Adorable black kitten with a Moog Mother-32 synthesizer.
From our friends at Moog Music, Inc. Also via matrixsynth.
“Oscillate-purr….#mother32”
modular
CatSynth pic: Cat atop Modular Synth
Amanda Chaudhary Solo Set at Second Act, San Francisco
We pick up our reports from the epic musical month that was June.
On June 15, I performed a brand new solo set at Second Act in San Francisco, part of a monthly evening of experimental electronic music. It was a bringing together of my more experimental electronic work with the jazz and funk direction my music. The modular and Moog Theremini were featured heavily, but so were the Moog Sub Phatty as my “left hand” bass, and of course the Nord Stage, aka “The Big Red Keyboard”. I also used a Casio SK-1 extensively. You can hear the entire set in this video.
Amanda at Second Act June 2016 from CatSynth on Vimeo.
I thought it went quite well musically. I like how the funk bass worked with the Sub Phatty and Phonogene on the modular. The venue was full, and I got an enthusiastic response from the audience. I don’t think they were expecting this level of jazz and funk, but seemed to really appreciate it. I will definitely continue working in this direction in future solo sets.
The concert began with a noise set by Passions Nouveau, who performed with synthesizers and sundry electronics.
The set unfolded as a single continuous soundscape, with noise pads and drones, but occasional loud swells and complex details.
I was followed by bran(…)pos. It had been a few years since I shared a bill with him, but has excited to hear what he had come up with recently. As per his pervious appearances, he performed inside a tent onto which a mixture of live and processed video was projected.
And once again the performance centered around the use of his face and voice visually and sonically. But the instrumental accompaniment was a new direction, mixing sounds from the turn of the 20th century with pitched synthesizers and beats. It was a very polished and complex sound overall, bringing a tightness to his unique style of performance and presentation.
Overall, it was a great performance, and I was happy to be a part of it. Performing at Second Act is always a great time, and I would like extend my thanks to the folks who continue to make this venue and series work for the musical community.
CatSynth pic: Cat and Modular
CatSynth pic: Cat on Moog Voyager and Modular (In Space)
From Cats on Synthesizers in Space, submitted to us by Lee Tizzard:
OK Cat people….ya got to love this one …….Spooky grey cat sitting on a Moog, Mini-Moog Voyager Synthesizer, augmented with numerous unidentified Eurorack synthesizer modules, in Space……….. this cat spook is obviously being guided by the omnipotent, guardian CatSynth space spirit.———————From : Cats on Synthesizers in Space
NAMM 2016: Booth 5000, Part 2 (more modular synths)
We opened this year’s NAMM coverage with a visit to the embarrassment of riches among modular synths at Booth 5000, so it is feeding that we return there for our final article. You can read the first installment (with a separate article devoted to the new offerings from Rossum Electro-Music).
We at CatSynth are fans of Make Noise Music and their modules. This year they introduced the TEMPI.
The TEMPI is a “six channel, polyphonic time-shifting clock module” that allows to create and store clock-signal arrangements using both algorithmic and manual techniques. The channels can be linked to do classic clock-divider and multiplier patterns, as well as manual entry. The divider/multiplier are continuous so can go beyond integer ratios. And it has storage for 64 6-clock configurations. I often complain about my current lack of clock sources (especially for driving the Make Noise Rene), so this would be a potential great addition.
Make Noise also released standalone synth, the 0-Coast.
Like the offerings from many manufacturers this year, the 0-coast is intended to be an integrated full synthesizer voice, complete with CV and MIDI control. As one would expect, it’s a bit more esoteric than the equivalents from Roland and Moog. The parameters remind me a bit more of a Serge or Buchla synth.
Pittsburgh Modular also released a new standalone modular system, Lifeforms.
The Lifeforms is a single-voice unit with oscillator and Pittsburgh Modular filter plus integrated controls. It can be paired KB-1 pressure-sensitive controller to make a fully autonomous instrument. You can here a bit of my attempt to play it in this video.
The Lifeforms does seem like a rebrand. While the sound character reminds of me of existing Pittsburgh Modular synths and it retains the iconic knobs, the stenciling on the faceplates is different – the old “typewriter” look of previous modules has been replaced with a more contemporary style. The system would make a good entry to more advanced modular synthesis.
Endorphines was presenting their own colorful line of modules.
The heart of their system is the Furthrrrr Generator, a complex VCO reminiscent of Buchla synthesizers with its simple functions based on harmonic relationships. Similarly, the Fourierrrr module provides waveshaping using harmonic relationships. These are complemented by a serious of function and control modules, including the Shuttle Control that converts between USB, MIDI and CV. You can hear a bit of fun with their modules in this video featuring our little mascot.
WMD presented the new Aperture Filter, a full-module version of their existing Aperture Filter card for Black Market Modular’s ColourCV system.
It is described as “a variable width bandpass Butterworth filter (designed by Tyler Thompson).” You can hear a bit of this filter, along with WMD’s new Performance Mixer.
We conclude with the Haken Continuum, which was on display amonst the modular madness. Not a new instrument by any means, but one that is always fun to return and play. The control surface feels liquidy and comfortable, but familiar enough for an experienced pianist.
The demo included an iPad synth with a string patch that took advantage of the Continuum’s multi-dimensional degrees of freedom. But sitting among the modular synths, one can contemplate other possibilities. To this end, Haken has introduced the CVC that allows direct analog CV control from the fingerboard without the need for a MIDI converter.
There really was a lot at the show that I couldn’t get to, or did not fit into an article. It can always be a bit overwhelming, but very rewarding. In the end, NAMM visits are always a mixture of wanting the new instruments I see, and reaffirming things I wanted from previous years. I will be working on my list…
CatSynth Video: Whisker Town (Bandit and Modular Synth)
Bandit the cat enjoys a snack with some live modular synth music. From david wright on YouTube, via matrixsynth.
“bandit the greedy feaster”
NAMM 2016: Strymon Generalissimo
Strymon has long been known for their effects pedals, which are highly regarded. Now they have entered into the worked of Eurorack synth modules with the Generalissimo.
The Generalissmo (cute name, by the way) is a four-head tape echo simulator with a range of additional features. The four delay tops can be switched on and off and independently controlled. There are also independent controls for each tap/head’s playback time. The taps each send an individual clock out, allowing one to drive a sequencer that in turn feeds into the delay unit for interesting rhythmic effects. A clock input allows this all to be controlled externally.
There are additional global controls that affect the quality of the sound, including familiar speed and feedback as well as tape age, crinkle and wow and lutter; and even a separate spring reverb control. Quite a lot in one unit. I wasn’t able to hear the tape age, crinkle and wow&flutter knobs work in the demo, though the main controls worked well and the unit sounded great. It was very smooth and the clock sync is quite a nice touch. There also a “sound-on-sound” mode that turns it into a tape loop simulator, though I wasn’t able to try that out.
An interesting question for me is what this module provides that the combination of a Make Noise Echophon and Phonogene do not (I currently own both of those). Clearly it packs more into one unit, and on the echo side has the four taps. But the clock(s) make be what set it apart musically, as well as the differences in sound characteristics. I hope to see and hear more if this module when it is released later this year.
NAMM 2016: Moog!
We at CatSynth love Moog Music and their instruments. I already own 4 of them (MiniMoog, Sub Phatty, Theremini, Animoog). And now I find myself coveting their newest addition, the Moog Mother-32.
The Mother-32 is a small tabletop unit that is also compatible physically and electronically with Eurorack modular systems. It has a single oscillator (plus a noise source), but it’s common to see them combined into sets of two or three – Moog provides enclosures that facilitate such configurations. It of course has a Moog ladder filter, switchable between high pass and low pass. And it has a 32-step sequencer and extensive options for CV patching and external input. The instrument is configured so that no patching is necessary to start playing. But the real power is integrating into a larger system with other synth modules or external gear. Indeed, the audio-rate control and extensive patching are the mainthings that make this a worthwhile addition even for those who have Moog keyboard synthesizers, along with the high-pass filter. I find myself comparing it utility-wise to Tom Oberheim’s SEM module, though these are very different instruments sonically.
The Moog both featured quite a few demos and performances, and I got to see a few from artists I quite respect and admire. In this video, we hear a bit of Bana Haffer using the Mother-32 and other gear.
Erika also performed on multiple Mother-32 units, along with her own external sequencer.
As one can see from these videos, there was a bit of a tropical and desert theme to the booth. Indeed, it was set up as “Moog Island” with a mix of warm-weather themes. All the instruments were arranged around a central island only inches above the floor, with visitors sitting on yoga pads to play the instruments.
The idea was presumably (in addition to being cute) to give users more focused time with the instruments without distraction. It unfortunately made it difficult and uncomfortable for those of us who wear skirts or dresses at the NAMM show. But it was nonetheless still fun to play the new instruments and see the performers.
NAMM 2016: TomOberheim.com SEM Synthesizers
Following up on our experience with the OB-6 as Dave Smith Instruments, I wandered over to Tom Oberheim’s own both. Under the official name of Marion Systems or “TomOberheim.com, he has released a series of remakes of of his classic synthesizers. The flagship of these instruments is the Two-Voice Pro.
It is a dual voice analog synth powered by two SEM modules, along with a built-in sequencer and a series of 56 CV inputs for controlling most features of the voices and overall synth. Playing it felt more like a vintage Oberheim instrument than the OB-6, which is very contemporary. As such, it is a bit more spartan, but it looks and sounds like a true Oberheim synth from the past.
There are also individual tabletop versions of the SEM, as well as two new Eurorack modules, most notably the SEM Plus.
The SEM Plus is an entire Oberheim SEM voice as a module. It would be useful entry point into a larger and crazier modular system, a good partner for a Moog Mother 32.
Tom Oberheim himself had returned to his booth when I visited, so I got a second chance to talk with him – he is very approachable and generous with his time. We did talk about our respective musical interests, especially our shared fondness and inspiration from the jazz fusion greats of the 1970s like Herbie Hancock. As I return to that sort of music, I hope to apply some of Oberheim’s technologies to the project.