Synthesizer Show & Tell - Roland Juno-60

Published on May 22, 2018 Steve Learson

Synthesizer Show & Tell EP: 3 Covers the Roland Juno-60.

Each week I challenge myself to write a piece of music using only one synth from my collection, and share some tips and tricks on how to use the instrument.

The Juno 60 is a 6 note DCO polyphonic synth from 1982 with memory storage, designated slider controls, and an arpeggiator. It has been used in many recordings from the 80’s to today.

00:00 - Noodling
00:24 - Introduction
1:14 - Track Intro
1:30 - Arpeggiator Sync
2:07 - Drum Sounds
2:26 - Chord Memory
2:52 - Mono Mode
4:38 - Hidden Patch Banks
5:25 - Saving Patches To An External Device
6:32 - Chorus
8:13 - PWM
9:30 - Original Track, “None Of This Is Really Happening”

Synthesizer Show & Tell

Synthesizer Show & Tell: Crumar Orchestrator/Multiman-S

Published on Sep 14, 2018 Learson Peak

"Synthesizer Show & Tell EP: 5 covers the Crumar Orchestrator/Multiman-S

Each week I challenge myself to write a piece of music using only one synth from my collection, and share some tips and tricks on how to use the instrument.

The Crumar Performer/Multiman-S is an analog synth from 1977"

Learson Peak Synthesizer Show & Tell

Synthesizer Show & Tell - Roland JX-8P & iPG-800

Published on May 6, 2018 Steve Learson

"Synthesizer Show & Tell, EP: 2 covers the Roland JX-8P and the iPG-800 App for iPad.

Each week I challenge myself to write a piece of music using only one synthesizer, and share some tips and tricks on how to use the instrument.

The JX-8P is an analog 6 note polyphonic synth made in 1985. It is well built with a solid metal casing, stable DCO’s, and 64 programmable patches.

0:00 - Noodling
0:25 - Introduction
1:30 - Track intro
1:51 - Drum sounds
3:08 - Leads
3:40 - Bass
4:35 - Stabs and clicks
5:02 - Ear candy and twinkles
5:38 - Pads and strings
7:35 - Juno 60/106 comparison
8:08 - Chorus
8:55 - iPG-800 Live application
9:40 - All Because of a Girl: song made using the JX-8P and vocals.

To connect the iPad to the JX-8P I use the IK Multimedia iRig MIDI 2, via MIDI IN & OUT.

iPG-800 is developed by Kentai and can be found in the App Store."

Synthesizer Show & Tell: Korg MS-20 Mini

Published on Jul 13, 2018 Steve Learson

"Synthesizer Show & Tell EP: 4 Covers the Korg MS-20 Mini.

Each week I challenge myself to write a piece of music using only one synth from my collection, and share some tips and tricks on how to use the instrument.

The Korg MS-20 Mini is a fully analog monophonic synth and is a clone of the 1978 classic.

00:00 - Intro
1:20 - Total Control Overview
1:40 - Frequency Control Overview and Example
2:00 - HPF & LPF Overview and Example
2:55 - Total Patch Overview and Example
3:20 - Frequency Patch ideas
4:00 - Sample & Hold Overview and Example
4:46 - External Audio Overview and Example
6:28 - EG1 Overview and Example
7:13 - Kick Drum Sounds
7:43 - Snare Drum Sounds
8:43 - HiHat Sounds
9:32 - Tom Sounds
10:22 - Bass
11:00 - I Yeah Sound
11:44 - Final Notes
12:22 - Original Track"

Synthesizer Show & Tell - Behringer Model D (Minimoog Clone)

Published on Apr 30, 2018

"This video contains a short piece of music I wrote the first day I obtained this synth. This video highlights some sounds I made along with tips and tricks for the Behringer Model D Analog Synthesizer.

One issue I addressed is how to change the "Low Note Priority" from "Low," to "High," to "Last," which is a problem I could not find the solution to on the internet.

0:00 - Noodling with Delay and Reverb
1:03 - Introduction
2:25 - Reprogramming "Low Not Priority"
3:41 - More Noodling
4:00 - Original Track Intro
4:30 - Hi-hat design
5:50 - Kick and Snare design
7:00 - Bubble design
7:45 - Bass design
8:28 - Telephone design
9:00 - Question: how do I hook up an expression pedal to the cutoff filter?
9:41 - Full Song

Intro recorded through a Boss DD-7 delay and a Hall of Fame reverb"

Synthesizer Show & Tell

Synthesizer Show & Tell | Korg Poly800

Published on Aug 19, 2019 Learson Peak

0:00 Intro
1:00 Specs
1:37 Keytar Madness!
2:00 Architecture
3:30 Poly, Hold, Chord Memory Modes
4:15 ADBSSR Filter Explanation
5:35 Filter Examples
7:40 Sequencer
8:55 Outro

🔥 CHECK OUT MY LATEST SINGLE 🔥
https://open.spotify.com/track/2pEsQZ...

Update:

Synthesizer Show & Tell | Korg Poly800 | Part 2

Published on Aug 26, 2019 Learson Peak

0:00 Intro
0:52 Bass
1:45 Stabs
3:40 Pads
4:43 Pan Flute
5:50 Walked Into A Zoo
9:47 Outro

Synthesizer Show & Tell: ARP Odyssey (Korg)

Published on Nov 9, 2018 Learson Peak

"Synthesizer Show & Tell EP: 6 covers the ARP Odyssey re-boot by Korg"

Synthesizer Show and Tell: OB-6 (DSI/Oberheim)

Published on Dec 17, 2018 Learson Peak

"Synthesizer Show & Tell EP: 7 covers the OB-6 (Tom Oberheim/Dave Smith)

0:00 - Introduction
1:05 - Track Preview
1:34 - But Can It Do 80’s?
2:57 - Bass
4:50 - Get Plucky
6:12 - Portamento Mushrooms
6:36 - Sound Effects
7:22 - Take Me To Your Leader
9:34 - Filter
10:44 - Outro
11:24 - Original Track

*GEAR I’M USING ON THIS EPISODE*

DSI/Oberheim OB-6 Desktop
Roland JX-8P (as a MIDI controller)
Moog Expression Pedal
EV RE-20 Vocal Microphone
Neve 500 Series 511 (Mic preamp)
Focusrite Clarett 8Pre-X
Pro Tools 12
Video Recoded with iPhone 6+"

Electro Harmonix EH-0400 Mini Synthesizer

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

via this auction

Click the pics for the full size shots.

"Rare chance to get hold of one of these, in great shape & fully working!*

This is a very basic analog synth, designed by David Cockerell who designed all the coolest EH stuff & also worked on the EMS synths, of course. It has a very growly, distinctive filter! Played from the 'keys' it's good-sounding & very straightforward (no envelope!) but spend a bit of time with it, mess around with the sliders while you're playing & you'll be surprised at the 'hidden' sounds you can get.

In very good shape, & I have cleaned the slider pots. If you check the clips on Youtube, you will notice they all sound awful. I think this needs to be played as much on the sliders as the keyboard, to manually open up the filter etc. Sliders were full of crackle & stiff to move, are now smooth & crackle-free. All the slider caps are original & intact, except the tip for the On/ Off switch which is missing- purely cosmetic! The cardboard back has a little wear around the sockets, & the battery clips in perfect condition, no sign of any leaks or corrosion at all.

There's a particularly nice PWM bass sound, very reminiscent of the riff of Being Boiled (Human League), which would have been a Korg 700s, I think?


*I'm not entirely sure what the deal is with the SENS setting. There is a Piezo mic stuck underneath the touchpad, which I'm guessing might re-trigger the filter if you tap the keys(?) Again, looking at Youtube, there are videos that claim to show it working, but I'm not convinced.. as far as I can tell, the Sens setting seems to have no effect on filter or triggering or anything..

Works from 2x 9v batteries, & has an internal speaker. I think this sounds great with batteries, through the speaker! There is a 1/4" Output socket & a 1/8" socket for a PSU **I have never used this with a PSU.. being EH you'd imagine it's 18v+, & I have a suitable PSU for my Electric Mistress, but I have a feeling this may be 9vAC. The only pic I've seen of a PSU with this (on Matrixsynth) was EH-branded & 9v- tricky to find any info on this! My advice- be careful & stick to batteries!!**"

CLICK FOR MORE »

Marion (Oberheim) MSR-2 Poly Analog Modular Synthesizer

via this auction

"Concernig the O.S. VERSION:
- Following Internet searches, I believe these are the latest OS versions:
MSR (mainframe) Version 1.09 / ASM (synthesizer module) Version 1.13
- As you can see, the mainframe of the actual item has OS 1.09; can´t really tell the ASM version at this point

---------- ----------
Some facts/rumors about the MSR-2:
- It has Audio-In, so you can process external audio signals thru the envelope/filter et al.
- The Marion MSR-2 is known for having the 'Oberheim sound' packaged inside a compact single-space rackmount module with modern digital reliability and MIDI implementation.
- Despite its rather harmless and simple appearance, the MSR-2 allows for some fairly complex but intuitive programming. The filters, envelopes, LFOs and other parameters are very analog-like in their sound and editing methods.
- The module is 16-part multitimbral.

8 voices and HROs (high resolution oscillators) used in here, midi control, the rest is quite like the Matrix 6, this mainframe can hold up to 2 complete ASMs (16 voices) and a main graphic EQ. planned: sample player, wavetable synth, FX, FM?.. - Module never came up.. has triangle to saw morphing.

CLICK FOR MORE »

Show & Tell – Opal 1.2

video upload by Fors

"Here we take a look at the new features in Opal 1.2, our drum synthesizer and rhythm machine.

Find out more about Opal at https://opal.fors.fm

00:00 Pre-show
09:30 Intro
11:17 New features rundown
12:26 Sequencer pages
17:18 Modulation locking
19:46 Output routing
22:23 Step preview
24:02 Randomization
40:17 Opal-Ctl intro
42:14 Mapping controls
44:24 Changing the look of controls
48:08 Chords
49:20 Modulation in Opal-Ctl
50:37 Note lengths
51:33 Opal-Ctl randomizer
53:37 Sequencing VSTs
56:36 Stacking devices
59:05 Questions & outro

The First Synth to....

Update: The new home for this list is now here. You can add to the list there or comment here and I will update both lists. Note that the complete list however will be there as I do not plan on updating this list with updates made there. That would be too much work and would compete with me being able to put up new posts here. Can't let that happen. : ) Related but separate from that list also see https://120years.net. That said...

If you are going to add to the list in the comments, use the same format.

Year - Manufacturer - Model - First at
1837 - C.G. Page (Salem. Mass) - first to produce electronically generated sound (not necessarily associated with a musical instrument). After inventing the Volta in 1800 (an early battery), in 1837 Page was doing experiments with coils and realized when certain coils were attached to a batter they omitted a ringing sound. While he initially thought the ring came from the electrical current was interrupted (battery disconnected), what was actually taking place was the induction through the coils was causing them to vibrate. via Peter Grenader
1885 - Person and Ernst Lorenz -'Elektrisches Musikinstrument' - the first musical instrument designed to produce electrically generated sound. It used electronic vibrations to drive an electromagnet that were connected to resonating boards, which translated these vibrations to sound. via Peter Grenader
1897 - Taddaeus Cahills - Telharmonium - electromechanical instrument.
1936 - Oskar Sala - Mixturtrautonium - first synth using Subharmonic synthesis
1939 - Homer Dudley invents the Parallel Bandpass Vocoder (VODER) - A manually key operated speech synthesizer
1940 - Homer Dudley invents the The Voder speech synthesizer - A device which used the human voice and an artificial voice to produce a composite
Both were researched as a way to transmit speech over copper wires (id est, telephone lines)
1948 - Hugh LeCaine - Electronic Sackbut - First voltage-controlled synthesizer
1948 - Dr. Raymond Scott - Wall of Sound - First polyphonic Sequencing Worstation (electromechanical) and the Electronum - first sequencer.
1950 - CSIR - Mk 1 - The first known use of a digital computer for the purpose playing music
1956 - Louie and Bebe Barron - Produced the first all-electronic musical score for a major motion picture - MGM's 'Forbidden Planet'
1957 - Max V. Mathews at Bell Labs - MUSIC - the first digital synthesizer. Technically, it was a computer program, though it set the stage for every digital synthesizer that proceeded it. See Laurie Spiegel with one here.
1963/64 - Buchla - model 100 modular - 1st "modern" modular synth
1967 - Moog - Moog modular synthesizer I, II & III - 1st commercial modular synth.
1969 - EMS - Synthi VCS-3 - first non-modular mini-synth
1970 - MOOG - Minimoog - 1st Mono Synth with keys (non-modular)
1971 - Tonus/Arp - Soloist - 1st preset mono synth
1971 - John Chowning - developed FM synthesis using the MUSIC-IV language (source), a direct descendent of Mathew's MUSIC program. FM synthesis was later licensed by Yamaha, and used in popular synths such as the DX-7.
1972 - Triadex Muse - first digital synth
""is the first digital musical instrument and was produced in 1972. It was
designed by Edward Fredkin and Marvin Minsky at MIT. It is an algorithmic
music generator: it uses digital logic circuits to produce a sequence of
notes based on the settings of various parameters. It has four small sliders
in that control Volume, Tempo, Pitch, and Fine Pitch. It is not known how
many were made, but they are considered extremely rare.
The Muse is the subject of U. S. Patent 3610801"
1973 - Coupland Digital Music Synthesizer - First Digital (Triadex beat it?) Update via Peter Grenader: "No time to read through all these posts to see if it's come up yet, but the Coupland was vaporwear...it never existed. I met Mark Vail, who's now a friend, by writing him a letter informing him that his story about the Coupland in his Vintage Synthesizers book (GREAT book) which mentioned it's only recorded showing was at the AES show in LA in 1978 was a farce. I was there - at their booth and their suite in the Hilton where the instrument was said to be. I was there on the first day, I was there on the last day. The only thing they had was a small model - about six inches across, sitting on a table. The booth was amazing - this radial orb multiple people could sit in, with a cover that came over each person which played what I remembered was a very impressive demo which swirled around four speakers inside the box. I, and everyone else, were blown away. They kept saying...'it will be here tomorrow, it'll be here tomorrow'...so I showed up the last day just to see it, figuring by the then it would have arrived...it didn't. I did see the frst Synthclavier at that show however. Their suite was across the hall from the Coupland folk. That completely kicked the crap out of everything else shown that year."
1973 - Dartmouth Digital Synthesizer - NED - Synclavier prototype - first digital synth
1974 - Roland - SH-3A - first commercial additive synth
1974 - RMI - Harmonic Synthesizer - first commercial additive synth
1975 - Buchla 502 - six voice polyphonic with minicomputer and ability to save patches to tape drive. Development on the 500 series began in 1969.
1975 - Oberheim FVS - four voice polyphonic with Polyphonic Synthesizer Programmer. Not sure if the Buchla 502 or FVS was released first.
1976 - PPG - PPG 1003 sonic carrier - 1st programmable mono/duo synth with patch memory (this, along with the model 1020, might have been the 1st synths to use DCO's as well)
1977 - Yamaha - CS50/CS60/CS80 - first single enclosure polyphonic keyboard synthesizers with the CS80 to be the first synth with poly aftertouch
1977 (late) - Oberheim - OB-1 - 1st commercial programmable mono synth with patch memory
1978 (late) - PPG - Wavecomputer 360 - 1st wavetable synth
1978 - Sequential Circuits - microprocessor control the SCI prophet 10 (briefly) and the P-5 --- again based on existing E-mu tech stuff
1979 - NED - Synclavier - First FM
1979 - Fairlight CMI - First Sampler, First Workstation
1980 - Performance Music Systems - Syntar - First self contained keytar
1982 - Sequential Circuits - Prophet 600 / First Midi Synthesizer (though some argue the Prophet 5 rev 3.2 is pre-MIDI MIDI)
1983 - Yamaha - DX7 - Digital takes over, FM goes mainstream
1983 - OSC - OSCar - First real-time additive with analog filters
1984 - Sequential Circuits - SixTrak - first multitimbral
1985 - Casio - CZ-101 - First battery-powered all digital mini-synth
1987 - Kawai K5 and Technos Axcel - first additive synths
1989 - E-Mu Systems - Proteus - First dedicated ROMpler
1992 - Seer Systems - first host-based software synthesizer in 1992
1994 - Yamaha - VL1 - first physical modelling synth
1995 - Clavia - Nord Lead - 1st Virtual Analog
1996 - Rubberduck - still not the first softsynth but came before Seer Systems Reality.
1996 - Steinberg - VST - Ok not a synth but enabled a lot to be written as plug-ins and used simultaneously
1997 - Seer Systems - Reality - First Modular Soft Synth
2002 - Hartmann Neuron - first neuronal synth
2912 - KalQuestoTron - the first genetically engineered synth. Each cell is an oscillator, filter, and neural sequencer. Can be delivered via injection to always play 'hold music' in your head.

I thought it might be fun to have a "first synth to..." post. There's been a lot of buzz over Sonic State's Top 20 Synths of All Time with good reason. What exactly is a "top synth?" Is it it's influence on the music scene? It's rarity and lust appeal? The number of synths sold? According to Sonic State their list was the result of Sonic State reader's voting for their favorite synths. Blame the voters if you don't like what you see. Based on what has come up on the list so far, the E-Mu Proteus and Roland JV-1080 for example as well as the Roland Jupiter 8 not even making the top ten, I'm guessing a bit of it has to do with the vote and... possibly the most influential/ground breaking synths for their time. The JV1080 and Proteus? Not super sexy in this day and age, but what they offered in their time? Who knows. It's obviously subjective. But there is something that isn't. The most influential synths of all time not because they were super sexy or utilitarian, but because they offered something that was not previously available.

I thought what might be interesting to create a list of the first synths to feature a particular technology or feature. For example what was the fist synth to bring FM to the table? Was it the DX7 or a predecessor? What was the first digital synth and when? The first additive synth? I have a good idea and could probably look it all up, but that wouldn't be any fun, so.... You tell me. I am going to make this an open post that will live over time. You get to participate by putting an entry in the comments. I will update the list and when I do I will change the time stamp of the post to keep it current. That said, for the archives, this post went up with a time stamp of 4/11/07 7:20 PM PST. I'll start the list (btw, do correct me on the MOOG, what model should we be talking about here? The A, B, C or D or all of them?).

Year - Manufacturer - Model - First at
1970 - MOOG - Minimoog - 1st Mono Synth with keys (non-modular)
1978 - Sequential Circuits - Prophet 5 - 1st Programmable Polyphonic Analog
... List continues above.

Update 3/34/12: Also see the first synthesizers to offer patch storage here.

Synthesizer Show & Tell | Korg Delta

Published on Nov 11, 2019 Learson Peak

GEAR USED IN THIS EPISODE

Korg Delta
Vocals - Rode NT-1a

Computer - MacBook Pro 
My Music Software - Pro Tools 12
Audio Interface - Focusrite Clarett 8Pre-X
Vlogging Mic - EV RE-20
Vocal Mic preamp - Neve 500 Series 511
Vocal Mic Compressor - DBX 560A
Video Camera - iPhone 6+
Video Software - Final Cut X

Synthesizer Show & Tell | Korg Poly-Ensemble P | Part 1

Published on Jul 15, 2019 Learson Peak

Synthesizer Show & Tell | Korg Poly800 | Part 2

Part 2 added here.

Synthesizer Show & Tell | Korg Poly-Ensemble P | Part 2

Published on Jul 22, 2019 Learson Peak

Part 1 here

🔥 CHECK OUT MY LATEST SINGLE 🔥
https://open.spotify.com/track/7kEzsx...

GEAR USED IN THIS EPISODE

Korg Poly-Ensemble P
Computer - MacBook Pro 
Music Software - Pro Tools 12
Audio Interface - Focusrite Clarett 8Pre-X
Vlogging Mic - EV RE-20
Vocal Mic preamp - Neve 500 Series 511
Vocal Mic Compressor - DBX 560A
Video Camera - iPhone 6+
Video Software - Final Cut X

Electro Harmonix EH-0400 Mini Analogue Synthesizer

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

via this auction

"This is a very basic analog synth, designed by David Cockerell who designed all the coolest EH stuff & also worked on the EMS synths. It has a very growly, distinctive filter! Played from the 'keys' it's good-sounding & very straightforward (no envelope!) but spend a bit of time with it, mess around with the sliders while you're playing & you'll be surprised at the 'hidden' sounds you can get.
All but 3 of the slider caps are original & intact. The other 3 are missing but this is purely cosmetic and can be replaced quite easily! The cardboard back has a little wear around the sockets, & the battery clips show no sign of any leaks or corrosion at all.
There's a particularly nice PWM bass sound, very reminiscent of the riff of Being Boiled (Human League), which would have been a Korg 700s, I think?
I'm not entirely sure what the deal is with the SENS setting. There is a Piezo mic stuck underneath the touchpad, which I'm guessing might re-trigger the filter if you tap the keys? Looking at Youtube, there are videos that claim to show it working but I'm not convinced. As far as I can tell, the Sens setting seems to have no effect on filter or triggering or anything..
Works from 2x 9v batteries & has an internal speaker. I think this sounds great with batteries and through the speaker. However to do it justice, you need to connect it to your sound system. Add a few external effects and it can sound great in your mix. There is a 1/4" Output socket & a 1/8" socket for a PSU. I have never used this with a PSU..."

MIND Music Labs Builds Custom Fishman Guitar Synth w/ Arturia's Prophet V for MUSE

MIND Music Labs built MUSE's Matt Bellamy a custom Fishman TriplePlay MIDI Guitar Controller hosting their ELK MusicOS and Arturia's Prophet V for live use. This appears to be a one-off instrument - no word on whether it will be released to market.

The press release follows:

How Fishman, Arturia and MIND Music Labs Followed their MUSE to a State of the Art Synth Guitar in 30 Days

British mega band MUSE is currently on tour promoting their latest album Simulation Theory performing in sold out stadiums all over the world. Each night frontman and guitarist Matt Bellamy brings out a one of a kind guitar with a special history to play the song “The Dark Side.” While Bellamy is happy with the result, reporting that “the guitar works great!” the story of how this guitar was conceived and built is just a few short weeks is very interesting.

Matt Bellamy, being the perfectionist that he is, wants the sounds he created in the studio on stage as much as possible. One essential part of his sound is the Arturia Prophet V synthesizer. Being a user of Fishman’s TriplePlay MIDI guitar pickup & controller, both on stage and in the studio, he wanted to continue to use that to play the Arturia synth live, but without distance, range, cables and a computer getting in the way of his stage performance.

“When Matt told me he absolutely wanted to use the Prophet V softsynth live on tour” said Muse guitar tech Chris Whitemyer, ”but still be able to move around the stage without any restrictions, I knew we had to find a new kind of solution that would take the computer out of the picture.”

Chris Whitemyer was aware of Swedish music tech company MIND Music Labs and how their ELK MusicOS could run existing plugins and instruments on hardware. Thinking MIND might be the missing piece of the puzzle he approached them at the 2019 NAMM Show. Together with Fishman and Arturia, a first meeting was held in the MIND Music Labs booth on the show floor. That meeting, which took place just a few weeks before the start of Muse’s 2019 World Tour, kicked off several hectic weeks resulting in the three companies producing a new kind of guitar just in time for the tour’s first date in Houston, TX.

“Going to that first meeting at NAMM I didn’t know what to expect,” said Fishman founder and president Larry Fishman, “but as soon as we plugged in the guitar with our TriplePlay system in the Powered by ELK audio interface board, it was pretty clear that the Fishman and ELK systems would be compatible.”

What was clear after the first meeting was that the reliability of the Fishman TriplePlay MIDI Guitar Controller in combination with ELKs ability to run existing plugins inside the guitar could open up a new world for performers like Matt Bellamy. And with the tour just weeks away, a plan was hatched to get the system finalized and ready for use in the most demanding of conditions – a world tour of arenas and stadiums.

MIND Music Labs CEO Michele Benincaso commented “Getting three different companies to join forces on a special project like this does not happen very often, so this was truly special. To go from a first meeting at NAMM to a functioning system in just weeks was a mind-blowing achievement. It required the special expertise and focused efforts of all three companies to pull it off – I can still hardly believe we did.”

Only days after the closing of the NAMM Show, MIND Music Labs CTO Stefano Zambon flew to Fishman’s Andover, MA headquarters to figure out how to get a powered by ELK audio board inside a guitar, that not only plays well enough to satisfy a world class performer, but could also control the Arturia Prophet V at extremely low latency. In short, redefine the state of the art for synth guitars.

“To see one of our V Collection classic products like the Prophet V on Stage with Muse is very exciting,” said Arturia CEO Frédéric Brun, “The fact that it is that same plugin running in the guitar as you use in the studio really makes all the difference. I mean, Matt Bellamy even uses the same preset in the studio!”

On February 22nd, just 4 weeks after the first initial meeting at NAMM, MUSE went on stage in Houston in front of a jam-packed Toyota Center. Seven songs into the show Chris Whitemyer handed Matt Bellamy the new guitar for the song “The Dark Side”.

Chris added, “When all the guys got together to build this, we didn't tell Matt that a new guitar was going to be built or maybe not built. I just gave it to him for the first show and told him he could walk as far as he wanted on stage. He just said ‘Oh, Cool!’”
“I had no doubt in my mind it would work and it performed flawlessly. When I first got the guitar one week before the first show I tested it very thoroughly, leaving it on for four hours, turning it off and on fifty or more times, and jumping up and down with it and bouncing it off a mattress. It passed all the tests. The guitar is rock solid! Matt and I couldn’t be happier. It does everything I hoped it would and it’s on stage every night”

If you want to see this unique guitar in action it will be on MUSE’s Simulation Theory World Tour in the U.S. through May, then in Europe all summer and in South and Central America this fall.


Fishman - Industry leader in amplification, effects, and MIDI pickups for acoustic and electric instruments. Makers of the TriplePlay MIDI Guitar Controller.

Arturia - Specialist in the development of music software and hardware for professional and amateur musicians. Makers of the Prophet V synthesizer part of the V Collection.

MIND Music Labs - Develops technologies enabling a new generation of connected musical instruments. Makers of the ELK MusicOS.

CLICK FOR MORE »

Reminder: Knobcon Number Nine Set for Next Weekend, Sept 10-12

"Knobcon Number Nine is set to kick off this Friday, September 10 at the Hyatt Regency Schaumburg with two full days of synthesizer and pro-audio exhibits, informative lectures and workshops and live music throughout the weekend.

Two Days of Informative Workshops

The Littoral Myth: Dismantling a Coastal Metaphor with the undisputed king of YouTube Synthesizer videos, Marc Doty.

Sampling, Re-Sampling, and Generative Sequences with Circuit Rhythm & Tracks with Novation Technology Evangelist, Enrique Martinez.


Presenting Electronic Sound Naturally with synthpop polymath, Jon Sonnenberg.

Additive Synthesis with Synergy presented by long-time Synergist, Fred Becker.

Simplifying Complexity: Live Rig Breakdown, a show and tell by Suit & Tie Guy.

Learn the basics of Synth DIY and soldering with build workshops where you can build an EasyEi8ht Step Sequencer with Modular for the Masses, or a 2hp MiniAtt 2hp Utility module with Zlob Modular.

New this year is the Lecture Luncheon, an informal get together on Sunday afternoon where attendees can further interrogate any of our presenters about their ideas.

Door Prize Giveaway

On Sunday, attendees can enter the drawing for a chance to win one of over twenty door prizes including Nu:Tekt NTS-1 synthesizers from Korg USA, an Uno Drum from IK Multimedia and a gift box full of patch cables and accessories from Hosa Technology.

Live Music Friday and Saturday

Welcome Reception (Friday Night) - Kri Samadhi, Moot Booxlé vs Cory Flanigan, Suit & Tie Guy vs Alexis Rogers, Also Special Guests

Knobcon Big Room (Saturday Night) - Trovarsi vs Nasty Nachos, Scott Danesi, Glacial 23, North Coast Modular Collective Relay Performance

Knobcon Chill-Out Room (Saturday Night) – Dysonant, Valcove, Meridian Alpha, Aaron Higgins, Witchbutter, R. Mann

Knobcon Number Nine is September 10th through the 12th, 2021, at the Hyatt Regency Schaumburg in Chicagoland. Tickets are $60 and are available for purchase at knobcon.com."

Professor William Hoskins and His Mystery Moog

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

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

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

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

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

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

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

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

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

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

Thank you for your time and attention."

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

---

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

---

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

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

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

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

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

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

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

What I'm not 'fairly sure' of:

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

• I think there was more space between the modules.

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

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

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

Cheers,
theglyph"

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

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

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

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

Update 6/6/2010:

Some more interesting bits of Moog history:

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

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

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

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

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

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

Update via WmJHeart in the comments:

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

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

video upload by

Published on Jul 12, 2017 TheHomecoming

"Rare electronic/synth/moog private pressing LP

TITLE 'Galactic Fantasy - Eastern Reflections'

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

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

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

Update via Kimberly S Beasley in the comments:

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

Kimberly sent in the images with the following:

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

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

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