#moog sub 37

[jami-c]

Bloopy!! :9

[contac]

undefined

[wellenklavier]

tagged by @jeffament ! Posting my lock/homescreens and most recently listened-to song...

I fear my lockscreen is very basic (it's a painting by isaac levitan, cool russian impressionist) because I try to keep a facade of normalcy, under which is my terribly made collage of band members. yes that's the moog subs 37 underneath it and there's a korg sqd in the top corner

im! not sure who to tag for this one so if you're comfortable w/ it then @renedemarie82 @kingtrigger @gary-numan

[chorusfm]

Modest Mouse Launch Reverb

Modest Mouse are launching a Reverb store. Reverb, the largest online marketplace dedicated to music gear, today announced that Modest Mouse will be selling a huge selection of synths, mics, pedals, amps, and more through The Official Modest Mouse Reverb Shop. The Official Modest Mouse Reverb Shop will open on Thursday, September 5, featuring stage- and studio-used music gear, vintage merch, and even a piece of Elvis history.  Modest Mouse—who this year reissued Good News for People Who Love Bad News for the album’s 20th anniversary and just announced a fall tour commemorating the album—will be parting with more than five hundred items on Reverb. Among those are four Circuit Bent Speak and Spells, including one used on “Wooden Soldiers” from the 2021 album The Golden Casket. Of the Speak and Spells, Isaac Brock said, “We played them a lot. They’re incredible and you can make really cool sounds with them. But they’re for a certain type of music-making…I just think someone else can do better shit with these than I can.”  Perhaps one of the most interesting items that will be available in the Official Modest Mouse Reverb Shop shop is a set of three connected stadium chairs that, according to Brock, were in the Shreveport Fairgrounds during the 1956 Elvis performance where the term “Elvis has left the building” was first used. The band’s Reverb shop will also include a variety of synthesizers, including a Moog Sub 37 synthesizer that Brock says was used in the studio and on tour for the 2015 album Strangers to Ourselves as well as on 2021’s “Fuck Your Acid Trip.” According to Brock, he’s simply amassed too many items over time and the options are becoming paralyzing, so it’s time to clear out a portion of his collection—including many items he loves.  “I would go down to the music store and I would just buy anything that looked interesting to me. [I’d tell myself] that I could just take it back or resell it, but then I wouldn’t do that. I’d kind of panic that if I didn’t have a whole bunch of new gadgets and tools to work with, I was going to make the same songs,” Brock said. “But now it’s getting to the point that my studio is a maze of shelves of shit and option fatigue is starting to set in, so I want less music gear.”  Among the other items that will be for sale in The Official Modest Mouse Reverb Shop on September 5 are:  A mammoth 150-watt Soursound Audio Custom Amp head, complete with its road case. Three gold Telefunken M80 microphones that have been used on Modest Mouse tours. A selection of synths, like an Arp Odyssey, a Minimoog Voyager XL, a Dave Smith Prophet 12, a Roger Linn Linnstrument, and more.  A massive selection of effects pedals, ranging from affordable finds to rare pedals and limited, boutique items. An array of posters dating back to 2001, signs, and more.  Modest Mouse first sold music gear through The Official Modest Mouse Reverb Shop in 2022. They join a host of other bands ranging from Wilco to Nancy Wilson of Heart who have partnered with Reverb to get their music gear into the hands of fans.  --- Please consider becoming a member so we can keep bringing you stories like this one. ◎ https://chorus.fm/news/modest-mouse-launch-reverb/

[supere1113]

The 12 Days of Synthmas

Hey guys! The 12 Days of Synthmas! Here we go! On the 12th day of Synthmas, myself had gave to me… 12 Roland D-50’s 11 DX7’s 10 Moog System IIIP’s 9 Sub 37’s 8 Jupiter 8’s 7 Juno-X’s 6 OB-X8’s FIVE KORG M1’s!!!!! 4 Prophet-5’s 3 DFAM’s 2 MiniMoogs And a Yamaha CS-80! ~~~~ For My synth and electronic music enthusiasts out there, along with anybody who loves a good laugh, regardless…

[theresno6thsenseanyway]

Ellington Ratliff on Instagram: “🧶”

[basstunnicliffe]

Both basses sounding massive during soundcheck which is handy when you’re playing in an aircraft hanger… ✈️

[dabadnewz]

Another late post, this time heading over to the homie’s studio to check out his new new Moog Sub 37 and do a little scratch recording

[livanos]

(Liv on Oz)

[thrillchaser]

Where it all begins... in 2020 we re-emerge.

[burlveneer-music]

High Pulp - Pursuit of Ends - after 3 EPs of covers (the “Mutual Attraction” series), Seattle jazztronica act is back with an album of originals

It’s difficult to pin down Seattle’s High Pulp. In just a few short years, this instrumental band has dabbled in everything from avant-garde jazz to beat-driven R&B to psychedelic synthesizer-heavy electronica.

Written, Recorded, and Produced by High Pulp Artwork by Robert Beatty Bobby Granfelt - Drums & Auxiliary Percussion Rob Homan - Nord Stage 2, Moog Sub 37, Sequential Prophet-6, Grand Piano & Hammond Organ Antoine Martel - Behringer Deepmind 12, Nord Electro, Korg Prologue 8, Moog Matriarch + Eurorack System, Moog Minotaur & Guitar Andrew Morrill - Alto Saxophone Victory Nguyen - Flute, Tenor Saxophone, Soprano Saxophone & Trumpet Scott Rixon - Bass & Guitar Featured Artists: Theo Croker - Trumpet (10) Jacob Mann - Lead Synthesizer (7) Jaleel Shaw - Alto Saxophone (2) Brandee Younger - Harp (9) Additional Personnel: Alex Dugdale - Tenor Saxophone (1)(2) & Bass Clarinet (2)(6) Greg Kramer - Trombone (6) Isaac Poole - Trombone (1)(2)(6) Jerome Smith - Tuba (6) & Trombone (7) Gehrig Uhles - Guitar (3)(5)

[neonradiation]

Neon Radiation - Artist Bio

Neon Radiation (aka Gary Blake) is a London based songwriter and producer who collaborates with leading vocalists and award winning remixers/producers to strive and make the perfect Pop song. His influences are wide ranging from 80s synth pop and new wave bands to contemporary chart artists. He produces Pop with added danger! 

Links:

Smart URL - Latest Releases

Twitter - Neon Radiation

SoundCloud - Neon Radiation

Spotify Artist - Neon Radiation

Tumbler - Neon Radiation

[moog-walk]

Moog Subsequent 37, based on the Sub 37 Tribute Edition

[basstunnicliffe]

Rocking the Sub37 bass lines through this festival rig in London sounded HUGE Sunday night!

Coming soon to a rig near you!

[aion-rsa]

How the Cyberpunk 2077 Soundtrack Found Its Dystopian Sound in a Soviet-Era Synthesizer

https://ift.tt/2Knk6oM

CD Projekt Red’s Cyberpunk 2077 is arguably the the biggest video game release of 2020, transporting players to a gritty sci-fi world full of bio-augmented criminals and lowlives. True to its name, the game explores some pretty deep concepts about cyberspace and what life might be like in a futuristic transhuman society where technological advancements have turned us less human and more machine. So it’s no surprise that the game’s score often sounds like something recovered from the year 2077 and brought back to our time. At its very best, the soundtrack elevates this grim dystopia.

In the wake of Cyberpunk 2077‘s massive launch, Den of Geek spoke with the trio of composers behind the game’s score: Marcin Przybylowicz (The Witcher 3: Wild Hunt), P.T. Adamczyk (Gwent: The Witcher Card Game), and Paul Leonard-Morgan (Dredd). The three composers discussed the soundtrack’s conception and revealed the unconventional methods they used to create the score’s unique, ominous sound.

The Cyberpunk 2077 Original Score, which contains two discs-worth of the game’s enormous pool of music, is available now to buy and stream. As players have discovered in the week since the game’s launch, the score isn’t exactly the pulsating, adrenaline-fueled synth barrage some might be expecting from a cyberpunk title. It’s largely ambient, with ominous layers of otherworldly bass bellows, tribal beats that sound both futuristic and primal, and melancholic wades through placid synth soundscapes. There are definitely bangers on the tracklist, but what stands out is that many of the pieces almost feel introspective. 

“You’re dealing with a complex story, and there’s [a vast] number of characters in Cyberpunk,” Adamczyk explains. “Finding a theme or an idea or a motif and being confident in it…that’s really difficult because there are so many different things happening in the story, and you could score it a thousand different ways. And they all would be good enough. But the question remains, ‘What is the essence?’”

Przybylowicz was the first of the three composers to start work on the score for Cyberpunk 2077 very early in the game’s production. In laying the foundations for what the game’s music would sound like (the elusive “essence” Adamczyk speaks of), he set out to create something unique, though he was also committed to honoring the source material that the game is steeped in.

“We were trying to find out how our take on Cyberpunk would differ from other bits of culture,” says Marcin of the initial creative process. “We must never forget that our game is not a game that is simply set in a yberpunk universe. Our game is Cyberpunk 2077, which means that it’s based on a very well described and very lore-heavy, already existing universe, Cyberpunk 2020 by Mike Pondsmith. So that means there is a ton of source material, tons of creative work that has already been done before. So we needed to reach out to these books and see if we could pinpoint anything that would remain useful for us after we move the events from 2020 to 2077. Then we started to formulate how that would translate to the game’s sonic palette.”

The original tabletop game paints a picture of an alternate future in which corruption reigns and oppressive megacorporations wage war on each other, as the denizens of gang-infested, urban sprawls like Night City struggle to survive on the streets. Humans and machines intertwine via cybernetic enhancements, and this unholy merging of flesh and technology is represented vividly in the game’s score, which often employs the use of synth that sounds both metallic and organic.

The majority of electronic music is created from a widely-available database of preset sounds built into a computer or synth. To create Cyberpunk 2077’s unique sonic identity, the composers eschewed convention and took a more experimental approach, using a slew of odd machines to create bespoke sounds that give the score its ethereal edge.

“What we’ve done is ridiculous,” Leonard-Morgan explains. “It hasn’t been done before. We’ve composed with virtually no software at all. It’s all external gear. So it’s all weird and wacky synthesizers, all weird modular synths, always stuff which you then had to record the audio and process that around. You can never recreate the sounds again.”

The trio used rare, long out-of-production machines, took their already unique built-in sounds, and manipulated them further to compose the game’s music. The result is a tapestry of interconnected compositions that have a dark, Frankenstein’s-monster bizarreness to them, and one of the most prominent and peculiar synths you’ll hear in the mix has a curious background of its own.

“P.T. and I own our own Soviet-made Polivokses. Mine’s from 1982,” Przybylowicz says. “My Polivoks still has a price tag: 800 Rubles, which is, I think by today’s standards, 10 bucks. It’s a duophonic synthesizer similar to the Moog Sub 37, which is a very famous duophonic unit. I heard a story that during the Cold War, blueprints [of the Moog Sub 37] were stolen by Soviet agents in order to obtain something that they could copy [to build their own synthesizer]. Supposedly they were trying to make an exact copy, but you know, something always goes wrong on the production lines–they ended up with a machine that is truly, remarkably ugly-sounding. Yet still sounds like nothing else.”

Read more

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Another strange machine in the trio’s fleet of synths is the Folktek Mescaline, an infernal-looking mess of jet-black panels, spiraling bronze detailing, and a scattered arrangement of inputs, knobs, buttons, and switches. It looks so intimidating and unapproachable that it’s no wonder the trio harnessed its power in their compositions.

“All three of us own Folktek Mescalines,” Przybylowicz says. “It’s a small modular system that allows you to basically do anything. It doesn’t come with a very good manual. It doesn’t feature keyboards. It doesn’t feature any self-explanatory indications of what’s doing what. So it’s all based on experimentation.”

Adamczyk elaborates, “You can’t really decide, ‘I’m just going to play an A minor chord’ on a Mescaline. Getting an A minor chord is a real pain in the ass because you have to pretty much tune the machine to that specific chord. You have to try to find your way with these instruments and try to somehow find a musical way of using them. Half of the time, you have no idea what you’re doing.”

The game boasts around eight hours of music that, amazingly, is virtually all in the key of A minor to allow the different compositions to flow seamlessly in and out of each other as the player transitions between different encounters and scenarios.

“Games are like living organisms,” Przybylowicz explains. “It’s dependent on the player’s actions, even if we’re talking about the most linear scripted games. Ours obviously is nothing like that. It’s a full-fledged, open-world RPG with multiple branching lines in the narrative arc. So obviously it’s even more difficult [to compose for], but I think in a sense it’s almost liberating to work on a thing that changes so many times during even a single playthrough, you know?”

Cyberpunk 2077 had fans practically salivating in the days leading to its release date. It’s not only the next chapter of a long-beloved sci-fi franchise, but CD Projekt RED’s follow-up to the all-time classic The Witcher 3: Wild Hunt, which is, to put it mildly, a tough act to follow. The composers feel the magnitude of the moment, though they remain unshakable, confident in the work they’ve put forward.

“Working on a game of such a big scale, ambition and quality and fan base…I think it naturally adds to the pressure,” says Przybylowicz. “So the bigger the hype gets, the bigger the expectations are getting, and the bigger the pressure gets. I think it’s at least in some parts a natural process of this profession, when you get to work on a project of this reputation.”

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“It doesn’t matter for me whether it’s a one million dollar film, a hundred million dollar film, a billion-dollar game, or whatever,” Leonard-Morgan adds. “The point is it’s all about the creative process. That’s the part that I really, really enjoy. And I think as soon as you start letting external forces come into your head, that’s where I start to kind of…Self-doubt is the wrong phrase. But you start second-guessing, and second guessing is just the worst thing you can do as a composer.”

You can listen to the score below:

Cyberpunk 2077 is out now on PlayStation 5, Xbox Series X, PC, PlayStation 4, Xbox One, and Google Stadia.

The post How the Cyberpunk 2077 Soundtrack Found Its Dystopian Sound in a Soviet-Era Synthesizer appeared first on Den of Geek.

from Den of Geek https://ift.tt/3an3h8A

[ghostlypiesharkdeputy]

Finally i have a MOOG, my new synth for @sonicblast_official studio !! MOOG SUB 37 !! A dream came true, the best synth ever. #moog #sub37 #synth #sonicblast #bassmusic #studio #synthporn #bobmoog #dnb #future #techno #paraphonic #analogue #bassmusic #dreamstudio #musicproduction https://www.instagram.com/p/CJvZLx7rS4r/?igshid=1kt60ptdnnebw