Sunday Synth Jams: Bernd Kistenmacher’s Celestial Movements offers some live Berlin School synth jamming with a kick.

via cosmiccagibi:

Bernd Kistenmacher is back ! First concert in Paris… Excellent ! If you couldn’t be there no worries, we like to share, so… enjoy, and see you next time. Soon !

Saturday Synth Porn: Here are a few more shots, via Sweetwater, of the new Moog Taurus III bass pedals.

Tom at Waveformless put together a fun post taking a look at going vintage on the cheap.

There are a number of really underrated synths that seem to go for consistently low prices. They’re awesome synths, but nobody seems to know about them, which means you can get a great deal.

Here’s the list of synths that he highlights:

1. Casio CZ-101 (typically less than $100)
2. Ensoniq ESQ-1 (typically $150-$300)
3. Moog (Realistic) Concertmate MG-1 (typically $100-$500)
4. Oberheim Matrix-6R (typically $150-$350+)
5. Roland HS-10/80 (typically $25-$100)
6. Roland HS-60 (typically $200+)
7. Roland MKS-7 (typically $200+)
8. Yamaha CS-01 (typically $150-$250)
9. Yamaha TX81Z (typically $50-$85)

See Tom’s post for his take on each of these synths.

Are these great synths? No – but you can get great deals on them and make some great sounds.

As an alternative to the Casio CZ-101, I’d recommend the CZ-1, which has twice the polyphony plus a velocity + aftertouch sensitive full-size keyboard. And is still dirt cheap.

Got other ideas for cheap vintage synths that don’t suck? Leave a comment!

Thalassa’s Berlin School Moments is a retro live synth jam, featuring Moog MG-1 + Synthesizers.com + Yusynth + MFOS step sequencing.

“Berlin School” synth music is music that’s inspired by the tradition of 70’s German electronic music pioneers like Tangerine Dream and Klaus Schulze. Key characteristics include step-sequenced basslines, “spacey” effects, Moog synth leads and Mellotron pads.

Details below.

via Thalassa77:

Synthesizers.com and the MFOS Sequencer: main sequence

Moog Realistic MG-1 lead sounds.

Redtron : Mellotron Sounds.

No MIDI sequences were used , all was recorded on one take and no further mixing after recording, Everything is improvised,please forgive my mistakes ( a lot of them )

The Realistic Concertmate MG-1 is vintage analog synthesizer that was distributed by Radio Shack under their “Realistic” brand name.

It was one of the worst synths that ever bore the Moog name. But, as the video demonstrates, that doesn’t mean it couldn’t make some great analog sounds.

Features:

• Two oscillators with sync & detune, one producing either a Square or Sawtooth waveform, with the other producing either a Pulse or Sawtooth waveform.
• One low pass filter/VCF, that can use the envelope generator, has limited keyboard tracking, and is capable of self oscillation.
• Limited envelope generator with variable attack and release, and a switchable sustain (no decay).
• Oscillator 2 can be tuned independently or synced to oscillator 1.
• Noise generator.
• Ring modulator (called “Bell Tone”).
• Polyphonic oscillator. This oscillator is routed through the filter, but not through the envelope generator or LFO.
• LFO that can modulate the oscillators and the filter using a triangle, square or random waveform
• Portamento (called “Glide”)
• External Control inputs for pre-MIDI CV/Gate.

The Concertmate MG-1 is notorious for it’s inclusion of a cheesy polyphonic organ sound and for using black foam on the interior which decays into a sticky black sludge over time.

If you’ve used the Moog Realistic Concertmate MG-1, leave a comment with your thoughts!

The History Of The Moog Realistic Concertmate MG-1

Synthesis Technology’s Paul Shreiber, who’s known for designing the Cadillac of modular synths, the MOTM, has explained the origin of the Concertmate MG-1:

Radio Shack has no engineering. Rather, that falls (er…’fell’) under TSD (Tandy Systems Design). Also, twice a year Radio Shack holds a private version  of COMDEX/CES, just for them! Vendors line up 50 deep and present their wares.

Back then (early ’80s) about 40% of gear in a Radio Shack was bought ‘outside’. Most electronics was made in a Korean factory that Tandy owned a majority  share called EnCal (EnCal made all of Pioneer’s and Alpine’s car stereos there).

So, during one of these mini-trade shows who is on the presentation list (which TSD got in advance) but a one ‘Dr. D. Luce’. Well, when I saw Mr.  PolyMoog on the list I had to see this. So sure enough here he wanders in with a hand-made small synth. He demos it. Bernie Appel, the #1 decision maker (er…the *ONLY* decision maker of what went in the store or not) had this type of conversation:

BA:  What the f*** is that piece of s***? (BA enjoyed treating all new vendors this way. This was his equivalent of “Hello.”)

DDL: It’s a music synthesizer prototype. [Proceeds on a 3 minute demo. You had 5 minutes to present. Period!!]

BA:  (interested, but certainly not going to show it to the Yankee geek) How the hell do you plug it in?

DDL  points out the 1/4″ jack.

BA:  Where in the holy hell, in my store (they were always referred to as “my stores”) does that thing go? Up my ass?

See, RS had not a single piece of gear that had 1/4″ jacks! All RCA. BA knew this.

DDL at this point looks like he’s gonna puke. He’s quivering & sweating like a whore in church (sorry, that’s another BA expression!)

BA:  Play me a tune. [DDL one-fingers a classical thingy.]

BA:  That damn thing busted? What’s with this 1 finger shit? [DDL explains about monophonic blah blah blah.]

BA turns to me.

BA:  You know what the hell he’s talking about?

Me:  (thinking this is a trick question) Err…yeah.

BA to DDL: We’ll look at it. NEXT!!!!

So began the Luce/Schreiber effort. What he had was the boards out of a Minimoog, no A440 osc, no noise, in a box. So, I got handed that, designed  the MG-1 version (added the organ stuff BECAUSE BA was convinced that typical  RS customers wanted more than 1 note). Added RCA jacks, ring mod do-dad. Then, had to specify parts that Moog never had to use: cheapo pots. I’ll admit it: CHEAPO. They were ALPS and I think we paid (back then) about 23 cents apiece.

That is because the RS gross profit margin was an unheard of 63% (the average of ALL the Forture 500 is like 8%) and lastly, I spent about 3 weeks on just the panel layout and color scheme & wrote the Owner’s Manual along  with, oddly enough, Steve Leininger who designed the TRS-80. He played a Vox  in a jazz band and BA wanted his opinion as well.

Luce and I went back & forth about 5 months until they delivered the “pre-production” units. Moog made them, Tandy supplied most of the parts (we had a company in Japan that bought parts and resold them to Tandy. One day I’ll tell my funny modem capacitor story.)

So, the story was:

• Moog presented the original idea to RS
• They dumped it on me. I had to make it “Radio Shack compliant”. Which meant a re-design. Used the 3046 + Tel Labs tempco for the VCO. More Electronotes than Moog! Moog ladder filter, 3080 VCA. Prototype had mod wheel; *PUNT!*. Cost like $3. Get real.
• Moog built it.
• Tandy had 18 months exclusive. Moog then made the Rogue which is my design without the organ/ring mod, wheels back on.
• No, I didn’t get a free MG-1 or a Rogue.
• No, I didn’t get a lot of money. At that time I was making about $21,500/yr.

Final note: NO!!! I DID NOT pick that stupid black felt that lays over the sliders, then turns to tar. That was Luce’s deal. But, I DID get Luce to send me *every* piece of Moog literature at the time: still have it!

Paul Schreiber
Synthesis Technology

Resources:

• The Moog Realistic Concertmate MG-1 at cykong
• Synhouse plans for adding MIDI to a Concertmate MG-1 synthesizer
• Video via Thalassa77: During the last few days I’ve been restoring this Moog Realisitic Concertmate MG-1 and now the synth is like new. The Moog MG-1 is basically a Moog Rogue with a polyphonic section, it has 2 VCO , 1 LFO with S&H , 1 AR envelope , noise,ring modulator and a genuine Moog filter. The sound is amazing and you can get a lot of different kind of sounds from deep basses to soft leads and brass sounds. On this video i’m just showing a few of sounds that can be created on moment with this little synth
• Wikipedia entry

Dr Bleep is trickling out more info on the new Thingamagoop 2 synth robot.

The video above demonstrates using a Thingamagoop 2 to control a Moog Prodigy.

Dr Bleep says:

The Thingamagoop has a stereo 1/8? jack on the side to facilitate control voltage in and out. You can make your own cable very simply or order a nice, shielded one from us. It’s simply a stereo 1/8? to two, mono female 1/4? jacks. Here’s Dr. Bleep and his band, The Hearts and the Minds, using the Thingamagoop 2 to control a Moog Prodigy.

Note that the CV input is not 1volt/Octave but you can use it to make some ridiculous sound!

Arduino Support

The Thingamagoop 2 uses Arduino to control the analog VCO as well as the LEDacle. You don’t need an Arduino board to use the Thingamagoop 2; you only need on if you want to reprogram it.

The Thingamagoop 2 circuit incorporates an AVR chip that has been programed without the Arduino bootloader. This allows the device to start up immediately but you’ll have to switch out the chip for one with the bootloader if you want to reprogram it.

The programmer cable is a stereo 1/8? cable with a ferrite noise suppressor and 3 pins on the other end that go into the Arduino headers. Not only can you directly program the Thingamgoop 2, you can communicate with it.

“Who will be the first to get processing to use the photocell as a variable!? Or build a MIDI i/o!?” asks Dr Bleep.

Gearwire’s Bill Holland takes a look at the Moog Music Minimoog Voyager.

Click here to view the embedded video.

Moog Music Minimoog Voyager Electric Blue

Click here to view the embedded video.

Moog Music Minimoog Voyager Modulation Options

Sunday Synth Jam: Voltage Controlled Passacaglia, Pages 1 & 2, by Paul Hembree (Premiere)

Performed on the CRuNCh lab 1972 Moog Modular synthesizer, with video projection of an attached oscilloscope.

Executed from a score with parametric envelopes assigned to different performers. Rough synchronization is achieved with stop-watches, and four short sections in the piece (each about a minute long) allow for some controlled improvisation.

Paul Hembree, Chris Rippey, Steve Snowden, and Curtis Peel, performers.

Click here to view the embedded video.

Voltage Controlled Passacaglia, Pages 3 & 4, by Paul Hembree

via PHIntermedia:

Can anyone figure out what the ground-bass theme is?

Also thanks to Brandon Vaccaro and Sean Brady for help with the MAX panning patch (the only digital aspect of the work… sadly we didn’t have enough voltage controlled amplifiers, nor enough mixer channels on the Moog to produce 4 channel spatizalization).

This has been on MySpace video for a while because they do not have a ten minute time limit. However, I figured I should expose this work to YouTube, so I cut the piece in half and I’m posting both chunks.

Dreamscapes, for shofar, rainstick, mbira, Peruvia ocarina, didgeridoo and computer-generated sounds.

Composed & Performed by Herbert Deutsch. Deutsch is an American composer and professor emeritus of electronic music and composition at Hofstra University.

In the 1960’s Deutsch collaborated with Bob Moog in the invention of the Moog modular synthesizer.

via scootermccrae:

Composed in 1995 and dedicated to Albert Tepper.

This is a video introduction to the Moog IIIc modular synthesizer of btpro.

The first video offers an overview of system and modules.

Click here to view the embedded video.

Moog IIIc has two series of VCO, 901 and 921. This video introduces 901 VCO series.

It sounds like it’s basically a raffle, where all the prizes are synth-related.

Prizes include:

• A private look at The Bob Moog Archives in Asheville, North Carolina and lunch with The Bob Moog Foundation Executive Director Michelle Moog-Koussa.
• A VIP tour of Moog Music Inc. and lunch with Mike Adams, President/CEO of Moog Music Inc.
• A VIP tour and luncheon at the Museum of Making Music on January 18, 2010 with Moog exhibition advisor Brian Kehew, Moog Foundation Executive Director Michelle Moog-Koussa, Moog Music Inc. President/CEO Mike Adams, Museum Executive Director Carolyn Grant and Curator Tatiana Sizonenko.
• Moog Little Phatty Synthesizer autographed by George Duke and Moog luminaries (including Brian Kehew, Michelle Moog-Koussa and others). Please note: DRAWING FOR THIS ITEM WILL TAKE PLACE ON APRIL 30, 2010.
• Two (2) tickets to the George Duke & Anita Baker concert at the Nokia Theatre on November 7, 2009. Please note: ENTRANTS NEED TO BE PRESENT TO WIN!

Details on the contest are available at the MofMM site.

It’s Sunday! That means we take a slight break from the non-stop electronic music news coverage and break out the Sunday Synth Jams – new and classic examples of musicians making interesting music with synths and electronic music gear.

You may have seen this one before, because it’s a vintage synth jam from 1977. But it’s Klaus Schulze at his Moogtacular prime…..

If you ever need a definition of Berlin School electronica, this is it!

Tune in, turn on and space out as Klaus Schulze plays live, WDR Köln 1977.

For Schulze fans only: Leave a comment and let me know what your favorite Schulze album is!

via OtixIbiza:

One of my first works as soundtechn. at german television WDR Köln 1977.

Arturia has released Moog Modular V 2.5, the latest version of its virtual Moog Modular.

Changes in Moog Modular V v2.5:

• Switch to Syncrosoft copy protection.
• VCF audio quality improvements.
• Lower CPU utilization on Mac OS X.
• Better Audio Unit compatibility (Digital Performer most notably).
• Ability to use NRPN MIDI messages for automation.
• Better handling of control surfaces while changing preset.
• New presets added.
• MIDI RPN “pitch bend range” message is now recognized.
• Miscellaneous Bug fixes.

Moog Modular V is available for PC and Mac (VST/AU/RTAS) for $249 USD / 229 EUR.

This is the music video for Ethan Goldhammer’s funky In The Pocket.

This is another great example of how you can make a visually striking music video without a lot of money, if you’ve got a great idea and execute it well.

Original music by Ethan Goldhammer and S. Burke.

Time Lapse footage shot in August 2008 on Block Island, RI.
Stop motion and light paint September 2008 in Cambridge, MA.

via Peter Kirn

This video captures some images of an early synth built by Bob Moog for Austrian composer Max Brand (1886-1980).

Moog designed electronic sound equipment for Brand starting in the late 50’s. This modular is believed to be from around 1967-1969.

via klubmoozak:

Please note that this video is intended to show the machine – the included audio track does NOT demonstrate it’s capabilities – most of the audio being heard on this video is not even from this machine!

Mickey Dolenz of The Monkees talks about using the Moog modular synthesizer on Daily Nightly, above, the first pop recording to use the synthesizer:

“Ahh, my little Moog synthesizer,” said Dolenz. “It was actually a pretty difficult thing to use,” he said, recalling how those first-generation synthesizers had to be physically rewired for every different sound the musician might want to use.

“I threw a party for John Lennon one night, and he sat there at the Moog for four hours making flying saucer sounds. It was great for flying saucer sounds.”

“I sold it to Bobby Sherman,” adds Dolenz. “I think he still has it.”

via The LA Times Music Blog

Brunette Models’ Call Him Dr. Moog, from Contemporary Electronic Soundscapes / Volume II: Homage to Bob Moog.

via ArtBonVivant:

The track from album “Contemporary Electronic Soundscapes / Volume II: Homage to Bob Moog”.

Very good electronic music, composed by Brunette Models [August 2006].

More info here and here.

The Moogist’s Scratch From Scratch

via timtsang3:

So after losing my 1 TB external HD full of my sounds and beats and 300 gigs of itunes this week, I decided to start “from scratch” and make music with a fresh mind. Yay!PS: Thank you to all my friends and fans for your sweet support – you are much appreciated. Moogist loves feedback!! Leave a comment, send me an email, postcard, chocolate, candy – whatever – I’d love to hear from you!www.moogist.commoogist@gmail.com

This is a video demo of the sound of Moog Music Little Phatty analog synthesizer.

via RanKirlian:

Just got my Moog Little Phatty and this is me getting some fun tweaking the presets (stage 2 sound bank). The reverb effect is from the DAW.

This video captures a historical look at the future of music – a BBC Tomorrow’s World episode that looked at the Moog modular synthesizer.

via Synthasy2000:

In this report from a longer programme, Derek Cooper introduces the Moog synthesiser, an instrument that can produce a variety of noises and arrangements, both mimicking real instruments and creating new sounds, all electronically.

Did you know?

Developed by Dr Robert Moog, the Moog synthesiser evolved from a kit known as a Voltage-Controlled Electronic Music Module, which Moog demonstrated in prototype form in 1964. The first production models emerged in 1967, accompanied by a sample record of music composed by Walter Carlos (later Wendy Carlos, after her sex-change operation in 1972).

It was Carlos’s 1968 album ‘Switched-On Bach’ that catapulted Moog-produced music into popular culture, though examples of music made on the synthesiser had already been released by The Doors, The Monkees and Simon & Garfunkel, among others.