#SYNTORIAL SKIP FULL#
#SYNTORIAL SKIP PLUS#

'Moses Sumney, accompanied by a full band, recently visited the Moog Sound Lab in Asheville, North Carolina to perform a reimagination of 'Conveyor' from his forthcoming album ‘græ.’ Moses Sumney | Conveyor at the Moog Sound Lab Updated mechanical connectors and a modern power supply improve reliability and long-term serviceability while ensuring that the analog soul of this instrument-and its unique character and idiosyncrasies-remains unchanged.'

Derived from the original vintage schematic, the Moog 16 Channel Vocoder’s analog voice circuits are hand-soldered at the Moog Factory in Asheville, North Carolina to preserve the original instrument’s classic sound. With the instrument’s reintroduction, Moog Music has gone to great lengths to ensure that this distinct electronic voice carries on. The Moog 16 Channel Vocoder, originally introduced in 1978 (and heard most famously on the title track of Giorgio Moroder’s E=MC2), has been used to transmute vocals, transform synthesizers, and electronically encode sound for decades. The influential sound machine has been used by the likes of Stevie Wonder, Herbie Hancock, Dr. Over the following decades, music technologies would explore the artistic applications of the vocoder, whose robotic vocal articulations would soon find their way into mainstream music, television, films, and games. During WWII, the US military used this advancement to electronically encode classified audio messages that could be reconstituted on the receiving end. In the 1930s, Bell Labs introduced the technology as a telecommunications device that could deconstruct the most fundamental elements of human speech and then reconstruct a new electronically synthesized voice. 'The history of the vocoder is as unique as the sound it produces.

The Moog 16 Channel Vocoder’s analog voice circuits, derived from the original schematic, are hand-soldered at the Moog Factory in Asheville, North Carolina to preserve the original instrument’s classic sound.' Originally introduced in 1978 (and heard most famously on the title track of Giorgio Moroder’s E=MC2), the instrument has been used to transmute vocals, transform synthesizers, and electronically encode sound for decades. Allowing CV control of the Drag parameter, the Afterneath can be played melodically and constrained to different scales and pitch classes based on the selected Mode, allowing sequenced reverbs that form a counterpoint against the sounds that feed them.Ī powerful new tool for sonic exploration of the unreal, the Afterneath module marks an exciting step of one of the most interesting pedal manufacturers into the world of modular synths.Īfter more than 40 years, the Moog 16 Channel Vocoder is officially back in production. Diffused echoes bounce off distant walls, and sonic ghosts emerge from soft, washy reflections and short, chattering delays. Expanding on the original Afterneath design with additional reverb modes and the addition of CV control, Afterneath Eurorack is a great way to add some space to any Eurorack system.Īfterneath excels at reverbs that evoke a sense of unrealistically huge, empty spaces. 'Afterneath is Earthquaker's first foray into producing Eurorack modules, adapting their cult classic reverb pedal into a washy, shimmering tool for modular synthesists. There really is simply too many features to list and explore here.' You can get stuff out of this that you simply can't get anywhere else (or without spending huge sums of money on rare individual Blue Lantern modules). Given the ton of patchpoints and built-in modulation paths, this is a tweakers dream synth. Filter FM is there, the envelopes are loopable, and the delay parameters have cv inputs to modulate them in real time. Yes - you can have more than one selected (or all 3) at a given time.įrequency Modulation (FM) of the oscillators is possible (linear or exponential). The filter - LP, BP, and HP individually selectable. There's also Noise - with a Tune knob to adjust the kind of noise being generated.

All 6 outputs have individual level controls in the mixer and a waveform selection switch.

#SYNTORIAL SKIP PLUS#

The oscillators have 2 separate waveform outputs plus a Sub-oscillator. Two oscillators, filter, 2 envelopes, 2 LFO, delay.īut that's not the whole story. You cand find some demos of the Dwarf Star in previous posts here.

Syntorial skip