Pacha Ibiza’s legendary Flower Power travels to London’s Ministry Of Sound for one night of peace, love and all things psychedelic! On the 9th July, ...
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Defected Records is back with its annual Defected In The House Ibiza compilation, put together by label head and all-round good guy Simon Dunmore. Put ...
The post VA – Defected In The House Ibiza 2016 (Defected Records) appeared first on Knights Of The Turntable.
At the moment when synthesizers are getting more economical, Moog are firmly establishing what the synth as luxury item looks like – and it’s this. The Minimoog model D is an exact recreation of the iconic original monosynth, starting production of that machine for the first time in three decades, down to even tiny details of circuits. And it’ll cost you – US$3499, limited run in America only.
That means we now have essentially two iterations of Moog Music. One is making luxury recreations of its original history, in their original form. The other is making new products and new designs – and for a larger audience (especially because of price).
Price alone isn’t really the issue. In fact, it’s easy to get hung up on the price and forget just how much more efficient production is now. The Minimoog model D Moog Music have just introduced is nearly a part-by-part recreation of the original. It even uses accurate through-hole rather than surface-mount production (which allows it to be more true to which parts are used). Yet it’s a hell of a lot cheaper than the original.
Get ready for some sticker shock. The 1970 Minimoog price, adjusted for inflation using the USA Bureau of Labor Statistics Consumer Price Index is…
Even deadmau5 would have trouble spending that much money.
The best part of the demo video is you get to hear Bob Moog himself talk about his creation:
But forget about the price for a second. What’s remarkable about the model D, like Moog’s Keith Emerson modular that came before it (at the last Moogfest, no less), is that it is an exact recreation. Think about that for a second. No other major brand is doing this. The closest is KORG, but their recreations are more modernized approximations – not unlike classic car reissues. And as such, their ARP and MS-20 were downsized and added features like MIDI; even the limited run full-sized MS-20 was modernized from the original and still kept a fairly low price tag.
The model D and Emerson modular are recreations, not approximations. They’re effectively starting up the old production line as if nothing happened.
It’s Moog Music as museum. And I think as a result not only the price but the peculiarity of what you get is likely to keep the model D’s appeal to a specific breed of musicians.
As historical curiosity, it’s fascinating. But it does, to me, represent something of a step backward – if an intentional one. Bob Moog himself didn’t repeat the Minimoog; he re-conceived it with the Minimoog Voyager, the very synth that launched today’s Moog Music.
Of course, that’s why I say there are two Moogs. The other Moog continues to imagine new instruments, like the Mother-32 and even new iOS apps. And these matter not just because they’re more practical or cheaper – they matter because they’re genuinely new. If you know the sound of the Minimoog already, you can find new sounds in their latest creations.
But I sure I’m not alone in saying this: the model D, while fascinating, still makes me long for a new Voyager — or Moog Music’s take on a polysynth.
Maybe what’s compelling about the synthesizer is that it does constantly transform. The history of the violin and the piano were eventually stunted (something even some acoustic builders what to change). The synthesizer can be an instrument that’s perpetually reinvented. And so that means I’ll keep looking forward to the new creations from Asheville, North Carolina – even as I marvel at the achievement of historical recreation.
And our friend, the wonderful Nick, talking about the reissue to Synthtopia:
Plus they take a look inside:
And another take on this instrument:
The post With the Minimoog reissue, there are now two Moogs appeared first on cdm createdigitalmusic.
Starting out as a simple re-edit series, Adesse Versions aka Kevin Gorman has reformulated his humble ambitions into a few white label releases. Adopting a typical cut and paste ethos to house music, Adesse Versions curates a theme that exemplifies roughness and raw emotion.
Known for his production of tracks such as Baayi, Pressured and Modall, his music has found its way into the hands of icons such as Derrick May, Larry Heard and Gilles Peterson. Major record companies have also taken notice, resulting in a remix of Henry Krinkle for Sony. Along with his deep root in house-oriented work, he runs as a former mainstay of the techno world. His music graced labels such as Curle, Ostgut Ton and his own imprint Mikrowave.
In light of his talent and keen ear for a range of music, Adesse Versions showcases an exclusive mixtape.
Anderson Paak – Am I Wrong
Lay Far – Like The First Time (Ge-Ology Remix)
Son of Sound – U give U Take
Collis King – Gonna Be Better
4th Sign – No Trouble No Men
Tiago – Dirty Disco
Paul Johnson – I Like To Get Down
K-Alexi – Klassik Drum Chicago
DJ Duke – Wild Dreams (Adesse Versions remix)
Jordan – Strung Out (Adesse Versions remix)
Rukhsana Merrise – Money (Adesse Versions dub)
A Tuscan castle will play host to the second Italian ‘Lost in a Moment’ edition.
Thrown by the beloved Innervisions crew, Lost in a Moment is known for bringing the Berlin labels corse artists to picturesque venues around the world. This time, Castle Calcione will play host on 24 July. The castle, which covers some 2400 acres in Italy’s Umbria region, will be the first 2016 date for Lost in a Moment.
Lineups haven’t yet been released but it’s safe to say that mainstays Dixon and Âme will be there, joined by a friend or two.
The post Innervisions Announces Tuscan Castle As First 2016 Lost In A Moment Venue appeared first on Deep House Amsterdam.