Die Novation BassStation ist schon einige Zeit auf dem Markt. Sie gehört in die Zeit der ersten bezahlbaren Tastatur-Synthesizer mit analoger Klangerzeugung. Jetzt gibt es ein Novation BassStation 2 Update auf Version 2.5.
Dass Novation auch ältere Produkte so pflegt, ist sehr sehr löblich. Während andere schon nach wenigen Jahren nicht mal einen Treiber oder sowas etwas erneuern, damit das Teil überhaupt noch sinnvoll betrieben werden kann, gibt es sogar neue Funktionen und Optimierung in Version 2.5 für die Bass Station II. Ein Anlass kann das Firmenjubiläum sein, nur pflegt Novation ja auch die anderen Geräte weiterhin gut. Gerade die Circuit-Serie bekommt noch immer Updates, startete als Synth-Groovebox und bekam Sample-Fähigkeiten und vieles mehr über die Zeit dazu. So eine Pflegepolitik hat Lob verdient.
Novation BassStation 2 Update auf Version 2.5
Offenbar hat Novation „hingehört“ und hat fünf wesentliche Neuerungen eingebaut:
Zum Ersten sind es natürlich neue Sounds, was aber noch keine Erwähnung wert wäre. Mal eben per Software geändert haben sie den duophonen Spielmodus. Das ist das unabhängige Spiel zweiter Töne. Die beiden Oszillatoren übernehmen diese Tonhöhen und lassen dadurch ein quasipolyphones Spiel zu. Sehr interessant ist das bei Nutzung von Sync und Ringmodulation, da man nun gezielt auch die Obertöne „spielen“ kann, wie man das zum Beispiel vom ARP Odyssey her kennt. Offizieller Name dafür ist Paraphonic Mode.
Als zweite Änderung gibt es nun ein Keytracking. Das war tatsächlich seltsam, dass man das vorher weggelassen hatte. Das Filter kann mit steigender gespielter Tonhöhe weiter geöffnet werden. Auf diese Weise sind auch Resonanz-Filter-Sounds mit Tuning endlich möglich.
Die Hüllkurven können nun sich selbst neu starten, sobald die Decay-Phase durchlaufen ist. Man könnte das am besten als Loop-Mode bezeichnen und die Hüllkurven damit in eine Art LFO verwandeln, der sehr sehr schnell ist. Offizieller Name dafür ist allerdings Retriggering. Je kürzer die beiden Zeiten für Attack und Decay sind, umso schneller läuft dieser selbstgebaute „LFO“.
Wenn ein Synthesizer schon analog ist und eigentlich „ungenau“ arbeitet, wieso dann nicht bewusst zufällige Fehler einbauen, damit die tonale Stimmung bei jedem Anschlag anders klingt? In digitalen Synthesizern heißt so etwas oft „analog feel“ oder „Slope“. Novation nennt es Oscillator Error.
Als letzte Neuerung bietet Novation neue Skalen für die Tastatur an, das sogenannte Microtuning. Man kann in die Zeit vor Bach gehen, aber auch Blues und andere Skalen selbst bauen.
Das Update ist kostenlos und wird über Noavations Components Content Manager eingespielt. Man kann es quasi „online“ erledigen.
A great live set brews up new musical directions before your ears. It’s a burst of creativity and energy that’s distinct from what happens alone in a studio, with layers of process. From Liverpool (Madeline T Hall) and Moscow (Nikita Zabelin x Xandr.vasiliev), here are two fine examples to take you into the weekend.
Acid-tinged synths unfold over this brilliant half hour from M T Hall (pictured, top), at a party hosted earlier this year by HMT Liverpool x Cartier 4 Everyone:
I love that this set feels so organic and colors outside the lines, without ever losing forward drive or focus. It organically morphs from timbre to timbre, genre to genre. So just when it seems like it’s just going to be a straight-ahead acid set (that’s not actually a 303, by the way, it seems), it proceeds to perpetually surprise.
I think people are afraid to create contrast in live sets, but each shift here feels intentioned and confident, and so the result is – you won’t mistake this for someone else’s set.
Check out her artist site; she’s got a wildly diverse set of creative endeavors, including immersive drawing and sound performances, and work as an artist covering sculpture, sound, video and installation. (Madeleine, if you’re reading this, hope we can feature your work in more depth! I just can’t wait to release this particular set first!)
Darker (well, and redder, thanks to the lighting), but related in its free-flowing machine explorations, we’ve got another set from Moscow from this month:
It’s the project of Nikita Zabelin x Xandr.vasiliev, at Moscow’s Pluton club, a repurposed factory building giving a suitably raw industrial setting.
This is connected for me, though. Dark as it is, the duo isn’t overly serious – weird and whimsical sounds still bubble out of the shadows. And it shows that grooves and free-form sections can intermix successfully. I got to play after this duo in St. Petersburg and you really do get the sense of open improvisation.
Facing off at Moscow’s Pluton.
xandr aka Alexander has a bunch more here:
That inspires me for the coming days. Have a good weekend, everybody.
It’s a great time to love synths, even on a budget. The latest entry is the DIY Brunswick kit from Future Sound Systems in the UK. It’s simple (one oscillator), but weird and dirty sounding – and you can patch this semi-modular instrument to your own delight. And the price is under £99.
So yeah, if you want to mess about with synths and patch things together, modular is hardly your only option. There are loads of ways to make noise.
Brunswick made its debut at Synthfest in Sheffield earlier this month:
One oscillator (pulse/saw) only, but that’s paired with a multimode analog filter and analog envelope, and FM inputs to spice up the sound (plus other modulation). Add 24 patch points, and you can patch together other sound design options. The patchabilityhas obviously made this a hit; the first batch sold out but another is arriving in November.
Oh, and it says “BEEF” on it, which is important.
£82.50 means that’s just over 110EUR with VAT, or around US$100 (before shipping costs).
It is a DIY kit, not assembled. I’d say it’s an intermediate beginner build – nothing especially difficult, but it’ll take some time and you might want a simple project under your belt before you use this to learn soldering.
What’s notable is that Future Sound Systems are giving you a semi-modular instrument that works perfectly well on its own as well as a voice in a modular environment. They make a lot of other lovely stuff but more in the Eurorack domain.
It’s trending now just based on a Reddit member pointing to the box arriving, so I guess people want it!
Full Synthesizer Voice
VCO PWM & FM
2-Pole VCF with FM
Internal Triangle & Square wave LFOs
Internal Envelope & VCA
PLL & Phase Comparator
24 point Patch bay
Power: 2x PP3 9V batteries (+35, -20mA current draw)
Batteries not included
Dimensions: 194 x 120 mm
Patch bay I/O:
VCO 1V/Octave pitch control input
VCO PulseWidth Modulation input (normalled to LFO Triangle output)
VCO FM 1 input (normalled to LFO Triangle output)
VCO FM 2 input (normalled to Envelope output)
VCO “Sawtooth” output
VCO Pulse output
Phase Comparator input
Phase Comparator output
Phase Locked Loop input
Phase Locked Loop output
LFO Triangle output
LFO Square output
Low-Pass Filter input (normalled to switched VCO output)
Band-Pass Filter input
High-Pass Filter input
VCF FM 1 input (normalled to LFO Triangle output)
VCF FM 2 input (normalled to Envelope output)
VCA AM 1 input (normalled to LFO Triangle output)
VCA AM 2 input (normalled to Envelope output)
Envelope Gate input (normalled to LFO Square output)
Whaaah, was ist denn das? Ein 6 OP FM Synthesizer, Wavetable und analoger Synthesizer in einem? Ziemlicher Knaller?
Diese Firma hat bereits einen 6-Operatoren-FM Synthesizer vorgelegt und jetzt soll dieses neue Teil 6stimmig wahlweise genau das tun oder Wavetables oder als klassischer „Standard-Analoger“ arbeiten können.
Das Geheimnis ist offenbar, dass er hybrid arbeitet, er hat analoge Filter und bietet Ringmodulation, Pulsbreitenmodulation, Sync, hat 3 LFOs, bietet Rauschen und 3 Schwingungsformen und das alles soll diskret – also nicht mit digitaler Technik aufgebaut sein.
Dazu kommt jener oben erwähnter digitaler Teil, der faktisch einem DX7 vergleichbar ist, zumindest nach Zahlen und Technik. Außerdem können alternativ 10 Drums abgespielt werden und zwar in Forum von Sampling. die Maschine hat USB und MIDI und macht den Job mittels dreier ARM Prozessoren. Das alles wird in Italien hergestellt. Einen CV/Gate Anschluss bietet der Synth genau so wie eine Tastatur und Effekte.
Ebenfalls an Bord sind Arpeggiatoren und 5 einzelne Sequencerspuren und ein SD-Kartenschacht um das alles zu speichern.
Außerdem gibt es zusätzlich noch einen kleinen Bass Synthesizer in analoger Form mit klassischem 24 dB / Oktave- Tiefpassfilter.
Die Auslieferung wird noch bis Sommer 2019 benötigen und daher ist ein Preis noch nicht genannt worden. Das ist nun doch mal spannend und kann wirklich nicht wenig.
It’s Eurorack without the big rack. Or rack modular that thinks it’s desktop. In any event, if you ever found a module or three you wanted to use without getting a big rack, or quick portability for a beloved module, 4ms may have a solution for you: 4ms Pods.
They’re cute. They’re cheap. They’re daisy-chainable. So if you don’t want that “cockpit” / “I’m outfitting a submarine command center” look, now you can take modules and put them in little handheld boxes you can move around, mix with desktop synths and effects, guitar pedals – whatever.
The daisy-chainable power designed just for this range also mean that you can put together a handful of pods pretty economically, since you only need to buy one with power supply. The pricing – the number being the size in hp, of course:
It’s been a decades-long wait, but now Moog have revealed a flagship polyphonic keyboard instrument – a new dream synth. It’s high-end, for sure, but it also reveals where the brand that became synonymous with synthesis sees us going next. We’ve talked to Moog to find out more on today, release day.
The last time Moog made a polysynth, Ronald Reagan was President, the Space Shuttle was the epitome of futuristic, MIDI wasn’t really even a thing, and to slightly misquote Douglas Adams, people were “so amazingly primitive that they still thought digital watches were a pretty neat idea.”
And let’s be honest. While Moog have been studiously revisiting the evolution of their polyphonic instruments, Moog are known for their monosynths, not polysynths. This could change that. Sure, the Moog One is expensive – you might still choose a poly from Novation, KORG, Arturia, or fellow American brand Sequential (now renamed to its original moniker from Dave Smith Instruments).
But it’s also beautiful, and deep. It’s going to top the wanted list of rockstars again, maybe in a way we haven’t seen since the 80s – as proven by the promo video (some of which feature those same 80s synth superstars). If we still cared about print magazines graced by keyboard covers, this would have a glossy special edition devoted to it with a pull-out centerfold that let you lie in bed and stare at its front panel on your ceiling.
As for the “One” part, well, that’s more about it being the one, as in:
— well, except instead of Wayne, apparently Suzanne Ciani and Chick Corea reached that conclusion.
To celebrate, Moog have rebooted their 1976 Polymoog promo film, this time with Jeff Bhasker, Suzanne Ciani, Chick Corea, Mike Dean, Robert Glasper, Dick Hyman, Dev Hynes, Mark Mothersbaugh, Mark Ronson, Ryuichi Sakamoto, Dr. Lonnie Smith, and Paris Strother. (Hey, you left out the ghost of Liberace and the Queen of England. That’s a Jerry Lewis telethon-level cast right there.)
And given the price is $6k or $8k list, you’ll probably want to know more. So Moog are doing a first-ever AMA (Ask Me Anything) on Reddit:
Plus there’s a live stream of them building these (with another discussion to follow):
About the synth
So, what’s the big deal about this big synth?
It’s really the blockbuster follow-up to everything Moog have been doing – take the Minimoog Voyager, then make each single analog signal path more powerful, multiple that times 8- or 16-voices (depending on which model you buy), and then turn that into three independent polysynths.
That is, the “tri-timbral” part means that you could think of this as three analog polysynths in one. Each timbre can be addressed separately, with its own sequencer, its own arpeggiator, and its own set of effects.
Three all new dual-output analog VCOs
Ring modulation and FM
Two independent analog filters
Dual-source analog noise generator
Analog mixer with external audio input
Three envelope generators
Effects, including Eventide reverbs (more on that below)
Preset recall, with 64 performance-fiendly presets loaded right from the front panel (and thousands more via the browser)
200 front panel knobs and switches
Mod Matrix for visual modulation patching (also more on that below)
Easy-access “Destination” button – hit it, tweak something, and you get instant assignment
Now, all of this matters, if you think about it.
What’s the reason people are into hardware? Easy: hands-on control. And this has a lot of it.
But why are people also buying modular? Well, in part, at least, they want deeper sound design possibilities – complex modulation that allows more sound worlds. And this does deliver a lot of that via its voice architecture and modulation offerings.
Why did manufacturers start making keyboards and not only modulars – even for people who had been big modular users? That’s easy, too – modulars don’t give you instant performance recall, and they’re (by definition) not integrated instruments. This does both of those things.
But we also see the advantage of time. We’ve come full circle to lots of one-to-one performance controls. But we also can take advantage of an integrated display, without trying to use it to replace knobs and switches. We’ve become more allergic to menu diving and hidden features. And computers have made us demand more of hardware – like those instant-assign destination buttons. This is a Moog for a time when hands-on control and depth aren’t mutually exclusive.
Let’s ask Moog
I wanted to know more about how the Moog One came about and how you play it, so here are some answers to those questions – though for more, of course, you can join the AMA thread.
Making a new polysynth was unsurprisingly on the minds at Moog. “Moog has a long history of polyphonic synthesizer development, beginning with the Moog Apollo project in 1973,” Moog tells CDM. “Although the Apollo never moved beyond the prototype stage, Keith Emerson’s use of the newly designed instrument during ELP’s Brain Salad Surgery Tour provided Moog with valuable feedback for the release of the Polymoog in 1975. During this 10 year span, 6 different takes on a polyphonic instrument where created, ending with the Moog SL-8 prototype in 1983.”
Players have never stopped asking for polys, nor has the idea ever died, Moog tell us. Some resistance came from founder Bob Moog himself, however: “In his later years, Bob was not keen on the idea of a new Moog polyphonic synth, knowing firsthand the challenges of creating one, but over the years we have been able to substantially reduce costs and have increased the stability of our analog designs to the point that creating an analog poly no longer seemed out of reach.”
So when did the Moog One start to come into being. “Officially, we began the research phase in earnest in 2013,” say Moog, “talking with artists and creators about what their vision of the ultimate Moog synthesizer would be.”
“By 2016,” Moog says, “we had the first hardware prototypes for the circuitry, with the first stages of a working Moog One prototype taking form in early 2017. Now that the Moog One has been realized, we only wish that Bob Moog was here to play the first chord.”
Okay, so how does it actually work, though? More details:
How modulation works:
Each of the Moog One’s 4 LFOs and 3 EGs have their own dedicated Destination Buttons for making modulation quick assignments on the front panel. Simply press the Destination on any LFO or EG, and the next knob you touch will set the modulation destination and amount.
For a modulation deep dive, the onboard Modulation Matrix provides immediate visual access to every possible combination of Moog One’s modulation sources, destinations, controllers, and transforms. The Modulation Matrix makes it easy to quickly program complex modulation paths while also giving an overview of all the modulation routings that have been set up in a given Preset.
What about the Eventide reverbs?
It sounds like two come from favorite algorithms known on the Eventide SPACE and related products:
Moog One was developed to explore what is possible in a polyphonic synthesizer, and Eventide’s breath taking reverb technology was the right fit. The Room, Hall, Plate, Blackhole, and Shimmer reverbs are all implemented using Eventide’s world-class algorithms with a few optimizations for use in Moog One.
A direct connection to service
There are some other changes coming, too. Moog are adding a chat feature so during business hours – 9-5 Monday through Friday Eastern Time – you’ll be able to ask questions of Moog staff in North Carolina, in real-time. (They’re quick to remind us those are “employee owners.”)
And there’s also that mysterious Ethernet port on the Moog One. From day one, it’s there for remote diagnostics and service. But more is coming:
Now, when a musician experiences issues that typically would require shipping an instrument back to the Moog factory, we are instead able to access their Moog One remotely and run a series of tests, calibrations, and whatever else may be necessary to best service their instrument remotely, which is a huge advancement and time saver for customer, dealer and manufacturer. While we can’t talk specifics regarding future product development, we can tell you that we have plans for the Ethernet port that will open new portals of creativity for Moog One owners.
Above, top: inside the Moog factory, as the first Moogs One are completed.
Moog One is out now, for real:
As of today, Moog One is available for order through all authorized Moog Dealers world wide. You can actually watch us building the Moog One right now through the live-stream player on the Moog website. Sweetwater will receive the first 150 units over the next few weeks, and we expect to begin shipping the Moog One to all US dealers in November, with international shipments starting shortly there after.
And what about those of us with budgets the Moog One doesn’t fit?
I had to ask Moog this, too – a lot of us are more in the market for $600 instruments than $6000. So what does this mean for us?
When we began development of the first polyphonic Moog analog synthesizer in over 35-plus years, we wanted it to be a dream-synth that pushed the limits of what is technically possible while still being an intuitive instrument for self-expression. This year we’ve released DFAM, Grandmother, and the Moog One, which are three instruments that cover a wide range of creative possibilities.
That’s fair, I think. As I’ve observed before, Moog have kept a range of products in reach of those on a budget – down to very affordable iPad/iPhone apps, but also including this other hardware. They’re releasing a fair number of products for a mid-sized manufacturer (compared to tiny boutique shops at one end, or mighty Japanese makers at the other). And since they first came up with their crazy Keith Emerson modular relaunch, while we have seen big-ticket rockstar items, those do appear to drive creation of more affordable analog gear and other devices and apps for the rest of us.
The Moog One will have a lot to live up to, because of its price, because of its obvious ambition, but mostly because of its name. But this looks tantalizing – a Moog poly that could be worth the wait.
Es gibt Sounds! Der Moog One wurde zwar immer noch nicht offiziell veröffentlicht, aber das heißt ja nicht, dass man dem polyphonen Analogsynthesizer mit Memorymoog-Optik nicht schon ein paar Klänge entlocken kann. Endlich mal mehr als nur das Datenblatt und ein paar Fotos.
Klanglich würde ich es bei Retro-Speziell einordnen. Das ist gut so. Man lässt ein paar (ziemlich) bekannte „Nasen“ in einem Video mit 60er-Optik erscheinen. Und es geht weiter – man sieht Herrn Sakamoto lächeln, Frau Ciani und es gibt Demos.
Der erste Eindruck klingt voll, flächig und rund. Nicht zu „fett“ für ein polyphones Instrument – die ewige Befürchtung der Nerds. Der Spot erinnert an Apple Spots, nur mit Vintage-Filter für die Patina und diverse Spieler legen Hand an das Instrument. Wobei ein Synthesizer immer sinnlicher als ein Telefon sein wird.
Und ja, es ist so sinnlich, dass es schon ein wenig esoterisch erscheint. Es ist für Fans, für die, die Lust haben. Es geht nicht um Features, da diese reich an der Zahl sind und man das bereits weis. Daher einfach mal verschiedene Musiker einladen und spielen lassen. Wir sind selbst gespannt, wie ihr das findet, wie ihr den Moog One einordnet. Die Sounds hier sind fast ein bisschen konservativ. Aber der Beginn ist ein bisschen avantgardistisch. Eine doch eher amerikanische Sprache, die hier gesprochen wird.
Aber der Sound wandert von lustig-beschwingt-10-Pfennig-esque bis schwer-flächig. Was löblich ist, dass offenbar keine Effekte im Einsatz sind außer jenem Eventide, der eingebaut ist. Die Message ist – hier habt ihr etwas Wertiges, etwas zum anfassen, etwas Analoges.
It’s called the Moog One but think 8- or 16-voice synth. And this is the “dream” analog synth in that it’s a luxury instrument, running up to US$7999 for the 16-voice model.
US-based retailer Sweetwater appears to get the scoop on this one. The big deal here: advanced envelopes, a deep, no-compromise architecture with two filters per voice and four LFOs, and features like routable ring modulation, oscillator Frequency Modulation, and hard sync. It’s also loaded up with I/O, both audio (including inserts for effects) and control voltage/gate. There’s even a LAN port that promises future expansion.
The Moog One is also a kind of high-end successor to the Minimoog Voyager, with an emphasis on live performance features (including a feature called User Spaces for storing and recalling settings), the return of the X/Y pad, and an insane amount of hands-on control – 73 knobs and 144 buttons.
And while we’re waiting on photos, the side panels are made from ash and the front panel from aluminum, plus it does look nice in this one cropped shot.
And here are those specs. So we expect the usual attention to detail and find craft from Moog, if at a premium price above even the majority of boutique makers in this sector – US$5999 for 8-voice, 7999 for 16-voice.
It’s available now in the USA from Sweetwater (they even say “in stock” as I write this, even though there hasn’t been a formal public announcement yet).
8- or 16-voice polyphony
3 VCOs per voice with waveshape mixing and OLED displays
Unison mode (up to 48 oscillators on the 16-voice instrument)
2 filters per voice with filter mixing (2 multimode State Variable filters that function as a single filter, and a classic lowpass/highpass Moog Ladder filter)
3 DAHDSR envelopes per voice with user-definable curves
Separate sequencer and arpeggiator per timbre
Dual-source noise generator with dedicated envelope
Mixer with external audio input
Ring modulation with selectable routing
Oscillator FM and hard sync with selectable routing
4 assignable LFOs
Premium 61-note Fatar TP-8S keybed with velocity and aftertouch
Assignable pressure-sensitive X/Y pad
Digital Effects (Synth and Master Bus)
Selectable glide types
USB and DIN MIDI
Save, categorize, and recall tens of thousands of presets
Create Performance Sets that make up to 64 presets accessible at the push of a button
2 x ¼” stereo headphone outputs
2 pairs of assignable ¼” outputs (supports TRS and TS)
4 x ¼” hardware inserts (TRS)
1 x ¼” external audio input (line-level)
1 XLR + ¼” TRS combo external audio input with trim knob
9 assignable CV/GATE I/O (5-in/4-out)
USB drive support for system and preset backup
LAN port for future expansion
Now we just need a big poster to hang over our beds, maybe – well, and to hear what it sounds like. Stay tuned.
But yeah, for the rest of us, you have other options from the likes of Dave Smith, Waldorf, and of course monosynths from Moog. So this will mainly be about curiosity as to what a polysynth can do when it’s positioned as a fully premium electronic instrument.
I know a lot of the folks at Novation on a personal level well enough to say – they’re synth lovers, day job and after hours. What’s great about their latest video series is, some of that comes out.
Of course, yesterday we saw at least one user really hacking a Novation product, the Launchpad Pro, by modding the hardware using a firmware release from the company. And as one frustrated developer shouted at us in comments, that requires a bit of effort. (Not so much for you – you can download a file and use this easily – but modifying real-time firmware of hardware takes some practice!)
This isn’t quite that. These “hacks” have more to do with creatively abusing some features to push the hardware synths to the limit – Circuit, Circuit Mono Station, and Peak. The Circuit in particular has a user community that proved surprisingly advanced, squeezing everything they can out of this budget-priced hardware. But lately the more recent Mono Station and Peak are finding an equally devoted following.
Here’s the whole playlist, which covers sound design techniques (like oscillator sync – okay, that’s more a conventional technique than a ‘hack’), approaches to performance (patch change), working with clock and CV, and other features.
This raises a question, though – these are recent Novation products, so it’s pretty easy to get the manufacturer to do some hot tips.
But which instruments would you like to see covered – new or old – and in what way? What’s missing in tutorials? Let us know in comments. (I realize I just self-selected the answers to that with people who own these Novation synths, so I’ll keep asking this … but also curious what other stuff you Novation lovers own, too!)
The story of electronic music making is ultimately a human one, even as those humans work with machines. So as the Bob Moog Foundation plans a Moog museum and expanded education, we share seven images from the archives that follow a thread through that history.
The Bob Moog Foundation is a non-profit American organization dedicated to continue the legacy of its namesake. And now they’re expanding their educational project for kids, the Dr. Bob’s SoundSchool, which uses sound technology to teach engineering and science as well as culture. Plus they’re raising funds to create a physical Moogseum. And to do that, they’ve got some classic instruments to give away as fundraising items in a raffle (details below).
There are tons of amazing images and artifacts now in the foundation archives. But let’s examine a few that capture a set of moments across that history. Thanks to Bob’s daughter and Moog Foundation Executive Director, Michelle Moog-Koussa, for sending these to CDM. (Captions also courtesy Michelle.)
Roger Powell and Bob Moog with custom modular controller designed by Bob for Roger, at Radio City Music Hall.
Roger donated this controller to the Bob Moog Foundation, and it is now part of their archives and will be present at the Moogseum.
Bob Moog fixing Patrick Moraz’s Polymoog in Switzerland.
Bob Moog and Less Paul with the LAB Series Amp.
Bob Moog, Suzanne Ciani, Roger Powell, UIW.
Bob Moog, Herbie Hancock, Will Alexander, NAMM.
Bob Moog lecturing at University of Michigan about Alwin Nikolias’ first commercially available Moog synthesizer.
Chick Corea and Bob Moog, Asheville Civic Center.
About that raffle:
A Memorymoog, Moog Source, and Moog Rogue will be offered as first, second, and third prizes, respectively. The Moog Trifecta Raffle marks the first time in the Foundation’s history that it is offering more than one raffle prize.
The raffle begins on August 27, 2018 at 12:01am EDT, and ends on September 24, 2018 at 11:59pm EDT, or when all 5500 tickets sell out, whichever comes first. Tickets are $25 each or five for $100, and can be purchased here: http://bit.ly/MoogTrifectaRaffle
Funding raised from the raffle will be used to expand the Foundation’s hallmark educational project, Dr. Bob’s SoundSchool, and to help fund its newest project, the Moogseum, which was announced last week. The Moogseum, a planned interactive, immersive facility that will bring Bob Moog’s legacy and the science of sound and synthesis alive for people of all ages, will be located in downtown Asheville, NC. It is expected to open in April 2019, with an online Moogseum to follow later that year.
All three synthesizers were built in Moog Music’s Buffalo, NY factory in the early 1980s, have been fully restored, and are in excellent technical and cosmetic condition with minor flaws typical with vintage instruments.
The Memorymoog, serial number 1460, has an estimated value of $7,500. It combines six voice polyphony to create a unique polysynth with three voltage controlled, articulated oscillators. Each voice has its own 24dB voltage controlled filter. It is often referred to architecturally as six Minimoogs, and is renowned for its rich sound.
The Memorymoog being offered has been retrofitted with a sequencer and MIDI capabilities, normally found only in Memorymoog Plus models. It has been meticulously serviced by vintage synth specialist Wes Taggart, a lauded technician for Memorymoog restoration.
The Moog Source is a 37 key, two oscillator synthesizer with unique features such as patch memory storage, flat-panel membrane buttons, single data wheel assignment, and more. It has two voltage controlled analog oscillators and the legendary 24 dB Moog filter. The unit being offered is serial number 2221 and has an estimated value of $2,400. The Source has been used by such legends as Tangerine Dream, Jan Hammer, Depeche Mode, Devo, and Vince Clarke.
The Moog Rogue is a compact, two oscillator monophonic synthesizer often referred to as “small but mighty” for its legendary powerful bass sounds. Versatile and user-friendly enough to be used as the Taurus II Bass Pedal synth, the Rogue has been used by Will Butler of Arcade Fire, Vince Clarke, Peter Gabriel, Jonny Greenwood of Radiohead, Howard Jones, and more. The unit being offered, serial number 4462, has been restored by acclaimed restoration house Tone Tweakers, and is valued at $2,000.