Moog Sub Phatty & Q960 Step Sequencer
The mighty analog Moog Sub Phatty Synthesizer is under control of Q960 Sequential Controller. As usual, Row A is for Pitch, Row B is for Filter opening. On this video, while sequence is running, there are tests for EGs snap, OSC reset under key Gate, fattyness of SubOsc, wild brutality of Multidrive distortion. Such a lovely, little analog machine.
Moog Sub Phatty has two oscillators, one sub oscillator, one noise generator, one lowpass filter transistor ladder and a dual distortion unit pre/post filter. On this video, you’ll find a walkaround of waveforms and treatment ready to go with sub oscillation and distortion.
The Moog Sub Phatty Part 5 – Envelope and Presets
Here is a demonstration of the VCA envelope and the preset functionality of the Moog Sub Phatty.
The Moog Sub Phatty Part 3 – Modulation
Here is part one of a series of two videos which demonstrate the sound and functionality of the modulation section of the Moog Sub Phatty.
The Moog Sub Phatty Part 2- The Filter
Here is a demonstration of the sound and functionality of the Moog Sub Phatty’s filter section.
“Previous to the shooting of these demo videos, I set all of the “under the hood” functionality to settings that would cause the synthesizer to act most like a vintage synthesizer. In the process of shooting, the synthesizer was turned on and off a number of times. A couple of times, I found that certain obvious settings had been reset (like the LFO pitch tracking feature, which kept coming on). When it didn’t affect the subject I was shooting, I didn’t reset them to my tastes. It appears that I should have, because it now seems likely that this video was shot with the filter in 18 dB or12dB per octave mode, despite the fact that I had set it to 24dB per octave before starting the series of shoots. Keep that in mind! (sadly, I no longer possess the unit, so I can’t reshoot!)”
The Moog Sub Phatty Part 1- Oscillators
First part in a new series of explorations of the Moog Sub Phatty, details below:
Here is a demonstration of the sound and functionality of the Moog Sub Phatty.
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The Moog Sub Phatty theme is comprised of Sub Phatty sounds, with the exception of the drums, which were programmed using an Ensoniq ASR-10. There are no effects used of any kind.
See if you can spot the two glaring quality control failures which evince my commitment to getting videos out quickly to all of you. 
Demo of Elektron Analog Four and a Roland TR-707
This demo is of the Elektron Analog Four, a four voice analog synthesizer/sequencer and the Roland TR-707 drum machine. The Elektron is doing all the tones here and of course, the 707 is playing the drums. In terms of effects, there is a slight bit of analog delay and chorus on the 707’s snare. Otherwise, all effects used are the ones built into the Elektron (it’s reverb and delay were used on this project). The mixer is an Alto AMX-220. The master of that was then sent to an Electra EQ, then finally to my soundcard. No post-processing, compression, etc was used.
Jordan Passmore says: I am having lots of fun with the Analog Four. It excels very well as modulated and filtered textures. It sounds very different than other analog synths I have owned in the past and the sequencer is (of course) fantastic. All tones here were programmed by me.
Moog Sub Phatty Demo with Jake Widgeon
Jake Widgeon from Moog Music demonstrates the Moog Sub Phatty analog synthesizer at Kraft Music.
Medic Modules Ident – new analogue eurorack modules coming soon
Analogue Solutions’ Tom Carpenter shared this short teaser: Medic Modules Ident – new analogue eurorack modules coming soon
Deadmau5 – The Veldt (analog cover by Kebu)
Background description:
http://www.facebook.com/kebunator
http://kebu.fi
I just discovered “The Veldt” by Deadmau5 and really enjoyed it. I noticed that I could recreate the riff with my Mono/poly, with the TR-808 trigging the gate of it, and off I went!
Equipment used: Roland TR-808 (drums and trigger for the Mono-poly), Juno 60, Alpha Juno; Korg Mono/Poly, Polysix; Electro Harmonix Small Stone; Boss DD-3; Lexicon MPX500, MPX110; Allen & Heath GS1; Tascam 38, DX-4D; Alesis iO26 & Izotope Ozone 5 for mastering
Only analog synths used, recorded to tape, and mixed with an analog mixer. No computers or MIDI used during recording and mixing. Only the final stereo track was mastered using Izotope Ozone 5 (AAAD).
The tune is written by Joel Zimmerman and Chris James.
Yamaha SY20 Sounddemo – Rare Yamaha Monophonic Analog synthesizer of 1982
Yamaha SY20 Sounddemo (springreverb effect)
Copyrights Volker Hein – 2013
More information visit www.tastronauten.de
The SY20 was Yamaha’s last analog synthesizer model before committing to digital FM synthesis with products like the DX-series. It is an all-analog mono-synth that came out in 1982 but was never commercially sold outside of Japan, making it very rare. In fact, it was originally intended to be an “educational” synth to help students learn about synthesis. However, as most of the controls are labeled in Japanese characters, you will already need to be familiar with analog synthesizers (or Japanese) to grasp the SY20.
Despite being a rather simplistic looking mono-synth, the SY20 is a surprisingly refined and expressive synth. There are 20 preset sounds, arranged in two banks of ten. They include all the customary attempts at emulating the acoustic sounds of piano, woodwinds, stringed and brass instruments. The presets can be combined with the manual synthesizer control sections, which are very simply and logically laid out: VCO, VCF, and VCA, and each section can be individually switched on or off. There is an LFO to modulate each of these three sections for pitch, filter and tremolo effects. There is also Portamento and a one-octave Transpose knob that is notched in half-tone steps (it can be used to quickly transpose what you are playing to different keys).
The VCO section offers one oscillator with Square and Saw waveforms. A slider is used to mix between the two waveforms. The oscillator pitch can be set from 2′ to 32′. There is also Pulse-Width modulation and White Noise. The VCF offers three filter modes: low pass, and two band pass modes. The filter sounds really good, though it is not self-oscillating. The typical cutoff and resonance controls are accompanied by ADSR envelope controls for a nice contoured filter effect. The VCA section offers the standard ADSR controls as well.
While the main synthesis sections are all nicely laid out and straight forward, the real expressive potential comes from a few other simple but effective features. The 44-note keyboard supports after touch, which can be sent to the VCF, the VCA and the LFO for adding filter, volume and modulation effects using keyboard pressure. They can be combined in any way and with as much (or little) depth as needed for the desired effect. There are also three global effects: Portamento, Sustain and Brilliance.
The SY20 has a mono audio output, headphone jacks in the front and rear, and a built-in speaker! Unfortunately there is no CV/Gate and the MIDI specification was still a year away from being published, so it can not be hooked up to any sequencing equipment—you’re gonna have to play this one the old-fashioned way.
The SY20 has a lot to offer. It sounds really good—warm, pure, expressive and wholly analog. It is incredibly rare. It is the last analog synthesizer Yamaha designed before going digital. And it is covered mostly in Japanese characters. All these qualities combine to make it an historic and unique piece in any collection and it will definitely get used often, it may even become the “go-to” mono-synth for anybody lucky enough to own one!
DATAMASKIN
