Dr. Bob’s Collector Pack
This luxurious box set includes Arturia’s award-winning Minimoog-V and Moog Modular V, a DVD of the Moog documentary, an archival book featuring unreleased material curated by Michelle Moog-Koussa entitled From Bob Moog’s Private Archives, and an official Bob Moog Foundation button.
Quantities are limited to 1,000 copies worldwide. Profits will be donated to the Moog Foundation to
benefit their projects and help carry Bob Moog’s legacy forward.
To celebrate this event, Arturia is also organizing a contest to win a 1975 Minimoog synthesizer on
their Facebook page at www.facebook.com/arturia2.
“We are delighted to partner with the BMF and bring to musicians Dr. Bob, a pack that will be of high
value to everyone interested in Bob Moog’s legacy. Years ago, Arturia was extremely lucky to work
with Bob Moog on the re-creation of some of his most famous synthesizers. Today we are extremely
happy to support the BMF and give a little back, while bringing to the market a great collector box,” said Frederic Brun (President of Arturia).
“The Bob Moog Foundation is proud and delighted to share many items from our archives for the oneof-a-kind From Bob Moog’s Private Archives booklet included in Dr. Bob’s Collector Pack. The items gracing these pages, many of them rarely seen, illuminate pivotal junctures in the rich history of the Moog legacy. From Bob Moog’s Private Archives is the first published collection of images from the vast trove of materials that Bob accumulated over the length of his 50-year career; it serves as the ultimate complement to the materials in the Pack. Our thanks to Arturia for highlighting the sonic, historical and human legacy that Bob Moog left for us all to enjoy,” said Michelle Moog-Koussa (Executive Director of the Bob Moog Foundation).
Dr. Bob’s Collector Pack includes:
• Minimoog-V and Moog Modular-V (V2.0) software instruments
• More than 1,600 presets created by a selection of world-class sound designers
• Moog DVD Documentary by Hans Fjellestad (Multi Region, approx. 120 min)
• From Bob Moog’s Private Archives, a 72-page book including previously unpublished
documents by the Bob Moog Foundation
• Bob Moog Foundation official button
MSRP 299 USD / EUR 249
New electronic/ambient treat from BEARS in NIPPON – Okinawa
In this video:
New single from electronic/ambient act Bears in Nippon – Okinawa
Featuring vocoders, Moog synths, ARP, Jupiter8, Reason DAW, AKai and samplers.
Movie: Produced by BiN. We pay tribute to all these great animators who have contributed with material
Taken from the forthcoming album – Sapporo Love
It’s all about Moog
The guys at Moog Music have launched an all-new Website. Moog’s online home is even more musical than ever. The updated site is a true online destination for Moog-heads and synth aficionados of every stripe. Among other highlights, visitors to www.moogmusic.com will see:
– The Moog Sound Lab, which drops known and unknown bands in a studio full of Moog gear to see what sounds they can come up with. The bi-weekly series has debuted featuring the Dandy Warhols, re-inventing their song “Green” from their 1997 album “Come Down”.
– The new LEGACY section, which features a short but highly informative documentary on the Minimoog. Follow the life of the Minimoog Synthesizer from its inception through its prolific contributions to poplular music throughout the last 4 decades. In this first installment documenting the journey of the Minimoog synth through the 1970’s, we explore the musicians and the people that were instrumental in bringing the instrument to prominence. We also sit with one of Moog Music’s earliest engineers, Bill Hemsath, who recalls the process of the Minimoog’s birth and sheds some light on what sets the Moog synthesizer apart from other analog synths.
Gear and products news abound. For more of all things Moog, it’s definitely worth a visit.
Moog Voyager meets Electro-Harmonix Vocoder
Check out this setup. When using the Voyager’s Mixer Out/Filter In jack with a vocoder like this, the vocoder’s mic input becomes a portal for injecting rhythm into your Voyager patches. When that rhythm is MIDI Clock Synced, things get really fun, really fast.
MOOG SOUND LAB: The Dandy Warhols, Green
Kicking off the debut season of Moog Sound Lab are the Dandy Warhols experimenting with all manner of Moog gear. Watch as they use a soundscape of analog synthesis to reimagine the song “Green,” from their seminal second album “Come Down” released in 1997.
Spectrasonics Bob Moog Tribute library
Bob Moog Tribute library for Omnisphere.
Over 700 new sounds for Omnisphere created by more than 40 of the world’s top synth artists, remixers and sound designers
Pimp my Synth
http://youtu.be/RXhIPpRD9cs
Synthesizer modifications (keyboard replacement / aftertouch / card reader as a HD replacement) in the synthesizer studio of Martin Höwner. Music played by Martin and Dietmar Höwner Steinhauer on Prophet V, Oberheim OB-X, PPG 2.3 and Memorymoog.
Taurus 3 :: A Step Outside
You’ve learned all the RUSH cover songs. What else can you do with a Moog Taurus 3?
The Moog Taurus 3 springs from a very iconic lineage. Because of that rich history, it’s easy to type-cast it and not fully explore the full sonic potential it presents. The inclusion of volume, pitch, filter and gate control voltage inputs, coupled with a MIDI-syncable arpeggiator can take it far outside its usual low-end drone duties. This video just scratches the surface of what is possible. Its purpose is to encourage you to “step outside”.
The first example shows the Taurus 3 filter being modulated by a Make Noise René: a very fun analog step sequencer with some interesting Cartesian (X & Y clock) capabilities. The CV inputs on the Taurus 3 make it a great add-on for modular synthesis set-ups and there are an almost unlimited number of interesting things you can connect to them. The René is definitely at the exotic end of the spectrum but it is still extremely useful. It’s great to have that extra level of control available at hand level too.
Due to personal preference, I tend to use things like the René to control filter cutoff instead of pitch. I enjoy the ability to play the notes while synchronized filter events occur. It gives a pleasing (at least to me) mix of tight-sequenced and loose-live feel.
The second example takes things even farther afield. I first discovered the Droid app Nanoloop in a recent CDM article. Its useful features and sleek user interface made it an instant favorite.
Here I used one of my favorite production tricks: processing the Droid audio through a Moog MF-101 (Moogerfooger) low pass filter. In addition to nicely warming up the Droid, it also created a control voltage (CV) proportional to the volume of the input audio. In other words, the CV mirrored the volume envelope of the beat Nanoloop created.
This is an incredibly powerful tool. When that CV controls something interesting… say that filter on a Taurus 3, some very interesting synchronizations occur, all completely in the analog realm. When the Droid outputs a loud kick, the CV output on the Moogerfooger goes high and the Taurus 3 filter opens wide. As soon as the kick sound is over, the CV goes low and the filter shuts. Mid-volume sounds open the filter midway. These are not discrete steps. The CV hugs the volume contour of the input audio and outputs a nicely wiggly, but tightly synchronized analog control signal.
This is conceptually very similar to side-chaining and the great thing about it is that the filter modulations created will follow any changes in the rhythm. Sudden shift in tempo coupled with a time signature change to 11/8… no problem! I haven’t tested it but this should also work with a live drummer. Of course, there is no rule that says you have to connect the CV to a filter input. You could connect it to volume or if you’re feeling really avant-garde, to pitch.
This technique works best with when the beat is not too busy and has some definite dynamic peaks and valleys. A bit of gain adjusting and tweaking of the base filter cutoff frequency on the target synth (the Taurus 3 in this case) are sometimes needed, but the unique results more than make up for this little bit of work. Higher resonance settings on the target synth will make the filter modulations more noticeable. If you have a synth with CV inputs but without MIDI, this is a great way to get it dancing to your beat.
The last example shows a somewhat basic MIDI-synced arpeggiator application. By using your foot to transpose the arpeggiation, you can create quite a sophisticated soundscape while your hands are free for other musical mayhem.
All of these applications are fairly basic. Imagine doing any of them while using the Taurus 3’s USB connectivity to simultaneously control Ableton Live, or while it is part of a monster MIDI stack…
Michelle Moog-Koussa On The Potential Future Of The Moog Museum
We’re guessing the readers of these webpages are well familiar with the name Bob Moog, but the late, great inventor’s influences stretch far beyond the synth-geek rank and file. Though his DIY theremin kits of the 1950s and the creation of the Moog Synthesizer Bob Moog brought electronic music to the masses; in doing so he may have had more influence over the music of the latter half of the 20th century through the present than any other single human being.
Under the direction of Bob’s daughter, Michelle Moog-Koussa, the Bob Moog Foundation strives not only to sustain the good doctor’s legacy through archival functions, but also through educational efforts. To both ends the Moog foundation hopes to raise capital for building the Moogseum, a museum and educational center. To find out how you can become BFFs with the BMF, visit the Foundation’s website for donation information.
Taurus 3 :: A Step Outside
You’ve learned all the RUSH cover songs. What else can you do with a Moog Taurus 3?
The Moog Taurus 3 springs from a very iconic lineage. Because of that rich history, it’s easy to type-cast it and not fully explore the full sonic potential it presents. The inclusion of volume, pitch, filter and gate control voltage inputs, coupled with a MIDI-syncable arpeggiator can take it far outside its usual low-end drone duties. This video just scratches the surface of what is possible. Its purpose is to encourage you to “step outside”.
The first example shows the Taurus 3 filter being modulated by a Make Noise René: a very fun analog step sequencer with some interesting Cartesian (X & Y clock) capabilities. The CV inputs on the Taurus 3 make it a great add-on for modular synthesis set-ups and there are an almost unlimited number of interesting things you can connect to them. The René is definitely at the exotic end of the spectrum but it is still extremely useful. It’s great to have that extra level of control available at hand level too.
Due to personal preference, I tend to use things like the René to control filter cutoff instead of pitch. I enjoy the ability to play the notes while synchronized filter events occur. It gives a pleasing (at least to me) mix of tight-sequenced and loose-live feel.
The second example takes things even farther afield. I first discovered the Droid app Nanoloop in a recent CDM article. Its useful features and sleek user interface made it an instant favorite.
Here I used one of my favorite production tricks: processing the Droid audio through a Moog MF-101 (Moogerfooger) low pass filter. In addition to nicely warming up the Droid, it also created a control voltage (CV) proportional to the volume of the input audio. In other words, the CV mirrored the volume envelope of the beat Nanoloop created.
This is an incredibly powerful tool. When that CV controls something interesting… say that filter on a Taurus 3, some very interesting synchronizations occur, all completely in the analog realm. When the Droid outputs a loud kick, the CV output on the Moogerfooger goes high and the Taurus 3 filter opens wide. As soon as the kick sound is over, the CV goes low and the filter shuts. Mid-volume sounds open the filter midway. These are not discrete steps. The CV hugs the volume contour of the input audio and outputs a nicely wiggly, but tightly synchronized analog control signal.
This is conceptually very similar to side-chaining and the great thing about it is that the filter modulations created will follow any changes in the rhythm. Sudden shift in tempo coupled with a time signature change to 11/8… no problem! I haven’t tested it but this should also work with a live drummer. Of course, there is no rule that says you have to connect the CV to a filter input. You could connect it to volume or if you’re feeling really avant-garde, to pitch.
This technique works best with when the beat is not too busy and has some definite dynamic peaks and valleys. A bit of gain adjusting and tweaking of the base filter cutoff frequency on the target synth (the Taurus 3 in this case) are sometimes needed, but the unique results more than make up for this little bit of work. Higher resonance settings on the target synth will make the filter modulations more noticeable. If you have a synth with CV inputs but without MIDI, this is a great way to get it dancing to your beat.
The last example shows a somewhat basic MIDI-synced arpeggiator application. By using your foot to transpose the arpeggiation, you can create quite a sophisticated soundscape while your hands are free for other musical mayhem.
All of these applications are fairly basic. Imagine doing any of them while using the Taurus 3’s USB connectivity to simultaneously control Ableton Live, or while it is part of a monster MIDI stack…
DATAMASKIN
