Moog is a icon across the whole tech music industry, having him remembered on the com.au homepage as an Australian doesn't do him and his legacy justice.
Would we celebrate Einstein only on google.de?
[Addendum] Timezones, gotcha. Let's hope this great doodle makes it to the .com homepage :)
...because his birthday is on May 23rd, and it's not May 23rd in the US yet? Google roll their doodles out across timezones (also, Robert Moog was American, not Australian...)
Here's a bet: in about 8 hours of so another story bubbles up HN about this, but on the US page instead.
That's great. It actually has a really good sound - wonder how it's implemented.
Couple of niggles though - the 'doodle 'link you can make of your recording is a short url that doesn't jump back to the au site. Worse than that, the recording doesn't come out sounding anything like the sound I recorded in the first place.
You can play both the keyboard and turn the knobs at the same time: press the number keys on your keyboard for the keyboard, use the mouse for the knobs.
The large knob at the left is overall level (which does not equate to silence at its minimum setting, probably for UI simplicity). The three knobs to the right govern the volume of 3 individual oscillators.
Oscillator section
The leftmost 3 knobs define the pitch octave range for each of the three oscillators. LO is a subsonic frequency mainly used for modulation purposes in real life. #2', 16', 8' etc. refer to the length, in feet, of the pipe on a pipe organ that will produce tones of that frequency. A 32 foot long pipe produces a very deep bass tone (about 16 Hz, probably sounds like noise on most speakers), a 16 foot pipe produces a tone exactly one octave higher, and so forth. There are no 64 foot pipes that I know of, hence the LO setting. It's not possible on this little synth, but normally you would use those super-low frequencies as modulation sources for other things. The two knobs in the center allow tuning of the oscillators across a 2-octave range. Really, this ought to be graduated in semitones. If you turn down the center oscillator and put the other two on identical settings, you should, in theory, get the same sound only twice as loud, but the doodle is a little bit buggy and sometimes pegs one oscillator an octave above or below the other. It's easiest to just reload periodically. On a real-life analog synth of that generation, the oscillators would drift out of tune and need to be calibrated periodically; also, the tuning would change as the machine warmed up over the first half-hour or so of operation, so early electronic keyboard players often had difficulty staying in tune with the band. It was this pitch instability that caused everyone to rush towards digital synthesis at the end of the 1970s, although nowadays you can get very stable analog oscillators.
The rightmost 3 knobs set the shape for each oscillator; triangle, saw, inverse saw, and pulse waves with 10%, 25% and 50% duty cycles respectively. I think there is something amiss with the display of the saw waves on oscillators 1 & 2. Saw vs. inverse saw makes no difference on a single oscillator but where you have 2 or 3 choosing different directions for the wave can lead to interesting textures. The shape of the oscillator affects the harmonic content thereof. A triangle wave sounds very close to a sine wave - a piercing pure tone - while being computationally inexpensive. (Stable sine waves are surprisingly hard to generate on the fly unless you have a lot of DSP power, and even digital synthesizer manufacturers often cheat by using lookup tables for sine waves rather than generating them.) A saw waves contains all possible harmonics and is a good basis for brassy sounds like those of trumpets. Square waves (pulse waves with a 50% duty cycle) sound 'hollow' because they only have odd harmonics, and are a good basis for synthesizing woodwind sounds, where the absorbent nature of the material dulls the sound somewhat. Combining pulse waves of different duty cycle can lead to texturally interesting effects, although this is much more noticeable when the length of the duty cycle can be modulated, as opposed to merely switched.
Filter section
Something has gone terribly terribly wrong here, because this does not behave like any Moog synthesizer I have ever used. The top left knob controls the filter cutoff of a low pass filter, ie the frequency above which higher harmonics will be cut off. This is sort of like the effect you get if you sing a continuous AAAAAH tone with your mouth open and then gradually close your lips. Normally the knob tot he immediate right could control resonance, which boosts the signal around the cutoff frequency and produces an intense whistling/shrieking sound as it is turned up to maximum. High resonance and low cutoff settings act like a sp...
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[ 3.5 ms ] story [ 28.7 ms ] threadMoog is a icon across the whole tech music industry, having him remembered on the com.au homepage as an Australian doesn't do him and his legacy justice.
Would we celebrate Einstein only on google.de?
[Addendum] Timezones, gotcha. Let's hope this great doodle makes it to the .com homepage :)
Here's a bet: in about 8 hours of so another story bubbles up HN about this, but on the US page instead.
And it sounds very moog-like too
Couple of niggles though - the 'doodle 'link you can make of your recording is a short url that doesn't jump back to the au site. Worse than that, the recording doesn't come out sounding anything like the sound I recorded in the first place.
Really cool though.
1. http://en.wikipedia.org/wiki/Moog_synthesizer
Mixer section
The large knob at the left is overall level (which does not equate to silence at its minimum setting, probably for UI simplicity). The three knobs to the right govern the volume of 3 individual oscillators.
Oscillator section
The leftmost 3 knobs define the pitch octave range for each of the three oscillators. LO is a subsonic frequency mainly used for modulation purposes in real life. #2', 16', 8' etc. refer to the length, in feet, of the pipe on a pipe organ that will produce tones of that frequency. A 32 foot long pipe produces a very deep bass tone (about 16 Hz, probably sounds like noise on most speakers), a 16 foot pipe produces a tone exactly one octave higher, and so forth. There are no 64 foot pipes that I know of, hence the LO setting. It's not possible on this little synth, but normally you would use those super-low frequencies as modulation sources for other things. The two knobs in the center allow tuning of the oscillators across a 2-octave range. Really, this ought to be graduated in semitones. If you turn down the center oscillator and put the other two on identical settings, you should, in theory, get the same sound only twice as loud, but the doodle is a little bit buggy and sometimes pegs one oscillator an octave above or below the other. It's easiest to just reload periodically. On a real-life analog synth of that generation, the oscillators would drift out of tune and need to be calibrated periodically; also, the tuning would change as the machine warmed up over the first half-hour or so of operation, so early electronic keyboard players often had difficulty staying in tune with the band. It was this pitch instability that caused everyone to rush towards digital synthesis at the end of the 1970s, although nowadays you can get very stable analog oscillators.
The rightmost 3 knobs set the shape for each oscillator; triangle, saw, inverse saw, and pulse waves with 10%, 25% and 50% duty cycles respectively. I think there is something amiss with the display of the saw waves on oscillators 1 & 2. Saw vs. inverse saw makes no difference on a single oscillator but where you have 2 or 3 choosing different directions for the wave can lead to interesting textures. The shape of the oscillator affects the harmonic content thereof. A triangle wave sounds very close to a sine wave - a piercing pure tone - while being computationally inexpensive. (Stable sine waves are surprisingly hard to generate on the fly unless you have a lot of DSP power, and even digital synthesizer manufacturers often cheat by using lookup tables for sine waves rather than generating them.) A saw waves contains all possible harmonics and is a good basis for brassy sounds like those of trumpets. Square waves (pulse waves with a 50% duty cycle) sound 'hollow' because they only have odd harmonics, and are a good basis for synthesizing woodwind sounds, where the absorbent nature of the material dulls the sound somewhat. Combining pulse waves of different duty cycle can lead to texturally interesting effects, although this is much more noticeable when the length of the duty cycle can be modulated, as opposed to merely switched.
Filter section
Something has gone terribly terribly wrong here, because this does not behave like any Moog synthesizer I have ever used. The top left knob controls the filter cutoff of a low pass filter, ie the frequency above which higher harmonics will be cut off. This is sort of like the effect you get if you sing a continuous AAAAAH tone with your mouth open and then gradually close your lips. Normally the knob tot he immediate right could control resonance, which boosts the signal around the cutoff frequency and produces an intense whistling/shrieking sound as it is turned up to maximum. High resonance and low cutoff settings act like a sp...