Synth voices and the knobs and buttons that make them go. 

 The great synth programmer, Zaa Phaphalene once said, "Do not ask why me? Rather, ask yourself, "Why not me?" And so we did. We both learned to program the great machines from their consoles, tedious and grueling to finish. But now, we've got the Hypersynth Miniak patch editor to finally get something nice out of that Akai Professional virtual analog that is not getting any younger. 

And neither am I. I like having the controls working on their amazing machine. Having a way to access this thing takes if from a nearly wasted eBay grab to a fantastic resource writhing and raring to go. It's like something I could imagine, but the Miniak is such a rare bird, and not many were produced I'm guessing. But I found this one guy in the world who can make an editor/librarian for it that actually works. It's a little squirely in some respects, but well worth the effort. So with a long day of novel writing ahead, let's go to the studio.

The Grand Tour: CyberMecha

There's a history of electronic music in Northwest Georgia. I can name a few that have contributed their own interpretations of their heroes and heroines of new wave, post punk, electro, and whatever the hell else you'd like to throw in there. Sam Hancock was not easy to get along with. He was a task master who knew how to use electronics for the greater good. Sam and I both played in bars and auditoriums, with very little enthusiasm from locals who just wandered in. It would turn out that the Internet has given us listeners and fans from around the world who would rather listen to us play than to have their eye poked out with a sharp stick. 

Here's a rack that Sam put together, and IMS inherited from him.

There are 3 E-Mu Systems ROMplers that I love here, the Proteus/2's and Ultra Proteus. Then below, 2 of the TX81Z FM synths that we started with over 30 years ago. I can play them from a single keyboard, or I can divide them up and use the computer to play them individually or in groups or any combination. I like to play them from the DX-21:

The DX-21 is from the era from whence the TX81Z's came out, so they can talk to each other. Together they can give me 18 individual instruments, or work together as one giant digital instrument. Another nice thing is that the DX-21 is not velocity sensitive, so it uses what they call "synthesizer keys." It means that I can play all the notes in with the same loudness, and then process that later once they've been played into the computer's recording system.

Here's my main workstation:

This is a Novation Launchkey 61 key MIDI controller. I can use this to play various instruments from the local network, on one keyboard interface. It has controls and pads for various things that I record and play live in the studio at IMS. 

 Our corporation operates an independent record label called Institute of Mimetic Sciences, Inc. It is doing research in human-computer communications, and artful intelligence. Visit us at https://FluxOersted.com

Following is one more photo I can show you related to IMS studio that we call CyberMecha. This is the main mixer for my lab/studio:

It's a 12 channel mixer with a computer interface. You can see part of a little Behringer 4-channel sub mixer that we use to handle the analog synths and the Miniak. We've covered some peripheral items in the past. We're more of a real instrument band here locally, but when you can mix fact with fiction, why settle for less than optimal in whatev
er it is that you're doing?

So these photos rearrange themselves as we step back in time. We don't play outside the studio any more, but in these confines, we are the masters of our own reality.

There's certainly a bit of nostalgia being around the sort of gear that I would have been ecstatic to have when it was the current instruments to have. I may be the only person who gets what I do from hearing them in my recording creations. It's what I do, so I'll get to it then.

So this is the end of 2024.

What happened? I learned that much of my life is like a Seinfeld episode. My problems are mostly first world problems. I'd rather listen to a Joe Jackson song, and persevere. Let's move on, and forget about the incredible isolation that I feel. If you are reading this, I'd be surprised.

Today, on Fun with Synths. We go back to the before time and employ a Korg MS-10 Synthesizer to create a nice mono lead instrument with the help of 2 stomp boxes.

This is my most vintage piece of equipment, next to my Peavey guitar amp. It's been around the block a few times, but still hanging in there as a sort of haunting lead instrument, thanks to two stomp boxes. The MXR phase 99 dual shifter feeds a Boss DD-8 delay pedal. I used to also put first a Boss chorus pedal, but I found that it really just muddied the waters. I think the chorus goes well as an input to my Boss hm-2 Heavy Metal pedal for guitar. I play a Peavey Rockmaster which has one humbucker pickup and it really get's heavier than any instrument that I play. James Alton said so, and I tend to agree with him on that. Now, my heavy keyboard is split between Moog Model D in overdrive, and GForce Oddity3 in similar settings.

There's a lot to be said for simplicity in this setup. I've got other effects that could have come into play, but these two stand apart from the built-in effects on my mixer, and I wouldn't say this is overkill for what would have been an unemployed single oscillator synth, the ubiquitous Korg MS-10.

Here's my guitar in case you forgot.

This guitar fits just where I need it. I can play most chords long enough to get a sample. I don't need to be a virtuoso. My college synthesizer pal, Fred Delveccio, once said that, "Thomas Dolby knows how to use a guitar." And that sort of comes back when I think about all the times I stayed up later than anyone else, and played their guitars when they left them in supposed safety. I once broke one of Jim's strings. He said, "YOU BROKE A STRING?!!" And I gave him a set of new strings naturally when he'd probably been playing the one I broke for at least 10 years.

Jimmy Carter was not defined by the people who hated him. My father was like that, and so was my Wife's father. They held people to the same standards that they held themselves to.

I may be like that. Only, my standards aren't realistic for me or anyone else and my goals have changed a great deal as I've gotten older. I know I am hard on other people. I just can't find the time for them unless I'm having a rehearsal conversation with them. I do that all the time. I distract myself sometimes if it gets out of hand.

So for now, just dream your dreamy little dreams, and I'll do the same in an undisclosed location.

 

Well Feck.

Moog released the Mini Moog App for Mac 2 years ago. Why am I the last to find out these things? Do you have any idea what I've spent on Mini Moog emulators? It's not funny. That was my birthday money. Nice job. It sounds great and has some really good features. 

There was even a Sound On Sound article about it. It cuts through a mix better than most plugins. It's got overdrive and some built-in effects. Quite amazing. Let's recap: I probably have about $300 invested in tone sources like a Mini Moog, not counting Reason or Refills. I'm sad that Moog is out of business and probably won't be supporting this software. How many OS upgrades before my Mac is obsolete? The current state of software subscriptions really sucks. It's hard to beat a one-time $15 for a real Moog for feck's sake.

As much as I like the Moog Prodigy . , ,

it is based on the MiniMoog, and has a very similar sound. Perhaps the Arturia MINI V rev 3 is among the best of the traditionalist appearance, and functionality. However, even this model of Mini has a modulation matrix, effects, and a dedicated LFO hidden away in a secret panel that you can open and close when needed. Altogether, the nice rendering hides a real powerhouse of possibilities in sounds.

However, there are digital instruments that have the same kinds of layout and produce very close imitations of that original MiniMoog 3 oscillator synthesizer. Here's one of my favorites:

The Minimonsta 2 is based on the old Mini layout but has some modern additions. Being software, the cost is almost arbitrary, and there used to be some limitations related to the computer resources in your home computer. Nowadays a notebook computer can handle many of them simultaneously. Rather than trying to duplicate the 1970's synth legend, the task is to find instruments that can keep up with your tastes as a musician, and give room to grow.

GForce Software wrote the Minimosta 2, and they have some other synths that I like. Arturia makes a Mini V virtual Mini that is very true to the real thing. I have that, but sometimes this one works because it is one of the better sounding ones that can be made to sound like the original Mini, but has the means to go beyond those sounds. 

It has more knobs than will fit on one screen. It has multiple built-in effects, and a modulation matrix. The envelope generators are full ADSR types instead of ADS ones on the MiniMoog. 

My favorite synths are now available in the DAW's that I use. Primarily Logic and Reason. Roland Cloud makes some very authentic Juno 60, and Jupiter 8 instruments, and GForce also makes the Oddity3 ARP Odyssey that goes beyond the original. Sonic Projects makes the OP-X Oberheim emulators. Great sounding synths by any standards. Google some of these terms and you'll find plenty of information about them.

I also use some real life rack mounted ROMplers, namely the E-Mu Systems Proteus modules and some Yamaha TX-81Z's that provide an FM synth that rounds out my mix. The sounds I like tend to have a certain gravitas and contribute a depth to the music on their own that affects the overall piece in a positive way. I'll write about some of them here, but will not get too technical about it. Yeah really.

 Merry Christmas. It's Christmas Eve and 

I'm thinking fondly of some synthesizers I've played or programmed. Here's one that has to be my all time favorite economy synthesizer.

Also used by The Prodigy, Howard Jones, and Greg Ruddell. It was not designed by Bob Moog, but was based on the MiniMoog by engineers, "engineer Rich Walborn and the late, great Tony Marchese" Moog Foundation

I've used mine quite a bit as a bass instrument in my own music. Only 11,000 of them were built during the span of 1981-1984. I got mine as quite a bargain, perhaps in another story.

I've got Moog Miniesque synth plugins that I use sometimes in sequencer music, but they don't quite capture the lush sound that comes from an analog synth, even a simplified MiniMoog. 

I find that the sounds made by the Prodigy are much more pleasing to the ear than say, my Akai Professional MINIAK! So I make a distinction between the three kinds of music I play. Those are: recorded and edited, played live with assistance, and playing without a net - just analog synths and maybe a drum machine.

It's here! The album you've all been waiting for.

A brief pause at post mortoween.

It is practically Christmas, and if you practice, maybe they will name you Chancellor some day.  Just remember to hire some Dutchman to set fire to Lord Snowden.

"Liberal rubish! Klaus, what do you want with your jugged fish?"

Okay, instead of halibut, let's go to something completely different.

 

Once Upon a Time, in Esom Hill, there was a farmer who followed the Lord. In the first book of the Bible, it says "God granted mankind dominion over the green herb bearing seed. To you it shall be as meat." A contractual language, God doesn't say what he wants in return. But it is clear that mankind thinks they know better than God over what should be legal for the brothers of mankind. Believe if you want to but get it right!  Mistakes cost time and money, and this will be no exception. Don't dawdle.