Moog Sub 37 1.10 Firmware Demo

Posted on May 1, 2015 by John CS Keston

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)

New Spectral Tablature Collaborations Exhibited in Tokyo

Posted on March 30, 2015 by John CS Keston

I am pleased to be participating in an exhibition of work by Jasio Stefanski at Print Gallery in Tokyo, Japan. Jasio is showing a variety of his work including two pieces that we collaborated on together fron the series Spectral Tablature. The first piece is Synthetic Skyline previously exhibited for the Audible Edge sound art exhibition at the Katherine Nash Gallery in Minneapolis. The second piece is a new work in the series titled Synthetic Transitions.

To create the work I started by composing a simple sequence of notes that speed up and then slow down. Jasio requested that we included diagonal lines in the piece so I used linear portamento on the Moog Sub 37 to create the “transitions” he was interested in seeing. The video shows the plotter rendering Jasio’s Reprise of the work shown/heard in the image/audio below.

Jasio’s Reprise is based on form and color values as opposed to acoustic accuracy. The visuals were composed to place emphasis on the “transitions” or portamento. The output visually reinterprets the angles informed by the gliding notes without connecting them in the composition. When sonified the plotted design singles out the portamento, isolating it from the context of the sustained frequencies.

New Spectral Tablature Collaboration

Posted on February 25, 2015 by John CS Keston

Part music, part visual art, and part sound design, the collaborative series Spectral Tablature is something I’ve been doing in various forms since 2013. Recently I have been working on a new piece in collaboration with Jasio Stefanski for an upcoming exhibition of his work. I’ll share more information about the exhibit in a future post. For now I’d like to present some of the content that I generated in the process of working on the project.

The image above is spectral analysis of a piece of music that I composed deliberately to produce interesting sonic and visual forms. The piece includes three layers of sequences that slowly speed up and vary in pitch and then slow down again. The speed of the sequence was based on an LFO with a variable rate rather than BPM. This process, along with other techniques, resulted in a form that starts simple, approaches entropy, and then returns to its original simplicity.

The final piece will be reprocessed visually through a set of design criteria determined by Jasio. Once the new design has been printed I will digitize the image and reprocess it as sound. The new audio will retain the original frequencies and temporal information but the textural and timbral qualities will be completely transformed.

Mobile Studio: Analog Four Drone

Posted on January 1, 2015 by John CS Keston

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I made this drone with the Elektron Analog Four while traveling away from home. I used the Zoom H6 as an audio interface and captured the mix in AudioShare on my iPad. I applied normalization with AudioShare and also used it to upload the track to SoundCloud.

Real Orchestra vs Synth Mockup – Part 6/6

Posted on December 19, 2014 by lost track

This is the sixth part in a small series of blog posts I’ll make about the real-world differences between orchestral mockups (or synth orchestras) versus real orchestras. As a composer who is fortunate to work regularly with live orchestras, I’ll try to help show the difference from a decent demo recording, to a mixed and mastered finished recording. For this example, I’ve chosen an exciting track from my album “Resonance Theory” called “Forever Lost”. The synth version was my demo – with live cello (my instrument) and lots of synth work.

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