In this video, Alastair Wilson takes a look at using the filter envelope of the Moog DFAM as a 3rd oscillator.… Read More How To Use The Moog DFAM As A 3-Oscillator Synthesizer
Synthesist Lisa Bella Donna explores the new Moog Grandmother synthesizer, in an improvisation from the pop-up store at Moogfest 2018.… Read More Moog Grandmother Improvisation With Lisa Bella Donna At Moogfest
This video captures a quick tour of the process, along with some sound examples of the Grandmother in action. … Read More Moog Grandmother Synthesizer Build Tour
After years of somewhat similar wheels and pads and keys that wiggle, we’re finally seeing the ability to get physically expressive with sound in new ways. The Expression E Touché is one of the most compelling cases of that – but to understand, you have to watch, and listen.
So the French company and its fearless young leader Arthur Bouflet have cleverly taken Moogfest as a chance to do just that.
You’ll spot the wooden paddle-looking device beneath Arthur’s hand. It’s something that looks simultaneously vintage and historical and futuristic – a design object whose origin and time can’t quite be placed. And your first reaction, probably, is some skepticism – until you watch just how sensitive and intuitively gestural it is. You may or may not be taken with Arthur’s musical sensibilities – hey, I find it rather cheery and groovy, myself – but pay close attention to the gestures that are possible with it, and I think you’ll be impressed.
There’s more than one connection here to Moogfest, the festival-cum-technology meetup coming to North Carolina this week. There’s the custom, limited edition overlay for festival goers, yes, and the fact that Expressive E are going to the festival themselves. But the company have also made great effort to make custom presets for loads of gear, Moog’s equipment included. So that includes apps (Moog Model D for iOS), and hardware (DFAM, Subsequent 37, just to name two in the video).
It’d be hard to demo an expression or sustain pedal, but there’s no need. And it’s easy enough to map those two inputs to any synth. Open-ended, gestural expression is something else – there’s some prep work involved. Hats off, then, to Expressive E for both making an exhaustive library of presets and producing lovely-looking video demos to show why this all matters. (They’ve even mapped our MeeBlip synth.)
With USB, CV, and, MIDI connections, there are all sorts of possibilities for connecting to instruments – hardware and software, digital and analog. And all of these connect to the high-resolution sensing data from the Touché.
I’ll do a full review of this hardware soon, with some advice for DIYers and musicians. But in the meanwhile, these videos really get the point across.
In the age of MIDI Polyphonic Expression, you’ll see a lot of new controllers adding dimension to the inputs they read. And that makes it clearer than ever that part of what was holding back more expressive electronic musicianship was simply the common standard to describe a wider range of human performance.
But this particular hardware is special, in that it suddenly opens up sound where it had once been static. Uh… well, the name fits. Touché.
Let’s watch some more, featuring Dave Smith and Ableton and Mutable and Novation and more:
The post The Touché, adding expression to synths – just in time for Moogfest appeared first on CDM Create Digital Music.
Synthesist Simeon Peebler shared this user audio demo of the sonic range of the new Moog Grandmother analog synthesizer.… Read More Moog Grandmother Hands-On Sound Demo
Moog’s Mother line have all had patch cables. Now, the Grandmother adds something else – keys. Oh, and a heck of a lot of colors. We talked to Moog to get the inside scoop on the new Grandmother.
Patch-ability is all the rage these days. There’s the rack modular scene, of course. But then we’re increasingly seeing patch points on desktop synths and keyboards, too. The idea is, you can create different modulation effects and a wider range of sounds by changing the routing of signal through the instrument. And while that’s possible on some electronic instruments using switches or menus or other features, here you just plug a cable from one point to another.
Moog’s own Mother-32 brought that concept to their modern desktop rangorie, followed by its drum synth sibling, the DFAM (Drummer From Another Mother). Now, it’s the Grandmother’s turn. (Any bets on whether they’ll keep going with ‘mother’ names after this?)
The Grandmother moves the patch points out of the big matrix found on the side of the Mother-32 and DFAM, and distributes them across the hardware. That makes it a bit easier to follow where signal flow is – though you’ll also need longer cables.
And you get keys.
Plus this definitely comes in colors, as you may have noticed. The Grandmother plays up the modularity by color coding each section individually. At first glance, it appears as though the Grandmother is a rack of separate modules, but that’s just a visual flourish – it’s an all-in-one design. (If you do want a keyboard that lets you change modules, see products like Waldorf’s kb37, or Arturia’s RackBrute, which attaches to their MiniBrute range, or any number of boutique products.)
• Hardware Spring Reverb can be used to process external sounds
• ¼” External audio input for guitars, drum machines, and more.
• Semi-modular – no patching is required
• Easy to use Arpeggiator and Sequencer
• Store up to 3 sequences with up to 256 notes each
• 2 Analog Oscillators with selectable waveshape and hard sync
• Classic 4-Pole 10Hz-20kHz Ladder filter
• Patchable 1-Pole High Pass filter
• Analog ADSR Envelope Generator
• Analog LFO with audio-rate capabilities
• 32-note Fatar keyboard with velocity
• All normalized connections can be interrupted for full modularity
• DIN MIDI In/Out/Thru and USB MIDI
• Patchable bipolar attenuator
• Works with Mother-32, DFAM, Eurorack modular systems and more
• 41 patch points with 21 inputs, 16 outputs and a Parallel-Wired 4-jack Mult
That makes a really interesting instrument, though I think it’s worth noting that some of the competition comes from Moog itself – the SUB PHATTY has a pretty powerful architecture for roughly the same price, and while it lacks those patch points, still has some flexibility for routing modulation and analog I/O. It also has patch storage.
But I think there’s more to the Grandmother than specs, and the formula runs like this:
A semi-modular design + spring reverb = far out, man
Adrian Younge did this wonderful artist video that demonstrates that:
Grandmother price is US$899 street. (List is US$999.)
We talked to Moog Music about the thinking behind the Grandmother. Here’s what we learned:
Lots of space for patching. Moog emphasize that you can play this instrument even without patching anything if you want. But if you do want to take advantage of the semi-modular side, now there’s room to grow – figuratively and literally. Moog tell us:
In designing a keyboard instrument, we have more panel space than we do in the pure eurorack format (where space is always a consideration), giving us more room for the patch points. The patch point locations also make connecting cables to other devices, like Mother-32, DFAM or Eurorack much more convenient.
Having said that; Grandmother can do extremely complex things, particularly through patching. For seasoned synthesists, all normalizations can be broken and Grandmother can function as a fully modular instrument.
The Grandmother can be a modular gateway. You can patch the Grandmother, DFAM, and Mother-32 in various combinations – or it can be a gateway to Eurorack.
The origins of the Grandmother circuitry. There are some new sounds here – and they give you access to some Moog modulars from the past. Moog tells us: “All three instruments share the same oscillator genealogy, but the rest of Grandmother’s modules are based on classic Moog modular circuits. The Mixer is based on the CP3, the Filter is based on the 904A, the Envelope is based on the 911, the VCA is based on the 902, and the Spring Reverb is based on the 905.”
About those colors. Moog will definitely get your attention with that color coding. It’s obviously partly there for show, partly to make it obvious that the different sections have different functions. And back to the original Minimoog, our modern subtractive synths are essentially all derived from combinations of modules.
There is some history here. Moog points to their Sonic Six, the Concertmate / Realistic MG-1, and the Moog Source as instruments that all carried the Moog name. That’s actually a little surprising – Moog haven’t traditionally focused much on those chapters in their legacy, as they’re not connected with Bob Moog. (Not to be blunt, but that’s like talking to Ford PR and having them compare something to the Edsel.)
To me, the Grandmother really has the most in common with the Sonic Six. It used just one color, but the color overlay was meant to suggest the modular structure beneath.
I’m going to guess this design will inspire some love/hate reactions. But yeah, to be fair, there is some Moog history of “bold color choices,” as Moog tells us, other than, you know, brown.
The keybed. Moog: “It’s a Fatar TP-9 with velocity sensitivity, which is a really great and solid feeling keybed.”
You can gate the keyboard. Moog points out something else of interest:
“One other thing worth mentioning is the ( Envelope / Keyboard Release / Drone ) switch on the VCA. Envelope and Drone may be obvious, but the keyboard release selection is actually very useful. It works like Keyboard Gate on older Moog synths, where a pressed note immediately sets the VCA to maximum sustain level. The difference is when a note is released in this mode, the VCA will follow the release setting of the Envelope. This option opens up a lot of added possibilities while keeping the panel fast and easy to use.”
Built in the USA. Yep, these do get put together in Moog’s factory in North Carolina.
If you’re going to Moogfest this week: I’m not at Moogfest this year, but if you are, you get a special treat. Moog tell us:
For those near Durham, NC this week – Guitar Center will have Grandmother synthesizers available for play and purchase starting 10:00am this Thursday at the Moog Pop Up Factory (free and open to the public), where visitors can also watch as we live build the new instrument on site. Then at 3:00 on Thursday, Moogfest attendees can hear Grandmother used in a long-form Moog drone performance guided by Nick Hook and Gareth Jones of Spiritual Friendship.
The post All the details on Moog’s new Grandmother semi-modular synth appeared first on CDM Create Digital Music.
Here are the first video overview and demo videos for the Moog Grandmother analog synthesizer. … Read More Moog Grandmother Analog Synthesizer Video Demos
The MIDI Association (TMA) is launching their “May is MIDI Month” membership and donation drive. The key elements of the month-long promotion include: MIDI.org website redesign – with a cleaner, more contemporary design and expanded functionality Downloads of the new MPE and MIDI-CI specifications (see below), which were adopted at The 2018 Winter NAMM… Read More MIDI Association Launches ‘May is MIDI Month’ Membership Drive
Moog today unveiled the Subharmonicon, another all-in-one Eurorack synth, in the format that they defined with the Mother-32. … Read More New Moog Subharmonicon An All-In-One Eurorack Synth
Phantogram returns to the Moog Sound Lab to perform ‘Calling All’.… Read More Phantogram – ‘Calling All’ (Live Performance At The Moog Sound Lab)