Immer Wieder Breit Moog Minimoog Voyager Select Series – Monofoner Synthesizer
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Moogerfooger® MF-107 Freqbox™
Understanding and Using your moogerfooger® MF-107 FreqBox™ TABLE OF CONTENTS Introduction.................................................2 Getting Started Right Away!.......................4 Basic Applications......................................6 FreqBox Theory........................................10 FreqBox Functions....................................16 Advanced Applications.............................21 Technical Information...............................24 Limited Warranty......................................25 MF-107 Specifications..............................26 1 Welcome to the world of moogerfooger® Analog Effects Modules. Your Model MF-107 FreqBox™ is a rugged, professional-quality instrument, designed to be equally at home on stage or in the studio. Its great sound comes from the state-of-the- art analog circuitry, designed and built by the folks at Moog Music in Asheville, NC. Your MF-107 FreqBox is a direct descendent of the original modular Moog® synthesizers. It contains several complete modular synth functions: a voltage-controlled oscillator (VCO) with variable waveshape, capable of being hard synced and frequency modulated by the audio input, and an envelope follower which allows the dynamics of the input signal to modulate the frequency of the VCO. In addition the amplitude of the VCO is controlled by the dynamics of the input signal, and the VCO can be mixed with the audio input. All performance parameters are voltage-controllable, which means that you can use expression pedals, MIDI-to-CV converter, or any other source of control voltages to 'play' your MF-107. Control voltage outputs mean that the MF-107 can be used with other moogerfoogers or voltage controlled devices like the Minimoog Voyager® or Little Phatty® synthesizers. While you can use it on the floor as a conventional effects box, your MF-107 FreqBox is much more versatile and its sound quality is higher than the single fixed function "stomp boxes" that you may be accustomed to. -
Prices Subject to Change Without Notice. Call Today Or Visit Us Online! Keyboard Workstations & Synthesizers 299
298 KEYBOARD WORKSTATIONS & SYNTHESIZERS NEW! ROLAND JUPITER-50 SYNTHESIZER A 76-key, 128-voice synth for both studio and stage performances. Combines the expression of the JUPITER-80 with the travel friendliness of the JUNO series, bringing SuperNATURAL® sound and pro performance to every stage and studio. Features weighted keyboard, friendly user interface with intui- tive color-coded buttons/sliders, registration function for saving and selecting sounds instantly, pro-quality multi-effects and reverb, and USB audio/MIDI functionality. • Expressive performance controllers (D BEAM, pitch/mod lever, & control in jacks) • Bundled with SONAR LE and JUPITER-50 Control Surface plug-in for SONAR. • Over 1,500 SuperNATURAL® synthesizer tones ITEM DESCRIPTION PRICE JP-50......................... JUPITER-50 synthesizer ...................................................................1999.00 ROLAND JUNO-GI MOBILE SYNTHESIZER Roland’s JUNO-GI has over 1,300 ROLAND JUPITER 80 The latest incarnation of one of the most legendary sounds, an onboard eight-track digital recorder, and professional effects cre- names in synthesis. The Jupiter 80 is a live performance powerhouse with 256 ated by BOSS. Over 1,300 factory selections cover a wide array of instrument polyphonic voices. There is a full color touch screen and plenty of assignable types and musical styles, and Tone Category buttons help you scan the vast buttons, knobs, pitch and mod wheels, and a D-Beam controller. library with ease. • Fat, multi-layered SuperNATURAL sound set • AC Adapter or -
El Padre Del Sinte Y, Quizá, El Hombre Más Influyente En La
Pioneros FM BOB MOOG La gente corriente conoce muy pocos nombres de creadores de instrumentos –Stradivarius, Hammond, Wurlitzer, Fender, Gibson… y por supuesto, Moog OB MOOG, en una revista de electrónica. EL padre del De repente, en plena adolescencia, sintetizador y, “El padre del sinte y, ya estaba haciendo y vendiendo kits con quizá, el hombre su pequeña empresa R.A. Moog Co. más influyente quizá, el hombre más En 1961, siendo todavía un estudiante, en la música publicó un diseño de theremin a durante las transistores del cual vendió más de mil últimas cinco influyente en la música unidades, bien como kits de montaje Bdécadas, murió el pasado 21 de Agosto. de los últimos 50 años” o como instrumentos finalizados. Tenía 71 años –una edad respetable para A partir de entonces, conoció muchos, pero no para él. Cualquiera al pionero de la música electrónica que haya podido compartir algún Raymond Scott, quien producía jingles momento con el entrañable Bob antes para importantes cadenas de TV de que le diagnosticaran un tumor cerebral en disfrutar durante unas horas de su inspiradora, con su enorme muro de equipos electrónicos. Abril de este mismo año, te confirmará que carismática y entrañable compañía. Es posible que aquello le inspirase, porque estaba lleno de energía, humor y vitalidad, así Por no molestar, Moog prefería viajar en tren a principios de los 60, Moog presentó, que es una auténtica pena que no haya podido o en autobús antes que aceptar el ofrecimiento de posiblemente, la mayor revolución de la música seguir algunas décadas más entre nosotros. -
Rack Mount Edition by R.Stephen Dunnington
USER’s MANUAL for the Rack Mount Edition By R.Stephen Dunnington Here it is – the Minimoog Voyager Rack Mount Edition®. Moog Music has put more than 30 years of experience with analog synthesizer technology into the design of this instrument to bring you the fattest lead synthesizer since the minimoog was introduced in 1970. We’ve done away with the things that made 30-year- old analog synthesizers difficult – the tuning instability, the lack of patch memory, and the lack of compatibility with MIDI gear. We’ve kept the good parts – the rugged construction, the fun of changing a sound with knobs in real time, and the amazing, warm, fat, pleasing analog sound. The Voyager is our invitation to you to explore analog synthesis and express yourself. It doesn’t matter what style of music you play – the Voyager is here to help you tear it up in the studio, on stage, or in the privacy of your own home. Have fun! Acknowledgements – Thanks to Bob Moog for designing yet another fantastic music making machine! Thanks are also due to the Moog Music Team, Rudi Linhard of Lintronics for his amazing software, Brian Kehew, Nigel Hopkins, and all the great folks who contributed design ideas, and of course, you – the Moog Music customer. TABLE OF CONTENTS: I. Getting Started……………………………………………………... 2 II. The Basics of Analog Synthesis…………………………………… 5 III. Basic MIDI................................................................................ 12 IV. The Voyager’s Features…………………………………………… 13 V. The Voyager’s Components A. Mixer……………………………………………………………... 17 B. Oscillators……………………………………………………….. 19 C. Filters…………………………………………………………….. 22 D. Envelope Generators………………………………………….. 26 E. Audio Outputs…………………………………………………… 28 F. -
Synthesizer-Guide 2018
Synthesizer 1 Guide 2018 Guide Nr. 9 Guide Nr. Synthesizer Sonnenstraße 15 Tel: 0049/(0)89/55146-116 D-80331 München www.hieber-lindberg.de www.hieber-lindberg.de [email protected] www.hieber-lindberg.de [email protected] Vorwort Novation PEAK Seite 4 Liebe Synthesizer-Freunde! 2 8-stimmiger Hybrid-Synthesizer 3 Jedes Jahr scheint ein neuer, überraschender Höhepunkt im Synthesizer-Sektor Roland SH-01A Seite 8 erreicht. Überraschend insofern, als man eine Sättigung des Marktes annehmen Analoger Klassiker im Boutique Format könnte. Gibt es nicht schon genug monophone Analogsynthesizer? (Nein.) Sind neue Eurorack-Module überhaupt noch möglich? (Ja.) Und was ist mit den poly- Arturia MatrixBrute Seite 10 phonen Analogen, sind diese endlich mal auf der Überholspur unterwegs? (Korg Paraphoner Analog-Synthesizer steigt zu DSI in den Poly-Ring: Die Überholspur ist eröffnet.) Hätte man als Musi- ker die nötigen Zeitressourcen, würde man umgehend (!) einen MatrixBrute samt Korg Prologue Seite 14 einiger der neuen Eurorack-Module ins Studio holen, dazu noch einen Peak und 8- bzw. 16-stimmiger Analog-Synthesizer einen Prologue. Dann Türe zu und genüssliches Klang-Forschen - für mindestens Roland/Studio Electronics SE-02 Seite 16 drei Jahre (oder mehr). Das Potenzial dazu hätten alle genannten Instrumente. Monophoner Analog-Synthesizer Doch natürlich sieht das wahre Leben anders aus. Hier heißt es Entscheidungen Hieber Lindberg Shop Seite 19 treffen - für dieses oder für jenes Instrument. Neuer „Polyphonic Eurorack Syn- Preisliste Synthesizer / Modularsysteme / Module thesizer“ von Doepfer gefällig, zusammen mit Vermonas randomRHYTHM- und twinCussion-Modul - alles im Arturia RackBrute-System verbunden mit dem Mini- Hieber Lindberg News Seite 26 Brute 2? Klingt nicht schlecht. -
11C Software 1034-1187
Section11c PHOTO - VIDEO - PRO AUDIO Computer Software Ableton.........................................1036-1038 Arturia ...................................................1039 Antares .........................................1040-1044 Arkaos ....................................................1045 Bias ...............................................1046-1051 Bitheadz .......................................1052-1059 Bomb Factory ..............................1060-1063 Celemony ..............................................1064 Chicken Systems...................................1065 Eastwest/Quantum Leap ............1066-1069 IK Multimedia .............................1070-1078 Mackie/UA ...................................1079-1081 McDSP ..........................................1082-1085 Metric Halo..................................1086-1088 Native Instruments .....................1089-1103 Propellerhead ..............................1104-1108 Prosoniq .......................................1109-1111 Serato............................................1112-1113 Sonic Foundry .............................1114-1127 Spectrasonics ...............................1128-1130 Syntrillium ............................................1131 Tascam..........................................1132-1147 TC Works .....................................1148-1157 Ultimate Soundbank ..................1158-1159 Universal Audio ..........................1160-1161 Wave Mechanics..........................1162-1165 Waves ...........................................1166-1185 -
ORIGINAL GAME SOUNDTRACK —— Disc 1 —— Act I 1
ORIGINAL GAME SOUNDTRACK —— Disc 1 —— Act I 1. Hostility 5:22 2. Survival 4:44 3. Exile 6:33 4. Refinement 5:12 5. Complexity 5:30 6. Goliath 2:40 Act II 7. Darkness Eternal 4:36 8. Europa 7:51 9. Regrowth 8:20 10. Really Cold Pain 4:36 11. Meddler 5:24 12. Taurus 3:59 13. Tetrahedron 6:16 14. Enhancement 6:55 —— Disc 2 —— Act III 1. Plus Ultra 6:00 2. Unmanned 6:30 3. Far Flung 7:44 4. Discovery 5:06 5. Spiral Tide 5:33 6. Hidden Grind 3:03 Extras 7. Prepare For Overload 2:28 8. Simulator 1:58 9. Aggression 3:04 10. Tunnel 1:34 11. Decompression 1:27 12. Failure 2:40 13. Beale 1:35 14. Trinidad 1:25 15. Revival 1:21 16. Approach 1:49 17. Evacuation 0:22 18. Level Up 6:44 Total runtime 2:32:54 The soundtrack to Overload is a collection of original game music from artists around the world. Although they have unique musical backgrounds and histories, they share in common a passion for immersive platforms with untethered freedom and full control. Such an experience is Overload. Dan Wentz (Disc 1 Tracks 7, 9-12. Disc 2 Tracks 6-15, 17, 18) danwentz.com soundcloud.com/daniel-wentz It is a great honor and thrill to be involved in this project and I hope you enjoy the results of all of the hard work. I especially enjoyed seeing some familiar faces again and working on a common vision together. -
Transectorial Innovation, Location Dynamics and Knowledge Formation in the Japanese Electronic Musical Instrument Industry
TRANSECTORIAL INNOVATION, LOCATION DYNAMICS AND KNOWLEDGE FORMATION IN THE JAPANESE ELECTRONIC MUSICAL INSTRUMENT INDUSTRY Timothy W. Reiffenstein M.A., Simon Fraser University 1999 B.A., McGill University 1994 DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY In the Department of Geography O Timothy W. Reiffenstein 2004 SIMON FRASER UNIVERSITY July 2004 All rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means, without permission of the author. APPROVAL Name: Timothy W. Reiffenstein Degree: Doctor of Philosophy Title of Thesis: TRANSECTORIAL INNOVATION, LOCATION DYNAMICS AND KNOWLEDGE FORMATION IN TKE JAPANESE ELECTRONIC MUSICAL INSTRUMENT INDUSTRY Examining Committee: Chair: R.A. Clapp, Associate Professor R. Hayter, Professor Senior Supervisor N.K. Blomley, Professor, Committee Member G. Barnes, Professor Geography Department, University of British Columbia Committee Member D. Edgington, Associate Professor Geography Department, University of British Columbia Committee Member W. Gill, Associate Professor Geography Department, Simon Fraser University Internal Examiner J.W. Harrington, Jr., Professor Department of Geography, University of Washington External Examiner Date Approved: July 29. 2004 Partial Copyright Licence The author, whose copyright is declared on the title page of this work, has granted to Simon Fraser University the right to lend this thesis, project or extended essay to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request fiom the library of any other university, or other educational institution, on its own behalf or for one of its users. The author has further agreed that permission for multiple copying of this work for scholarly purposes may be granted by either the author or the Dean of Graduate Studies. -
Slim Phatty Manual
Table of Contents FOREWORD from Steve Dunnington .................. 5 THE USER INTERFACE (con’t) Performance Sets ................................................................ 50 THE BASICS Activating the Arpeggiator and Latch .................... 52 How to use this Manual ....................................... 6 How the SP handles MIDI ............................................. 54 Setup and Connections ........................................ 6 Overview and Features ........................................ 8 APPENDICES Signal Flow .................................................................... 10 A – LFO Sync Modes ..................................................... 58 Basic Operation ......................................................... 11 B – Arpeggiator Clock Source .................................. 59 C – The Calibration Preset ......................................... 60 THE COMPONENTS D – Accessories ................................................................. 61 A. Oscillator Section ............................................... 12 E – Tutorial ............................................................................. 62 B. Filter Section ......................................................... 14 F – MIDI Implementation Chart .............................. 67 C. Envelope Generators Section .................... 16 G – Service & Support Information ........................ 68 D. Modulation Section .......................................... 18 H – Caring for the Slim Phatty .................................. -
Minimoog Voyager Features and Technical Specifications
Minimoog Voyager Features and Technical Specifications The MINIMOOG VOYAGER Synthesizer is a monophonic (one note at a time) analog performance synthesizer. It incorporates virtually all of the sound resources and functions of the original Model D Minimoog, which was produced by Moog Music, Inc. from 1970 to 1982. It has many new additional features, including a three dimensional touch surface, MIDI IN and MIDI OUT implementation, extensive patching facilities, and a large number of new panel features. The signal path starts with a bank of three wide-range, high-stability voltage controlled oscillators, one noise source, and one audio preamplifier for externally-applied audio signals. The sound modifiers are two Moog filters and one stereo VCA (Voltage Controlled Amplifier). Modulation sources are two ADSR (Attack Decay Sustain Release) envelope generators and one multiwaveform LFO (Low Frequency Oscillator).Control devices include a 44-key keyboard with velocity and afterpressure outputs, pitch bend and modulation wheels, a three dimensional touch surface, and many control/pedal input jacks. The MINIMOOG VOYAGER has a hinged, multi-position panel and a solid hardwood cabinet. The power supply accepts any power voltage from 100 volts to 240 volts. Oscillators Module Three wide-range, high stability VCO's (Voltage Controlled Oscillators) with continuously-variable waveforms. • FREQUENCY controls (2) vary the frequencies of Oscillators #2 and #3 over a +/-7 semitone range with respect to Oscillator #1. • OCTAVE selectors (3) set the frequency ranges of the oscillators in six octave steps. • WAVE controls (3) provide continuous control over the waveforms of the oscillators, from triangular, to sawtooth, to square, to narrow rectangular. -
MP-201 Multi-Pedal Userʼs Manual
MP-201 Multi-Pedal Userʼs Manual Table of Contents Introduction ................................................. 4 Low Frequency Oscillator Parameters............... 33 Overview and Features ........................ 5 MIDI Implementation .................................................. 37 Instant Gratification ................................ 8 Utility Mode ...................................................................... 39 Presets Defined ........................................ 11 Utility Mode Menus ...................................................... 40 Controllers and Control Signals .... 12 Operating Modes .................................... 15 Appendix A - Service & Support Info ............... 48 Chart of Panel Functions ................... 16 Appendix B - Caring for the Multi-Pedal ......... 49 Single Channel Mode ............................ 17 Appendix C - Footpedal Adjustment ................ 49 Quad Channel Mode ............................ 19 Appendix D - MIDI Implementation Chart ... 50 Edit Mode .................................................... 20 Appendix E - Specifications ..................................... 51 Edit Mode Menus .................................... 21 Appendix F - Factory Presets ................................. 52 Storing Presets .......................................... 32 Page 3 MP-201 User’s Manual MP-201 User’s Manual Introduction Thank you and congratulations on your purchase of the MP-201 Multi-Pedal. The MP-201 Multi-Pedal is an advanced four-channel CV/MIDI footpedal controller. -
Laurent Lecatelier – Mastermind of BALORAN
Laurent Lecatelier – Mastermind of BALORAN Here a stop-by at BALORAN – best known for its synthesizer THE RIVER. An ideal opportunity, by the way, to again experience bumpy Belgian motorways, the flat northeast of France and the wonderful hospitality of Laurant Lecatelier. Of course we asked the owner of BALORAN for a short interview … GS: Hello Laurent. First – THE RIVER: Why that name? It’s quite unusual, making the novice curious as to what’s behind the scene. THE RIVER … like … musical flow? Laurent Lecatelier: That would be a pretty idea, but no – the name has a different origin. Many (many) years ago I discovered my affection for Moog’s THE SOURCE … well, and this “source”, multiplied, became the basis for my instrument. Several sources yield something larger, a stretch of running water – THE RIVER. Mine is the multiple / polyphonic version of that monophonic Moog synthesizer. | 1 Laurent Lecatelier – Mastermind of BALORAN A true 8-voice analog synthesizer, with a proper keyboard and a powerful sequencer – that’s an ambitious project. Please tell us something about the history of THE RIVER, about the development of the project … All my projects are initially motivated by very personal needs. So, too, THE RIVER. Although I have been playing keyboard for many years – I am truely a so-la-la keyboarder – I have already reached the limits of my musical expressiveness. For keyboarders like me, a little technical support helps us attain the desired expressiveness. This is one of the aspects that led to various ideas behind THE RIVER. Another aspect is the coincidental connection of my professional experience in the technical field with software programming and with my musical passion.