Groove Synthesis 3rd Wave OS 1.5 Update Adds MPE Support, Poly Unison, Free Running OSCS & Long LFOs

via Groove Synthesis

3rd Wave OS version 1.5

new in this release:

- support for MIDI MPE controllers - enable MPE from the GLOBAL menu and explore the new modulation sources at the end of the list. Pitch bend range can be set in the MISC menu

- option for free running analog oscillators in the MISC menu which is settable per patch - In the analog waveform mode, which you are using when you select the Axx waveforms like Saw and Square, now has the option to make the waveforms not reset when you start a new note. In this mode, the oscillators will continue to drift from each other as they do on some fully analog synthesizers. There are two side effects if you are using free running for the analog waveforms:

1. When two or more oscillators are running at the same time, the phase of the waveforms will not be reset and could start at any position. As a result, there will be phase cancellation compared to having the oscillators always start at the same point. What you will hear is that the notes will change volume level slightly as the oscillators start and also drift in and out of phase with each other.

2. In the normal mode the oscillator always starts at zero. Now it could start at any point in its phase position. That means when you hit a note, a single oscillator could be at 0, +1.0, -1.0, or anywhere in between. If it starts at or close to +1.0 ot -1.0, you are going from no sound to fully on immediately. This can cause a click at the beginning of the note depending on the phase. It is noticeable mostly when using a sine wave, and not too noticeable with something like a saw or square. If you want to use this free running mode, turn the attack time up to +20 or higher to quickly fade in and avoid the potential click.

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Oberheim Sales Product Catalog

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

via this auction

"This is an 8 page Oberheim catalog listing product info on all their products like the Echoplex, the Eclipse, the OB-3 Drawbar Organ Expander, theDrummer, the Srummer, the Cyclone and Matrix 1000."

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Hydrasynth Deluxe Demos by the sun god RA

Playlist:

1. Hydrasynth Deluxe multi patch: Blue Lotus RA

This is an attempt to make a "pressure-weighted portamento" patch on the Hydrasynth, heavily inspired by the Expressive E Osmose demo video by Christophe Duquesne [posted here]. I found that the Hydrasynth's Polytouch-keyboard really adds expressiveness to a simple monophonic flute-patch "Blue Pipes RA". Combined with "Blue Mandolin RA" on the lower side of the keyboard, with some key-split crossfade between them, the middle part of the keyboard combines polyphonic mandolin and monophonic flute. Preset M1-025 on The Hydrasynth Deluxe. SHOW LESS

2. Hydrasynth Deluxe multi patch: Old Times RA

This is Hydrasynth Deluxe multi preset M1-015, a dual patch. The lower partial is "L'apocalypse RA" from "the sun god RA" patch bank, an attempt to recreate the wonderful string sound that Vangelis got out of his Hammond organ/echoplex/tape echo in his "L'apocalypse des animaux"-era in the beginning of the 1970's. The upper partial is "Waxroll Piano RA".

3. Hydrasynth Deluxe multi patch: Seafloor Harp RA

Hydrasynth Deluxe preset M1-010 Seafloor Harp RA, a dual layer of "Southern Seas RA" and "Jomfrubad RA".

4. Hydrasynth Deluxe multi patch: Documentarist RA

Hydrasynth Deluxe preset M2-063 Documentarist RA. A dual layer of "1934 Upright RA" and "After Mirage RA".

5. Hydrasynth Deluxe multi patch: Electrosplit RA

Split between "Magnetisque II RA" and "E081 Voice Crystal RA"

6. Hydrasynth single patch: Deluxe Piano RA

Inspired by the SOS “synth secrets” articles about synthesizing pianos, I tried to make a “realistic” piano patch on the Hydrasynth. This is single preset “A011 Deluxe Piano RA” on the Hydrasynth Deluxe.

7. Hydrasynth Deluxe multi patch: Hydra Orchest RA
8. Hydrasynth Deluxe multi patch: Miami Bass RA

M1-016 Miami Bass RA - an attempt to make a split patch of Jupiter-8 bass arpeggio and pad from Jan Hammer's "Miami Vice" soundtrack. Last part is M2-008 Miami Splice RA, pad now on lower half of the keyboard, while upper is reminiscent of the Fairlight-type lead sound in "Crockett's theme".

9. Hydrasynth Deluxe multi patch: Drive U Home RA

Preset "M1-045 Drive U Home RA" on the Hydrasynth Deluxe.Bread & butter. A split between bass guitar "Basketbass RA" and analog pad "Pro-5 Carpad RA". The drum machine is a Roland TR-6S hanging on an IKEA "Isberget" laptop support because of the keyboard stand angle.

10. Hydrasynth Deluxe multi patch: Johansson RA

A dual split patch with «Utanmyr Bass RA» as the lower part, and «Utanmyr Piano RA» (slightly tweaked preset «Deluxe Piano RA») as the upper part. I was planning to play "Visa from Utanmyra" by Jan Johansson, but discovered I'm no piano player. So instead I made up this little melody, much easier to play.

11. Hydrasynth Deluxe multi patch: Orchestra Hit RA

Trying to see if I could make a Fairlighty sampled orchestra hit on the Hydrasynth Deluxe, I tweaked preset M1-012 Hydra Orchest RA using chord mode, some envelope to pitch and Lo-fi FX.

12. Hydrasynth single patch: Cimbalom RA

This is an attempt to make a "realistic" cimbalom for the Hydrasynth. This is the lower partial of multi patch M2-045.

13. Hydrasynth single patch: Cimbalom RA

This is an attempt to make a "realistic" cimbalom for the Hydrasynth. This is the lower partial of multi patch M2-045.

Gibson - Echoplex Digital Pro Black & White Rackmount Loopers

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

via these NOISEBUG Listings

"The Echoplex features 16-bit digital 44.1kHz recording/sampling to RAM. It ships with 50 seconds worth of memory, however this can be easily upgraded just like any sampler using standard RAM SIMM chips to up to 200 seconds of recording time.

Although the Echoplex may have been designed with the intentions of being a modern digital delay based on the classic tape-based analog delays (Maestro Echoplex EP3), the Echoplex offers digital, clean, and intuitive performance features. Play anything into it, loops, guitar, keyboards..all in realtime. As soon as you stop recording, the sampled material begins looping...and you can now jam along with it! Overdub additional loops and build arrangements, all on the fly!!! The number of overdubs and length of loops is limited only by the amount of memory. Mistakes or undesirable loops can easily be undone. The Echoplex can store up to 9 separate loop/ arrangements. A cool EFC-7 Foot controller can also be used so you can punch in and out of loops without having to use your hands...so you can keep playing.

The Echoplex is also fully MIDI capable. All controls send/receive MIDI data and even the Loops can be saved and loaded via MIDI! MIDI sync makes sure your loops can be locked to the tempo of your MIDI sequencers giving the Echoplex a niche in your MIDI-studio as a dedicated loop-player! Loops, like samples, can be assigned to keys on a keyboard and can be triggered as loops or single-shot samples. Other functions of the Echoplex include Reverse, for backwards loops, and a Multiplay feature which repeats loops a user-defined number of times to create an extended loop (ie: extend a 4-beat loop into a 16-beat loop)."

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Line 6 Filter Pro, Mod Pro, & Echo Pro Rack Effects Units

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

Filter Pro Programmable Filters & Monophonic Synths with MIDI Sync via this auction

Mod Pro Programmable Chorus, Flanger, Tremolo, Vibe, Rotary, Phaser via this auction

Echo Pro Programmable Delay & Loop Sampler with MIDI Sync via this auction

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Octave Kitten Roar

Note: Auction links are affiliate links for which the site may be compensated.
Published on Nov 30, 2013 Nels Truesdell

"Playing with the kitten's wicked filter. listen to it roar :)
Echo is coming from a 1964 ep-2 echoplex"

Rusty sounds for a rusty synth. Cool cat.

via this auction

"Octave Kitten monophonic analog synthesizer in fair condition with some rust on the front panel. This unit is mostly working except for a few minor functional issues, please read full description. Comes with hand drawn schematic for repairing!!

I originally got this from a friend who said it had lived in a basement for ~30 years. I cleaned all the keyboard contacts of any rust and got the synth fully working for awhile. Then it crapped the bed and I had to bring it back to life for a second time. Since then it has acted a bit estranged and I haven't had much time to work on it. Im mainly trying to sell this since I moved into modular gear, but I used this unit for bass lines in many of my songs. Overall it has a vast sound selection for anyone looking for a vintage synth. Even with its altered function I find that I am still able to get a lot of amazing sounds from this device.

Several knobs have lost their intended travel however still retain their function and can act strange depending on their setting. I will list any issues that I have noticed thus far for anyone interested in obtaining this synth to refurbish. I will also try to fix the easy issues and take them off the list as I complete them.

CV modulation depth for the LFO and S + H has issue where the modulation is modest for most of the knobs travel and then increases depth around the last 70% of the turn.

If the sustain slider is below 3/4 of its travel, the envelope will re-trigger/loop in Attack - Decay mode for the duration of the gate signal. The lower sustain is the faster AD loops. This is a function that I believe is intentional as you can loop the ADSR with or without holding a key down however the speed aspect seems to be something that is wrong. That and the sustain travel is abnormal.

VCO modulates a VERY small amount by the envelope, just under a semitone, if the LFO is set slow or fast this is less noticeable.

All voice sliders will distort the mixing amp stage before the filter if turned up all the way. If voices are turned down a bit this does not happen.

Several keys will alter pitch after releasing, mainly due to how slow you release since the keybed is comprised of pairs of metal tines making contact with a metal bus bar for gate and CV. If the one of the tines is released before the other this is why this happens.

Some of the jacks are a bit rusty but still function 100%. I've had some moments where depending on the contact with the cable used, it may need to just be plugged in and out a few times to remove the outer layer of oxidation on the metal. Some de-oxit spray would also fix this.
Noise slider cap is missing.

Other than that the unit is still kicking and looking for a good home! I made a hand drawn schematic awhile back as well and can provide a copy when purchased to help with fixing the unit."

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Gibson Echoplex Digital Pro with Footpedal, Loop IV and full docs

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

via this auction

Note these were also branded Oberheim. You can find some videos featuring the Echoplex in the archives. There was also a black model.

"The Echoplex Digital Pro is a digital delay designed for the performing artist! The Echoplex features 16-bit digital 44.1kHz recording/sampling to RAM. With the LoopIV upgrade this unit supports 198 seconds of loop time.

The EFC-7 Foot controller allows you to punch in and out of loops without having to use your hands...so you can keep playing. The included connecting cord is 10 foot TRS.

The Echoplex is also fully MIDI capable. All controls send/receive MIDI data and even the Loops can be saved and loaded via MIDI! MIDI sync makes sure your loops can be locked to the tempo of your MIDI sequencers giving the Echoplex a niche in your MIDI-studio as a dedicated loop-player!

Loops, like samples, can be assigned to keys on a keyboard and can be triggered as loops or single-shot samples. Other functions of the Echoplex include Reverse, for backwards loops, and a Multiplay feature which repeats loops a user-defined number of times to create an extended loop (ie: extend a 4-beat loop into a 16-beat loop)."

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Tone Science Module No​.​2 Elements and Particles (DiN​:​TS02)

"Tone Science sub-label, from DiN records, continues to explore the world of modular synth music.

DiN was initially set up in 1999 by well known UK synthesist Ian Boddy to bridge the gap between the analogue music of his heritage and the emerging digital possibilities of the future. This label has always forged its own independent path and to date has released 56 physical CD albums as well as 21 download only releases.

Even after being involved in music since the late 1970’s Boddy has continued to explore new sonic territories and in 2016 he released what was probably his most experimental album in “Tone Science” (DiN48). This album comprised five long, slowly evolving self playing compositions realised entirely on his vast arsenal of modular synthesisers. Boddy’s love of the analogue sound has been well documented not only through his own releases but many sound and sample libraries. These instruments all but disappeared in the 1990’s but recent years has seen an unprecedented growth in interest in this form of synthesiser with a proliferation of both module manufacturers and performers using these highly flexible and personal systems.

Thus, inspired by his “Tone Science” release, Boddy has set up this sub-label to feature artists and performers working in the field of modular synthesis. The first release “Module No.1 Structure and Forces” was released in March 2018 and has garnered a lot of critical acclaim. This second compilation “Module No.2 Elements and Particles”, like its predecessor, features nine artists from different musical backgrounds with the common thread being that all the tracks were composed entirely with a modular synth system.

The album opens and closes with the ambient soundscapes of two tracks by Todd Barton and
 r beny. Barton is a world renowned exponent of Buchla modular systems as well as the Music Easel employed on this track. Austin Cairns (aka r beny) has a penchant for lo-fi looped synth atmospheres which combined, in this case, with a field recording creates a haunting, evocative piece. The next three pieces by Bluetech, Parallel Worlds and Paul Nagle build up rhythmic and sequenced elements with a fascinating amount of detail that modular systems are so good at. They also all use various methods to produce a poly-rhythmic, fractal feel as patterns shift and change throughout their tracks. The middle of the album then sees a fascinating experimental ambient interlude by Dave Bessell (a member of the synth group Node) using waveguide physical modelling in the analogue domain. The second half of the album has a rawer, more gritty feel with Richard Quirk building up a crescendo of wonderful textures in his track “Radar Hill”. This is followed by Hainbach using the exotic Ciat-Lonbarde series of hand built instruments to produce, in his words, a piece of “pure electronic music”. Nathan Moody then brings proceedings to a climax with a gnarly, muscular track using a Buchla modular system before the blissful ending piece “Marine Layer” closes out the 60 minute sonic journey the listener has just travelled.

Boddy has curated both the artists and tracks on this album to flow in a musical way and not just be a collection of equipment heavy demos. Though fascinating and always cool to look at, it is important not to get lost in the gear for gear’s sake syndrome. Having said that this album features Eurorack, Serge, Buchla & Ciat-Lonbarde modular systems and the nine tracks show how varied and flexible these instruments can be.

“Tone Science Module No.2 Elements and Particles” continues the journey down the rabbit hole of possibilities and sound worlds inhabited by artists and musicians working in this ever fascinating and varied musical field.
credits
releases October 19, 2018

1. Todd Barton Floating World 8:41
This is an exploration of layering various timbres and textures, each having its own
diverse panning structure and speed. Performed on a Buchla Music Easel with a
TC Electronic Ditto x4 looper and TC T2 reverb.
toddbarton.com

2. Bluetech Magnetic Lullaby 6:36
Multitracked sequencers in long takes at different clock speeds to get a fractal layer of shifting melodies evolving at different rates with Strymon modulation at different times for complexity.
bluetechonline.com

3. Parallel Worlds Additive Procedure 5:56
Eurorack, Analogue Systems and Serge modular systems, using harmonics created via waveshaping/wavefolding & the Verbos Harmonic Oscillator & RS370/375 Polyphonic Harmonic Generator.
parallel-worlds-music.com

4. Paul Nagle Euneirophrenia 7:52
The peaceful state of mind after a pleasant dream. In this mellow polymetric excursion, Cirklon's CVIO juggles a Quadnic, NW1, Plonk, Rings and Plaits.
bogusfocus.com/pn/

5. Dave Bessell Overtone 6:37
Between two worlds, the technical and the theatre of the imagination, the apparently real and the obviously synthetic play hide and seek with your perception. Realised with an all analogue signal path, this is a study in waveguide physical modelling.
sites.google.com/site/davebessellmusic/home\

6. Richard Quirk Radar Hill 7:22
This track is taken from an ongoing collection of music based on abandoned radar stations. Created with an AJH Eurorack system along with a Voltage Multistage, Bark filter, Magneto delay, Radiomusic and a tube Echoplex.
richardquirkmusic.bandcamp.com

7. Hainbach Your Strange Glitter 5:02
Aiming for purity I focused entirely on the Ciat-Lonbarde Plumbutter, Sidrax and Cocoquantus. I wanted this piece to feel like “synthesizer music”, clear and shimmering, yet alien, not rooted in a real acoustic space.
hainbachmusik.com

8. Nathan Moody Prophet And Loss 5:02
This piece was created using a Buchla modular synthesizer (200 & 100 series modules) as a meditation on the false piety of tyrannical populists in the early 21st Century.
nathanmoody.bandcamp.com

9. r beny Marine Layer 7:02
Fog conjuring with Mutable Instruments Rings loops being processed by Orthogonal Devices ER-301, Mannequins Three Sisters, and Strymon Magneto.
rbeny.bandcamp.com


Total Time 60:24
license
all rights reserved"

Follow-up to:
Tone Science Module No.2 Elements and Particles Demo Mix
Todd Barton Autumn Tour & New Release

Live Jam - Moog Minitaur + Echoplex & blueSky

Published on Dec 26, 2016 johnsquibb

"Live recording of sequenced Moog Minitaur with Strymon blueSky reverb, EP103 Echoplex Delay."

Nathan Hahn, Weekly Loop : Zitronenbaum

Published on Oct 26, 2016 Nathan Hahn

"This weeks loop was a bit of a challenge filming wise. I managed to get it done just in time despite the fact that it fought me at every turn. Hence the title. I looped the synthesizers with the Echoplex, and the guitar with the Ditto x4. the guitar is running thru the Behringer FC600 Foot Controller, UC200 Ultra Chorus, and SF300 Super Fuzz TC Electronic Triple Delay, and a custom made tremolo pedal. The drums are the Roland TR-8, and Korg Electribe Sampler. Synthesizers used are the Korg Triton Taktile, Electribe Sampler, Waldorf Streichfett with Arturia Keystep, and Roland D-10."

Happy The Man - Upon The Rainbow 1977

Published on Oct 9, 2016 Reuben Jones

"One of the hardest parts I've learned by Happy The Man. The Korg MS10 doing a great job of impersonating Watkins' Minimoog. I have it running through a TC Electronic Alter Ego Vintage Echo pedal on the Echoplex setting to mimic the Maestro Echoplex that Watkins used.

Enjoy!"

Nathan Hahn, Live Synthesizer looping : Artificial Flicker of Light

Published on Sep 27, 2016 Nathan Hahn

"This synthesizer loop is part of a weekly exorcise in looping that I am using to push myself further into the practices of looping, filming, and recording. I used a Roland TR-08, Oberheim Echoplex, Korg Taktile, and Electribe Sampler, as well as the Waldorf Streichfett, and Rocket."

James Song - An Improvisation by MyOneManBand

Published on May 12, 2016

Gear list further below.

"This is the first of a series I will be making in response to the sheets filled out by the audience of my last TEDx talk.

........................................
About Me :
MyOneManBand is the name I give to the live improvisational electronica that I create in real-time out of sounds from many instruments, often using a mixture of organic sound sets such at classical guitar, marimba, dulcimer, kalimba, accordion and drums with synthetic textures electronic percussion, beeps, bleeps and hiss.

I make music to please an urge that exists within me to see what is possible to accomplish on my own with no pre-recording or backing tracks. I came to this way of working through the live-looping process using audio recording tools such as the Boss Loopstation and Echoplex Digital Pro, but I now find for the main part that MIDI is more flexible for what I do as it allows the musical structures of my work to remain flexible in real time so I can add and strip away layers in a non linear way.

I also make music to take my own small space within the context of the many great artists who are also working in the field and as such I am on a journey that does not expect reward financially or through the more conventional measures of success, but rather I hope to find value in my work through the people who I meet through its undertaking and the ideas and thoughts that they bring into my life.
I am therefore always eager to engage with my views through critique, help or just to talk geek for a while...please...never be afraid to get in touch.

Thanks very much for watching, if you like my work , please consider subscribing to help me continue to spread my work to like minded people.

Phill Wilson (AKA MyOneManBand)

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Live Looping with Music Easel and Echoplex

Published on Jan 17, 2015 Brunswick Synth

"Improvising with the BMI Music Easel into and Oberheim Echoplex Pro. Playing in Cminor."

Maestro Echoplex EP-4 vs Roland RE-301

Published on May 15, 2014 Rhythmicons·35 videos

"Side by side comparison of two vintage tape delays."

Comparison with a Moog Micromoog.

Steely Dan's Jeff Baxter MAESTRO Echoplex EM-1 Groupmaster Tape Delay Echo

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

via this auction

"This listing is for a very rare MAESTRO MARKET ELECTRONICS Echoplex EM-1 Groupmaster Tape Delay Echo owned by Jeff Baxter, Guitarist with Steely Dan and Doobie Brothers.

This is an amazing historical piece of gear used "all over" the first three Steely Dan albums that Jeff was featured on as guitar and pedal steel player.

This item will include a Certificate of Authenticity signed by Jeff Baxter."

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Pink Floyd - On The Run - with a Modular

Published on Jan 3, 2014 Patch Rubin·1 video

"my studio has been packed away for a bit, i thought remaking this Floyd track would be a good exercise to help me remember how this stuff works.

everything is self generating out of the modular. theres a maestro echoplex 4 in there as well.

http://patchdub.com
http://patchdub.bandcamp.com
https://soundcloud.com/patchdub"

"All diy modules, klee, motm, oakley, yusynth, mattson, j3rk. there is a maestro echoplex 4 in there as well."

Octave Kitten Roar

Note: Auction links are affiliate links for which the site may be compensated.
Published on Nov 30, 2013 Nels Truesdell·12 videos

Octave The Kitten Analog Synthesizer via this auction

"Playing with the kitten's wicked filter. listen to it roar :)
Echo is coming from a 1964 ep-2 echoplex

synthzoo.blogspot.com - the synth is for sale and in amazing condition
used by exotica group kava kon"

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MyOneManBand sequencing external MIDI gear with a Tenori-on

Published on Aug 7, 2013 phillwilson·167 videos

"here is the mading-of tutorial:

MOMB Tenori Tutorial

Published on Aug 8, 2013

"I thought I would do a little video showing how the Tenorion can be used as an awesome multi-channel MIDI step sequencer.

The great thing is every channel can run at its own speed and also you can save variations of the sequence at different points and then move between them during the performance.

I hope you enjoy the tune, let me know if you have any questions.

........................................
About Me :
MyOneManBand is the name I give to the live improvisational electronica that I create in real-time out of sounds from many instruments, often using a mixture of organic sound sets such at classical guitar, marimba, dulcimer, kalimba, accordion and drums with synthetic textures electronic percussion, beeps, bleeps and hiss.

I make music to please an urge that exists within me to see what is possible to accomplish on my own with no pre-recording or backing tracks. I came to this way of working through the live-looping process using audio recording tools such as the Boss Loopstation and Echoplex Digital Pro, but I now find for the main part that MIDI is more flexible for what I do as it allows the musical structures of my work to remain flexible in real time so I can add and strip away layers in a non linear way.

I also make music to take my own small space within the context of the many great artists who are also working in the field and as such I am on a journey that does not expect reward financially or through the more conventional measures of success, but rather I hope to find value in my work through the people who I meet through its undertaking and the ideas and thoughts that they bring into my life.
I am therefore always eager to engage with my views through critique, help or just to talk geek for a while...please...never be afraid to get in touch.

Thanks very much for watching, if you like my work , please consider subscribing to help me continue to spread my work to like minded people.

Phill Wilson (AKA MyOneManBand)

CLICK FOR MORE »

Roger Powell's One of a Kind Controller Finds its Way Home to the BMF

via The Bob Moog Foundation.

"Pioneering synthesist Roger Powell recently donated his custom keyboard controller to the Bob Moog Foundation Archives. In a special post dedicated to the controller, BMF Archive and Education Specialist Marc Doty explores the unique history and functionality of this one-off design created by Bob Moog himself.

Interested in donating your piece of history to the Bob Moog Foundation? Please contact us at info@moogfoundation.org."

From the article (do check out the full post for the history and full story.  The following focuses only on the features): "Bob and Roger worked together to create a keyboard controller that could harness the power of two modular synthesizers in real-time through a single, convenient interface. A challenge was to do this while meeting Powell’s requirements for advanced controls over the dynamic and expressive qualities of the sound. The controller began its life as a Moog 951 keyboard, but a lot of features were added. The custom controller’s features included:

Two keyboard manuals, allowing independent patches on the two modular synthesizers to be played at the same time.

A pitch wheel.

A modulation wheel.

Individual scale, range, portamento settings, and portamento switches were installed for each manual. These could set for each keyboard individually, or combined to control both keyboards at the same time.

A built-in mixer section with four faders, to manage the sound of the two synths. This custom Bob Moog-designed mixer allowed Roger to easily manage the loudness of various patches and effects he was using in a live setting.

A volume control for the Echoplex delay unit Roger used with the system.

A VU meter for measuring the relative amplitude of the synthesizer output.

A headphone jack, headphone volume, and output on/off switch that allowed Roger to preview tuning and patch changes before making them audible to the audience.

Two “accessory” ports for a Ribbon Controller and a standalone Sample/Hold module.

The keyboard module interfaced with the modular systems through a special cable and connector port. This cable carried the control voltages from the two manuals, accessories, and modulation/pitch wheels and distributed them to the proper synthesizer modules. The cable also had several tracks of audio return which came back into the keyboard from the audio output of the modular; their loudness was individually controlled by the Bob Moog custom-designed mixer. The total output of the synthesizer, came out of the system’s Line Level Out XLR jack."