"My album "SYN-KET STUDIEN" as it was recorded at the Museo Del Synth Marchegiano. Pre-order one of the limited run vinyl now or buy the digital: https://hainbach.bandcamp.com/album/s..."
"Syn-Ket Studien (German for „study“) is as much an exploration as its a love letter. When I tried to coax music from this wonderful but not always perfectly working instrument, I was under the spell of the beautiful Marche region and the hospitality I encountered at the Museo. The album cover by Zé Burnay reflects that - the countryside and culture frames the session.
Having only a few days with the Syn-Ket, I needed to work effectively. I decided it would be the tempo that would guide my interaction with the instrument. By setting the speeds of the modulators first I learned quickly what the instrument could do and what I could do with it. Every piece is the result of a learning curve, the struggle of playing an undocumented instrument and the joy of its incredible rich and powerful sound.
At home in my Berlin studio I left the sound as raw and unedited as made sense musically, adding only a touch ambience with an old stereo spring reverb."
Hainbach, Berlin, 2022
A Short History of The Syn-Ket
"The Syn-Ket is a truly exceptional instrument: developed in Italy at the same time that Robert Moog and Don Buchla set out to write instrument history, Paolo Ketoff created what is probably the first portable synthesizer. Born from the experience of making the huge Fonosynth and inspired by the works of Harald Bode, Ketoff worked closely with musicians and composers of the American Academy of Rome (John Eaton, Bill Smith) to create an electronic instrument that would allow live performances without tape playback. Shunning mass production, the Syn-Ket was only produced in nine custom pieces, starting in 1963, all tailored to the musician that ordered it. And those lucky few got a lot, despite the compact size: three voices with tube oscillators, two filters and an LFO, an octave filter bank and three output modulators (a mixture of LFO/Envelope/VCA). All is controlled by a very expressive three row pressure sensitive keyboard. It found widespread use in Italian movies of the times. Little wonder, as one Syn-Ket was famously owned by Ennio Morricone"
- Riccardo Pietroni, Museo Del Synth Marchigiano, 2022
Happy New Year everyone! I want to thank you all for a great 2015 and I wish you all the best in 2016!
The following is my yearly round up for the year. Feel free to dig into this post as much you like, or skip it and leave a comment at the bottom of the post. I'd be curious to hear what stood out for you in 2015. Do you like the direction the synthesizer world is headed in, or would you rather see more or less of any type of product?
Dr. John Eaton passed away yesterday on Dec 2 at the age of 80. For those not familiar with him he was a composer who worked closely with Bob Moog in the 1960s, influencing the development of the first synthesizers as we have come to know them today. The first synthesizer to feature a keyboard, the Synket by Paul Ketoff, was made for John Eaton. Above is a collection of interviews by The Snapshots Foundation starting with the Synket [see the Synket channel for previous post including images].
Playlist:
Dr. John Eaton: Synket & Moog History
Dr. John Eaton Interview pt.1
Dr. John Eaton Interview pt.2
Bob Moog Remembered pt2.
On the Synket via Wikipedia: "A working group at Roman Electronic Music Center, composer Gino Marinuzzi, Jr., designer Giuliano Strini, MSEE, and sound engineer and technician Paolo Ketoff in Italy; their vacuum-tube modular 'FonoSynth' slightly predated (1957–58) Moog and Buchla's work. Later the group created a solid-state version, the 'Synket'. Both devices remained prototypes (except a model made for John Eaton who wrote a 'Concert Piece for Synket and Orchestra'), owned and used only by Marinuzzi, notably in the original soundtrack of Mario Bava's sci-fi film 'Terrore nello spazio"'(a.k.a. Planet of the Vampires, 1965), and a RAI-TV mini-series, "Jeckyll".[30][31][32]"
"I think of all of the people that I've known in my life, Bob Moog was the most generous. He was the most interested in other people's ideas. He was just and extraordinary human being." -- John Eaton (March 30, 1935 - December 2, 2015)"
Hi everyone! As you know Barry Schrader will be giving his farewell concert at CalArts on September 26. The following is the beginning of my interview with him. I opted to post the questions and answers as they come in. New QAs will get a new post so you do not miss them and they will be added to this post so we have one central post for the full interview. This should make it easier for all of us to consume in our busy lives, and it will allow you to send in any questions that may come to mind during the interview process. If you have anything you'd like to ask Barry, feel free to send it in to matrixsynth@gmail.com. This is a rare opportunity for us to get insight on a significant bit of synthesizer history, specifically with early Buchla systems, and I'd like to thank Barry for this opportunity. Thank you Barry!
Hans-joachim Roedelius birthday is today, October 26. Fabricio Carvalho wrote in on The MATRIXSYNTH Lounge to let us know he has an interview up on Astronauta Pinguim here. It's a fascinating read so do not miss it.
On the instruments first used: "We used electric organs, cello, guitar, kneeviola, tonegenerators, echomachines and many mostly selfbuilt little electronic devices in the beginning. Brian when he came to our place brought one of the first synths that existed at the time but nothing else, so he played this synth, guitar, bass and he sang. It was not him who produced that album it were the four of us first with/on a fourtrack tapemachine that Michael Rother provided..."
BTW, after you finish the interview, be sure to check out his others. You can find them by doing a quick search on "Interview" on the top left Blogger search box on the site. You'll find interviews with John Eaton, Gershon Kingsley, Hereb Deutsch, Vince Clarke and more.
"It was also in Rome that John Eaton met the electronic engineer Paul Ketoff, inventor of the famous and legendary Syn-Ket [pictured below], in 1964. With the Syn-Ket, John Eaton has conducted more than a thousand presentations around the world and was at one of these presentations, in 1966 at Columbia University, where he met Robert Moog, who fixed the Syn-Ket, damaged during a flight, and also built a synthesizer Moog especially for Eaton! The partnership of John Eaton and Robert Moog also created the Eaton-Moog Multiple-Touch Sensitive Keyboard [left] (which John briefly explained in the interview below)."
You'll find the interview on Austronauta Pinguim in English here and Portuguese here.
Update: I added a Moog-Eaton label below for all posts mentioning John Eaton. Do check it out. You'll find a number of posts including this post with a link to an old video of John Eaton and the Eaton-Moog Multiple-Touch Sensitive Keyboard. You'll find a newer demo towards the bottom of this Animoog post. The virtual keyboard in Animoog is based on the Eaton-Moog Multiple-Touch Sensitive Keyboard.
"Discover the evo. Worlds first keyboard with touch sensitive keys.
With the help of capacitive touch sensors the evo is able to read your fingers movement on top of a keys surface. Next to pitch and velocity there is now a third layer of polyphonic data input.
Think of polyphonic control of pitch and expression. Think of having a pitch or mod wheel integrated into every single key. Think of never ever leaving a key just to turn or push some knobs or buttons.
So, it's a combination of classic keyboard key and modern touch technology. The best of both worlds combined in a single keyboard. But best of all! The characteristical function of a key remains unchanged. The evo still features traditional pressure-sensitive keys. But in addition there are now all the advantages from a touch-sensitive input device in every single key.
So. At first this might sound like the evo is an all new instrument. But it's nothing more than a traditional master-keyboard... With capacitive touch inside every key.
Thank you for watching. Stay tuned!
For more information check out our homepage and feel free to send us an email.
endeavour.de info@endeavour.de"
Update: This is much like the virtual keyboard in Animoog which was based on the John Eaton & Bob Moog Mult-Touch Sensitive Keyboard (MTS) seen in this post. Don Buchla of course used touch based controllers vs. standard keyboards in his early Buchla systems. Being modular, they were freely assignable. Thanks to Pea in the comments for the reminder.
Update via jyoung in the comments: "Looks like its almost ready for sale
See the bottom update in the main Animoog post for a demo of the Eaton-Moog Multi-Touch Sensitive Keyboard (MTS) being demonstrated by John Eaton. Look for this pic and scroll up to the red Update. Also, I added a new user video from ldtregent just above it.
Animoog - Moog Music Inc. - iTunes Update: Videos below. Moog also posted some pics on flickr here. If you have an iPad, this is definitely worth picking up. What you are looking at is the X/Y pad display of the Path and Orbit Modules. If you are familiar with Vector synthesis, think of this as a place you can draw paths for the note being held to travel and morph sound. You can set the path to loop, go back and forth or just go through once, and you can set the speed and distance relative to the path. It's pretty impressive. If you picked up the app, select PATH on the right of the X/Y pad where the Filter is, click Edit, draw a path, set the Rate to 3 or 2, hold a note and watch. while holding a note, move your finger from the bottom of the "key" to the top. You'll notice the light indicating the note will drift from the path when you slide up. You can also grab and move the path in the X/Y screen. See the videos below for more.
Original post: Animoog - Moog Music Inc. Currently $.99 for 30 days. Regular price will be $29.99. Two tweets captured for the archives from @moogmusicinc - 8:34 PM PST and the original tweet at 8:29 PM PST. [This post went up at 8:33 PM PST]
Description from iTunes:
"Animoog, powered by Moog’s new Anisotropic Synth Engine (ASE), is the first professional polyphonic synthesizer designed exclusively for the iPad. ASE allows you to move dynamically through an X/Y space of unique timbres to create a constantly evolving and expressive soundscape.
Animoog captures the vast sonic vocabulary of Moog synthesizers and applies it to the modern touch surface paradigm, enabling you to quickly sculpt incredibly fluid and dynamic sounds that live, breathe, and evolve as you play them.
Visually captivating and sonically immersive, Animoog brings iPad based music production to the next level. Whether you are new to synthesis or a professional, Animoog’s unique user interface gives you the power to easily create a visually vibrant and sonically rich universe. It is the ultimate tool for total creative expression!
Animoog’s diverse library of timbres is derived from analog waveforms captured from classic Moog oscillators, both vintage and modern, and run through a boutique’s worth of high-end outboard and analog signal processors. These include modular synth panels, Moogerfooger pedals and more.
Animoog is the newest innovation in creative tools from Moog Music, the legendary electronic musical instrument company founded by Bob Moog in Asheville, NC.
We want as many people as possible to experience Animoog. We have decided to make Animoog available for thirty days at the introductory price of $.99. Regular price $29.99.
Key Features:
• Anisotropic Synth Engine (ASE) - An exciting new Moog technology that allows the user to move dynamically through an X/Y space of unique timbres to create an expressive and constantly evolving soundscape.
• Timbre page – Assemble unique sounds in the X/Y space from timbres of a wide variety of vintage and modern Moog synthesizers and pedals. Note: this is NOT simple sample playback.
• Polyphonic Modulation - Simply slide your fingers to control multiple modulation parameters in Animoog right from the keys.
• Polyphonic Pitch Shifting - Easily manipulate the exact pitch of each note in a chord by rotating or sliding your fingers.
• Delay Module - A classic analog style ping pong delay.
• Thick Module - From bit crushing to unison voice detuning and drive, this module adds depth, edge and character to Animoog’s already massive sound palette.
• Moog Filter - The classic four-pole Moog ladder filter with High Pass, Low Pass and Band Pass modes.
• Record Module - Record your performance and overdub new layers, or play along live. Transfer recordings between Animoog and any other apps which support AudioCopy/AudioPaste
• Path Module - Direct ASE through Animoog’s X/Y space to create new expressive and shifting sounds that will blow your mind!
• Orbit Module - Control the rate of orbit in the X/Y space around the path you created for subtle to insane voice manipulation.
• Flexible Modulation Matrix - Amp, Filter and Mod Envelopes, LFO with infinitely variable wave shapes and sync, and four super flexible and assignable modulation slots.
• MIDI in/out - Use your Little Phatty or any other MIDI controller to control Animoog."
Animoog - Test Drive 1 - Improvising on the patches
Uploaded by JackHertzVidz on Oct 16, 2011
"Moog have released their Animoog synth app. This thing is pretty damn cool. Here's a test drive of the App with random patches being played."
Animoog for iPad demo
Uploaded by aboutdafunk on Oct 16, 2011
"This video was uploaded from an Android phone."
ANIMOOG
Uploaded by jacobclemente on Oct 16, 2011
"its the best ipad synth app =)"
Moog Animoog on the iPad 2
Uploaded by ldtregent on Oct 17, 2011
"I just loaded the Moog Animoog on my iPad. It is truly cool and somewhat... weird! I love it!"
Update:
Prototype Moog demo
YouTube Uploaded by charger959 on Mar 11, 2010
"Eaton-Moog Multi-Touch Sensitive Keyboard (MTS) being demonstrated by John Eaton. (hope i got all that right!)"
via Michelle Moog-Koussa of The Bob Moog Foundation in this post on Professor William Hoskins and His Mystery Moog: "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."
And via Waves of Inspiration: The Legacy of Moog Exibition Updates
"In the 1980s, composer and musician John Eaton spent over 10 years developing a new synthesizer with Bob Moog, known as the Eaton-Moog Multi-Touch Sensitive Keyboard (MTS). This rare instrument will be on exhibit for the first time on the west coast beginning in January. Discover the birth of these ground-breaking synths with Deutsch & Eaton."
Update via Bob Berries in the comments: "This short tutorial might help to explain how the XY pad works."
Update via Vgermuse in the comments: " Hmmm...the keyboard sure looks a lot like Don Buchla's 216 Touch Controlled Voltage Source from the late 60's and early 70's" The Buchla of course was freely assignable to whatever you wanted it to control.
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.
"At 7 p.m. [Jan 23], the Museum presents an evening of music and conversation in a special multi-media performance combining live music, discussion, and video presentation by two renown American electronic music pioneers, composers, and synthesists Dr. Herb Deutsch (Hofstra University) and Dr. John Eaton (University of Chicago)."
Update via pea in the comments: "here's a true Herb Deutsch / Moog obscurity from my collection... this is something by Deutsch called "Moon Ride" that was a piece written for band and Moog Tape, presumably aimed squarely at the school band arrangement market. This particular performance (who knows if there are any others recor...ded?) is by the 1976 San Marcos Junior High Concert Band.
from the EMF Institute:
"The Synket (for 'Syn' thesizer 'Ket' off) was designed and built by Paul Ketoff in Rome, Italy, in 1964. Commissioned by the American Academy in Rome for its electronic music studio, it was a small, portable, keyboard-based performance-oriented synthesizer.
Its principal performer was John Eaton, who used it to compose and perform his Songs for RPB, for soprano, piano, and Synket, first performed at the American Academy in Rome in April 1965.
[below]: John Eaton seated behind the Synket in 1964."
See this post for one possibly shown at the 'Musee de la musique' in Paris.
"Rick Wakeman of the band "Yes" invented and developed this instrument along with help from David Biro. Wakeman formed the company Birotronics, Ltd. which made just 35 Birotrons. Like the Mellotron, the Birotron "sampled" instruments and uses 8-track tapes for the various sounds. This was necessary before digital sampling became available. They were mainly used for strings, choirs, brass, and flutes; sounds not easily reproduced on the synthesizers of that era."
Updates via the comments:
via Darren Landrum:
I seem to recall this one used tape loops, which contained continuous sounds. Shaping could then be added via an envelope generator. Great for sustaining sounds like strings, organ, and choir, but not so good for transient sounds like tubular bells. Of course, the Mellotron was most famous for the sustaining sounds, so maybe the Biro fellow was on to something. The only artist I can recall using the tubular bell tape for the Mellotron is Isao Tomita.
via Milo Johnson:
"The Birotron used 37 8-track tapes, one per key (with all of the attendant problems of 8-tracks) instead of strips of tape like the Mellotron and Chamberlin. Mellotron sounds last about eight seconds and then the tape has to rewind to play the note again. The Birotron used hand-crossfaded recordings to give "infinite" sustain, or at least until the 8-track clicked and changed direction. Rick was the money man and contributed some ideas for improving the instrument, but Dave had already developed it when he approached Rick for financing. It looks like fewer than 20 were ultimately produced and about half of them are accounted for. Dave didn't have one of his own instruments for many years until David Kean of Mellotron.com found and restored one and gave it to him. There is a Yahoo! Birotron Group moderated by Dave Biro, open membership so you can get the story straight from the horse's mouth."
"Exhibition features Keith Emerson's Legendary “Monster Moog” Modular Synthesizer through October 18th, 2009
CARSLBAD, CA/ASHEVILLE, NC – The Museum of Making Music (Carlsbad, CA), in partnership with the Bob Moog Foundation, has opened Waves of Inspiration: The Legacy of Moog exhibition, to run through April 30, 2010. The exhibit is the first of its kind, marking the first public display of the artifacts from Bob Moog’s archives and an examination of the impact of his work on the world of music.
MONSTER MOOG INSTALLATION
On August 30th, Keith Emerson's (Emerson, Lake and Palmer, The Nice) mammoth “Monster Moog” modular synthesizer was added to the exhibit after it was featured the previous evening in a musical celebration of the exhibit opening by Emerson and Erik Norlander. Emerson used this remarkable instrument on numerous recordings over the past 40 years, including his solo in “Lucky Man” (1969), possibly the most popular synth solo in history. He also used the synthesizer on countless world tours and is generally credited with pioneering the use of the Moog modular as a touring musician.
The “Monster Moog” began as a modest system, but grew over time as Emerson
requested that Moog create custom additions for his touring instrument, including extra modules, custom sample-and-hold, and several pre-sets, an innovative addition for that time. The synthesizer grew into a massive cabinet of five sections and over 75 modules. It stands more than four feet above its special base – almost 8 feet high. Its sound is noticeably clearer and stronger than any other keyboard Emerson plays – it is an instrument of significance and legend, and arguably the most famous synthesizer of all time.
Bob Moog and Keith Emerson enjoyed a special relationship of toolmaker and musician that grew in to a lifelong friendship. Moog is noted for listening to musician's needs and technical specifications which he then used to improve his instruments: This dynamic is explored throughout the Waves exhibit.
via John Van Eaton "1st shot from way out in outer space as I examined and opened this strange case..................... (yes pretty cool I had a flat screen HD TV in outer space ..... almost looks like a hotel room in Los Angeles.........
It almost looks like a Kubrickian monolith, or something built in the Planet of the Apes............ but with such thin style and grace.....................
I went on a journey, oh so far away, I called Mr. Mattson just to say, "I know your modular's symmetrical, but I am talking beyond the hypothetical, in the theoretical, can you make my modular more mono dimensional ?" "I'm to stow away in a leaky shallow boat, and then to outer space, me and my synth must elope......... But slight and thin it must be, (I'm not talking about synth babes on playboy TV) but....... to be my outer space partner in symphony, or roll in a small bed of cacophonous polyphony, will you good Sir please be kind, & answerer me?"
Mr. Mattson soon replied, " Don't commit modular suicide, I've heard thee well, and I shall make you something thin and swell"
"Is it a mint girl scout cookie ?" , I had to pry...............
" No, I made the Syntar I can not lie!" "it is a case of delight, so svelte so thin so slight, but it protects your sonic dynamite!"
So now I've reveled around the world, and Mr. Mattson's flag's unfurled, I've returned from space, mountains seas and rivers, Now 1/2 a Mattson- thin cover........... may it give you shivers.........."
"The exhibit will also include many artifacts from other private collections including the Moog Modular prototype previously owned by Herb Deutsch, a full Moog Modular IIIC and a working and extremely rare Eaton-Moog Multi-Touch Sensitive Keyboard loaned by avant garde opera composer John Eaton. Of particular note, Keith Emerson’s (Emerson, Lake and Palmer) custom built “Monster Moog” synthesizer will be displayed for the first month of the exhibition along with notes and schematics from Bob’s archives regarding the instrument." Note I gave this post the DIY label, just to make the point that it all starts with DIY. Click on the image.
Update: the following official newsletter came in from the Bob Moog Foundation on the event. I thought I would capture it here for the archives.
Keith Emerson to Perform at Opening of Moog Archives Exhibit Synth legend Emerson and Erik Norlander will both perform at the Museum of Making Music to celebrate the opening of the first exhibit of Moog Archives!
Who: The Bob Moog Foundation & The Museum of Making Music What: Waves of Inspiration. The Legacy of Moog. An exhibit, interactive engagement and opening weekend of performances including Keith Emerson and Erik Norlander. When: August 28-30, 2009 Where: The Museum of Making Music, Carlsbad, CA
Interested in purchasing a ticket? Email to request details.
Visit our blog for details on the exhibit and "sneak preview" pictures of Bob Moog's archives, including a schematic drawing Bob drafted for Emerson's "Master Module".
The Museum of Making Music, a division of the NAMM Foundation, is a small museum located 35 miles north of San Diego. The museum is dedicated to the exploration of the multifaceted history of the American music products industry from its beginnings in the 1890s to today. The Bob Moog Foundation has been planning this exhibit over a year and a half ago with the museum’s Executive Director, Carolyn Grant and Curator, Tatiana Sezinenko. Moog historian Brian Kehew has been involved as the consultant for the exhibit and is responsible for introducing the two parties at Winter NAMM 2008.
Here at the Foundation we regard Bob’s archives as a fascinating testament to history, innovation, and a lifetime of perseverance. Since retrieving the archives from unstable storage conditions in January of 2006, we have worked to preserve and protect this priceless collection that traces the 50 year career of a dedicated pioneer. With this exhibit, we are delighted to be sharing an extensive part of the archives with the public for the first time.
A special thanks to Carolyn Grant and Tatiana Sezinenko for their generous energy and thoughtful attention to telling a rich, fascinating story with an emphasis on accurately portraying Bob Moog as the toolmaker he so often described himself to be while giving careful consideration to the many people who make up the Moog Legacy. Thanks also to Brian Kehew who has worked (and will be working over the next six weeks!) tirelessly to help bring this exhibit to fruition. Finally, our deepest thanks to Douglas Babb, who made the trek from Indiana to North Carolina five times (on his own dime) to help us sort out and understand Bob’s archives.
We encourage all of you who are in the San Diego area to attend this unique exhibit. It will be an excellent opportunity to share in the life and work of Bob Moog – and for all you gearheads out there, it will be a chance to see many rare, if not one-of-a-kind pieces. Come share in the legacy that continues to inspire!
Continue to check our blog and the museum’s website for updates.
"A Bugbrand Weevil 08, showed up and knocked on my door this morning. He was very cute, and the weather outside, was very cold. I invited him in.
I gave him a standard greeting, and introduced him to my Mattson Mini Modular, whereupon, I said I would go fetch some tea.
Well, wondrous things do often come to pass and never cease to amaze me, on my way back up the stairs, I heard a very perturbable conversation ensuing...
Luckily, I was able to capture it in a quicktime blip, as well as a written transcript.
The conversation went as follow, please read transcription concurrently with the audio rendition [launch, listen and read the following translation while playing]:
"Hello" "Hello" "What's up?" " Well......." "(Let's) Hang Out, Together ! " (Sound of Laughter)" "What the F@#%CK ! " "Hell NO!" "Boy Friend-Together-(let's) Hang Out !" "Hell NO! (I've got to) Comb my Hair, Brush my Teeth, Wash my Face...." "Bud Light-Bud Light-Bud Light, I'm so wasted ! " ( Begins to laugh like a Drunken Monkey) "By the way..........HANG UP ! " "Anyway..........." "Good By " .....(Click)...... "Wow.............So What.............Oh What Ever..............."
Standing there, at the top of the Stair Case, with 3 Cups of Tea, a Machine 3 Sheets to the Wind, and my Jaw on the Floor, I was besides myself with a conundrum of condarned confusion............ That was no way for the MMM and the Weevil to be conducting themselves. Sensing my displeasure, at their apparent lack of civility, the MMM spun round seemingly trying to tell me something. Then I noticed it, he wasn't even patched in! He couldn't have been involved in that conversation, after all, he and I had been getting along grandly since his arrival a week ago...
I quickly arrived at the obvious conclusion: I had a Rude/ Drunk/ Schizophrenic Weevil.
OK, Mattson Mini Modular stays, Weevil has to go......any takers? (LOL)
