#mini moog

[stone-cold-groove]

Front cover of the Minimoog brochure circa 1974.

[surrealisticduvet]

go here for 8 minutes 53 seconds

[carriercroc]

"Um... I haven't figured out how to TALK, but I thought I'd okay so bit?"

<( I think I'll do a one hour stream of Street Fighter 6.

Live now! )>

[snuuyfanged]

hi idk how many people remember that cassette beasts oc template i made a while ago (or that i made it in the first place lol bc ngl it's more interesting to see how many people credit me for it) but. i return with another cassette beasts focused template!

specifically this is for putting together movesets for teams, i mainly made it for my own purposes (<- does cassette beasts pvp and didn't really like most other common options for sharing team sheets or i liked it but discord's handling of .txt files across devices bothers me). but i think this also definitely works for sharing the finer details of an OC's team, so i thought to share it out in the wild. just make a copy of the slides and you're set! ...important disclaimer that an oc team is what the image shown is of lmao it's an oc team not a pvp focused one otherwise some moves would Not be on it

i drew the things like the cassette tape and mini-sheets myself, the rest is mostly copy-and-pasting and trying to format google slides without it looking like ass lmao. i did also edit together the partner battle sprites into gifs for this (bigger ones without crust to be exact) so if anyone wants them just lmk and i'll add them in a reblog

[gaijin-fujin-resonance]

The Joy of Theremins

We interrupt our regular blogging to bring you a special report on our absolute favourite topic at G-F Resonance Towers: IMAI HISASHI’S THEREMIN!

Due to an extraordinary alignment of the kindness of longterm fans in Japan, and sheer blind luck, I was able to speak (though a translator) with what is known in the music journo business as Sources Close to Buck-Tick, hereon referred to as “SCBT”. (Please don’t ask how. I will not tell you. I’m very aware that words like ‘London’ and the name of the music magazine I used to write for can open a lot of doors that are not available to others.) I did independently confirm the veracity of this source, so I’m 99.9% sure they are who they say they are, and that they do know what they are talking about. However, for contractual reasons, I cannot name this source.

Note: neither SCBT nor our translator are native English speakers. I will use the words as they were conveyed to me, edited only for spelling. I’ll try to provide notes for context, or where I feel the technical aspects are unclear.

I had time for 3 questions, so I took my shot with these:

Why did Imai switch from the Big Briar to the Moog Theremini?

Did Imai find the Theremini easier to play tunes, because he seemed to become a lot more melodic with it  e.g. on BOOGIE-WOOGIE (I loved what he was doing with it, hence why I was disappointed when he stopped using it)

How does he find the latency on the Theremini? I've heard other theremin players complaining it's not as responsive as earlier models, is that just Old Folks Not Liking Change?

Technical context: from around 1997 until the early 2020s, Imai used a Big Briar Etherwave theremin live onstage. (Big Briar was the brand name that Bob Moog used during a copyright dispute.) This instrument provided the haunting, alien, outer-space tones that form the background of songs like MY FUCKIN’ VALENTINE, showcased best in the Sweet Strange Live Film:

In the early 2020s, Imai switched to the Moog Theremini. You can see Imai playing this model in live versions of Boogie-Woogie. As you can see, he’s able to generate far more melodic, solo style riffs from this instrument:

This model was designed to be easier to play, so it came with an in-built pitch corrector, functioning similar to the frets on a guitar. This means that the player does not have to maintain the exact position of the fingers to produce a note that is in tune. However, some older theremin players have complained that the new controller increases the latency - rather than playing the note in real time, there is a tiny, split second delay in the change of tone when you move your fingers to change notes.

My translator relayed my questions, and replied with this. (The “I” of this text is the translator. “He” sometimes refers to Imai, and sometimes to the opinions of {SCBT} - I will try to differentiate where unclear)

(Imai) switched from the briar to the mini mostly for aesthetic reasons, even though he could do more with the briar, it was too big and worked better for stage performances but he likes recording more with the mini. The delay in response time actually helped aid him to drag out notes To add to this I don't know if {SCBT} was referring to dragging out notes or having a cleaner finish to the notes (the words {SCBT} used could have meant either, Japanese can be vague and so can Imai), but he found the delay to be more beneficial to record with The mini is easier to play because it’s less bulky but the quality and technicality is less, which is what he really loved about the briar. His briar actually sustained some damage so he had to use the mini full time and it was frustrating at first but he really came to enjoy the process {SCBT} wants me to thank you for asking about it He mentioned it (the Briar) was built for him (…) language made it unclear when {SCBT} just said 'yes, built!' with no further elaboration but that was my take He said due to circumstances with the briar, he was unable to use it for recording at that time. I interpreted that as damage/repairs

Note from the Blogger: my interpretation, as a musician who has previously played around with theremins, is that “dragging out the notes” probably means “a cleaner finish.” This was the whole selling point of the Theremini’s pitch correction, that the individual notes could be more clearly distinguished.

About the Briar being ‘built’. Back in the mid-90s, Bob Moog originally released the technical specifications for building theremins on the internet, and sold kits of the components which had to be assembled at home. Later on, it became possible to buy pre-assembled theremins. (The Theremini, for example, comes fully assembled.) This ‘built’ comment makes sense with the timing too - Imai started using a theremin early enough that it sounds like his model had to be built from a kit.

tl:dr: Imai stopped using the Big Briar because it got damaged. Originally, he preferred the Big Briar because the Theremini had limitations. However, like many creative people, limitations actually spurred his creativity, and he came to use the Theremini full time.

[tmbgareok]

Hi JF! Was curious to know what recording equipment and technology you used to record songs for Dial-A-Song from 1983-1985, and if the Oberheim DMX drum machine was ever used in some of those early songs ("Next Plane To London" cover, "I Need Some Lovin'"). Also, were aliases like "Cappy Ernest Fidel" and "Mr. Tissue" used to keep the band anonymous when you posted ads for DAS in the Village Voice? or were they just random joke bits made on the fly during recording. Thank you!

JF: Next Plane to London... I believe the "clap" and "kick" sounds were just things I dialed in and played by hand on JLs Mini Moog. The kick might have even just been a thumb on the top of a Shure 57 microphone which for a period we found to be the best sounding kick emulation we could muster (surprisingly thumpy)

We did not have a lot of gear--it was a 4 track tape recorder, a Farfisa organ, the Moog, a guitar, a borrowed drum kit and a first generation Dr Rhythm was kind of it. For a fevered weekend we did have the DMX drum machine on loan from Chris Butler--a generous man to whom I will be forever grateful. It was the earliest sample based, programmable drum machine I knew of, best know for the bone-crushing Kings of Rock by Run DMC, but those songs are all very quantized so they have that tighter sound.

[burlveneer-music]

Fractal Sextet - Sky Full Of Hope - RareNoise Records is back with an album by guitarist Stephan Thelen and his math rock band

Calling Stephan Thelen’s music an extension of the Swiss Minimalist movement may have once seemed appropriate. However, in the years since his band Sonar and Fractal Guitar projects have come to the fore, that characterization has increasingly become inadequate. Proximity, influence, and linkages exist but Thelen’s copious activities in the last decade show such a deepening of his root concepts coupled with an embrace of the new, the notion is virtually moot. One of the projects that most validates this point is Fractal Sextet, which began after a suggestion was made (to Thelen and frequent collaborator/ guitarist Jon Durant) that an actual band tackle Thelen’s Fractal Guitar vehicles. For the Sextet, Thelen and Durant chose former Porcupine Tree bassist (and Durant collaborator) Colin Edwin, classical pianist and keyboardist Fabio Anile, former Nik Bärtsch’s Ronin percussionist Andi Pupato, and Israeli-born drum phenom Yogev Gabay. Their resulting eponymous debut proved an exciting leap forward for Thelen’s Fractal concept and elicited high hopes for more from this group. Now with their second album, Sky Full of Hope, the Fractal Sextet makes good on the promise of that debut, further solidifying their collective identity. No sophomore curse here. This album is enhanced by a comfort level and group assuredness that heightens the chemistry so previously palpable, allowing the players to stretch out even more. Mike Jacobs, music journalist for All About Jazz  Stephan Thelen : Guitars / E-bow / Additional keyboards / Fractal delays / Effects & programming Jon Durant : Fretted & Fretless Guitars / Cloud Guitar / Acoustic Guitar Fabio Anile : Piano / Electronic Piano / Mini Moog / Synth & Sampled Instruments Colin Edwin : Fretted & Fretless Bass Guitar Andi Pupato : Percussion (including Udu and Azzam Bells) Yogev Gabay : Drums

[trevlad-sounds]

Invisible Waves 46.

17.11.2024

Intro 00:00 Willebrant–some things considered (live studio session) 01:47 tawny frogmouth Chapter 1 09:46 Greg Foat–Pool Side Part 2 – Live 12:50 Moog Matriarch Kawai K1 Mini Moke Greg Foat – Live at Can Rudayla, Ibiza Video Carmen Villain–Nutrition 17:56 Chapter 2 22:17 Kutiman–Line 1 24:03 Cognition Delay–The Lothax Deal 26:33 Chapter 3 33:13 Fatma–Cirklar 34:48 Teleplasmiste–Found the World Golden 38:13 Teleplasmiste live at The state51 Factory Video Chapter 4 46:05 Voyage Futur–Marine Botany 49:48

[faggotfungus]

Have fun exploring the history of the Minimoog Model D synthesizer!

[taperwolf]

The most popular Eurorack module is Make Noise's MATHS, which is sometimes described as an analog computer. Some years ago, synth YouTuber loopop did a video about the module, starting by breaking down the basic functions into three parts: attenuverting, mixing, and slew rate limiting. Attenuverting is a portmanteau of "attenuating" — turning down — and "inverting"; mixing combines signals by adding them together; slew rate limiting is slowing down the rate of change of a signal, making it rise or fall more slowly. By combining these functions (and the extra features Make Noise included), loopop demonstrated about 22 different things a MATHS can do, from basic envelope generation to LFOs to sidechaining to even acting as an audio filter or VCA.

I don't have a MATHS; it's a bit too pricey for my budget (though it's by no means the most expensive of Make Noise's many desirable modules). I have instead a home-built combination of three modules: two copies of Voxmachina's Sigma function and slew generator and a three-channel mixer of my own design, with attenuverters on two of those input channels. And when I just rewatched that loopop video, it turns out my setup can do all but three of those 22 functions, because my mixer doesn't have an analog OR output or a separate inverted output. Which is not too bad for a much lower price point and the satisfaction of saying I made it myself.

(I've gone through some MATHS cookbooks before to translate their patches to a dual Sigma setup, and there are, of course, a couple of other features that MATHS provides and my setup lacks. The MATHS slew channels have independent and simultaneous CV control over rise, fall, and "both", where Sigma provides the equivalent of a "both" and a switchable CV input over one of those; in MATHS, the slope shape, from exponential through linear to logarithmic, is selectable without self-patching; there isn't a gate input to control cycling; and MATHS channel 1 has an "end of rise" trigger instead of the "end of cycle" one that channel 4 or Sigma provides. The kinds of patches that require one or more of the missing features aren't enough to make me desperate to upgrade, but they'd be nice. Replacing the mini mixer with a larger version with attenuverters on each input and an OR out is in the medium-term plans.)

loopop did a follow-up video about using a MATHS to duplicate the dual-suboscillator function of the then-unreleased Moog Subharmonicon, and it turns out my setup can do that too — I was just listening to my system rigged to divide down a VCO signal with the Sigmas, to create random chords from a single note.

[vinylspinning]

Pat Travers: Putting it Straight (1977)

Putting it Straight was Pat Travers' third studio LP, his second of 1977, and also the second released after the Toronto-born guitar wiz had relocated to London Town, where, if this cover art is any indication, he wreaked havoc in the office of his Polydor backers.

Now, is that any way to thank them for the hospitality?

Maybe Travers was channeling some of that abundant punk rock rebellion that was tearing through England in '77 (maybe trying to prove not ALL Canadians are so nice) but, if so, it certainly had no discernible impact on his blues-informed hard rock sound.

At least not on songs like "It Ain't What it Seems," "Runnin' from the Future," and the riff-heavy, semi-autobiographical (if mostly tongue-in-cheek) "Life in London," which hewed closely to Pat's prior long-players.

When the guitarist did head down new musical tangents, he didn't exactly upset the apple cart with the fast shuffle of "Speakeasy" (Thin Lizzy guitarist Scott Gorham lends a hand), pop rock of "Lovin' You," and funky grooves of "Gettin' Betta" (bassist Peter 'Mars' Cowling shares lead vocals).

Instead, he saved his broader musical wanderlust for "Off Beat Ride" and "Dedication, Parts 1 & 2," both of which indulged in jazz fusion with the help of mini-Moog from Rainbow survivor Tony Cary and sax solos from fellow Canuck Bernt Hermiston.

But, whatever he attempted, it's important to remember that Travers was never as gratuitously flashy or outright flammable as contemporary, late '70s guitar heroes -- Uli, Trower, Moore, Marino, Schenker, etc.

And one positive outcome of the short window between his albums was that Travers didn't have enough time to enact his Spinal Tap-like treatment of drummers, and retained the one-and-only Nicko McBrain (future Trust and Iron Maiden) for this LP.

That would change in '78 and Pat's fourth LP, Heat in the Street, where he recruited former Black Oak Arkansas sticksman Tommy Aldridge and added up-and-coming American six-string hot-shot Pat Thrall because, uh, two Pats are better than one, I suppose?

More Pat Travers: Pat Travers, Makin’ Magic, Crash and Burn.

[stone-cold-groove]

Front panel from the Minimoog Model D brochure - 1970.

[officialriff]

🎛️💡 to all profiles and platforms in Bio. 📲 🎧 officialriff.com 🎧 🎛️ Used equipment in my sessions: Elektron Digitakt, Elektron Digitone, Elektron Syntakt, Elektron Model:Samples, Elektron Model:Cycles, Moog Grandmother, Teenage Engineering OP-Z, Haken Audio Continuum Mini, Hologram Microcosm, SP404MK2, SP404, Akai MPC Live, Akai MPC 2000, Roland MV8000, microKorg XL, MacBook Pro, Logic Pro, Teenage Engineering Frekvens music stagram

[muddyboue]

Aste and Poss! (Featuring the famous Hammond B3 and Mini Moog!)

Commission for Buic.

[pilipresh]

"poco a poquito" august 4, 2023

CREDITS

letra: paula prieto música: paula prieto, martín ontivero

mix: martin ontivero, doble eme estudio master: daniel osorio producción: martín ontivero, paula prieto técnico de grabación: nera gejman programación: martín ontivero guitarras: paula prieto piano: paula batería: maty sabagh mini moog: fran azorai synths: martin ontivero, fran azorai

arte de tapa: neww creative, paula prieto, victoria prieto

[beatlesonline-blog]

🎚️🎸 La Face B d’“Abbey Road” : 22 minutes qui changent tout ! ☀️🎧

🎚️🎸 La Face B d’“Abbey Road” : 22 minutes qui changent tout ! ☀️🎧 De la lumière de “Here Comes the Sun” aux derniers mots de “The End”, les Beatles enchaînent 9 fragments cousus main, un triple duel de guitares 💥, l’unique solo batterie de Ringo 🥁 et un Moog pionnier 🚀. En studio, George Martin orchestre l’adieu parfait : une suite sans pauses, pensée comme un mini-opéra pop qui inspirera Pink Floyd, Bowie… et même Green Day ! Pourquoi cette Face B reste-t-elle le sommet du groupe ? Cohérence émotionnelle, innovations sonores, phrase finale gravée dans la mémoire collective… Bref : la quintessence du génie beatleien. 😍 👉 https://yellow-sub.net/lactu/746141-abbey-road-face-b-medley 💬 Votre tour, Little Darlings ! Quel moment du medley vous donne encore des frissons ? Le riff de “You Never Give Me Your Money” 💸, le break de “The End” 🔥, ou le clin d’œil caché de “Her Majesty” 👑 ? Racontez-nous, taguez vos amis audiophiles et partagez vos souvenirs… 👍 Like, 💬 commentez, 🔁 partagez… et faisons tourner la platine jusqu’à l’infini ! 🌀🎶 Read the full article