Restoring a Moog Minimoog

Restoring a Moog Minimoog: Unboxing video upload by Voices of Echo

This one is in via Voices of Echo.

"I finally received my Moog Minimoog Model D that I bought from a guy in New Iberia, LA. Over the next few months I'll be posting videos as I restore it back to 'like-new' condition."

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Free Stylophone sample plugin (StyloPoly)

video upload by Benjamin Dehli

Chapters:
00:00 Stylophone 1
00:05 Stylophone 1 Vibrato
00:09 Stylophone 2
00:12 Stylophone 2 Vibrato
00:16 Stylophone 3
00:20 Stylophone 3 Vibrato
00:24 Default
01:02 Dirty StolyPoly
02:01 Piano
02:25 Harp
03:12 Harpsichord
03:40 Clavinet
04:20 Pad
05:58 Strings
07:22 Combo Organ
08:24 Flutes
08:43 Bright
09:13 Space Oboe

"StyloPoly is a free sample library for Decent Sampler featuring the Dubreq Stylophone S-1 with some added features. All the sounds in the video are from a single instance of the plugin.

User Interface:
The user interface offers precise control over every aspect of the instrument and effects.
Explore parameters to refine your sound, including control over the audio mixer, envelope, pitch modulation with LFOs, high pass and low pass filters, velocity/dynamics, speaker simulator, and the immersive effects of echo and reverb.

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Qasar Beach Fairlight CMI Clone

via Qasar Beach

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Dreadbox Abyss Videos by martinjazz78

Published on Jul 6, 2017 martinjazz78

Playlist:

1. Abyss Drone While Nyx and Erebus Randomly Sequencing

"For your maximum enjoyment, please use good headphones or ideally speakers with subwoofer(s).

Dawless synth jam with three extraordinary instruments from Greek synth-maker Dredbox Effects. Four voice analogue synth Abyss asks for most of your attention in this video. This time, however, not as polyphonic gear but in unison mode producing drone and self-oscillation type of sounds.

It starts with with 24 dB LPF cutoff closed and resonance full open. The filter is modulated by both LFOs of the Abyss. First both of them go very slowly as ramp and square waves, later LFO B goes much faster and is switched to ramp wave too. During the shooting I was also playing with the Drive (VCA) knob overdriving the sound and even getting it distorted - absolutely gorgeous and absolutely my type of thing. Towards the end Abyss on-board effects are also added to the mix. It was very interesting and inspiring to achieve self-oscillation of the Delay very similar to the self-oscillation of Roland's vintage tape Space Echo.

On the background of Abyss' drone you hear Nyx and Erebus. Both of them playing simple few notes sequence and are sequenced by Cirklon. Both sequences have also several random parameters, so they seem to never exactly repeat in the same way. Another layer of randomness was achieved by using CV inputs and outputs on both synths. Maths module from 0-Coast controlling LFO on Moog Mother 32 that was controlling VCA of Erebus added even more randomness to the Erebus sequence, and this one is very devilish, I would say.

All three synths are processed through vintage tape Roland Space Echo for delay (this time rather slower) and Strymon Big Sky for the reverb. Recorded live, stereo output from my Motu interface into Ableton Live only. Camera is GoPro, edited in Final Cut.

Will I be stoned, if I say I absolutely love these Dreadbox synths, the sound they produce and the feel they give and I have no doubts they are going to become classic like Moog, Art or Oberheim?"

2. Dreabox Abyss Slow and Heavy 4 Voice Sequence

"Exploring multichannel mode of Abyss 4 voice synth from Dreadbox Effects. Each of Abyss' voices is independently sequenced by Cirklon hardware sequencer. Additionally, I was also exploring possibilities of Abyss' multi-timbrality. Dip switch 5 is on and each voice has slightly different envelope set up.

I have to say I was so nicely surprised how heavy such 4-voice sequence on Abyss can be. Haven't expected that. Also not exaggerating if I say that otherwise I achieve so heavy sequence usually only when I put Taurus III Bass Pedals into work. In this context we should indeed mention suboscillators of Abyss.

Moog's CP-251 controls filter cutoff and phaser of Abyss. Not sure if CP-251 gives the proper voltages for Abyss, but definitely interesting things sonically speaking.

Noise and hissing on the background is Erebus by Dreadbox heavily modulated and controlled with 0-Coast by Make Noise and Moog's Mother 32. Before it goes to delay and reverb effects it is also processed quite drastically through Zvex Fuzz Factory. All these appear at the very end of the video.

Both synths are further processed through vintage tape Roland Space Echo for delay (I think the time for changing the tapes is quickly approaching as you may hear the repeats get bit out of tune) and Strymon Big Sky for mighty lush reverb.

Recorded live, stereo output from my Motu interface to Ableton Live. Camera was GoPro, edited in Final Cut. I like these late night improvised dawless synth jams."

3. Dreadbox Abyss 4 Voice Sequence and some Erebus, Moog's Mother 32 and 0-Coast too

"Each of Dreadbox Abyss' voices is sequenced in C sharp minor independently by the Cirklon hardware sequencer, Abyss is therefore in the multi-channel mode. Additionally, Dip switch 5 is on for bit of multi-timbrality when each of the voices has slightly different envelope set up. Filter cutoff and phaser are modulated and controlled by Moog's CP 251. And some tweaking on the fly (sub-oscillator level, wave form shape, drive VCA, filter modulation etc.)

Noise on the background was intended as I like when there's always something disturbing and distracting. It's Dreadbox Erebus heavily modulated and controlled by Make Noise's 0-Coast - that is also sequenced by Oberkorn sequencer - as well as Moog's Mother 32. Before it goes to delay and reverb effects it is also processed through rather psychedelic Zvex Fuzz Factor stomp-box.

Both Abyss and Erebus are further processed through vintage tape Roland Space Echo for delay and Strymon Big Sky for reverb. It was dawless synth jam, recorded in one take, stereo output from my Motu interface into Ableton Live. Camera was GoPro, video was edited in the Final Cut Pro. "

New Korg Wavestate Wave Sequencing Synthesizer Revealed

Published on Jan 6, 2020 Korg

Update: Details are in... Playlist with the first user videos added below.

"Legendary synthesis, radically re-imagined. Organic, inspirational, and mind-blowingly powerful.

KORG’s legendary Wavestation introduced the world to Wave Sequencing, transforming raw samples into sounds that no-one had ever heard before. The flagship OASYS and KRONOS keyboards developed Wave Sequencing even further, expanding on its unique palette of lush, evolving pads and driving rhythms.

Now, KORG is proud to announce the next step in digital synthesis: the wavestate. Featuring the radically re-imagined Wave Sequencing 2.0, the wavestate delivers astonishing, ever-changing sounds with extensive hands-on control.

Far from a nostalgic reissue, the wavestate is designed from the ground up for a new generation of musicians, producers, and composers, taking cues from sources as diverse as modular synths, groove boxes, and algorithmic composition. The compact form-factor, with 37 full-size keys, transports easily and fits neatly into any stage, studio, or desktop setup."

Korg Wavestate User Videos

New Korg Wavestate Vector & Wave Sequencing Synthesizer - Perfect Circuit
Korg Wavestate - All Playing, No Talking! - Kraft Music
Korg Wavestate - Overview with Nick Kwas - Kraft Music
Korg Wavestate - New Keyboard! - sonicstate
KORG WAVESTATE FIRST IMPRESSIONS - BoBeats
Korg WAVESTATE // Review and full tutorial // Wave sequencing and Vector synthesis explained - loopop
Korg Wavestate Wave Sequencing Synthesizer | Reverb Demo
First Look: Korg Wavestate Synthesiser with Wave Sequencing 2.0 - Noisegate
First jam with the Korg Wavestate - Honeysmack
Korg Wavestate - Sound Design Tutorial 1 - True Cuckoo



Highlights:

"With the Wavestation, each step of a Wave Sequence had a duration, a sample, and a pitch. This created ear-catching patterns–but the patterns repeated the same way, over and over. What if they could evolve in organic, unexpected ways, instead of just repeating?

Wave Sequencing 2.0 splits apart the timing, the sequence of samples, and the melody, so that each can be manipulated independently. Also added are new characteristics including shapes, gate times, and step sequencer values. Each of these is a “Lane,” and each Lane can have a different number of steps and its own start, end, and loop points.

Every time the sequence moves forward, the individual Lanes are combined to create the output. For instance, a sample may be matched with a different duration, pitch, shape, gate length, and step sequence value every time that it plays. You can modulate each Lane’s start, end, and loop points separately for every note, using velocity, LFOs, envelopes, Mod Knobs, or other controllers. Each note in a chord can be playing something different!

Lanes can also randomize the step order every time they play, with realtime control over the range of included steps. Finally, individual steps can be randomly skipped, with a modulatable probability from 0 to 100%. The result is organic, ever-changing sounds that respond to your control. The four onboard arpeggiators can interact with Wave Sequences for even more possibilities."

"KORG R&D created the original Wavestation, co-created the OASYS and Kronos, and has developed fundamental technologies behind many other KORG instruments. The wavestate reflects their unique aesthetic, delivering stunning sound and deep flexibility via cutting-edge technologies.

Three of the key sound designers from the original Wavestation, John Bowen [of John Bowen Synth Design & the Solaris], John “Skippy” Lehmkuhl (Plugin Guru), and Peter “Ski” Schwartz, joined Belgian artist Airwave and the renowned KORG voicing team to create the incredible wavestate sound library."

"Bursting with knobs and controllers, the wavestate invites you to explore. All of the basics–filter, envelopes, LFOs, effects–are at your fingertips with dedicated front-panel controls. Eight programmable Mod Knobs are customized to bring out the most in every sound, often taking them in entirely new directions. Use the knobs in realtime performance, and also save the results as new sounds. Add in the Pitch Bend and Modulation Wheels and the unique Vector Joystick, and you’ll always have multiple dimensions of realtime expression.

Want to dig deeper? Almost all front-panel knobs, and most on-screen parameters, can be modulated. You can even modulate settings for individual Wave Sequence Steps! Mod Processors let you transform modulation signals using quantization, smoothing, curvature, and more."

"Randomization that inspires.

Looking for even more inspiration? A dedicated front-panel button, marked by a “dice” icon, generates new sounds via intelligent randomization. Randomize the entire sound or just a part of it, such as the filter, the Sample Lane, or the effects. Use the results directly, or as a jumping-off point for your own creations.
An arsenal of effects.

The wavestate’s superb effects deliver production-ready sounds. Each Layer has three dedicated effects; additionally, the Performance has a master reverb and parametric EQ. Along with standards such as compressors, EQs, choruses, flangers, phasers, and stereo delays, you’ll find distinctive processors such as the Wave Shaper, Talking Modulator, Reverse Delay, Multiband Mod Delay, and Overb (from the OASYS), plus modeled effects including VOX guitar amps, VOX wah, multi-head tape echo, and a collection of classic guitar pedals."

"Choose your filter.

Add vintage character to your sounds with the aggressive MS-20 Lowpass or Highpass filters, or the strong, sweet Polysix Lowpass. Shape and refine with a full collection of resonant 2-pole and 4-pole Lowpass, Highpass, Bandpass, and Band Reject filters. Or, step outside the box with KORG’s unique Multi Filter, which creates modulatable blends of multiple modes simultaneously.
Ample samples. 64 stereo voices.

Totaling in the gigabytes, the wavestate’s sample library is more than a thousand times larger than that of the original Wavestation. That’s a lot of great-sounding raw material for Wave Sequences. There’s a bank of samples from Plugin Guru, brand-new samples from KORG, and a selection from the Kronos and Krome libraries. Of course, KORG also provides all of the Wavestation’s samples (including all options), plus a huge library of Wavestation Wave Sequences. Play up to 64 stereo voices with pristine clarity, using KORG’s proprietary anti-aliasing sample playback technology."

"Multiply by four.

With all of that synthesis power, you might think the wavestate would play only one sound at a time. Not a chance. For even more rich and complex results, layer up to four Programs together in a Performance–each with their own effects and arpeggiator. The Vector Envelope and Joystick mix the individual voices of the four Layers, and can also modulate any other parameters."

"Set Lists and Smooth Sound Transitions.

Set Lists offer effortless organization of your wavestate Performances, and deliver instant access at the gig or in rehearsal. Smooth Sound Transitions allow previously-played voices and effects to continue to ring out naturally, even once a new sound has been selected.
Plays well with others.

Balanced stereo outputs connect to any recording or monitoring system, and a stereo headphone output is provided for private playing or onstage cueing. Din-style MIDI jacks ensure connection to other MIDI-equipped instruments and audio gear. The wavestate supports class-compliant USB MIDI connections to Windows and Mac computers, and the wavestate librarian program is available as free download from KORG."

via https://www.korg.com/us/products/synthesizers/wavestate/

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Farfisa 7X-II Synthesizer Module "Auto Orchestra"

via this auction
" This Farfisa auto orchestra is a working unit, removed from a church environment. It is functionally and cosmetically excellent. This is a small (15" x 8") and lightweight (9 pound) orchestra device. If you're looking to add strings, percussion, or anything else to your sound, this machine will do it. You can read reviews from actual owners/users at this link.

Please read the specs below to get a full notion of what this device will do, and look at the photos. The photos are part of the description. What you see in the photos is what you will get, no more, and no less. Requires a 15V 2A power supply (not included). When new, this unit sold for around $3,000.

DISPLAY Graphic Display 64 x 256 pixels. Lighted. Variable contrast.

SOUNDS 128 General Midi Sounds. 24-note polyphony. 16 Custom Voices loadable by disk. Optional 24MB Flash Memory Card allows new sounds to be loaded. Sound Swapping allows full control of General Midi sounds. 5 variations for each sound (normal, variation, 2-3-4, and custom). Custom variation allows simple edit. 9 Drum Kits and 1 Special Effects Kit, Volume Octave and Transpose Controls. Delayed vibrato on selected voices.

STYLES 72 Patterns/Styles are available, each with Intro, Ending, Verse, Chorus 1, Chorus 2. Break and Intro/Fill. 8 Custom styles loadable by Floppy Disk Each Style has 5 variations (Normal, Variation 2.3.4 and Simple edit of Custom variation is possible. Style Swapping allows user selection of all Internal Rhythm Patterns/Style. Arranger Controls: Volume. Easy Chord, Memory, Manual Drums, Key Start, Piano Bar, Bass.

EASY PLAY 576 Variations of the 72 Rhythm Patterns/Styles for ease of playing.

WINDOW SETUP: Sets up the function mode of the instrument: Style, Sound, Display, Software, Uploading, DSP assigment. Karaoke, Information EDIT: General Key Velocity. Expression. Pedal Section. Control Assign. etc. Split. Sound, Style. Midi 1. Midi 2. DISK: Directory. Load. Save. Delete. Rename, Format Disk. TUNING: Master Tune. Scale Type.

MIXER: Graphic Volume Sliders for Drums. Bass. Poly 1. Poly 2. Sequencer. Mike 1. MIKE 1: Master Effect Band, Effect Type, Harmonizer, Vocorder, Volume. MIKE 2: Master Effect Send, Volume. MASTER EFFECT: Send. Type. SONG: Edit Tracks. Edit Events, Karaoke Monitor, MIDI Channel Monitor, Various Utilities. LIVE: Real Time Function

PROGRAMS 96 Storage Locations to memorize ENTIRE SETUP of 7X-lI for 96 specific songs. Disk loadable in sets of 96 at a time.

MASTER EFFECTS REVERBERATION: Room, Hall, Vocal, Church. ENHANCER + REVERBERATION: Enhancer + Room Enhancer + Hall Enhancer Vocal Enhancer Church. CHORUS + REVERBERATION Chorus + Room, Chorus + Hall, Chorus + Vocal, Chorus, Church. DELAY + REVERBERATION Delay + Room Delay + Hall, Delay + Vocal, Delay + Church.

MIKE INPUT 1 Analog Input with “limiter" for connecting Mike. Guitar, Accordion, or other instruments to the Digital Processor to add Master Effects + another effect selected from the following: CHORUS: Slow, Fast, Ensemble, Pan Chorus 2, Pitch Shifter. DELAY: Delay 1, Delay 2, Cross Delay 1, Cross Delay 2, L+R Delay. Space Delay. ECHO: Echo 1. Echo 2. Ambient 1, Ambient 2. FLANGER & OVERDRIVE: Flanger 1, Flanger 2. Guitar Flanger. Overdrive 1, Overdrive 2. Overdrive 3. TONE: Enhancer 1, Enhancer 2, Tone Control 1, Tone Control 2.

VOCODER & HARMONIZER: Add up to 3 Harmonizing Voices intelligently based on chord being played/note being sung or manually played on keyboard.
MIKE INPUT 2 Analog input Mike. Guitar or Accordian routed through the Master Effect.

SOUND PROCESSOR Digital Sound Processor available for Poly 1. Poly 2, Poly Lower. Arranger Sections. or Mike linput. Any one of the following effects can be assigned to each Poly section: Slow Chorus, Fast Chorus, Ensemble. Pan Chorus 1, Pan Chorus 2. Pitch Shifter, Delay 1. Delay 2, Cross Delay 1, Cross Delay 2. L/R Delay. Space Delay. Echo 1, Echo 2, Ambient 1. Ambient 2, Flanger 1. Flanger 2, Guitar Flanger. Enhancer 1, Enhancer 2, Tone Control 1, Tone Control 2. Tremolo. Rotor, Auto Wha Wha, Overdrive 1. Overdrive 2. Overdrive 3.

CHORD PATTERN Allows programming of chord changes to any song in advance. Using any Rhythm Pattern/Style, the song can then be played by using a single pedal or switch to advance through the chord changes as they occur in the song.

16 TRACK SEQUENCER SONG KARAOKE Plays or Writes Type 0 or Type 1 General Midi Files. Allows complete editing of all 16 tracks including Mix and Demix. Medley allows playing of any songs on a disk in any order desired. Easy to use. yet very powerful. Can record 80.000 events per song. Multi-Tasking allows loading of next song while current one is playing. Reads 720 K & 1.44 MB Disks. Displays WORDS FOR SONGS if on disk. If not. words may be added by user.
DISK DRIVE DISK DRIVE uses STANDARD 3.5 floppy disks, either DD or HD. PC compatible format and files.

BASS PEDAL CONTROL Special 13-Note Bass Pedalboard/Volume Pedal with Start/Stop and Chord Type Tonality Switches allows immediate LIVE playing of correct chords for any song. Leaves hands free to play your instrument.

FLASH MEMORY The entire operating system of the 7X-II is SOFTWARE BASED. This is only possible due to the use of FLASH MEMORY, which acts as ROM (read only memory) for storage. and RAM (random access memory) in that the memory content can be altered, without battery back.up.

SOCKETS & CONTROLS OUTPUTS: L & R, MIKE 1. INST. 2. HEADPHONES, Connection for 13-Note Pedalboard/Volume-Tonality-ST/STP pedal. Connection for 1 SWITCH PEDAL. 5 SWITCH PEDAL. 10 SWITCH PEDAL, or 10 SWITCH REMOTE/MERCURY SWITCH for GUITAR. MIDI IN 1, MIDI THRU 1. MIDI IN 2, MIDI THRU 2. MIDI OUT, MIKE 1 INPUT, MIKE 1 electret input, INST. 2 INPUT. MASTER OUTPUT, ALPHA DIAL. 15V DC POWER SUPPLY

DIMENSIONS 380 x 220 x 90mm. 3.4 Kg (15 x 8-5/8 x 3-1/2 in.. 7.5 lb)

ACCESSORIES 13-NOTE PEDALBOARD. VOLUME/TONALITY 4 SW, PEDAL, 10 EFFECT REMOTE/MERCURY SWITCH, FOOT SWITCH. 5 SWITCH FOOTPEDAL, 10 SWITCH FOOTPEDAL. MEMORY EXPANSION BOARD. SOUND DISKS, STYLE DISKS. STYLE EDITOR DISK (allows programming of complete patterns and easy modification of existing ones)."

ValhallaDSP Shimmer Cartridge for Tiptop Audio's Z-DSP Released

First revealed back in January of 2015, and in the video above in June of 2015, the Valhalla Shimmer Cartridge for the Tiptop Z-DSP is now available. Details follow via ValhallaDSP:

"The Z-DSP Shimmer cartridge has 8 original algorithms, designed to combine lush reverberation with multiple voices of pitch shifting, to create ethereal pads, rich chordal textures, dissonant clouds of sound, and a variety of other sounds that are perfect for electronic music. The algorithms are customized to work with the Tiptop Audio Z-DSP Eurorack module.

There are 6 reverb algorithms in the Z-DSP Shimmer cart, arranged in order of complexity:

Fast Shimmer: A modulated reverb that quickly decays away into an endlessly pitch shifting tail. The shift interval can be set between +/- 12 semitones. Perfect for that classic “octave up” shimmer sound.
Slow Shimmer: Similar to Fast Shimmer, but with a much slower attack.
Dual Shimmer: Two pitch shifted voices, embedded within a larger modulated reverb network, shifting the reverb decay in both positive and negative directions. Try slowly sweeping the Shift control in this mode for ridiculously cinematic sounds.
Triple Shimmer: Two pitch shifted voices embedded within the reverb decay network, plus a third voice external to the network. This allows the user to have a reverb with +12 and -12 semitones of feedback, plus a stable +7 semitones voice without feedback.
Quad Shimmer: Four pitch shifted voices feeding into a lush modulated reverb. This allows for a variety of dissonant and consonant chordal textures, with the max Shift setting corresponding to a rich major chord.
ClusterVerb: Four pitch shifted voices embedded within the feedback network of a modulated reverb. The result quickly becomes dissonant or metallic. Perfect for insta-Ligeti, or Penderecki In A Box™.
In addition, the Z-DSP Shimmer cart features 2 special effects algorithms:

Quad Detune: 4 short pitch shifted delays, feeding back on each other. A variety of chorus, detuned, and dissonant effects can be obtained through this mode. Turn up the Feedback for maximum fun.
PitchEcho: A single pitch shifting voice, combined with a tape echo emulation = sound mangling joy. Turn up the feedback for barberpole self oscillation, and sweep the decay time for all sorts of swoopy glitches.
The Z-DSP Shimmer cart retails for $75, and will be available at your favorite Eurorack store in the next few days."

MATRIXSYNTH Review and Overview of the Novation UltraNova

Hi everyone, you might remember, back in July I posted some pics of my newly acquired UltraNova, and mentioned that review posts would eventually follow. Well, I’m happy to tell you the first post is here. The UltraNova is one powerful synth, so to make the overall review a bit more consumable, it will be broken up over time. This first section includes an Overview, the Oscillators, and the Mixer sections. When new sections go up, I will be sure to let you know via a new post.

As with most of my reviews, I will say this one goes pretty deep into the synth engine and all editable parameters. If you are the type of person that likes to dissect and explore all of the available parameters on a synth, then this post is for you. I will touch on what each parameter does and will call out any interesting features and limitations as I do so. There are some pretty special parameters on the UltraNova that give you control beyond most other synths. Hopefully this review will give you some insight into what makes the UltraNova special.

Overview & Quick Comparison to Previous Nova Synths

The Novation UltraNova, released back in 2010, is a 20 voice virtual analog & wavetable synth with three oscillators, two ring modulators and one noise source per voice. The UltraNova also features two audio ins that can be assigned to the oscillator section and/or a 12-band vocoder. It’s worth noting that the Novation Nova from 1999 featured a 40-band vocoder, while the Supernova II from 2000 featured a 42-band vocoder. The UltraNova is a monotimbral synth while the 12 voice Nova was six part multitimbral and the Supernova II (24, 36, or 48 voice) was eight part multitimbral. The UltraNova supports up to 5 simultaneous effects per patch. The Nova supported 42 simultaneous effects, while the Supernova II supported up to 56. The Supernova II also supported FM synthesis while the Nova and UltraNova omit it.

The UltraNova, however, is the first Nova synth to feature wavetable synthesis. An interesting side note is that all of the oscillators on the UltraNova are actually stored as wavetables, including the standard waveforms. According to Novation, “The wavetables in the Supernova series are all calculated. The wavetables in the UltraNova, even the standard analogue waves are wavetable oscillators. This change in oscillator generation was first used on the A-Station and K-Station and subsequently in the KS series, X-Station and Xio.” This allows the UltraNova to have some advanced tricks when it comes to the oscillator section, which will be covered in detail below.

I asked Novation about the lack of FM synthesis and they told me, “FM would have been a lovely addition to the UltraNova, but it would have been asking too much of the DSP to be able to run everything the UltraNova can do and also add in FM. The wavetables were a really good way to introduce a new (to Novation) type of synthesis that is able to cater for some of the synth sounds that FM is known for and also to be able to create lush evolving pads.”

The UltraNova features two routable filters per voice with a total of 14 filter types to chose from including 6dB (no resonance), 12dB, 18dB, and 24dB with Lowpass, Bandpass and Hi-pass modes. The Nova and Supernova II lacked a 6dB mode.

As for hardware, although the UltraNova may have fewer knobs per function than its predecessors, it is extremely well laid out and super intuitive to use. Along with both keyboard velocity and aftertouch, the UltraNova has touch sensitive knobs. They literally respond to touch and can be assigned to various parameters. Worth noting, velocity is configurable, however, aftertouch is not. I found the aftertouch to be good, but it does require a little extra force than I prefer; it’s good for not accidentally triggering it, but not so good for subtle, natural performance.

Please note the above comparisons with the Nova and Supernova II were only for quick reference. The UltraNova of course is its own synth with a few tricks up its sleeves that are lacking in the original Nova line, including a level of control over the synth engine often only found in the modular realm. It sounds incredible, and for the price, currently only $599 new, it is an extremely flexible and powerful synth. You get the current top-of-the-line Novation Nova synth engine with new wavetables and more. The UltraNova is both a performance oriented synth as well as a synth programmers dream. It can be configured for easy access to specific parameters for a live situation, or you can dig as deep as you want with a clearly well thought out interface.

That said, let’s dig in.

The following review and overview will essentially go over the signal flow of the UltraNova followed by performance controls including the arpeggiator and the hardware interface. I’ll go into a little detail on what each feature can and cannot do in an attempt to give you a detailed idea of what the synth is capable of. Because my reviews tend to be a bit on the longer side, I will be posting the sections in chunks over time to make it easier on you to consume and for me to compose.

First we start with…

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WEIRD GEAR: Pulsar-23 (Andrew Huang Edition)

video upload by ANDREW HUANG

"Honored to be partnering with Soma and Perfect Circuit on the Andrew Huang Edition of Pulsar-23! More info: https://link.perfectcircuit.com/t/v1/..."

Note the Embodme Erae Touch controller.


We're pleased to present the new Pulsar-23 Andrew Huang Edition: a vibrant yellow version of the one-of-a-kind, organismic semi-modular drum machine made in collaboration between SOMA and the producer and YouTuber himself. SOMA's Pulsar-23 has become a go-to instrument for subverting the expectations of what a drum machine can or should do, attracting the interest of curious musicians looking for something a little bit different out of their drum synthesizer. With this version finished in a vibrant yellow personally chosen by Andrew Huang, the Pulsar-23 has become a favorite part of Andrew's studio due to its open-ended patching structure and rejection of standard drum machine tropes. The results may not always be what you expect, but like many other SOMA devices, Pulsar-23 creates a seemingly organic connection between the musician and instrument, tapping into the deeper parts of your subconscious mind to rely on instinct and reaction rather than conscious decision-making.

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Forms

videos upload by Forms

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M-Audio Venom Review and Interview with Product Manager Taiho Yamada

A quick note: This review is long. You can jump to sections that interest you vs. reading it straight through if you prefer. This review focuses primarily on the synth engine for one single patch on the Venom. The Venom supports Multi mode with up to four multitimbral parts. Not only can you layer sound programs but you can set global parameters for the set. Be sure to see the Multi mode section of "Tips and Tricks via Taiho Yamada" at the end of this post. Taiho is the Lead Project Manager of the Venom and served as my contact during the review. I want to thank Taiho for his help and enthusiastic generosity. He is a true synthesist and the Venom is his baby.

Synth connections: Taiho previously worked at Alesis on the Andromeda A6. The DSP developer of the Venom worked on Radikal Technologies' Spectralis and the Accelerator. People that contributed to the presets via sound design include Richard Devine, Francis Preve, Mark Ovenden (Avid's AIR Instruments, ProTools VIs), Joerg Huettner (Waldorf, Access, Alesis), and of course Taiho Yamada.

*Don't miss the "Q&A with Taiho" section towards the end of the review. Also keep an eye out for "Taiho's Tips and Tricks" throughout the review in grey. You can find the consolidated list below the Q&A section.

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MOOGFEST ANNOUNCES PROTEST STAGE PARTICIPANTS FOR FESTIVAL’S OPENING NIGHT

via moogfest

"Featuring Talib Kweli, Omar Souleyman, Mykki Blanco, BEARCAT, Pie Face Girls, MIT Open Doc Lab, NEW INC, Found Sound Nation, and Goldsmiths

The independent, annual, four-day festival will take place in
Durham, North Carolina from May 18-21, 2017.
This year marks its 11th iteration honoring the spirit of inventor Bob Moog.

$249 for 3-Day General Admission and $499 for 3-Day VIP

All prices exclusive of applicable fees.

March 21, 2017 - Moogfest will dedicate its main stage on opening night to exploring how creative technology tools and protest music can be used as instruments for change. This Protest stage will be led by local and international artists Talib Kweli, Omar Souleyman, Mykki Blanco, BEARCAT and Pie Face Girls, MIT Open Doc Lab, NEW INC, and app developers at Goldsmiths University. The diverse Protest stage program will include performances, talks, and participatory technology experiments. Moogfest invites all presenters and attendees to explore sonic resistance and emerging technology tools for counteraction while celebrating radical inclusivity and intersectionality. New technologies for educating, organizing, and art-making echo Moogfest’s rallying cry: Synthesize Love.

Protest comes in many forms, and no single genre can contain the musicians participating in Thursday’s program. Talib Kweli is a renowned recording artist, entrepreneur, and social activist who uses hip hop to educate, inspire and agitate. He is well known for his work combating racial stereotypes, the prison-industrial complex, and police brutality. Syrian artist-activist Omar Souleyman represents culturally diverse musical traditions that include Kurdish, Ashuris, Arabic, Turkish and Iraqi communities. Fearless noise rap poet and performance artist Mykki Blanco was raised in Raleigh, N.C., but has traveled the globe from art-world stomping grounds in New York to his current home in Los Angeles, spitting subversive rhymes on race and LGBT issues. British DJ/Producer BEARCAT makes politically-charged bass-heavy mixes and represents Discwoman, an esteemed collective showcasing cis women, trans women and genderqueer talent in electronic music. Raleigh-based band Pie Face Girls uses defiant punk music to promote a DIY ethos and attack issues like North Carolina’s HB2. Music is one of the oldest forms of protest, but each of these artists makes their causes urgent anew with the music and community they build.

Intermixed with the musical performances, technologists participating in the Moogfest Protest stage program will present recent and developing projects that empower and facilitate social action. Gan Golan and Ron Morrison of NEW INC present their countersurveillance armor for citizens, The Argus Project, a head-to-toe mobile suit embedded with cameras that allows the wearer and its audience of remote viewers to monitor and record environmental behaviour. Taeyoon Choi, also of NEW INC, presents a protest sign-making workshop, exploring signs as a poetic medium for social engagement in an inclusive space that promotes learning from people with differing views and priorities. Halsey Burgund of MIT Open Doc Lab and Joe Zobkiw present the Land Marking app, which captures the sounds of social movements around the world. During the festival, attendees are invited to contribute their voices or listen to the location-based mix of music and voices contributed by previous participants. Vivan Thi Tang, a postgraduate in the Graduate Entrepreneur program at Goldsmiths University in London, created a customized beta of her irlbb app for Moogfest 2017, that presents a unique opportunity for participants to connect with potential collaborators.

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Modor eurorack-Noisy Oscillator & Comb Filter demo

Published on Jul 15, 2019 Dziam Bass

"This video shows sound from the Noisy Oscillator and Comb filter from Modor modules eurorack.

A little added noise from the oscillator from the second voice as you see the knob mix and also subtle filtering from Comb Filter to get a partial flanger effect without too much modulation.

later we got a little more effect with Fb-feedback regulation and a larger delay type, ie a stronger effect on the longer time generated by Comb filter.

Noisy Oscillator module is and oscillator that mixes two signals: a 'regular' wave (sawtooth/square/triangle) and a 'tonal noisy' wave. This adds a special noisy layer over the sound, that adds 'air', grit or dirt, depending on the combinations you make. The MOD parameter acts on the noisy waveforms:

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Korg SV-2: The evolution of a modern classic

Published on Jan 7, 2020 Korg

Korg SV-2 Stage Piano 1st Look

Published on Jan 7, 2020 sonicstate

"Never before has a single instrument captured the signature sound, the unique performance experience, and the aesthetic satisfaction of so many definitive keyboards as the KORG SV-2 Stage Vintage.

Ten years ago, KORG launched the Stage Vintage line to wild acclaim. The combination of an intuitive live panel, the premier keybed, the ultimate realization of coveted vintage sounds, the clarity of world-class pianos, the warmth and character of period-proper effects, and the distinctively smooth shape has inspired musicians from around the globe for over a decade. Available with either 88 keys or 73 keys, these SV-2 models are the latest additions to the Stage Vintage series, featuring more of everything that makes an SV great. More Sounds. More Memory. More Polyphony. More Presets. More Control. It is quite literally everything one could want in a performance stage piano … and more. Plus, be sure to check out the SV-2S models, equipped with an internal K-ARRAY speaker system.

More. More. More.

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Radon Atomic Resynthesis

Published on Jun 14, 2013 JeffreyPlaide·94 videos

"Radon Atomic Resynthesis is an ethereal, wildly-surreal experimental electronic music composition. The composition is inspired by almost random electronic tonalities and frequency modulations created on the Ionic Performer VST synthesizer. The beauty about the Ionic Performer (like the EMS Synthi synthesizers of which the Ionic Performer is a re-worked variation with integrated keyboard and a push-button matrix instead of patch pins) is that the envelope (trapezoid function) can be automatically re-triggered. This creates a repeating simple sequence of a single music event. By altering the oscillator controls, modulation sources and ring-modulation, many interesting and wild pulses can be produced in real-time and recorded. It was the raw stream of re-triggered pulsations and modulations that became the basis for the whole work. Inspired by early science-fiction electronic music, the Ionic Performer VST could deliver the sonic combinations and unexpected tonal collisions that cross-modulated audio oscillators can create if connected in this way. The first mix consisted of a bass track created on the Ionic Performer VST - low pulses with shrieks of higher modulations. Next came the mid-tones. Again created on the Ionic Performer, but with higher pulsations and strange FM collisions. It was then necessary to create an ambient texture "wash", so the bass line was slowed by a factor of 300% and processed with heavy reverb - sounding very science fiction and somewhat alien in context. An organ-like chord was created on the ORGANized trio VST with the Valhalla Frequency Echo for added effect. This 5-note chord gave added strange texture. The low-frequency background vibration is the same chord slowed by a factor of 500% and processed with flanging. The chorus of voices was created using the Tapeotronic (Mellotron emulation) keyboard playing a 3-note chord with added delay. Another Tapeotronic chord was used for the higher "alien voices" that fade in and out. This whole first mix was slowed by a factor of 200% with added reverb, and added to the first mix session. This gave the feeling of a kind of infinity feedback sound. All of these elements became part of the main master first mix. This main mix was then further added to by a ring-modulated and convoluted version of itself. In the middle portion of the composition a ring-modulated, convoluted, filtered, flanged, reverberated and 300% slow version came into being with added low-frequency background vibrations and pulsating bass sinewave tones created by signal generation. The middle portion is bracketed by falling nodulated inverted sinewaves. The last element is a high sinewave tone - rather like a singing tone. This final mix created the strange combination of forces that married all the textural elements into a full and atmospheric collage of electronic tone structures and modulations. The visuals were created by pure video synthesis techniques - electronic texture weaves, linear pulsations and sinusoidal moire patterns. Superimposed are strange solarised and edge-processed derivations of elliptical formations. The atom is represented by rotating moiré ellipses, with a cloud of particles representing the nucleus. Many kinds of solarised rotating forms are included to graphically illustrate the process of atomic synthesis. The end represents just a cloud of electrons being swept away by quantum forces in the matrix of space-time."

SIMMONS SDS9 ANALOG DIGITAL DRUM

via this auction

"Official description of the Simmons SDS9: The SDS9 is a 5-drum kit, comprising bass, snare and 3 tom-toms, triggering up to 40 complete “drum kits” (20 factory and 20 programmable presets).

Hitting a specific pad (not included)triggers the corresponding channel on the ‘electronics’. A microprocessor controls the dynamic (or volume) of each individual ‘hit’ giving a sensitivity to playing previously unheard of in electronic drums: a ‘real’ drum feel, in fact!



The Simmons SDS9 gives you the sounds, feel and control of acoustic drums plus all the sounds and advantages of electronic drums. (Editor's Note: Well, that might be stretching it a bit, but it was written in the 1980's :)

The SDS9 electronically synthesises the sounds of each drum. The bass, snare and toms use different methods of synthesis – each the most appropriate for the sound and control you require. The bass is software generated directly by the computer. The snare/rim are digital samples of acoustic drums. The tom-toms are synthesised using analogue circuitry. The tom also have unique ‘second skin’ switch to match the sound and response of a double headed acoustic tom.

The program/store memory facility allows you to build up your own drum sounds. These programmed sounds can be saved to tape, giving you almost limitless capacity to store new sounds, or recall previously stored sounds.

There is also a sophisticated automatic trigger that allows sounds to be reviewed without hitting the pads, and a mode where the drums can be triggered by button tapping.

The SDS9 is the first drum kit that has a built in MIDI interface. This is completely assignable in terms of voice changes and note values. By using the MIDI interface you can directly interface with many available keyboard synthesisers and play their voices from the pads. You can also use MIDI real time recorders/sequencers to record your playing and then playback the SDS9 exactly as you played it.

Another interesting feature of the SDS9 is its built in programmable echo. This programmable effect can be used for single slap-back echo or for long repeating echoes to produce stunningly unique rhythmic-ic-ic patterns and eff-eff-ects-ects.

We have done a lot of work using the latest high technology and computer aided design tools to develop the SDS9 – a new instrument, using new voicing techniques and new materials to give you everything any acoustic kit has to offer and much more besides – the kit that’s destined to add a whole new dimension to your art."
Additional details:
"They produce the bass drum and three tom sounds with 3 CURTIS ELECTRO MUSIC (CEM) chips. At the time of this writing, ONE of these rare chips is on sale on Ebay for over $50. That means there just 3 of the myriad of chips in this unit are worth $150 or more.

But this thing is a true HYBRID combining the best of both ANALOG and DIGITAL. There are three EPROM sockets which allow chips (that are still available) to be used as sound sources - digitally recorded sound sources. In the case with the chips included with this machine, SNARE and TWO RIM sounds - which can easily be transmuted into cowbells and all sorts of clangourous anomolies.

PLUS this thing is PROGRAMMABLE, and can RUN on it's OWN as a DRUM MACHINE (although it is widely known as a brain for a set, where you hook up your triggers to it. Triggers can be from drum pads, or what have you. Anything you can attach a trigger to.

AND it has a TAPPABLE feature, so it's all inclusive if you want it to take up less real estate.

The MATRIX-STYLE setup yields an exceptionally wide range of control with a minimum of controls. You can do a lot more with the sounds, and with it as a SELF-PROPELLED DRUM MACHINE than it first appears.

TAKE A LOOK..... the functions listed are varied by the potentiometers to the left, when you've selected the ONE of the SIX SOUND MODULES, as confirmed by the PROG light above that channel.

USING external triggers, you plug them into the phone jacks on the top/back panel, set up sensitivity individually, and then select one of 5 positions on the KIT control, each of which has 4 memories, for a total of 20 programmable complete kits. MIDI is fully implemented, and I believe this was the first drum machine to implement MIDI. All the LED's operate and the lower left hand programming controls all work. I'm not sure if the filter sweep and tone pitch controls work as they should, although these parameters do vary between the presets and kits. There is also a bit of a nasty nick there between channel 2 and 3, but this doesn't affect operation.

There are INDIVIDUAL MODULE OUTPUTS and MIXED OUTPUT, as well as HEADPHONE OUTPUT."

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Magerit Eurorack Modules

Magerit LANIAKEA - A "cosmic" oscillator - New Release video upload by Magerit

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Cherry Audio Releases Pro Soloist Synthesizer

video upload by Cherry Audio

The British Stereo Collective - "Ghosts in the Machine," featuring Cherry Audio's Pro Soloist

video upload by Cherry Audio

""Ghosts in the Machine" by The British Stereo Collective. ALL sounds (including percussion) were played by hand exclusively on Cherry Audio's Pro Soloist virtual instrument. No other synths were used in this recording.

Composer, artist, and producer Phil Heeks of The British Stereo Collective draws his inspiration from classic 70s/80s TV theme compilations, film soundtracks, and sound effects LPs of the era. Read more about Phil's various projects and links to his work at https://cherryaudio.com/videos/excerp..."

Introduction to Cherry Audio's Pro Soloist - Hosted by Tim Shoebridge

video upload by Cherry Audio

"To get users up and running with Pro Soloist, Cherry Audio and Tim Shoebridge of Sound Mangling have again teamed up to create an introductory tutorial video walking users through the extensive features of this iconic virtual synthesizer instrument."

Cherry Audio Pro Soloist: A detailed demo/tutorial of a prog rock and 1970s classic

video upload by CatSynth TV

"We take a detailed look at the new Pro Soloist from Cherry Audio, a recreation of the ARP Pro Soloist that became in mainstay in 1970s prog rock as well as a featured instrument in funk, electronic music, and more. We look at the features from the original, including the front-panel "paddle" presets and the unique touch sensor effects. We then take a deep dive below the hood into the enhanced features for directly editing the individual modules and parameters of the underlying synthesizer architecture (including the resonators) and explore the onboard effects section. Finally, we look at a few of the factory presets, including banks from INHALT and Vintage Vibes by James Dyson.

This instrument was developed in collaboration with Mark Barton, who was also behind the Novochord and Solovox instruments that we at CatSynth have enjoyed.

To find out more, please visit cherryaudio.com

"Pro Soloist is the latest in Cherry Audio's roster of ultimate 'what if?'
virtual instruments. Featuring the precision crafted and circuit-modeled DSP designs of award-winning developer Mark Barton, Cherry Audio's Pro Soloist goes beyond emulating the treasured, preset-based monophonic analog synth originally released by ARP in 1972. Pro Soloist not only exactingly reproduces the expressive controls, 30 infamous presets, and the unique underlying architecture of this prog rock classic, it breaks it out of its cage by making it fully programmable and expanding it with full polyphony, splits and layers, a mod matrix, integrated studio-quality effects, and more."

00:00 Introduction
00:25 History of the Arp Pro Soloist
01:23 Overview of the Cherry Audio Pro Soloist
02:21 Original front-panel presets
08:35 Global controls
09:35 Touch Sensor Effects
16:00 Edit Mode
16:59 VCO
18:59 VCF
21:53 Resonator bank
23:53 Modulating the resonator bank with the mod matrix
26:45 Effects panel
34:46 Multi-layer mode
38:08 Factory Presets
42:18 Vintage Vibe expansion bank
43:44 Conclusion"

Press release follows.

"Cherry Audio releases the highly anticipated Pro Soloist, the latest in its growing line of authentic classic synth emulations. This Pro Soloist breaks out of its cage with fully programmability, expanded polyphony and dual layers, an arpeggiator, a mod matrix, studio-quality effects, and more.

PRESS RELEASE - November 21, 2023: Cherry Audio is thrilled to release the highly anticipated Pro Soloist, the latest in its growing line of authentic emulations of classic synthesizers. Featuring the precision-crafted and circuit-modeled DSP designs of esteemed developer Mark Barton, Pro Soloist goes far beyond reproducing the expressive controls, 30 presets, and the unique architecture of this 1972 classic. Most significantly, Cherry Audio breaks Pro Soloist out of its cage by making it fully programmable and expanding it with full polyphony, splits and layers, an arpeggiator, a mod matrix, integrated studio-quality effects, and more.

Early analog synthesizers were a mystery to most working musicians. In 1972, ARP Instruments released the Pro Soloist, one of the first commercially successful preset-based synthesizers. Pro Soloist featured a revolutionary electronic design and feature set, most notably its innovative "touch sensor" keyboard (now commonly known as aftertouch), where pressing a note harder introduces changes to the sound, allowing highly expressive playing. The Pro Soloist was a hit with acts as varied as Tangerine Dream, Gary Numan, Herbie Hancock, Styx, Prince, Parliament, and Vangelis. Perhaps best remembered was Tony Banks, who amplified the Pro Soloist's legendary presets in epic keyboard solos for the legendary band Genesis.

Cherry Audio has received countless requests to reproduce this oft-forgotten gem — one of those came from frequent collaborator Mark Barton (GX-80, Novachord + Solovox, Miniverse, and others). With unparalleled attention to detail, Mark has created an authentic reproduction of the analog signal path along with the 30 original presets, and together we have substantially expanded the Pro Soloist's capabilities. Cherry Audio has added a dual-layer voicing architecture, with 16 polyphonic voices per layer, that enables two different presets simultaneously, with independent panning for rich stereo timbres and complex sounds. Pro Soloist also includes a split keyboard mode and a brilliant “Last Note” option that effectively simulates polyphonic aftertouch using monophonic-aftertouch controllers.

Pro Soloist's distinctive three-panel interface makes clear that this is far more than a preset synth. Cherry Audio has precisely recreated the look and sounds of the original paddle presets in its main Performance mode panel. In Edit mode, we've exposed all of its unique analog synthesis architecture parameters, most notably, the fully-variable, five parallel bandpass filter "Resonator Bank," key to the Pro Soloist's realistic acoustic orchestra timbres. Additionally, we've revealed the LFO and ADSR/AR envelopes and elevated the sound design possibilities with a "Super Wave" oscillator and a robust six-slot modulation matrix. The Arp/FX panel rounds it out with a syncable arpeggiator and a dozen studio-quality effects for distortion, phaser, flanger/chorus, echo, and reverb.

In short, Cherry Audio has elevated the Pro Soloist from a bare-bones monophonic lead synth into a massive, polyphonic powerhouse beyond anything imagined 50 years ago.

Pro Soloist also features 450 presets created by an extraordinarily talented team of sound design veterans, including James Terris, INHALT, Drew Schlesinger, Huston Singletary, and Mark Barton. More captivating sounds are available in the Vintage Vibes Preset Pack (sold separately) by James Dyson. With additional touches such as Cherry Audio's acclaimed MIDI mapping functions, highly optimized DSP for optimal performance, and a visually immersive interface, Pro Soloist will satisfy both vintage synth aficionados and today's music producers.

A mint condition and serviced Pro Soloist can easily fetch $2,500 or more these days, and its unique architecture makes MIDI retrofits impossible. Cherry Audio is thrilled to introduce this virtual and expanded Pro Soloist at the jaw-dropping price of only $49 (list $69), obtainable now from cherryaudio.com and authorized resellers worldwide. Pro Soloist is also available as part of Cherry Audio's new and comprehensive Synth Stack 4 collection. This ultimate sonic package includes all 22 of Cherry Audio's virtual instruments to date at an unbelievably affordable price, on sale for a limited time.

Pro Soloist is available in AU, VST, VST3, AAX, and standalone formats for Windows (7 or above, including Windows 11) and macOS (10.13 and above), including native support for Apple Silicon. A free 30-day demo is available. Visit cherryaudio.com for additional product details, system requirements, videos, and an extensive collection of awe-inspiring sound demos."

Yamaha TG300 TG 300 MIDI synthesizer module

via this auction
"Here's an article/review of the TG300

Voices
Voices consist of one or two sound elements, and extensive editing with independent envelope and scaling control for pitch, filter, and level allows for original sound creation.

Multi Modes
For MIDI sequencing, Multi modes with 16-part multitimbrality and 32-note polyphony allow you to play 16 different instruments simultaneously. Parts and voices are fully editable and parameters include: filter cutoff and resonance, level envelope generator, portamento, MIDI Control Change assign, and MIDI Bank Select support.

Single Mode
Single Mode is especially designed for live performance, having 128 editable internal voices with assignable effects, ideal for use with MIDI keyboards and synthesizers. Note and velocity range parameters allow for split, layer, and velocity crossover type voices.

Effects
A Yamaha custom DSP (Digital Signal Processor) provides professional quality reverb, chorus, and variation effects simultaneously. A whole host of effect algorithms, including reverb, chorus, flanger, EQ, rotary speaker, and Aural Exciter* to name just a few, makes it possible to add spaciousness, stereo depth, and sparkle to your sounds. (*Aural Exciter is a registered trademark and is manufactured under license from Aphex Systems, Ltd.)

MIDI
General MIDI compatibility allows playback of third-party MIDI songs and song data exchange with other musicians. As well as standard MIDI jacks, a built-in MIDI interface allows direct connection to Mac and PC-compatible computers, eliminating the hassles of external MIDI boxes and interface cards.


Specifications
Preset (ROM) Voices 456 & 9 drum kits
Internal (RAM) Voices 128 user voices
Polyphony 32-note (1 Element voice), 16-note (2-Element voice)
Multitimbral 16 parts
Sound Sampling AWM2 16-bit PCM sound elements, digital filters
Effect Types Distortion, EQ, Chorus, Flanger, Delay, Echo, Cross Delay, Symphonic, Rotary Speaker, Tremolo, Auto Pan, Phaser, Pitch Change, Auto Wah, Exciter, Compressor, Reverb (Hall, Room1, Room2, Room3, Stage 1, State 2, Plate, WH Room, Tunnel, Canyon, Basement), Early Reflections (ER1, ER2), Gate Reverb
Sound Module Modes Single, General MIDI Level 1
Display Backlit 21-character 8-line graphic LCD
Audio Connections R, L/MONO LINE OUT - 1/4 inch phone jack x2; AUDIO IN - RCA phono jack x 2; PHONES - 1/4 inch stereo phone jack x1
MIDI Connections IN, OUT, THRU - 5-pin DIN
To Host Connection 8-pin mini DIN
Dimensions (W x D x H) 220 x 257.2 x 91.6 mm (8 5/8'' x 10 1/9" x 3 5/8")
Weight 1.9 kg. (4 lbs 3 oz)
Power Supply Voltage 12 V, 700 mA, Yamaha PA1207 AC adaptor"

Sold For: $88.00

Tribute to Dr. Bob: Erik Norlander's Galactic Collective & More to Benefit the Bob Moog Foundation

"Tribute to Dr. Bob: Erik Norlander's Galactic Collective, Steven and Drew Heller, Weave Sonic Inspiration to Benefit the Bob Moog Foundation

Asheville, NC - March 26, 2014... In tribute to pioneer Bob Moog's upcoming 80th birthday, maestro synthesist Erik Norlander and his band The Galactic Collective will perform a benefit concert for the Bob Moog Foundation at Isis Music Hall on May 8, 2014 at 8pm. Opening for the band will be Drew Heller, the guitarist for Toubab Krewe, joined by his father, Grammy award winning producer/composer Steven Heller. Tickets are $20, with proceeds benefitting Dr. Bob's Sound School, the Foundation's hallmark educational project.

The Galactic Collective is a re-imagining of Norlander's favorite instrumental songs written for his band Rocket Scientists, his chanteuse spouse Lana Lane, and his many solo albums including Threshold, Into the Sunset, Music Machine and Seas of Orion. He is an accomplished keyboardist and composer who has produced over 30 albums. He has toured and recorded as the keyboardist and co-writer for the Asia spinoff, Asia Featuring John Payne, since 2007 and has also toured extensively with Big Noize, a hard rock supergroup featuring Joe Lynn Turner, Vinny Appice and other rock luminaries. Norlander has been an enthusiastic supporter of the Bob Moog Foundation since 2007, including performing the benefit Moogus Operandi at Asheville's Orange Peel in 2011.

Norlander comments, "Bob Moog brought a new voice to the musical landscape, and our musical vernacular would be very different without his enduring contribution. The Moog name is synonymous with art, science and innovation, and as a keyboardist and synthesist, I can think of no greater tribute than using Bob's timeless inventions as the core instruments in my own craft."

Steven Heller was a longtime friend and colleague of Bob Moog. He has won two Grammy Awards, as well as a number of national awards for his music and recordings. He was production music supervisor for the 1995 Miramax film, "The Journey of August King." and wrote and produced the theme music for "Conversations" and "Evening Rounds," listener call-in programs on the public radio station WCQS.

"Bob was a brilliant, funny, creative, spiritual, loving and generous man," remarks Heller. "I will always cherish our friendship."

Guitarist Drew Heller tours nationally with Afro fusion band Toubab Krewe. Toubab Krewe's first album, Toubab Krewe was released in 2005, around the time that Moog was critically ill. The band's exceptional musicianship left him sonically inspired. Moog's 80th birthday is May 23rd.

Michelle Moog-Koussa, Executive Director of the Bob Moog Foundation, adds, "On the eve of Bob's 80th birthday, it is a fitting tribute to have these two musical acts converging for an evening of celebration and reverence for Bob's enduring legacy of inspiration though sonic exploration. We are grateful to all of the musicians involved for making this possible."

Isis Music Hall, located at 743 Haywood Road in West Asheville, prides itself on a high quality audio experience. Isis is renowned for its dinner service, which begins at 5pm each evening. Diners may come any time before the show begins. This show will be both standing and seated. Tickets are available at:

http://isisasheville.com/events/tribute-to-dr-bob-erik-norlanders-galactic-collective/

www.eriknorlander.com
www.toubabkrewe.com
www.bobmoogfoundation.org

Video Link: Toubab Krewe's Connection to Bob Moog"


Uploaded on Nov 2, 2010 moogfoundation·98 videos

"VOICES: Toubab Krewe's One-of-a-Kind Connection to Bob Moog through the Network of Creativity

"They are such damn good musicians that I just wish I could dance with Ileana to their music"

-- Bob Moog speaking about Toubab Krewe in the month before his passing

On August 21, 2005, Bob Moog succumbed to an aggressive brain tumor. His passing touched legions of people around the world.

In the month prior to his passing, Bob discovered the music of Toubab Krewe, an new, local african/rock fusion band who was, at the time, managed by Bob's longtime friend Steven Heller. One sleepless night he listened to their new self-titled CD over and over again, and was deeply moved by the quality of the musicianship. This beautiful video explores the reach of the Moog Legacy as it has touched Toubab Krewe and as it is manifested in the Bob Moog Foundation.

We owe a huge thanks to many people who helped make this video a reality. The video was shot in the studio of world-class Echo Mountain Recording in Asheville, North Carolina. The owner, Steve Wilhelm and their manager, Jessica Tomilson, continue to be a wonderfully supportive to the Foundation's mission. The exceptional filmmaking team that donated their services to make this video a possibility was a collaboration between David Bragg of Flying Pigs Studio and the late Margaret Lauzon of Studio South, among other local talents."