Moog Music
Lisa Bella Donna | The Mothership
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Inside the Moog Sound Lab studio space, the two joined forces to compose and perform an original track infused with elements of each artist’s unique musical style, ranging from hard techno and post-punk to dream pop and Latin club music.
Get a behind-the-scenes look at how Andy Stott and Debit use Matriarch, Grandmother, DFAM, and Mavis in their creative process, integrating this selection of flexible hardware instruments with Ableton for a seamless production flow.
More about Debit: deliabeatriz.com
More about Andy Stott: modern-love.co.uk
To learn more about this effect or explore the complete Moogerfooger Effects Plug-ins bundle, visit software.moogmusic.com.
To learn more about this effect or explore the complete Moogerfooger Effects Plug-ins bundle, visit software.moogmusic.com.
To learn more about this effect or explore the complete Moogerfooger Effects Plug-ins bundle, visit software.moogmusic.com.
To learn more about this effect or explore the complete Moogerfooger Effects Plug-ins bundle, visit software.moogmusic.com.
To learn more about this effect or explore the complete Moogerfooger Effects Plug-ins bundle, visit software.moogmusic.com.
To learn more about this effect or explore the complete Moogerfooger Effects Plug-ins bundle, visit software.moogmusic.com.
To learn more about this effect or explore the complete Moogerfooger Effects Plug-ins bundle, visit software.moogmusic.com.
To learn more about this effect or explore the complete Moogerfooger Effects Plug-ins bundle, visit software.moogmusic.com.
This installment of 'GIANTS' focuses on one of the Moog modular synthesizer’s earliest advocates: soundscape ecologist and bio-acoustician Bernie Krause.
Once a Motown session guitarist intrigued by early advancements in the world of electronic music, the artist’s first Moog modular synthesizer encounter in 1965 led him to develop a new understanding of sound and musical expression. It was this understanding and early adoption of the instrument—co-owning one of the very first models—that helped Bernie and his musical partner Paul Beaver introduce the Moog synthesizer to the likes of George Harrison, The Monkees, The Byrds, and The Rolling Stones.
For more about Moog Music, visit moogmusic.com.
First, we start to think through a little bit about what kind of sound we generally want to make and start to construct a tone from there. Next, we look at using a resonant filter to remove upper harmonics while adding resonant tones, and animate those tones with the VCF envelope generator. Finally, we swap the built-in clock with VCO2 to have a voltage-controllable clock moving alongside the sequencers.
Explore the “Duet for Tone and Wind” patch and many more with this Subharmonicon patch book: back.moogmusic.com/sites/default/files/2022-03/2022_SUBHARMONICON_PATCHBOOK.pdf.
Firmware v1.1.1 introduced MIDI Pitch Bend, allowing Subharmonicon’s VCOs to respond to pitch bend information when played with a MIDI keyboard. This firmware update also allows Subharmonicon’s sequencers to be transposed by a MIDI keyboard.
Make sure to register your Subharmonicon at moogmusic.com/register and download Firmware v1.1.1 at moogmusic.com/products/subharmonicon.
We begin by setting up Subharmonicon’s polyrhythmic sequencer to play the cutoff frequency of the lowpass ladder filter. Playing with the sequencer settings and filter parameters allow us to begin to explore different percussive patterns and timbres. We finally explore using each VCO sub-oscillator as a low frequency oscillator to modulate various rhythms.
Explore more with the Subharmonicon "Patching with Intention" guide at back.moogmusic.com/sites/default/files/2022-03/Subharmonicon-Patching-With-Intention%20%281%29.pdf.
In this video, King experiments with a mix of hardware and software, including our Moogerfooger Effects Plug-ins, to create a complete track. Hear how instruments like Mother-32 and Matriarch sound with effects like the MF-101S Lowpass Filter, MF-103S 12-Stage Phaser, and MF-104S Analog Delay.
Visit the link below listen to “Freedom in the Chaos” by King Britt in full and hear more complete tracks created using the Moogerfooger Effects Plug-ins.
Listen to “Freedom in the Chaos” by King Britt: on.soundcloud.com/261Va
Learn more about Moogerfooger Effects Plug-ins: software.moogmusic.com
Learn more about Mavis: moogmusic.com/products/mavis
Learn more about Grandmother: moogmusic.com/products/grandmother
Learn more about Mavis: moogmusic.com/products/mavis
Learn more about Grandmother: moogmusic.com/products/grandmother
Each Mavis in this setup provides a different element in the song, ranging from wave-folded kick drums to 808-inspired cymbals and double-VCO basses to folding leads. All eight Mavis synthesizers in this performance are sequenced by the Winter Modular Eloquencer with a touch of delay provided by the OTO Machines BIM and the Chase Bliss x Meris CXM 1978 reverb, adding a bit of dimension to the mix.
Visuals for this video were created using an LZX modular analog video synthesizer.
Learn more about Mavis :moogmusic.com/products/mavis
Check out more Mavis resources: moogmusic.com/exploremavis
Inside her DAW of choice, French musician Cécile Schott (Colleen) details how to replicate a hardware gear workflow with sends and returns using nine instances of the plug-ins, treating each effect as its own instrument. From the artist:
“I have a pretty intimate knowledge of the MF-104M Analog Delay, MF105 MIDIMuRF, and MF-101 Lowpass Filter, so I was curious to hear the effects’ digital replica and try the other two I didn’t know, especially the MF-107S Freqbox, which I fell in love with madly (it is responsible for the song’s impossibly crunchy rhythm!).
I purposefully used a very minimal sound source—the Hammond of the Yamaha Reface-YC—as a blank canvas to showcase what makes the Moogerfoogers truly unique: their ability to radically transform sound and impart a sense of motion, making them closer to a synth module than an effect pedal. Having just finished a fully instrumental album, I actually really felt like singing the lyrics to a song which I had to discard, allowing me to also showcase the MF-104M as an awesome vocal processor.”
Visit the link below listen to “Conditional” by Colleen in full, and hear more complete tracks created using the Moogerfooger Effects Plug-ins.
Listen to "Conditional" by Colleen: soundcloud.com/moogmusicinc/conditional
Learn more about Moogerfooger Effects Plug-ins: software.moogmusic.com
We begin by using the Matriarch’s Keyboard CV and GATE outputs to control the Make Noise Morphagene. Morphagene’s audio output is sent back through the Matriarch, so we can process the Morphagene with the stereo filters and analog delay of Matriarch. By combining Morphagene with the analog oscillators of Matriarch, we create a hybrid digital/analog synthesizer—all controlled via Matriarch’s keyboard. Finally, we use the Sample and Hold section of Matriarch to change the sample played by Morphagene with each new key press.
Learn more about Matriarch: moogmusic.com/products/matriarch
First, we look at how to use an attenuator as an offset control, providing a wide range frequency control for one of Matriarch’s oscillators. Next, we explore the simple use case of using the attenuator as a “CV volume knob,” using it to scale and invert the modulation depth of the modulation oscillator on the filter. Lastly, we introduce a second attenuator and use it as an inverter to create stereo filter modulation, sweeping the sound of the stereo filters across both the frequency spectrum and the stereo space simultaneously.
Learn more about Matriarch: moogmusic.com/products/matriarch
First, we introduce the basic concept of a ring modulator, how it works, and what kinds of effects it is typically used for. Then we introduce Matriarch’s attenuators, exploring how to use them as bipolar voltage-controlled attenuators and how to ring modulate Oscillator 1 with Oscillator 2. After exploring some of the different tonalities we can achieve using different waveforms and octave spacings, we finally utilize the exponential pitch CV inputs of the oscillator bank and the secondary LFO to create broadband ring modulation tones and wild spacey effects.
Learn more about Matriarch: moogmusic.com/products/matriarch
We begin by patching a simple vibrato patch, sending the modulation oscillator of Matriarch to the first two oscillators in its oscillator bank and using an attenuator to scale the depth of vibrato. While this is already possible using Matriarch’s Modulation section and mod wheel, creating the patch this way allows us to add dynamic control of the modulation depth. Next, we show how to dynamically control the vibrato depth with the Matriarch keyboard—first with its aftertouch CV output, and then with its velocity CV output.
Learn more about Matriarch: moogmusic.com/products/matriarch
More about Moogerfooger Effects Plug-ins: software.moogmusic.com
The album features Mavis as the foundational sound of all seven modular compositions.
As Oora, the artist embraces a minimalistic approach to creating lush soundscapes with a defined set of tools. Inviting spontaneity into his music by way of fully improvised live performances and single-take recordings for albums like 'The Mavis EP,' Oora consistently finds inspiration in exploring new instruments and effects.
Listen to 'The Mavis EP' here: oora.bandcamp.com/album/the-mavis-ep
More about Oora: ooramusic.com
More about Mavis: moogmusic.com/products/mavis
'Utopia Aerial View,' a new four-piece album by Francesca Guccione, invites listeners to experience the distinctive relationship between electronic and organic sound.
In each composition, the artist brings together violin and an assortment of analog synthesizers. This marriage of compelling, cinematic strings and delicate modular soundscapes presents electronic musical instruments as expressive, adaptable tools for contemporary classical musicians.
"The music is characterized mainly by dialogue between the violin and Moog synthesizers, especially the Grandmother, DFAM, and Subharmonicon," Francesca shares. "I think Moog's synthesizers, with their warm and unique sound, are perfect for playing with strings. As a fan of small ensembles and chamber music, it was a fun and exciting challenge for me to translate that kind of writing for instruments that are generally associated with other genres of music. Thus, for example, the Subharmonicon reiterates bichords from where the entire structure of a track unfolds, thus imitating what two cellos would do, or the Grandmother performs minimalist cells that, intertwined with the melodic line of the violin, makes it possible to create an intense dialogue and exchange of voices between the various instruments."
Stream or purchase the full EP here: francescaguccione.bandcamp.com/album/utopia-aerial-view
***
CREDITS
All songs composed and performed by Francesca Guccione
Record Label: Whales Records
Recorded by Saretto Emmolo at Mattonacci Recording Studio
Mixed by Lele Gambera
Mastered by Alexandr Vatagin at Sunshine Mastering Studio
Artwork, photos, and video by Salvo Dipasquale
Download the patch created in this video here: back.moogmusic.com/sites/default/files/2022-11/Mavis_Friends_Patchbook_Knobs_112122_4.pdf
More about Mavis: moogmusic.com/products/mavis
More about Mother-32: moogmusic.com/products/mother-32
Download the patch created in this video here: back.moogmusic.com/sites/default/files/2022-11/Mavis_Friends_Patchbook_Knobs_112122_4.pdf.
More about Mavis: moogmusic.com/products/mavis
More about DFAM: moogmusic.com/products/dfam-drummer-another-mother
Download the patch created in this video here: back.moogmusic.com/sites/default/files/2022-11/Mavis_Friends_Patchbook_Knobs_112122_4.pdf.
More about Mavis: moogmusic.com/products/mavis
More about Subharmonicon: moogmusic.com/products/subharmonicon
In this video, we walk through the main functions of the MF-109S Saturator, starting with dialing in the sensitivity control to nicely capture your input signal’s dynamics. Next, we use the envelope follower to push the drive, and we also explore how to use the MF-109S to create an overdriven compressor. Finally, we explore how the noise generator section works and show how to use DC offsets to get an even wider variety of noise shapes.
The MF-109S Saturator is a new creative audio processor that emerged out of the Moogerfooger Effects Plug-ins development. A major component of the classic Moogerfooger functionality is the input drive stage, which adds warmth, distortion, and crunch to any given sound. The MF-109S allows users to have dynamic control over this drive circuit, opening up a new way for artists to interact with the unique saturation tool.
The Saturator is able to move from tight, distorted overdrive and analog saturation to smooth compression. Further, it models the noise generator circuit of the Minimoog Model D and allows for control of both noise generator level and noise tone with a switchable filter type.
All parameters of the MF-109S are able to be played, tweaked, automated, and modulated to create lively and truly musical performances. Adding a Moogerfooger effect to your sound invites exploration and experimentation to bring your musical expressions to life.
More about Moogerfooger Effects Plug-ins: moogmusic.com/products/moogerfooger-effects-plug-ins
If you already own the Moogerfoogers Effects Plug-ins, the recently released MF-109S Saturator will be sent to you as a free gift. You will receive an email containing a new iLok activation code for the MF-109S as well as links to update the Moogerfoogers and install the MF-109S. The Moogerfoogers must be updated to version 1.0.2 to enable CV connectivity with the MF-109S, so please download the appropriate updaters for your operating system and plug-in varieties as well as the installer for the MF-109S corresponding to your operating system. Update the Moogerfoogers, and then install the MF-109S—now you’re ready to add dynamic overdrive and noise to your tracks!
More about Moogerfooger Effects Plug-ins: moogmusic.com/products/moogerfooger-effects-plug-ins
From the onset of the video, the stage is set: a mix of vintage and modern Minimoogs line the chancel of The Mount Without, a historic chapel in Bristol, UK. The acoustics of the space provide a warm depth to the sound of Minimoogs produced from every era they have been manufactured.
Utilizing MIDI integration for the 2016 and 2022 reissues, and MIDI-to-CV converters for the vintage units involved in this performance, the Moog Ensemble highlights the modern features alongside the classic sound. According to the group’s musical director and composer, Will Gregory, the instrument’s enhancements expand Model D’s realm of sonic possibility.
“The MIDI aspect of these instruments enables us to open polyrhythmic possibilities between the 10 parts that would be beyond humans to reproduce otherwise. Our hands become free for sound sculpting as we perform by manipulating the filter, resonance, modulation, and envelope controls in pairs. Both these aspects are very important to how I see the Moog Ensemble breaking new ground in live performance and simultaneously giving a more expressive and warm creation.”
“Archimedes Screw” demonstrates Model D’s timeless sound, playability, and relevance as a powerful musical tool for live performance. The Moog Ensemble manifesto, Gregory shares, is very much about live performance as a living breathing unit of musicians listening and responding together.
Will Gregory discusses his connection with the instrument and shares more details on how the ensemble composed this piece from a technical perspective on Moog’s website (moogmusic.com).
Goldfrapp’s Will Gregory is one of the UK’s leading advocates of using synthesizers and electronic instruments to create new sounds and reinvent old ones. Leading and performing with the Moog Ensemble since 2005, Gregory and its rotating contributors—which includes Adrian Utley of Portishead—perform a mixture of specially composed music, transcriptions of classical works, and their own versions of music from popular culture and film scores. “Archimedes Screw” will be featured on the debut Will Gregory Moog Ensemble album coming out via Mute Records in 2023.
More about the Will Gregory Moog Ensemble: willgregorymoogensemble.co.uk
More about Minimoog Model D: moogmusic.com/products/minimoog-model-d
Credits:
John Baggott – Minimoog Model D
Will Gregory – Minimoog Model D
Simon Haram – Minimoog Model D
Vyv Hope-Scott – Minimoog Model D
Ross Hughes – Minimoog Model D
Hazel Mills – Minimoog Model D
Daniel Moore – Minimoog Model D
Hinako Omori – Minimoog Model D
Eddie Parker – Minimoog Model D
Adrian Utley – Minimoog Model D
Harriet Riley – Percussion
Chris Talbot – Director/Editor
Sofia Ilyas – On-Site Producer
Nick Batt – Audio Engineer
Alex Kozobolis – Photographer
Vince Camacho – Cam-Op
Charlie Graham (Bunch Creative) – DOP
James Mackie (Bunch Creative) – Cam-Op
Alastair Bury – Gaffer
Jake Sullivan – Spark
Adam Buruncz – Spark
In the making of "Frog Meets Fly," Ty demonstrates the sonic range and transformative potential of Moogerfooger Effects Plug-ins. Using the MF-107S FreqBox to morph metallic percussion into synth voices and imitate '60s-style fuzz tones on the track’s bass line, adding depth to his Rhodes with multiple instances of the MF-108S Cluster Flux, transforming clean electric guitar into alien lead lines via the MF-102S Ring Modulator, and adding vintage-toned delay to his Minimoog Model D with the MF-104S Delay, Ty puts the processing power of these effects on full display over the 15 separate tracks in this arrangement.
More about Ty Segall: ty-segall.com
More about Moogerfooger Effects Plug-ins: moogmusic.com/products/moogerfooger-effects-plug-ins
The Moogerfooger Effects Plug-ins recreate the deep CV interconnectivity capabilities of the original hardware pedals, allowing for multiple instances of Moogerfooger effects to modulate each other. In this video, we walk through how to connect Moogerfooger Effects Plug-ins together via the CV panel and how to attenuate and invert the signals coming from one Moogerfooger effect to another. We look at how to switch an LFO between unipolar and bipolar and demonstrate routing modulation signals across multiple tracks in your DAW session.
More about Moogerfooger Effects Plug-ins: moogmusic.com/products/moogerfooger-effects-plug-ins
First, we explore the basics of recording and drawing automation over different parameters of the Moogerfooger effects. We then explore some deeper automation techniques, automating the CV attenuators in the CV panel of the Moogerfooger Effects Plug-ins to control the modulation depth between effects. Finally, we look at how to use the DC offset options in the CV panel in tandem with automation for expression-pedal-like control.
More about Moogerfooger Effects Plug-ins: moogmusic.com/products/moogerfooger-effects-plug-ins
The Moogerfooger Effects Plug-ins allow for modulation of any parameter using stereo sidechain inputs, routing audio signals from anywhere in your DAW session to modulate your effects. First, we look at how to route raw audio signals directly to the CV inputs and then explore how to use tools such as envelope followers to smooth audio out for modulation. Finally, we add a kick drum and use it to control the Moogerfooger Effects Plug-ins—a classic sidechaining scenario for achieving effects such as ducking.
More about Moogerfooger Effects Plug-ins: moogmusic.com/products/moogerfooger-effects-plug-ins
“What I love about modular is how you can incorporate ‘happy accidents’ in the workflow, especially when tossing around patterns on the analogue sequencers,” Hannes shared. “I love the physicality of the process, actually standing in front of this big instrument rather than sitting in front of a computer screen. Finally, there is a sonic world difficult to achieve with conventional synths. I love, for example, how I can create stereo sounds with a pair of VCAs and AM modulation as a part of the actual synthesis, not with external effects.”
Hannes shares more about how modular instruments like the Model 10 (now back in production!) and System 35 have shaped his style and process in a new interview on our website. Check out the full interview at moogmusic.com!
More about Hannes Bieger: http://hannesbieger.com
More about Model 10: moogmusic.com/products/model-10
Directed by Dan Braga (danbraga.com) with video footage from a.k.Berlin (http://www.ak-berlin.com)
The Minimoog Model D App can be used as a standalone app or used in any DAW as an AUv2 or VST3 plugin with the use of wrappers (modeld.info/vst). If you are using a version of Ableton Live earlier than 11.2 or any number of DAWs that do not support AUv3 natively, you will need to use these wrappers. This video shows you how to download and install these wrappers and how to get started setting up a Model D instrument track within Ableton Live.
Get the Minimoog Model D App: apple.co/3kPSJCV
The Minimoog Model D App can be used as a standalone app or as an AUv3 plugin in Digital Audio Workstations that support AUv3. Logic, GarageBand, Reaper, MainStage, and Ableton Live (as of version 11.2) all support AUv3 natively. In this video, using GarageBand as an example, we show how to create a new software instrument, record some sounds with the Model D, and start layering Model D tracks on top of each other.
Get the Minimoog Model D App: apple.co/3kPSJCV
Download the app at apps.apple.com/us/app/minimoog-model-d-synthesizer/id1339418001!
The Minimoog Model D App allows users to emulate the sounds and workflows of their favorite musicians and create original tracks within a feature-packed software synth.
This update to the app, which was first released by Moog Music as a mobile synthesis solution for iPhones/iPads, is available for all Mac users (Big Sur or newer), making it possible to recreate the sounds of the classic hardware Minimoog Model D using a macOS device through Audio Unit v3, using a VST3/AUv2 wrapper, or as a standalone sound design tool. Now optimized for both iOS and macOS, anyone with an Apple device can jump in and play with over 160 included presets or begin exploring electronic sound design to craft their own unique style.
Perfect for bedroom producers, studio musicians, professional audio engineers, and beginner synthesists alike, this new offering for macOS allows for seamless integration with Logic, GarageBand, MainStage, Reaper, and through a free VST wrapper in Ableton Live and Cubase for use in studio and live performance environments. The Minimoog Model D App can also be used as a standalone instrument or as an effect in your existing audio chain.
Music created and produced by Chrome Sparks using the Minimoog Model D App.
Learn more about Model D for macOS: moogmusic.com/news/model-d-app-now-available-macos
More about Chrome Sparks: chromesparks.com
Chapters:
0:00 - Intro
0:57 - Acemo | Composition 1
3:38 - Nite Jewel | Composition 2
5:24 - Arushi Jain | Composition 3
6:55 - Silent Servant | Composition 4
9:23 - Nite Jewel | Composition 5
10:43 - Acemo | Composition 6
13:20 - Arushi Jain | Composition 7
Audio Mixing by Acemo, Arushi Jain, Nite Jewel, and Silent Servant
Audio Mastering by Josh Bonati (http://www.bonatimastering.com)
Intro track by Nite Jewel
Learn more about Mavis: moogmusic.com/products/mavis
First, we run through how wavefolding differs from distortion or clipping. Then, we look at the normalizations around the wavefolder in Mavis and how to patch the wavefolder into the signal chain. After running some waveforms through the folder, we look at how to mix a VCO and LFO together in the mixer to modulate the wavefolding effect. Finally, we look at the wavefolder as an external signal processor by running Mother-32 through it.
Learn more about Mavis: moogmusic.com/products/mavis
First, we listen to the LFO directly and hear how we can create a wide palate of wavefolded sounds by patching the LFO triangle wave through the Fold circuit. Next, we mix the VCO and LFO of Mavis together in the One+Two mixer and tune them together. We also look at how to use the KB CV output to get the LFO to move alongside the VCO as we play the keyboard. Finally, we use the Korg SQ-1 sequencer to sequence Mavis, using the Mult to move both oscillators in tandem.
Learn more about Mavis: moogmusic.com/products/mavis
First, we use Mother-32's sequencer to sequence Mavis, tuning both instruments together and using the crossfader on Mother-32 to mix together a powerful two-oscillator synthesizer. Next, we assemble a rhythm on DFAM and use its PITCH sequencer to sequence Mavis, adding an accompanying bass line or rhythmic analog texture to DFAM’s rhythm. Finally, we use the mixer in Mavis to mix Mavis and Subharmonicon together while Subharmonicon’s two independent sequencers drive each instrument respectively.
Learn more about Mavis: moogmusic.com/products/mavis
First, we walk through the Mavis Sample and Hold circuit’s inputs, outputs, and normalizations. Then, we look at how a Sample and Hold circuit works, and how it can be used to generate random voltages. Finally, we use the Attenuator to reign in the random voltages created by the Sample and Hold, and use the Mult to route it to multiple destinations.
Learn more about Mavis: moogmusic.com/products/mavis
First, we look at the Attenuator, its normalizations, and how to use it to control modulation depth. Then, we explore how to use the Mult to route our attenuated signal to multiple destinations in Mavis. Finally, we dive into the One+Two mixer, examining how its two inputs differ from each other, the input normalizations, and how to use the Attenuator to patch in a separate level control for the Two input.
Learn more about Mavis: moogmusic.com/products/mavis