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Bob Moog’s Birthday: Learn Synthesis, Benefit Swag, Apps, and a Playable Google Doodle [Videos]

Tuesday, May 22nd, 2012

Sound technology pioneer Bob Moog’s birthday is May 23, and just about the whole Web will be in on the celebration.

Play Google like a Minimoog: Google’s Doodle, the image you see on their homepage, is one of their best yet: it’s a fully interactive, playable Minimoog synthesizer. You can even record and playback little musical sketches and share with friends. Since the Earth is round, Google Japan gets an early scoop. (Yes, the Moog sun will rise first on the land of Roland, Yamaha, and KORG.)

Get swag, save cash, benefit the Moog Foundation: Rags and riches will be on sale for your shopping pleasure, including a benefit for the Moog Foundation on Moog-logo merchandise and clothes, with 50% of proceeds going to the Foundation’s educational and historical mission, which goes far beyond just Bob Moog to synthesis in general. That one-day birthday sale includes the lovely new Moog travel mug (I need one, after mine sadly broke in the mail to Germany), and a huge knob on a t-shirt (nice). See image, below.

Moog Music is also discounting their iOS apps, in case you missed discount pricing on their superb Animoog synth.

I Want My Moog TV. But let’s get back to the man himself, with a series of videos shared by the folks at Moog Music.

From an 80s BBC TV special, here’s Bob Moog demonstrating the synthesizer:

Moog Music are painting their spiritual father and founder’s image on their offices in North Carolina; see a timelapse of this gorgeous mural:

And in the sweetest gesture for the day:

To #celebratebob on what would have been his his 78th birthday local Asheville piano teacher, Kim Roney, brought two of her pupils to the Moog Store to perform a song in celebration of Bob Moog’s life and legacy. Bob Moog is still inspiring creative exploration in children of all ages. Thank you Dr. Moog, Happy Birthday! How has Bob Moog inspired you? #celebratebob

Finally, here’s a five-part series on synthesis fundamentals that uses the Moog Voyager. That seems, perhaps, the best way to celebrate Bob Moog’s legacy: it’s a chance to learn ideas about sound that can allow you to unlock the world of electronic music. With that knowledge, you can use any synthesis, anywhere, with or without a Moog logo on it – or use your imagination to invent the next great music technology, something Bob Moog I’m sure would have loved to see you build.

Moog Music Inc. is proud to present Dr. Joseph Akins’ five part series on the fundamentals of synthesizer programming. Dr. Akins is an associate professor at Middle Tennessee State University and strives to teach his students a complete understanding of synthesizers and computers as tools for modern music production. In this five part series Dr. Akins uses a Voyager to teach the process through which a synthesizer’s sound is generated and the techniques needed to program your own sounds and sonic experiments. In part one of this five part series Dr. Akins gives a brief history of synthesizers, goes over basic synthesizer theory, and overviews basic signal flow.

http://www.moogfoundation.org/


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sonicLAB updates Cosmosf – Advanced Stochastic Synthesis Instrument to v1.2 for OS X and releases Windows version

Friday, March 23rd, 2012

Read the full story @ KVR Audio
sonicLAB has updated Cosmosƒ to version 1.2, which sees the first Windows release alongside the updated Mac version. Cosmosƒ V1.2 offers new features for its Synthesis Engine: For instance a genu [Read More]
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sonicLAB updates Cosmosƒ – Advanced Stochastic Synthesis Instrument to v1.2 for OS X and releases Windows version

Friday, March 23rd, 2012

Read the full story @ KVR Audio
sonicLAB has updated Cosmosƒ to version 1.2, which sees the first Windows release alongside the updated Mac version. Cosmosƒ V1.2 offers new features for its Synthesis Engine: For instance a genu [Read More]
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DaSample releases Basslyne – Bass Synth that merges hybrid synthesis techniques and realistic sounds

Wednesday, March 7th, 2012

Read the full story @ KVR Audio
DaSample has released Basslyne, a new Bass plugin VST instrument for Windows and Mac OS X dedicated to electronic music. Now you can easily create and shape your sound. Instant access to different p [Read More]
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Steinberg Padshop, Coming Soon, Granular Synthesis for the Rest of Us? Handy Intro Video Explains

Friday, February 17th, 2012

Let’s get straight to it: granular synthesis, and the various processes based on the principle, is one of the coolest things about making music with computers. With the ability to take sounds and stretch, mangle, and reshape them into new textures, it’s one of the fundamental techniques allowing sound software and lots of terrific timbral techniques to work.

Of course, explaining it to lay people is a bit of a trick. So that’s why, even before we get into talking about Steinberg’s upcoming Padshop synth, it’s worth watching the first few minutes. Sound designer Matthias Klag explains that coolness really succinctly (and, I think, accurately).

I’m excited to try Padshop. Now, on its surface, I can’t yet see anything radically new in how it works relative to what you get from some of the better Reaktor patches out there. On the other hand, a lot of people aren’t willing to go buy Reaktor just to use those tools. And it seems Steinberg has built something that brings together a traditional synth’s playability with some of the better tools for dialing in far-out granular textures. We’ll get to see it later this month, and then see if this is as big a breakthrough for granular sounds as Steinberg says. But I think it’s worth an early look, nonetheless – if for no other reason than hearing this nice explanation.

And if I get one great pad for a track out of this, count me in. Time to stock up on some Fritz-Kola, in Hamburg’s honor.


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sonicLAB releases Cosmosf – Advanced Stochastic Synthesis Instrument

Saturday, February 4th, 2012

Read the full story @ KVR Audio
sonicLAB has released Cosmosand#402;, a stand-alone synthesizer application for Mac OS X. Cosmosand#402; features a non-standard synthesis engine offering great functionality, precision and a real t [Read More]
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FXpansion releases Tremor: software drum machine with synthesis, effects, modulation and step-sequencing

Sunday, January 15th, 2012

Read the full story @ KVR Audio
FXpansion has released Tremor, a new software drum machine with synthesis, effects, modulation, and step-sequencing. DCAM circuit-modeled sound generation is designed to produce original sounds wi [Read More]
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Letting Out Ethereal Cries, a Slide Guitar Meets Synthesis in the Hands of a Bluegrass Master

Wednesday, August 3rd, 2011

When musical traditions meet, handled by people with real mastery of their technique, wonderful things can happen. That can be true of master instrument builders, for one. I got a chance to hear the sounds of the Moog Lap Steel Guitar in June while meeting with the folks from Moog Music. It’s an incredibly-delicious instrument, both in terms of how it’s engineered as a guitar and in bringing the filter from the Moog synth, now itself a tradition.

But more importantly, in the stage that comes after those tools are built, traditions fuse beneath the fingers of master musicians. Chris Stack has been updating CDM regularly on his wonderful Experimental Synth Series, in which he explores musical applications of tools – what you can do when you take these things hope and really live with them musically. Here, for CDM, he explains the wonders of “hybrid vigor,” as two master folk/bluegrass musicians take up the sonic possibilities of synthesis. It’s all in the analog domain here, but that’s secondary: anyone working with the techniques of electronic music and electronic experimentation will find inspiration.

And you thought bluegrass and synthesis had nothing to do with one another. Think again. -Ed.

The history of musical instruments and of music itself is a story of the search for ever-greater tools for expression, and of an ever-deepening well of ideas to express. Combining innovations by instrument makers from around the globe (and across decades and centuries) with musicians who take a similar approach to their art is bound to produce music that displays a welcome hybrid vigor.

A prime example of this is Billy Cardine and the Moog Lap Steel. A bluegrass virtuoso who has performed everywhere from Carnegie Hall and the Kennedy Center to the Ryman Auditorium and Bonnaroo, he also studied in India and will perform at the upcoming Bangalore International Music Fest with chitravina master Ravikiran. [Ed.: the chitravina is an ancient Indian instrument dating back at least two millennia. It's a fretless string instrument, and can itself be seen as a precursor to slide instruments in places like Hawaii - it's played in the same way, with a slide. Just dig those 21 strings. -PK

Billy was instrumental (pardon the pun) in the development of the Moog Lap Steel and played a prototype at its debut at Moogfest 2010 (see video, below). Combining the unique expressive qualities of the lap steel with the innovative string control abilities of the Moog Guitar – adding an onboard Moog filter – results in an instrument with incredible expressive potential.

And since there is a CV (control voltage) input for external control of the Moog filter, why not bring some modular synthesis into the mix? Against a backdrop of synth drones and arpeggiations, with a sweep of a pedal the MakeNoise René sequencer can be brought in to modulate the Lap Steel’s filter cutoff frequency. The René has two independent clock inputs. In this video (top), only one of them is synced to MIDI clock, resulting in some nice, subtle glitchyness.

Bring this to life with Billy’s unique style… the results… the expressive vigor of hybrids.

And More Sonic Experimentation – With a Fiddle

In another example of electronic expression in unexpected genres… Casey Driessen, violinist with Bela Fleck, the Sparrow Quartet and others visits the ExperimentalSynth Studio to check out some Moogerfooger effects processors.

Ed.: For a change of pace, I have to also embed here a preview Chris shot for the workshop he was teaching for the Moog Foundation. You get some computers here. And actually, I’m impressed by the sense that, in some sense, it doesn’t matter – this Mac laptop could easily jam with the violin, with the banjo, with the slide guitar… That’s important. Working solo in the dark hours of the night is terrific. But it means you can also play – really play, not just get lost in some chaotic soundscape – with friends from a range of musical traditions. -PK

More Experimental Synth:
http://www.experimentalsynth.com/


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Max Mathews, Father of Digital Synthesis, Computer Innovator, Dies at 84

Friday, April 22nd, 2011

Max Mathews is best known for his involvement in the debut of digital synthesis, but he contributed much more. His Radio Baton predicted gestural controllers that arrived much later from Nintendo, Sony, and Microsoft, and it may be his code design ideas that outlast even the memory of the computer’s first musical utterances. Photo CC-BY-NC-SA) Rainer Kohlberger.

Max Mathews, the man who literally first gave voice to computer music, died yesterday at age 84. I can only offer my heartfelt condolences to Max’s friends and family.

Max was the man present at the moment when the very subject matter of this site was born. An IBM 704 playing his 17-second composition marked the first genuinely digital synthesis of music on a computer.

Max’s achievements, though, go beyond that initial breakthrough:

Digital synthesis of music.
The Music 1 software demo on an IBM 704 in New York City was the first computer music performance. While not real-time, and while Mathews himself says “the timbres and notes were not inspiring,” it was a stunning proof of concept.

The computer sings.
Mathews’ arrangement of “Daisy Bell,” for a computer-synthesized voice developed by a Bell Labs team led by John Kelly, was the first “singing” digital computer. The event found its way into pop culture via Kubrick’s 2001: A Space Odyssey.

Computer music in code.
Computer tech is supposedly fleeting, but Mathews’ original work on the Music I – Music V series was the direct basis for languages like Csound and Cmix, used today. (Csound apparently even found its way onto a popular karaoke machine.) The basic notions of scores and instruments, the fundamental assumptions of the language, and the essential designed features all remain visible in today’s languages. Mathews indirectly influenced every other music language since. He is the namesake of Miller Puckette’s “Max,” a reference to the timing techniques used in what is now Max/MSP, which were modeled on techniques designed by Mathews. That means that there’s something of Max’s thinking in Max/MSP, Jitter, Pd, GEM, Max for Live, and others.

Innovation in gestural control.
Before the Wii remote and Microsoft Kinect would come to change popular ideas about gestural control of computers, Mathews’ Radio Baton explored similar spatial manipulation in musical performance. Add to that involvement with research and events like the “New interfaces for musical expression” conference, and Max has had a profound impact on the exploration of novel control.

Max was warm, witty, and insightful in every encounter I had with him, going on to continue to inspire colleagues and students through his late years. He played a role not only in our narrowly-appreciated realm of computer music, but the history of the computer itself.

There’s really too much to say; let us know if you have comments for CDM or contact us directly and I hope to put together something more detailed by next week.


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FL Studio – FM Synthesis (Sytrus) Explained Visually

Sunday, February 13th, 2011

Demonstrations of different Waveform outputs from simple FM Synthesis with descriptions of how we achieved it. Very rough examples.

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