Some time back, I acquired a Micromoog analog, monophonic synth. These little beasts are a single oscillator synth, but include a sub-oscillator, 24dB/Oct filter, good modulation, ribbon pitch bend and CV interfacing. The clincher was one appeared cheap on Ebay advertised as requiring "Tender Loving Care": the wooden base needed replacing, but that it did work.
I already have a Multimoog, which is a two oscillator, pressure sensitive keyboard version of the Micromoog, and the thought of operating the two in unison was too great an opportunity. The Multimoog needs work on the power supply and obtaining a Micromoog helps diagnose the Multimoog's power supply behaviour. Expect a blog about the Multimoog in the future.
I recently finished modifying my main axe, a Roland G-202 guitar synth controller, installing a set of RMC bridge piezoelectric pickups in addition to the original GK-1 hexaphonic pickup electronics. This allows simultaneously controlling both an Axon-100MKII (digital, MIDI) and a Roland GR-300 (analogue) guitar synthesisers. This was to avoid resorting to trying to build a 24-pin splitter and BC-13 (which runs the GK-1 pickups at +/-7V rather than the original +/-15V.
In March I joined Jill and many friends in Puerto Rico to celebrate Anja and Tetsu's wedding. As part of the celebrations and ceremony, I had written the titled little piece for guitar for them that I played on the beach at sunset. I wasn't really familiar with the guitar I borrowed & a bit nervy, so I fluff it a bit but the recording captures the atmosphere of playing with the early evening waves rolling in on the beach. It was a beautiful day.
This is a one minute sound piece written Nov. 1993 and presented at the 1993 Evos/PICA Soundweek. It was later performed at the International Computer Music Conference in 1996.
The title refers to the intrinsic distortion of any recording technology, of contrived suggestions of different spaces that we deal with listening to any recording.