MOTM

Fred,

Many thanks for sharing those interesting insights with the rest of 
the MOTM group.  The module list looks great.

I'm a relative newcomer to MOTM (my 2nd order of modules is on it's 
way) and I have to say this stuff is pretty exciting.  I can remember 
back when I was a teenager I had the opportunity to put together a 
few heathkits, a hobby which was more than I could afford at the 
time.  (Alas, I'm a softhead now.)  I also vividly remember the 
modular synth my uncle had.  (Everyone has a crazy uncle - this was 
mine.)  I didn't get to visit him much, and I was NEVER allowed in 
this one room in the basement.  But one time when I was around 10 he 
took me into that room, and I about lost it.  The room was dimly lit, 
and against one wall was this obelisk with knobs and jacks, some kid 
of sci-fi device I thought.  It looked gigantic at the time (but I 
think it was just a Moog 15).  He let me play with that thing for 
hours.  I felt like a wild scientist creating all those sounds, with 
patch cords hanging everywhere, those knobs and lights, and it left a 
major impression on me.  I think this is why I've gravitated toward 
this MOTM hobby.  And at this point, it's looking more like an 
obsession.  (Crazy uncle, eh?)

GeorgeK

--- In motm@y..., Fred Becker <mach25@i...> wrote:
> Greetings MOTMers.  Here in the San Francisco Bay Area we have a 
modular 
> synth club called Modularities, and last Saturday held our fifth 
> meeting.  Since Paul was there and gave a report on projected 
modules, I 
> thought you all would like to read about our meeting.  So here are 
the 
> actual notes I sent to our club members--
> 
> MODULARITIES MEETING FIVE
> 
> We had our fifth Modularities group meeting at Andy's place on 
Saturday, 
> Feb 10, 2001.  Most of the group made it there this time too.  We 
> had:  Paul Schreiber, Andy Miller, Fred Becker, David DuChamp, 
Celeste H., 
> Doug Pearson, Rob Johnson and newcomer Brian Kaczynski.  Unable to 
attend 
> were:  Chris MacDonald, Paul Brousseau, Seth Redmore, Graham 
Hunter, Robert 
> Rich, and John Blacet.
> 
> An interesting meeting of the minds occurred when Brian and Paul 
found out 
> they both had worked at Maxim and were designers interested in 
> synths.  Brian had worked there before Paul, and left soon after 
Paul 
> arrived.  So by chance, they did not meet while there together, but 
instead 
> first met at our Modularities meeting.
> 
> SHOW AND TELL
> 
> Brian brought a custom surface-mount technology demo synth board 
"module" 
> which was a "Dual Frequency Multiplier."  Using phase-locked loops, 
it 
> created a tuned series of overtones as a main oscillator was swept 
> manually.  With lots of controls over feedback and so on, with 
about six 
> knobs, lots of interesting sounds were obtained.  Physically it 
looked like 
> a copper board with paths cut for traces and components surface-
mounted 
> right to the board, supplied by a large aluminum-cased power supply 
sitting 
> next to it.
> 
> Meanwhile Celeste brought a cool Futuretro 777 and an Evenfall rack 
> synth.  Rob brought his Synton Syrinx synth module.  Andy had his 
large and 
> growing MOTM system fired up and making sound.  Doug brought his 
SKB-racked 
> MOTM gear.  Fred brought a Raymond Scott CD to show everyone about 
this 
> synth pioneer.
> 
> PAUL'S MOTM REPORT
> 
> Next Paul gave a status on ambitious plans for MOTM this year, and 
results 
> from the recent NAMM (National Association of Music Merchants) 
convention, 
> where Paul had a booth for MOTM.  While he spoke, we were treated 
to the 
> demo CD created solely on MOTM by Robert Rich.  Paul featured this 
> continuously at his NAMM booth as well.  Paul also handed out 
copies of the 
> new MOTM glossy brochure.  For those not there, you can ask Paul 
for a copy 
> of this brochure.  So here is a summary of what Paul has coming:
> 
> 1.  MOTM 101, Noise / Sample & Hold--due in three weeks.
> 
> 2.  Power expansion board with connectors--has gone to PCB 
manufacturer.
> 
> 3.  MOTM 130, Dual VCA With Pan and Fade--The schematics are done.  
Due in 
> six weeks.  This will replace the 110.  There are 42 110's left.  
This will 
> be a large kit with lots of parts, 84 resistors.  Parts will come 
sequenced 
> on tape, for kit versions.  It has nine jacks, six pots.  It 
features 
> simultaneous exponential and linear controls for modulation "for 
> weirdness."  With exponential modulation, attacks are jumpier and 
fades are 
> quieter.  It also features a "link in/out" bus for daisy-chaining 
> VCA's.  This works like an insert in a mixer.  With four modules, 
there can 
> thus be eight VCA's in parallel.
> 
> 4.  Mixer, 6 to 1 and dual 3-1.  This will be a 2U panel.  Use it 
for audio 
> or CV mixing.  It has input levels, one master gain.  If used in 
split 
> mode, the master gain applies to the second three.
> 
> 5. and/ or 6. and 7.  Oberheim SEM OR Triple Pre-Amp / Envelope 
> Follower--This will be up to us users to decide which Paul does 
first.  The 
> Triple Pre-Amp will feature one bass/guitar level input and two 
synth level 
> inputs.  This device with the Envelope Follower (separate module) 
will 
> allow hooking guitars, etc. up to MOTM.  The Oberheim SEM will 
feature the 
> exact same Oberheim state variable filter.
> 
> 8.  Micro VCO--A 1U VCO is in the pipeline.
> 
> Next Paul outlined a whole series of modules that utilize PIC 
> microcontrollers (a small 16 MHz processor)--
> 
> 9.  VC Pulse Divider--The prototype has 17 jacks, a 2U module.  It 
features 
> 2-11 and 16 divisors, all available at once, as well as a variable 
2-31, 
> 1.5-31.5 division--set by CV.  It has a display which shows what is 
being 
> divided.  It is used for driving sequences with weird clock 
rations.  The 
> maximum input frequency is 13 kHz.
> 
> 10.  Midi Clock & Timing Extractor--It is put into the Pulse 
Divider for a 
> clock function.  It may also extract MIDI program change 
information.
> 
> 11.  VC Phase Shifter--in early stage--It will allow switching the 
filter 
> notches to peaks or to flat via CV.  It will be a 4U module or 
possibly a 
> standard rackmount, depending on our votes.
> 
> Other items in work--
> 
> 12.  Moog Filter--requires a resonance pot which is an inverse log 
pot--not 
> standard.
> 
> 13.  Mini Sequencer--conceptual stage, 5U, 2 x 8.
> 
> 14.  3 Into 1 Pedal Input Switcher--conceptual stage
> 
> 15. and 16.  In addition Paul has the 820 Lag Processor and 910 
multiples 
> already out for sale.  So there is much coming out this year.
> 
> Paul also outlined his NAMM booth and experience.  He lucked into a 
prime 
> hall spot, in the huge convention.  His booth was constantly 
occupied by 
> visitors each day.  He shared space with Tony Karavudo of Encore 
and Eric 
> Barbour with his tube synths.  Robert Rich lent his large MOTM 
system in a 
> cabinet, and also Paul had a walnut case MOTM shipped down, and an 
> SKB-mounted system sent over from Walt Disney Imagineering.  Since 
the hall 
> was very noisy, Paul used headphones to allow visitors to get a 
good listen 
> to the MOTM.  He has some sales coming in already from the NAMM.
> 
> MAKING NOISE
> 
> After Paul spoke, we played with synths.  We hooked Brian's Dual 
Frequency 
> Multiplier into an MOTM filter setup.  We also talked about kit 
building 
> and some of the features of MOTM construction.  Then the meeting 
> adjourned.  So let's have ideas for our next meeting.
> 
> Fred