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Tag: analog synths

  • Review: XILS-Lab KaoX Merges FM and Analog Synthesis With Chaos

    Review: XILS-Lab KaoX Merges FM and Analog Synthesis With Chaos

    The sonic masters at XILS-Lab recently crafted another unique software synth, this time combining FM and analog synthesis. Somewhat modeled after the Yamaha GS-1, the predecessor to the DX7, KaoX also leverages virtual analog and chaotic oscillators to greatly expand its sonic depth. Its range of sounds is stunning, taking FM synthesis to an entirely new level.

    XILS-Lab KaoX Features

    • One FM Oscillator With Eight Operators
    • Two Virtual Analog Oscillators With Variable Waveforms
    • Two Chaotic Oscillators With a Variety of Algorithms
    • Two Virtual Analog Filters
    • Two LFOs
    • Two ChaoX Modulators
    • Four DADRS Envelopes
    • Two Separate Configurable Synthesizer Engine Layers
    • Modulation Matrix
    • Dual Arpeggiators
    • Four Track Sequencer
    • Four Effects With Independent Routings
    • Supports VST, AU, and AAX Plugin Formats for Windows and MacOS
    • Available for $159 from XILS-Lab

    If you read our reviews of other XILS-Lab synths, like PolyM and XILS 505, you know they remain one of our favorite synth plugin makers. If anything, KaoX increases their reputation in our mind. It’s a stunning piece of work, capable of sounds far beyond either FM or virtual analog synthesis. Let’s dive into this sonic maelstrom!

    A Massive Sounding Synth Deserves a Massive User Interface

    With its large sound and detailed functionality, it’s not surprising that KaoX sports a rather huge user interface. However, the plugin shares common interface elements with other XILS-Lab synths. For example, the toolbar residing at the top provides access to patch library functionality as well as settings.

    XILS-Lab KaoX in Action
    XILS-Lab KaoX in Action. Screenshot by author.

    However, the meat of the KaoX interface lies beneath the toolbar. It’s a massively wide window unable to completely fit within my 15-inch laptop screen, so scrolling is necessary. Thankfully, KaoX features different collapsible windows to streamline things, but expect to scroll at times. Still, the interface remains highly accessible and easy to navigate. XILS-Lab also included a simple mode which hides most of the interface. This skeuomorphic wood-paneled view lets you stack or split layers (more on that below), turn effects on/off, add tremolo or vibrato, and more.

    Beyond that, covering the rest of the KaoX interface makes more sense as part of exploring its robust synthesizer architecture. As noted earlier, it’s a mashup of FM and virtual analog synths, creating a sonic behemoth capable of significant mayhem and chaos. Here’s a closer look.

    The Yamaha GS-1 and Sequential Prophet 5 Give Birth to a Mutant Synth

    The KaoX synth architecture provides sound designers with multiple oscillators, as well as a standard array of filters, VCAs, and more. Three types of oscillators exist: virtual analog, chaotic, and FM. Routing options abound, with all oscillators able to be routed to the filters and the VCAs separately.

    Importantly, KaoX features two independent synthesizer layers, so the entire synth architecture essentially repeats itself. The synth’s effects engine (phaser, chorus, reverb, and delay) allows each effect to be routed to either or both of the synth layers. Needless to say, the sonic possibilities are immense! Explore the robust library of presets in simple mode to hear for yourself.

    Within various Advanced Settings Panels reside most of the KaoX’s interface, as described earlier. You use them for access to each synth module’s full collection of parameters, spanning an array of oscillators, filters, and more. Remember to turn off any unused modules to save CPU power.

    KaoX Isn’t Your Grandmother’s DX7

    The FM Algorithm matrix and FM operator module both contain various controls to manage the synth’s single FM oscillator. Note that KaoX provides little introduction to the concepts of FM synthesis. Use another source to learn more about this rather esoteric synthesis type. However, the accessible KaoX interface rewards exploration and empirical analysis, making it easier to craft your own FM or hybrid patches.

    Ultimately, KaoX offers possibilities that greatly exceed those overused 80s DX7 sounds. Being able to modulate any FM operator with the virtual analog and chaotic oscillators provides an unlimited realm of sonic mayhem. You also have control over a variety of settings for each FM operator, including its ratio, offset, and detuning. There’s also a separate filter and envelope for each, providing controls for cutoff frequency, and ADSR.

    You are also able to modulate operators using velocity, the modulation wheel, and the internal modulation matrix. The FM oscillator also provides two separate outputs, with either routable to either filter or VCA. Needless to say, this robust architecture combined with the other oscillator options sets KaoX apart from similar DX7 clones in the soft synth realm.

    Chaotic and Analog Oscillators Add to The Mayhem

    As noted earlier, KaoX features two pairs of virtual analog and chaotic oscillators that add to the synth’s sonic maelstrom. The analog oscillators feature a continually variable waveform that changes between triangle, saw, square, and pulse. Modulate an oscillator’s Wave knob to vary its waveform. The Synchro switch hard syncs oscillator 2 to 1. Each oscillator also provides either white or pink noise for additional grunge.

    KaoX’s two chaotic oscillators are “based on algorithms which mimic the chaotic behavior of the real world.” The musical purposes for this approach seem valid, especially when used to modulate the operators of the FM oscillators. Three chaos algorithms currently exist, with more to be added in the future. As with the virtual analog oscillators, the chaos oscillators are routed to either filter or directly to the VCAs.

    Exploring The Rest of KaoX

    KaoX features two independent filters (each with its own envelope) with five different modes, including high-pass, low-pass, and band-pass options. Basic control over the resonance and cutoff frequency exists on the filter module; clicking on it displays its Advanced Settings Panel with additional parameters for filter mode, drive, envelope modulation, and more. The drive adds a measure of saturation. You also control how much signal gets routed to VCA1, VCA2, or both.

    The synth boasts four independent envelopes; two modulate the filters, and two modulate the VCAs. Again, the module has basic DADSR functionality, and clicking on it displays the Advanced Setting Panel which provides control over all four envelopes at once, including a tempo sync switch for each. Of course, all four envelopes serve as sources in KaoX’s modulation matrix.

    Two LFOs also add to the modulation fun. The basic module features a frequency knob, while the Advanced Settings Panel provides a host of other controls, including tempo sync, waveform, width (for pulse and triangle waveforms), and destination for convenience compared to using the modulation matrix.

    Don’t forget the two ChaoX modulators which behave like an LFO from a modulation standpoint, but in a chaotic fashion as opposed to a repetitive oscillation. Like the LFOs, there is a basic module with frequency and an Advanced Settings Panel. Various algorithms provide different forms of chaos, with varying levels of randomization.

    Put these modulators to use in the 8×8 modulation matrix, allowing you to connect sources and destinations to add depth and motion to your patches. A separate panel is used for setting the destinations for the velocity and aftertouch sources. Other sources include a standard array of envelopes, modulators, oscillators, and even KaoX’s 4-step sequencer. Cool options abound!

    Don’t forget about the dual arpeggiators! KaoX provides one for each synth layer. Expect typical arpeggiator parameters, along with swing and a cool chord feature. The previously mentioned basic 4-track sequencer also adds to the fun. Of course, it supports odd time signatures!

    Finally, KaoX provides four separate effects: delay, chorus, reverb, and a phaser. All features a basic set of parameters, and greatly add to the sonic mayhem of the synth.

    Add This Mutant Synth to Your Collection

    Exploring KaoX’s massive number of presets as well as tweaking my own patches reveals a synth of great sonic depth. Those boring 80s sounds typical of FM synthesizers need not pollute your own works. Simply add some chaos with an oscillator or modulator, giving a measure of experimentation to your sound designs.

    XILS-Lab built another essential synthesizer app that stands right next to PolyM and XILS-4 in our hearts. Sound designers and musicians taking an experimental approach to their work need to consider adding it to their plugin collection. It’s a behemoth, but its rich feature set rewards deep exploration of its underlying sonic possibilities. We give KaoX our highest recommendation!

  • The Moog One blows out the Current Synth Market

    The Moog One blows out the Current Synth Market

    Sell those stock options, as this week Moog released its benchmark polyphonic analog synth, blessed with the moniker of Moog One. Its price point places the synth squarely in the realm of the boutique. The 8-voice model runs $5,999; while the 16-voice edition rocks a street price of $7,999.

    Needless to say, short of winning the lottery, most synth-nards and electronic musicians are out of the budgetary range for this behemoth. That’s sad, as its features and sound quality rank at the top of the current synthesizer market. Let’s take a closer look.

    Moog One Specifications

    Unfortunately, Moog didn’t send me a model to review. My absconding with the unit is a risk they didn’t want to take. Nonetheless, we forge ahead with a review of the Moog One specifications, as well as an imperfect sonic analysis based on the videos of the synthesizer.

    Moog_One_Synth
    Unfortunately, this is not my Moog One Synth. Photo copyright Moog Music, Inc.

    As expected, the Moog One sports a robust analog synthesizer architecture, in both the 8 and 16 voice versions. The synth also includes a digital effects engine; simply bypass it to maintain a fully analog signal path. Those talented folks at Eventide licensed some of their excellent digital reverbs to give the Moog One a proper measure of space.

    The keybed hosts 61 keys capable of sending both velocity and aftertouch messages. Onboard controllers include the standard pitch and modulation wheels, as well as an X-Y pad. Kaoss abounds! You know, the Moog One bears a resemblance to their classic Polymoog.

    73 knobs and 144 buttons combine with an LCD screen; providing a state of the art synthesizer interface. Modular synth connectivity is accomplished with the two CV inputs and four CV outputs. There are also a host of audio outputs – stereo mains, sub outputs, dual headphone jacks, and audio inserts.

    It’s all about the Tri-Timbral Synth Architecture

    The tri-timbral nature of the Moog One’s design means each timbre acts as an independent polysynth, which its own sequencer, arpeggiator, and effects engine. Now, the high price of the unit makes more sense. This is a stunning piece of gear.

    Considering these independent features of the tri-timbral design, I think anyone who went for the 8-voice model will be killing themselves for not spending the $2,000 more for the 16-voice. In short, the Moog One’s architecture appears to make running out of voices easy.

    The Moog One’s three oscillator design includes practically every required analog waveform. FM, ring modulation, and hard sync are all available for your patch manipulation needs. A dual source noise generator with a host of colorful options rounds out this section of the synth.

    Of course, the Moog One boasts Bob’s classic resonant ladder filter, with a host of slopes. The additional two state variable filters enhance the filtering options. Four LFOs, three envelopes, and a glide circuit make up the synth’s modulation section. There is also a full featured modulation matrix.

    Moog’s Arty Video for the Moog One

    Moog’s introductory video, while a bit too arty for someone just looking to dive into the details, nonetheless offers an interesting overview of the Moog One. Suzanne Ciani’s insights are especially worthy of note. Chick Corea does his thing with what sounds like Moog’s take on a DX7 polyphonic synth patch.

    Check it out. It’s 20 minutes that won’t waste your time nor mind. As an aside (at the 10 minute mark), what’s the point of placing your book collection in large vertical stacks instead of a bookcase? It’s almost like designing a website where the information flows horizontally instead of vertically, like the rest of the Web.

    This video as well the others I perused, reveals a stunningly powerful analog polysynth. The Moog One sounds great and works well as the centerpiece of an electronic music studio. Synth musicians who already own a ton of hardware and software gear might find they really don’t need Moog’s new behemoth.

    Ultimately, the Moog One ranks at the top of the synthesizer world. Is it the Yamaha CS-80 for the 21st Century? Time plays the ultimate arbiter in that determination. While I likely won’t be able to afford one anytime soon, gifts are always accepted here at TabMuse. Anyway, the Moog Sub 37 maintains its status as the favorite synth in my studio!


  • The Best New Synths from NAMM 2018

    The Best New Synths from NAMM 2018

    Each year I cover the most intriguing synthesizer announcements from the NAMM show in Los Angeles. Maybe sometime I’ll actually attend, but the costs involved for little old TabMuse also pays for a bright and shiny new synth, audio interface, or music computer. Priorities simply matter.

    korg-prologue
    The Korg Prologue in all its glory. Photo copyright Korg.

    If you are interested in reviewing our previous NAMM dispatches, please check out the links for 2017, 2016, and 2015.

    The Hybrid Analog Beast of the Korg Prologue

    This year’s NAMM lacked the copious amount of synth product announcements of previous editions. One exception to this rule is the Korg Prologue. It features a hybrid architecture with two instances of the analog oscillator design from the Minilogue as well as a digital “Multi Engine” oscillator.

    This Korg’s singular LFO rapidly became a meme among the synth grognard community. It does provide a unique sound quality, beyond the Minilogue (or even the Volca Bass and Volca Keys). Check out the demo video for additional insights.

    The Prologue comes in two versions. The $1,499 model sports 8 voices and 49 keys, while the $1,999 model features a 16-voice design and 61 keys. Black is the only color – as it should be.

    Personally, I feel both models are priced $500 too high, considering they’re essentially part of the Minilogue/Monologue family. Considering my already hearty supply of Korg synths in the studio, I’m likely not in the market for the Prologue. Still, it looks to be a great product worthy of further exploration.

    The Waldorf STVC String Synthesizer of your Creamy Dreams

    While Waldorf’s new Quantum synth is arguably more powerful, I hold a soft spot for their STVC string synth, also announced at NAMM 2018. When I shared my review of his iOptigan app with Waldorf’s Stefan Stenzel, designer of the Streichfett, he mentioned the soon-come announcement STVC. Essentially a Streichfett with a keyboard and vocoder, the STVC brings an immense cool factor to the synth marketplace.

    126 programmable patches get you sound surfing quickly, plus you are able to save your favorite patch tweaks to 12 memory slots, similar to the Streichfett. The Vocoder circuitry features gender modification (always a treat), and a full polyphonic carrier signal. The STVC is expected out soon at a street price of $899.

    My Streichfett rivals the Moog Sub 37 as my favorite piece of gear, so you need to consider picking up the STVC.

    The Studio Electronics EX+Box is a Must for your SE-02

    The Roland SE-02 is arguably the best piece of kit in their Boutique series. Featuring a full analog design from the folks at Studio Electronics, its sound quality is top notch. However, many synth aficionados complain about their small knobs. Enter the EX+Box.

    Essentially a breakout box for the SE-02, the EX-Box provides a VCF knob without the digital stepping that hampers cutoff tweaking on the Roland unit. All the audio connections are accessible from the box, with the added benefit of ¼-inch connectors and more. It’s expected to be out in two months at a price of $89. In short, this is a must buy for SE-02 owners.

    Well, that’s it for this year’s NAMM digest. Hopefully it inspires you to pick up a new synth. Thanks for reading!


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  • Moog’s Subsequent 37 refines the Original Sub 37 Design – Synth News 7

    Moog’s Subsequent 37 refines the Original Sub 37 Design – Synth News 7

    Moog recently announced another upgrade to its already venerable Sub 37 synthesizer. We previously covered the Subsequent 37 CV, and now the Subsequent 37 (with no “CV”) has hit the market. I actually missed the CV tag the last time around. Sorry, it’s now fixed! By the way, I still think Sub 37 CV – Silver Machine Edition sounds cooler!

    The CV-less Subsequent 37 improves upon the original Sub 37 in a myriad of ways. Most notable is arguably the boosted headroom in the mixer section. The ladder filter and its multidrive circuit have also been redesigned, with a richer low-end and grittier sound as a result. Moog also upgraded the keybed. So there.

    Essentially, these are the same improvements found in the Subsequent 37 CV, minus the extra CV I/O. The street price for the Subsequent 37 is the same as the Sub 37 – around $1499.  Git ya one! I’m sticking with my still-loved Sub 37.

    Roland goes Boutique with the D-50

    Roland has been going gangbusters introducing new models in its Boutique series. We’ve talked about the TR-08 and SE-02 in previous posts. This time out Roland trains its eyes towards the late 80s and digital synthesizers with the D-05, a Boutique version of its classic late 80s synth, the D-50.

    roland_d-05
    The Roland D-05 emulation of their classic D-50 synth. Photo copyright Roland.

    Instead of the Analog Circuit Behavior design concepts used in other Boutique Series editions, for the D-05 Roland introduced something called Digital Circuit Behavior. Needless to say, they shouldn’t have any problem digitally emulating late 80s digital “linear arithmetic synthesis” technology. The street price for the D-05 is $349.

    Though I have taken a shining to the SE-02, the D-05 doesn’t inspire much gear lust.  I never had much interest in the original D-50, opting instead for the warm sounds of the Kawai K4, which still gets used now and again on my current musical projects. If your ears are more attuned to Roland’s classic late 80s digital synth sounds, the D-05 is likely right up your alley.

    Brainworx bx_console E adds Vintage British E Series Console Plugin

    Recently celebrating its 10th anniversary, Brainworx recently introduced a plugin sure to interest anyone looking to emulate those classic mixing consoles from the days of yore. The bx_console E is available through those kind and ubiquitous folks at the Plugin Alliance. It offers a full 72 channel emulation of the British SSL E Series mixing console, but goes beyond that with features from the G series as well.

    Each channel strip contains a compressor/limiter, expander/gate, 4-band parametric EQ, as well as high pass and low pass filters. Flexible routing within each channel is also possible, including sidechain processing. If you have any interest in creating dynamic, classic mixes, the bx_console E belongs in your plugin collection. Expect a street price around $299.

    Unfiltered Audio release Dent 2 and Indent 2 Effects Emulations

    The Plugin Alliance’s colleagues remain busy, including the folks at Unfiltered Audio. If you need to add some grit and grunge to your audio processing arsenal, check out the Dent 2 and Indent 2 plugins.

    Dent 2 allows you to distort waveforms at a “molecular” level; bitcrushers, clippers, and wavefolders abound, along with other useful and interesting features. Indent 2 offers a streamlined level of functionality compared to its big brother. Dent 2 is available for $99 and Indent 2 for $49, but if you buy Dent 2 you get a free license for Indent 2. Whoa!

    fielder audio join the Plugin Alliance with “stage”

    A newcomer to the Plugin Alliance family, fielder audio’s first release is “stage.” A plugin focused on psychoacoustic reverb algorithms for both tracking and mixing, stage looks to be an essential tool for musicians and audio engineers. Additional functionality includes unique panning algorithms, as well as an LFO for outer rim spatial modulation effects.

    The intuitive user interface offers real-time visual feedback on parameter settings. You can pick up stage from the Plugin Alliance for $179.


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  • Review: PolyM offers a Great Polymoog Emulation

    Review: PolyM offers a Great Polymoog Emulation

    The Polymoog remains one of the most underrated Moog synthesizers. Gary Numan used it to great effect in the late 70s, but its complex design led to a poor reliability factor, with Dave Smith’s Prophet 5 ultimately winning the polyphonic analog race. XILS-Labs’ recently released emulation – the PolyM – brings the olde beast back to life, and is of interest to anyone looking to add bit of vintage vibe to their modern virtual synth collection.

    PolyM Features

    • 71-voice “Unlimited” Polyphony
    • Synth Architecture based on Two Top Octave Divider Oscillators
    • Filters Galore: Monophonic 24db Ladder, Resonator Bank, Acoustic Filter Bank
    • Those Old School Polymoog Preset Buttons
    • Delay, Phaser, Reverb – not on the Original Polymoog
    • Emulations of the Original’s LFOs and Envelopes
    • Modulation Matrix
    • Supports Most Popular Plugin Formats
    • Available for 99 Euros (149 after August 31)

    The PolyM features a great 70s sound, a bit grungy in the right spots, with a warm feel typical of that classic era of analog synths. Whether you are going old school, or if the “newer” exponents of this sound – Air, Boards of Canada, etc. – are more up your alley, PolyM belongs in your plugin library.

    The Divided Alien Octave

    The original Polymoog 203a had more similarities with the classic string synths of the era compared to a true polyphonic synth. Its divide-down architecture is more akin to an organ or string synthesizer. This design principle is also at the core of the PolyM, including the original’s split keyboard fader and octave balance controls.

    PolyM Screenshot
    The PolyM in virtual action. Screenshot by Author.

    The two Top Octave Divider oscillators can be tuned against each other, creating that classic beat phasing effect. Virtual buttons and sliders let you tweak the pitch for each oscillator as well as switch between free or locked mode. Each oscillator also sports an LFO controlling frequency modulation (or phase modulation when in locked mode.)

    Being able to switch between oscillator waveforms based on the keyboard split (lower and upper) is a classic feature of the original Polymoog emulated nicely in the PolyM. Additional mixing and shaping controls add to the fun. The Loudness Contour section serves as the VCA envelope for the synth, with a toggle switch allowing you to change between a traditional ADSR envelope and the unique “Legacy” one from the Polymoog.

    The PolyM mimics the Polymoog’s interface accurately. Everything is where one expects it to be, including the original blue preset buttons — another hint at the Polymoog’s similarity to the string synthesizers of its day. There are additional screens to manage the patch library as well as other features unique to the plugin, like the modulation matrix, reverb, phaser, and delay. As noted earlier, you are also able to control the synth’s mix in a variety of ways, including controlling the balance between the three sets of octave pairs, as well as the discrete outputs of the PolyM’s various filter sections… speaking of which.

    Polymoog Filter Insanity

    Like the original, the PolyM offers copious filter options, offering flexibility when creating your sonic mayhem. The polyphonic filter sports three different modes (high, low, and band pass) and comes with its own envelope. You are also able to disable the filter for either half of the keyboard.

    Unlike its polyphonic brother, the 24db ladder filter is applied after all the notes are mixed together. However, it does offer the same disabling toggle switch for each half of the keyboard. Expect the standard array of filter controls, along with modulation – including an LFO with sine and sample and hold waves – to round out this filter.

    There is also a resonators filter section, with 6db and 12db modes, for that extra sonic push over the mindfreak cliff. This filter includes cutoff and resonance controls for each octave pair separately. Switching between high, low, and band pass is also possible.

    The MODE filter is a separate circuit based on the nine preset filters accessed from the classic blue buttons in the middle of the synth interface. These can be engaged whether or not the underlying preset sound is loaded. For instance, you can use a string MODE filter setting with your own patch creation.

    A Must-have Synth Plugin for Moogheads 

    A fully-featured modulation matrix is one example on how the PolyM goes beyond the functionality of the original Polymoog. Its sound quality also comes pretty close as well; rivaling Arturia’s stable of emulations of classic 70s and 80s synthesizer models.

    Personally, I expect to “reach” for the PolyM when I need its unique “string synth meets analog polyphonic” sound stylings. If you are interested in this era of Moog synthesizers, and can’t afford the several thousand dollars for a restored version, the PolyM belongs in your plugin collection, stat.


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  • Recording Digest: Church of Hed — Brandenburg Heights

    Recording Digest: Church of Hed — Brandenburg Heights

    Editor’s note: Jerry Kranitz published Aural Innovations magazine for nearly twenty years until retiring earlier in 2016 to work on a book project. No other entity did a better job covering the worldwide psychedelic music and spacerock scenes. He typically interviewed me every few years about Church of Hed and Quarkspace, my two primary musical outlets.

    Church of Hed -- Brandenburg Heights
    Church of Hed — Brandenburg Heights

    Recently, Jerry gladly agreed to conduct an interview about the making of Church of Hed’s new album, Brandenburg Heights. For some background on the album, here is an excerpt from a review by Pete Pardo, published at Sea of Tranquility.

    “Fluttering synth patterns, piano, and drum loops litter the first part, the melodies soaring but eventually giving way to brooding menace as the ominous synths take the listener into space rock heaven. Part two kicks off with some prog/jazz styled piano and synth noodling before the creepy Pink Floyd/Tangerine Dream explorations take over, Williams use of Moog and various Korg keyboards creating dramatic swells of unsettling terror. Eventually the brooding pace picks up as stabbing synth lines dart in and out of the mix, culminating in a full blown space rock finale that brings to mind Hawkwind, Eloy, Pink Floyd, Schulze, and Tangerine Dream.

    Brandenburg Heights is a fascinating listen from start to finish, Paul Williams’ ability to create seamlessly shifting moods quite effective over the course of 40+ minutes of instrumental music. Fans of synth dominated music would be well advised to seek this out!”

    JK: Let’s start right in on the new album, Brandenburg Heights. I’m sure we can make assumptions about the Berlin inspiration but tell me about the title. Is this a Church of Hed “travelogue” album?

    No, this isn’t a travelogue album per se, in that there’s no journey along a long, lost highway. Still, the music allows anyone to travel in the mind, which is one of the benefits of spacerock and psychedelic music.

    This is a Berlin School album and there is a town in Ohio named, Berlin Heights. I didn’t want to call the album “Berlin Heights,” so we used the Brandenburg Gate to finish off the etymology, so to speak. The front cover was derived from an excellent photo of the gate I found on Wikimedia Commons.

    JK: The album is comprised of two 20 minute range tracks that for me play as one continually evolving piece. How did that come about, as opposed to the multiple tracks you’ve done on past albums?

    After acquiring a Korg SQ-1 hardware sequencer, I conducted a few experiments syncing together two Korg Volcas, a Korg Monotribe, the Moog Sub 37, and a Teenage Electronics PO-12 drum machine. Soon a long-form piece began to develop, and I managed to capture a version with a variety of sequencer patterns, beats, and live playing. That’s the basis of Brandenburg Heights, Part 1.

    With one twenty-minute piece in the can (minus additional development and overdubbing), I decided to do a second piece of a similar length, inspired by the mid 70s album structure of Tangerine Dream, Klaus Schulze, Mike Oldfield, etc. Perusing through some recent improvs, I found a 5-6 minute jam with a Moog arpreggiation and a drum beat. This served as the introduction to Brandenburg Heights, Part 2.

    I composed two additional sections, followed by another 7-8 minute sync experiment with the same instrumentation as Part 1. I wrote a melodic motif to tie the different sections together and proceeded to overdub both parts until the album was finished towards the end of the summer.

    JK: You describe the music as “a modern Berlin School exploration featuring hints of prog, psychedelia, and space rock”. I would say far more than hints. I think you beautifully bring together all those worlds throughout the album.

    Thanks! Quarkspace always took a “stew” approach to music – combining different inspirations into something (hopefully) unique. I follow that same path. It is honestly the only way I know how to do things from a stylistic manner.

    My influences range from Philip Glass to Peter Hammill to Neil Young (among hundreds of others). They all get distilled into the final brew – or stew.

    JK: I have to say that in the twilight years of Aural Innovations, the music that most excited me was bands who brought these various worlds together. It’s very hard to be really new and, dare I say, innovative anymore. But it does seem that musicians can set themselves apart and even create an identity by mixing things up.

    Indeed. Simply regurgitating the stylistic markers of a genre or subgenre doesn’t do it for me. Bringing something new to the table, combined with strong and innovative composition, trumps all.

    JK: Any new instruments/software/toys that you feel influenced the direction or sound of the music on Brandenburg Heights?

    Syncing multiple pieces of synth hardware, as mentioned earlier, is the “new” thing on Brandenburg Heights – but old hat for the majority of electronic music artists. Part 1 up until the coda, and the last few minutes of Part 2 feature this technique. Typically in Quarkspace or Church of Hed, we’d play live instruments over a loop or beat created using something like Rebirth back in the day or FL Studio or an iPad app (iMS-20, Gadget, iPolysix) more recently. I’ll switch between both approaches moving forward.

    The Waldorf Streichfett deserves special mention. A modern string synth, this thing is all over the album crushing all other sound sources in its wake. I love it!

    My relatively ancient Pro Tools setup – DIGI 002R – still handles the recording duties. This limits the amount of plug-ins I can use while mixing or as sound sources. Thus, Brandenburg Heights features all hardware instrumentation. It just happened that way.

    JK: You dedicated the album to the memories of Paul Kantner and Gilli Smyth. How did those two particular artists inspire you?

    Paul Kantner is a huge influence on my songwriting, most obviously in Quarkspace’s Where Galaxies Collide off of the Hidden Moon. Brandenburg Heights is the first time since then I’ve written a side long album track. Almost makes me want to put it out on vinyl! The Jefferson Airplane remains my favorite American band.

    What can you say about the Mother Gong? Gilli is another great loss among many in 2016. Gong always greatly influenced Quarkspace more than any other spacerock band, and she was a big reason why. Her space whisper lies within us all.

    JK: Produced by Lance Starbridge? I take it that’s a nyuk nyuk joke? Feel free to spin a yarn of a response if you want to keep it “insider.”

    Lance remains the long time producer of Quarkspace and Church of Hed. His credit is on most of the albums. We are lucky to retain his services.

    JK: I believe Church of Hed has been 100% solo since Electric Sepulcher, is that right? You had historically been a “band” guy. Do you enjoy working solo now that you’ve been doing it for a while? Any wistful desires for collaboration and live performance?

    I am really enjoying this newfound focus on solo work. In fact, considering what happened with Quarkspace slowly entering dry dock, I really should have made the solo move when Chet relocated to California in 2009. My productivity level is higher than ever.

    Collaborations are always on my mind. The Rivers of Asphalt sequel – The Father Road – is a likely spot to involve others. I am considering doing some live performances in the studio and potentially releasing them. Beyond that, logistics make it difficult to do an actual show when living in a rural country with no electronic music scene. Who knows?

    JK: And, following from the last question, Spacefolds 12 was the last Quarkspace album in 2013. I realize those were unreleased tracks and the band hasn’t been a functioning entity in some years. Was Spacefolds 12 the last of the available Quarkspace music you plan to release?

    Spacefolds 12 is like any other Spacefolds release – the best improvs from a certain time period, which was 2008-2009 for that album; it wasn’t like they were unreleased tracks from the late 90s or early 2000s. Quarkspace were always 4-5 years behind in getting Spacefolds releases out to the public, not to mention the continued failed attempts to release a studio follow-up to Drop.

    So, that 85% finished studio album is still out there as well as hours upon hours of yet to be chronicled improvised material from 2009-2014. If I get bored, I may release tracks from the studio album, or if a friendly record label wants to fund a Quarkspace retrospective box set, we’d include some of those tracks. Beyond that, I am more focused on new music, as always.

    If some of the prodigal Quarkspace members are interested in putting more Spacefolds releases out, I’d listen, but I am not doing all the work – or a disproportionate share of it. Ultimately, it seems Chet and I are the only ones who truly care about our “legacy.”

    JK: What new bands have most impressed/inspired you in the past year AND which of the old timers do you find yourself revisiting?

    I’ve been getting into the LA school of newer hip-hop and electronic artists, centered on Flying Lotus. Thundercat is his collaborator at times, and is a stunning bass player and songwriter. They occasionally work with Kamasi Washington, a tenor sax player drawing a lot of buzz. Kamasi plays with a spirituality and musical vision reminiscent of John Coltrane. Speaking of which, Alice Coltrane, John’s wife, is Flying Lotus’s aunt.

    You will find all three of those artists on Kendrick Lamar’s To Pimp a Butterfly album, which is one of the most popular albums in recent years. It’s a stunningly musical work from a genre – hip-hop – many people consider not to be music. It truly kicked my ass.

    Cavern of Anti-Matter, the new band from Tim Gane of Stereolab, is doing great work in the Berlin School vein. Kaitlyn Aurelia Smith is a synthesist known for her excellent compositions, largely performed on a Buchla Music Easel. She is garnering a lot of acclaim in the indie music scene – well deserved.

    As far as older artists, I’ve been getting more into Dylan; filling gaps in my collection. Klaus Schulze, Manuel Gottsching, and Jean-Michel Jarre have been representing the electronic side of the shop. The Charles Ives compositions outside of his four symphonies and diving deeper into Eric Dolphy’s canon also warrant a mention. As always, there are way too many to mention. I remain open to pretty much all music but pop country.

    JK: Tell me about TabMuse and the articles you’ve been writing for them.

    I started TabMuse two years ago as a resource for music technology discussion. At first, it focused on iOS music apps, but as I’ve moved more into hardware synths, the magazine’s output followed. I never find enough time to write for it, but I hope that changes in 2017.

    JK: What’s upcoming? Your web site mentions a sequel to Rivers of Asphalt?

    A new “Seasons” EP is my current music project, ala the Autumn Shrine EP. This one has the moniker of “A Cold White Universe EP” with darker Holiday and wintertime proggy psychedelia. Expect a release in February – before the Spring Equinox at the latest.

    Progress composing and rehearsing sections of The Father Road continues. This is the sequel to Rivers of Asphalt, but an aural travelogue of a journey from west to east on the Lincoln Highway this time out. I expect to begin recording it next year with a 2018 release the most likely outcome at this point. I am always rehearsing the piano-based parts for this; it’s on the weighted keys, so practice is a must – I’m not Jay Swanson.

    Concurrent with these other releases are two new “normal” albums. One is more concise and beat-laden, while the other is aimed at a Berlin School atmosphere. Expect these albums to see the light in 2017 and 2018. I’m keeping busy!

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  • Five Great Improvements for the Moog Sub 37

    Five Great Improvements for the Moog Sub 37

    Don’t get me wrong, the Moog Sub 37 is a stunning piece of analog synthesizer gear. The thing sounds wonderful and expressive, with a panel full of knobs and switches sure to delight any synth head. It’s my best musical device purchase in years — maybe ever?!

    Having said all that, there are still some potential enhancements to make the Sub 37 even better. Feel free to mention any mistakes or incorrect assumptions I’ve made in the comments. After all, I’ve only had the thing for a week and a half.

    Show Existing Memory Location Name when saving a Patch

    When saving a patch on the Sub 37, you can either overwrite its current location or anywhere else among the 16 banks that each contains 16 locations. But the interface doesn’t display whether there’s a patch currently stored when browsing locations, making it easy to mistakenly overwrite a patch.

    Moog Sub 37
    I did finally turn on the Sub 37. Photo by Author.

    I’ve spent a lot of time auditioning the factory presets and making little tweaks that I want to save somewhere else. Not knowing if I am going to overwrite another patch is a constant issue.

    When perusing memory locations looking for a safe home for saving a new patch, simply show the current patch name or “Init Patch” somewhere on the LCD display. The new name for the patch doesn’t need to be displayed after it is confirmed in save mode, so use that “screen real estate” for the memory location’s current contents.

    Move the Oscillator Section to the Left

    Since this is a hardware issue, I don’t expect anything to change, but it surprises me that the oscillator section of the Sub 37 is located in the center-right of the synth’s panel. It doesn’t seem intuitive, especially considering the original design of the Minimoog. Currently, the Glide, Arpeggiator, and Modulators (LFOs) take up that space.

    At a minimum, the oscillators need to be left of the modulators. I guess I’ll have to get used to it!

    Need to be able to edit Sequences

    The Sub 37’s robust sequencer and arpeggiator functionality is the main reason I waited 10 months for this Moog synth instead of getting a Sub Phatty. It is really easy to create new sequences, but I can’t find any way to edit them other than starting over. The firmware needs to add a way to edit sequences.

    I wish there was an Easy Way to see Loaded Patch Settings on the Panel

    This is a common problem with any recent analog or VA synth that combines hardware knobs with digital patch storage. It is impossible to “see” a freshly loaded patch represented on the panel. Moog does a nice job with flashing indicators denoting LFO or arpeggiator speed, as well as the modulation destination settings.

    I’d like to see something similar with the modulator sources and even the current waveform setting. Maybe potentiometers with an embedded LED to denote the original patch setting? Thanks to my ideas, the Sub 37 now retails for $6,000!

    Six Knobs for the DAHDSR Envelopes

    Hell, let’s increase the retail price of the Sub 37 a bit more. It’s a drag that you don’t have six discreet knobs to control the DAHDSR envelopes — you get four with a switch to bring in the Delay and Hold parameters. Two more potentiometers, Moog, just two more!

    I love my Sub 37; I really do! I realize that the hardware design of the synth won’t change, but hopefully a firmware update from Moog is in the works to improve the patch saving and sequencer editing use-cases.

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  • First Impressions of the Moog Sub 37

    First Impressions of the Moog Sub 37

    Well, after a long wait — a bit too long methinks — Moog’s hot new analog synth, the Sub 37, arrived at my door yesterday. Our cats were quite intrigued with the box, but unfortunately for them it wasn’t to become their plaything du jour. The box contents are all mine.

    The Sub 37’s packaging is quite nice, including a basic introduction to analog synthesis on the box itself. A printed manual and a nearly poster-sized one-sheet listing the synth’s panel controls and functions rounded out the paper documentation.

    Tiptoe through the Sub 37 Presets

    I spent the next hour or so running through the Sub 37’s nice variety of presets. As expected, this synth covers a wide range of sounds with everything easily tweakable from the array of panel controls.

    Moog Sub 37
    The Sub 37 says “turn me on, please.” Photo by Author

    I wish I knew about Pot Mode before diving in, as the default ABS setting causes parameters to immediately jump to a knob’s physical value when touched. This led to some unmusical filter pops when tweaking the cutoff frequency knob. Moog recommends using either THRU or RLTV for live performance and ABS mode during sound design sessions. This setting is accessible using the Global menu.

    As you may have heard, the Sub 37 sounds incredible. The classic 4-pole Moog filter gets a little extra bite with the Multidrive control. This thing is capable of a full range of classic sounds from basses to leads to outer space.

    The synth’s paraphony comes into play in Duo Mode, where the two oscillators are capable of playing two notes at once through the same filter. Holding down a drone note with one finger while doing a lead with another is a blast.

    The Sub 37’s two DAHDSR envelopes are hard-wired to the filter and amplifier respectively. Both are capable of looping, which lends itself nicely to creating patches with a sense of motion. I would have preferred having six discrete knobs to control the envelopes instead of using a switch to access the Delay and Hold settings, but this isn’t a big issue.

    Yes Virginia, the Sub 37 Sequencer can do Odd Time Signatures

    Whenever I get new piece of musical gear — hardware or software — if there’s a sequencer, the first thing I check is whether or not you can vary the time signature. It’s not like everything I do is Crimson-esque avant-prog, but I want the option (3/4 is my favorite timing anyway.) Thankfully, the Sub 37 sequencer is capable of any number of steps from 1 to 32. Boom!

    Latching the arpeggiator also led to much fun with my TrapKat easily accessible for some quick motorik beats — in 15/8! I just bought the world’s most expensive and coolest metronome! Modulation options abound with the two LFOs.

    Needless to say, Moog has a winner on its hands with the Sub 37. The fact that I had to wait nearly 10 months for delivery after my pre-order beautifully illustrates that point. Expect to read more about the Sub 37 here at TabMuse as new discoveries are made!

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  • Korg Volca Keys — the Analog Synth Reviewed

    Korg Volca Keys — the Analog Synth Reviewed

    While Korg’s Volca series of portable analog synth boxes intrigued me, I wasn’t really in the market for one. But with a Moog Sub 37 on seemingly perpetual pre-order (its ship date recently moved from mid-May to late-Summer) and two albums from Church of Hed and Quarkspace needing overdubs I began to reconsider. I hoped to use the new Moog extensively for these synth overdubs, and I couldn’t wait until the end of August or even later.

    Enter the Korg Volca Keys. I figured I could MIDI it to my Korg Prophecy, creating a hybrid analog/VA synth to serve as the emergency understudy and get these albums finished.

    Korg Volca Keys Features

    • Classic Subtractive Synth Architecture in a Small Package
    • 3 VCOs, 1 VCA, 1 VCF, 1 LFO, 1 EG
    • Ring Modulator, Delay
    • Syncs to Other Volcas and the Monotribe
    • Loop Sequencer with 8 Memory Locations
    • A Street Price of around $149

    Needless to say, the Volca Keys fits perfectly in my live setup paired with its older uncle Prophecy. Its true analog sound cuts through a dense mix; letting me finish these tracks, while I wait for the Sub 37. The included loop sequencer is more feature-laden than the Korg Monotribe’s version, making me contemplate using the two synched together.

    A Polyphonic Analog Synth in a Box for $150?

    The bottom line is that a polyphonic analog synth in a small box for around $150 is a stunning achievement from Korg. The Volca Keys sounds great, and tweaking the filter’s cutoff and peak add some piercing bite to the proceedings. Three notes of polyphony are possible; the voice knob lets you switch between poly and unison settings, with octaves and fifths also possible.

    Korg Volca Keys
    The Korg Volca Keys in my live rig on the Z1 plateau above the Roland TD-8. Photo by Author.

    A ring modulator is “hard-wired” to the voice knob as well. It adds a metallic sound to the poly and unison settings, using a square wave. Generally, the Volca Keys uses a hardwired sawtooth wave, with the ring mod being the exception.

    A LFO and a simple envelope generator allow a measure of sound shaping and tweaking. A delay rounds out the Keys’ sonic architecture with time and feedback as the only controls. It sounds nice, but I would have preferred a level control to boost the delay’s output.

    A Simple Loop Sequencer as well

    The Volca Keys loop sequencer works in a similar manner as the version from the Monotribe, with the notable improvement of eight memory slots to save patterns. The Active Step feature supports odd time signatures, and Flux mode allows for loops free from quantization. The Motion Sequence capability provides for the automation of the Keys’ synth parameters within a loop.

    A Real Korg "Trinity"
    A real Korg “Trinity” — the Z1, Prophecy, and Volca Keys hold court behind the Yamaha MM8 and Kawai K5000. Photo by Author.

    I only spent a little time syncing the Volca Keys with the Monotribe, but intend on exploring that feature more closely in the future. If I discover any interesting insights, you’ll read about them here.

    The Volca Keys is another “little synth box” winner from Korg. Sometimes I wonder if I should have gotten the Volca Bass which provides step note entry and three independent simultaneous patterns when using its sequencer. (Not to mention a big cutoff frequency knob on the VCF.) Still, it is a worthy purchase and serves well as a perfect introductory analog synthesizer for those curious about this alluring sector of music. Recommended.



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  • Moogfest 2014 Intrigues and Inspires

    Moogfest 2014 Intrigues and Inspires

    Observing the news from this year’s Moogfest, held once again in Asheville, NC, headquarters of Moog Music, it is obvious that the modular synthesizer revival is coming full circle. At the festival, Moog announced they are reintroducing Keith Emerson’s classic modular unit, used in pretty much every ELP tour since the early 70s. I Dream of Wires, indeed. (Speaking of which, the theatrical version of this excellent modular synthesizer documentary saw its debut at Moogfest.)

    Moog says “contact us” for New Modular System Price

    It appears Moog’s new Emerson modular system is a very limited edition. The company says to contact them for the price; one rumor I saw placed the behemoth’s cost at a stunning $90,000. Whoa!

    Emerson Moog Modular
    The new Emerson Moog Modular synthesizer in all its glory. Photo copyright Moog Music.

    Hopefully, Moog decides to offer the individual modules on a separate basis. While, Moog’s modular format isn’t necessarily as popular as Eurorack, enough synth freaks want that classic filter sound to make it worth their while – MoogerFoogers notwithstanding.

    The Moog Engineering Workshop a Success

    One of the events at Moogfest inspiring a lot of jealousy in me was an engineering workshop where participants built their own analog synthesizer — the Werkstatt. Bob Moog’s Theremin kits were his first product way back when, and the Werkstatt pays tribute — more or less — to that part of Bob’s legacy. Very cool!

    Check out the details behind the synth in this video from Sonic State which features an interview with Moog engineer, Steve Dunnington. (Note the Korg MS-20 on the rack behind Steve. Hmmm…)

    Moogfest is also an Electronic Music Festival

    Moogfest also plays host to one of the larger electronic music festivals in the US, which is many festival goers’ prime reason for attending. Kraftwerk, Chic, RJD2, Giorgio Moroder, Mix Master Mike, Bernie Worrell, and Keith Emerson were some of the musical highlights.

    Seminars, Workshops, and More

    Moogfest featured a number of seminars, panels, and workshops of interest to anyone enthralled by the art of analog synthesis. The workshops covered practical topics, including sampling analog instruments as well as a variety of modular synthesis advice and tutorials. Alternative musical interfaces were featured in a seminar, and the folks from the DIY bible, Make Magazine, even hosted their own five hour panel/workshop.

    Non-Moog industry legends like Don Buchla, Tom Oberheim, Roger Linn, and Dave Smith each were featured in panels, providing that Moogfest goes beyond the brand name to cover analog synthesis in general. Also: Moog Yoga, anyone?

    Needless to say, I need to find a way to actually attend next year’s Moogfest. This is a festival that showcases both the analog synthesizer industry and the beauty of Asheville, NC and its surrounding region. For the time being, I’ll just have to wait for my Moog Sub 37 to arrive in about three weeks.