lainhart will perform live in WDFH's Studio 2.
Join us for Moog Space Jam Part II, hosted by Treavor Hastings.
Richard Lainhart and Jordan Rudess will be performing live, chatting,
and bringing along some influential music from their own libraries
for this three hour event.

Jordan is a world-class pianist as well as a highly accomplished
recording artist, composer, producer and performer, and has just
completed a world tour as keyboardist with the progressive rock group
Dream Theater. Richard Lainhart is an award winning composer,
author, and filmmaker. He is no stranger to the WDFH air waves and
has performed his own solo compositions with us several times in the
past. He and Jordan are coming back for their second round of Moog
Space improvisation.

Jordan will be performing on his vintage Moog Model D and Voyager
MiniMoogs, and Richard will be playing Moog virtual instruments
running on laptop and Muse Receptor. This is an event not to be
missed! Tune in at WDFH-FM 90.3 in the Lower Hudson River Valley or
online here at wdfh.org.

To find your local time, go here: http://www.greenwichmeantime.com
--

Richard Lainhart
O-Town Media
rlainhart[]otownmedia.com
http://www.otownmedia.com"