Moog Sub 37 1.10 Firmware Demo Part 2

Now that I have had some more time to experiment with the new Moog Sub 37 1.10 firmware I made a new video that is more in-depth than the last one. In this video demo I show seven new features within the sequencer and arpeggiator sections of the instrument. Although I did edit the video for length, each feature was demonstrated without having to stop the sequence at any point.

First I review how to turn steps on and off while in step edit mode. This is simply done by pressing the step buttons (patch button 1 through 16) while in step edit mode (bank + latch).

Secondly I show how to set the start and end positions of the sequence while it continues to run. This is really great for repeating any number of consecutive steps in the sequence.

Thirdly I show how to create or disable ties between two or more notes on the fly. This is much faster and accurate than the original way of apply ties while the sequencer continues to run.

Fourth I demonstrate how to turn on/off step ratcheting and how to modify the number of ratchets. Ratcheting is an interesting new feature that repeats a step from 1 to 8 times.

For the fifth feature I adjust the swing amount. Having swing as a feature for the sequencer is fantastic, but it can also be applied to the arpeggiator and the LFOs when they are synched to the clock! I haven’t tried this yet, but I love the idea of manipulating the LFO waveshapes this way.

The sixth feature is modulation sequencing that I applied to the filter envelope amount. The mod sequencing can be applied to a huge list of parameters. Unfortunately is it one destination per patch/sequence, but never-the-less a welcome and useful addition.

Finally for the seventh feature I demonstrate how to shift the sequence back or ahead of the first step using bank + arp range (+ or -).

There’s a lot more still in this release that I have yet to explore. A huge THANK YOU goes out to Moog Music and especially Amos Gaynes for making an already great synth greater!

Moog Sub 37 1.10 Firmware Demo

Yesterday I got a note from Moog that the long anticipated 1.10 firmware for the Moog Sub 37, announced in January at NAMM, was now available. Today I scheduled time in my studio to install it and test out some of the new features. This release is significant because the bulk of the updates are new features! In this video I demonstrate step edit mode and quick mapping of modulation destinations.

Each of the sixteen preset buttons can now be used to turn on and off steps while playing a sequence. One problem I found is that you can only turn on or off one step at a time. I imagine this is something that they’ll fix because we do have ten fingers after all. [UPDATE: Pressing two steps at a time is for turning on/off ties.] Other than that it works beautifully! If your sequence is longer than 16 steps the buttons jump to the second, third, and fourth pages automatically as the sequence is playing.

The quick mapping of modulation destinations is a treat. Simply hold down the MOD 1 or MOD 2 DEST button while turning a parameter. I do this in the video at 0:47 applying MOD 1 to OSC 2 frequency. You can also press a button. For example to modulate the filter slope setting press SLOPE while holding one of the MOD buttons. This works for the octave switch knob, pattern switch, pattern range buttons, and so on. Here’s a list of all the new features:

  • Step Edit Mode – Allows visual display and editing of individual sequence steps on preset buttons 1-16, with easy real-time control over rests, ties, and more.
  • Quick Mapping of Programmable Mod Destinations – Simply hold the Mod (1/2) Dest button and turn a parameter knob to assign modulation to that parameter.
  • Skip and Ratchet Steps – Sequences can now include Skipped steps (which can be toggled On and Off on-the-fly) and Ratchet steps (1 to 8 repeats per step).
  • Arpeggiator and Sequencer Swing Control – Adjust the ratio of on-beat vs. off-beat duration from 0% to 100%. Swing can also apply to Synced LFOs.
  • Sequencer Mod Destination – Sequence any one parameter directly, using the per-step Sequence Mod Value (mod wheel position is recorded per-step).
  • Sequencer Mod Only – Use the sequencer purely as a sequenced modulation-generator, without playing a sequence of notes (the keyboard plays normally).
  • CV Mapping – Use the external Pitch CV, Volume CV, and KB Gate inputs to control almost any parameter on the Sub 37. Step Advance and Step1 Reset functions allow you to clock the Sub 37 sequencer using analog gate/trigger signals, and the Gate input can now function as a Sustain pedal input.
  • Variance – Use this parameter to specify a subtle amount of random detuning to the oscillators. (For when perfect tuning is too perfect)

Video: Bad News by Camp Dark

Here’s another video from the new Camp Dark album Nightmare in a Day. This video, created by Chris LeBlanc, is for the song Bad News.

New Camp Dark video by Chris LeBlanc.: Part bizarro media archivist and part analog glitch butcher, he takes the obscure movies that were left behind in the VHS era and uses their clips as source material for otherworldly visions. He uses old modified color processors and 90s video enhancers to bleed feedback loops and low rent special effects into unnerving video tape sequences where nightmares have tracking problems. Chris described his process a bit more here: “some effects in this video were achieved by taking apart a color processor and I detuned the hell out of it and made it a feedback loop. Then I chroma keyed in the feedback using a cheap video mixer so it looks super low rent and cool. There are a couple other analog processors in there for the neon colors too.”

For this track my pimary role was synth bass using my Roland Juno-106. I will be performing with Camp Dark (Graham O’Brien and Adam Svec), bassist Casey O’Brien, keyboardist Matt Leavitt, and guitarist Chris Salter at the Icehouse on May 15, 2015 to celebrate the release.

Richard Devine Presentation and Performances

Left to right John Keston, Jon Davis, James Patrick, and Richard Devine (not shown Graham O'Brien) Photo by Dave Eckblad

Last weekend I performed with and attended a workshop from the extraordinary electronic musician and sound designer Richard Devine. His presentation was at Slam Academy (a Minneapolis based school for electronic music and arts where I am also on the faculty roster). Later that same evening Jon Davis, Richard Devine, Graham O’Brien, James Patrick, and I performed a couple of sets at the Dakota Jazz Club (photo by Dave Eckblad). This was quite different from previous performances. Richard brought in eerie ambient textures while I played Rhodes and Moog Sub 37 along with Patrick’s deep house rhythms, O’Briens acoustic drum-n-bass fills, and a solid foundation of bass grooves from Jon Davis. Finally Richard played a solo set at an afterparty back at the Slam Academy.

Richard Devine at the Slam Factory. Photo by John Keston.

It was a pleasure performing with Richard and his presentation beforehand shed light on his detailed knowledge of the history of electronic music. He brought up electronic music pioneers like Morton Subotnick, Tod Dockstader, and Karlheinz Stockhausen. He discussed equipment from the legendary ARP 2500 (only one hundred ever made) to the EMS Synthi, and followed it up with modern softsynths of note like the Madrona Labs AALTO. After all that he graciously exposed the contents of his “Current Live Setup” Eurorack in great detail. Thanks to the Slam Academy, the Dakota, James Patrick, Jade Patrick, Richard Devine, Jon Davis, Graham O’Brien, Gregory Taylor, and everyone else involved for a memorable day of learning, playing, and performances.

Musical Synthesis and Sonic Environments

Architectural Drawing of the SRT from Tonkin Liu

I am quite honored to have an article about my recent work published by the American Composers Forum (ACF). The article was written by ACF member Timothy Hansen and is available here. The focus of the piece is on my duets with the Singing Ringing Tree. From the article:

On a bare hill overlooking the village of Burnley in Lancashire, England, stands the Singing Ringing Tree, an array of galvanized steel pipes stacked in a swirled sculpture to resemble a stylized broad-boughed tree. Standing alone on this otherwise empty hill it is visually striking enough, but it’s when the wind picks up that the Singing Ringing Tree’s true purpose is revealed. A haunting chorus of hollow, almost ghostly tones fills the air, making the open sky seem wider than before, stretching from horizon to horizon over a broad, clear landscape: the Tree and its disembodied chorus starkly underlines that, here, you are alone.

This concept of an artificial “sonic environment” was arguably born through the work of John Cage, perhaps the first and fiercest proponent of listening to one’s surroundings as music. His infamous 4’33” kick-started a whole branch of composition where “non-musical” environmental sounds become an integral part of the piece.

British born John Keston is one of Cage’s modern-day disciples. Cage had already been a longtime influence on Keston when he commenced his masters program at Minneapolis College of Art and Design, but while at MCAD, Keston began to move beyond simply listening to his environments as sources of music and started considering them as collaborative partners. Armed with a synthesizer, he began to create a series of sonic environment duets.

“I started these duets close to home in Northeast Minneapolis,” explains Keston. “My neighborhood is crisscrossed with railways, rail bridges, and rail yards. I found that I could coax music from everyday ambience by emphasizing rhythms and textures with a portable synthesizer.” Once he had exhausted the possibilities of his local neighborhood he began to search for, as he describes it, “more exotic locations.” This was how, in 2014, with the help of a grant from the Jerome Fund for New Music, Keston found himself seated at the foot of the Singing Ringing Tree, ready to create a series of new duets with his strange, lonely collaborator.

“I did not compose any music ahead of time,” says Keston. “I knew that I needed to experience the Singing Ringing Tree in the flesh to legitimately collaborate with it. The music from the Tree can change dramatically by the minute. On one of the five days I was there it was mute when I arrived. A few hours later it began to sing quietly as the wind picked up. My approach was to let myself react to what it did from one moment to the next. There was no way to direct my collaborator. This was liberating because I could only accept, appreciate, and respond to its performances.”

Keston’s sonic environment duets are especially unique to his practice due to a lifelong fascination with synthesizers. “When I was ten my Dad brought home two records by Isao Tomita: Firebird and Pictures at an Exhibition,” Keston recalls. “I was immediately fascinated by the sounds on the recordings. The album cover of Pictures at an Exhibition showed the room sized Moog modular synthesizer that Tomita was using. The images of the mysterious technology and the fantastic sounds spurred my curiosity. Later as a teenager living in the States I managed to buy my first synth; a Moog Rogue with a broken key.”

Today, synthesizers are an integral part of Keston’s practice, which draws from the gamut of music technology and new media. Keston also has a background in software development, enabling him to build software and hardware from scratch to serve his artistic goals. But his motivation for creating such work goes beyond artistic impulse: Keston believes his work serves to humanize music technology. Keston explains:

“If we are going to use technology to create art then I feel it is necessary to inject the human engagement of technology transparently into the work in order for it to reflect the contemporary human condition. If not, then the art might be mistaken for art created by machines rather than art created by humans with the aid of machines. Don’t get me wrong. I am fascinated by algorithmic music, and the idea of art created by artificial intelligence. I look forward to experiencing art that is fashioned entirely by AI. Duets with the mechanical environments we live in using electronic devices to mimic or contrast the sonic landscape reflect the ongoing amalgamation of people with technology.”

Contributed by Timothy Hansen

Please read the short piece at ComposersForum.org. During the interview for the articles I was asked some interesting questions that didn’t make it into the the final draft. I’ll share some of those answers in upcoming posts.