The New Muffwiggler store

Though some may not know this but since the late 90's there has been a modular synthesizer Renascence. This was spear headed by companies like Doepfer and numerous forums, most significantly in recent years by MuffWiggler which has not only allowed synth geeks to find each other all over the world but it has allowed many builders to have their own pseudo focus groups to discuss possible features and price point.

Today, not to many's surprise a store baring the name MuffWiggler appeared.
Although based of years of Mike "Muff"s personal ethics, the store and the forum will probably remain fairly separate and open debate, complaints and all the other stuff the internet is known for will take place uncensored.

I decided to weigh in on what some worry about in terms of impact on what is a somewhat small fringe scene. I mainly focus on what I think the choices will mean for everyone involved.

Begin...

I done a fair amount of business with Shawn at Analog Haven and before that Douglas at Enport (anyone know how he's doing). I have never had any issues with either gentlemen which probably has had an impact on my not using Switched On, Control, Big City or Noise Bug or any of the other US dealers as often.

This is a market that probably needs a bit of competition as much as it needs support among users and manufacturers. At this point in time there a very few full time builders, but a huge amount of part timers. There are an awful lot of products coming out to an audience that seems very happy to try things and then resell them.

All of this is going to change to some degree, not because of the new shop but because markets change. If the shops want to stay in business they are better off supporting each other to whatever reasonable way that they can.

If buyers want to cease this moment and try to push competition, they should consider aiming those demands in areas of pricing like cabling, shipping that have a lesser impact on the builders and if the stores want yo compete they should try to keep it in the areas of how they handle customers and builders.

This is going to be a big moment that could weed out some of the utter shit product. This could be the moment where dealers try to focus on costumer service, creating their own unique style in the choices of what they carry and very importantly treat the people who build the modules with real support and respect because at least 20% of those folks would be well able to carry on doing only direct mail order and be paid better.

I wish Mike and crew the very best, this is a good an interesting moment and I hope that everyone chooses to not act like a bunch of assholes.

"hello David"

Here's a little improv done with Livewire, Doepfer and Bubblesound modules. The main voice is the ULFO and the Doepfer A-112

It got it's name because when I heard the sound I thought I should push David to get a A-112 because it sounded great processing the ULFO in oscillator mode.
Hello david by Tommy DOG

Is it ready yet?

With the modular explosion of the last few years one would think the last few modules I need to complete my vision for this Moog would have popped up.. Not really, it's slow going.

I am however a little closer then I was thanks to doing a random spontaneous search for the 905 Reverb.

Someone please send me a 984 Matrix mixer and I'll shut up (for a moment)

instruments and folklore

Although much of what is interesting and exciting about a musical instrument is a holistic experience that comes from making music, there are times when one's intellect has other questions.

Sadly not many people seem as interested as I am in the history and folklore that goes along with instrument design. This is not to say that the various people with whom I spoke weren't generous with their time, quite the contrary.

My feeling is as a general rule is that for example, some aspects of an instrument's development and the changes that occurred before it reached the point of being considered classic are not that interesting to people when for me they are important touch stones that often reveal what a designer may have had in mind to begin with with.

I am trying to unravel a bit of a mystery relating to my Wiard system. See if you can follow me.

Wiard system number 2 (six modules plus controller) was sold by it's original owner when they moved abroad, theoretically as a whole unit. That system was integrated into a lager system which ultimately ended up being 24 or so modules. It was used on a bunch of recordings and then sold of in parts.

I ended up with what I assumed to be some pretty early modules among the ones I bought. The first three Wiard systems reacted to black light, I never tested mine but I figured that two (VCO & SEQ) plus the controller where early enough.

Fast forward a few years and I buy 1 module (The Filter) and realize that my friend is selling two more from that system. He is the forth owner so already the details are harder to trace but from what I can figure out from talking to a number of people involved including previous owners, I feel like I am one module away from owning system two. I have put out the word that i am looking for the last module.

Now, 5 of the 6 modules believe to be part of that early system are in my case and I'm doing some dusting. I finally, all these years later pull out the black light.. What do you know, the Filter, Sequentizer and VCO don't glow. Only the Envelator and the Waveform City.

It is clear from the graphics on these panels that they are very early and were done in Grant's garage. My understanding is that there is only one blue "The Filter" and it does appear in a photo I have that is alleged to be system 2. I also know that the first three systems had glowing paint.

Where does that leave me?

Information may come from my posting this but in truth, the end result is my instrument s my instrument and it may have some aspect of folklore to it but it's most important that we make our own.

Sometimes life is too busy to really comment on it virtually. It's not the lack of things I feel like writing about, it's the fact that I'd rather be making music then writing about it's gritty technological details.

I've noticed that there are constant trends in the modular synth community. Not surprising as it is booming in a way that makes the past seem quiet. Between the awareness that people are developing and the push to make things that never existed before, it is both an expensive time and an exiting one.

One subject that is of current interest to many is Don Buchla's amazing instruments which are now the source of much gear talk. Having gone from institution and avant garde to a seemingly more available state, many in the synth community have developed a Buchla lust.

I understand one's affinity to an instrument and do personally like some specific designs that Buchla made but when it comes to full systems my heart belongs to Moog and Wiard.

Doepfer A-117 mod UPDATED

After some more experiments I realized that I would not be able to trouble shoot the module without being able to compare it to one that is working normally.

I did come to the conclusion that this is a module that would respond well to some changes. Being able to tune the internal oscillator against the incoming modulation source is cool. If I can add some control over the additional outs which are static that would be great.

Doepfer A-117 mod

WARNING: this is far from technically sound. I am not a learned EE. These are guesses based of my limited knowledge.

My Doepfer A-117 Digital Noise module started having some issues. At first all I could get was a feeble oscillator noise that sounded more like an analog (non precision) oscillator driver that was used to drive the digital noise generator's clock.

I probed the circuit and found that making a connection to a resistor to one point on the newly replaced ext. input jack brought back the digital noise but now it could be tuned to the source by adjusting the rate knob.

I will post a picture of the board and perhaps someone more knowledgeable will figure what part is actually not functioning properly. Anyone have any thoughts feel free to post of contact me directly.

Maybe this will turn out to be a good and usable mod for others.

content for other blogs

Because nothing spells creative like changing things around.



Little details are still unsettled but it's more then enough to be functional on a day to day basis.

If the photo is blurry, does that mean it won't end up being used somewhere else?

Euro Wack

With the modular synthesizer business being as brisk as it has ever been I can't quite understand why an affordable power racking solution hasn't appeared.

Yes, Doepfer has released their "low cost" suitcase, which is not at all a suitcase but is still cheaper then a box with a handle. This thing would be fine if you had a desire to buy a bunch of them and then do all the stuff that would make them solid but you'd end up spending a lot of money.

I'm at a point where I'm pulling stuff out of my racks and hoping to run into a good deal on a G6 at the right time but I know too God damned well I'll be the same place again soon enough.

papa's got a brand new cab

My uncle Steve just finished building be a traditional lower (slant) cabinet for my Moog.
It's already been loaded with some CP panels, mostly blanks and soon I will begin populating it from modules I have stored away and from my other cabinets.

Ultimately, when I actually pull everything together the system will be in the IIIC/55 range with a bunch of bells and whistles. Both oscillator banks are there and accounted for and it will indeed be really modular, aside from the filter switching.

I don't have the energy tonight to start taking apart everything so I will sit back, rest on my laurels and stare gratified in to this cabinet as I drink Guinness.

A dream come true and several years of non stop searching for loose modules as well as pestering Mike Bucki for custom stuff, etc. I'm still missing a few minor things like extra VCAs and a second mixer but I have leads and am already beginning to real stuff in.

So much porn

Trying to write about The Wiard is not easy without falling into dumb lines which sound more like porno then descriptions of a musical instrument.

I will have to state first that the excellent designs warrant the exclusivity of it's price tag, which isn't bad when you count out each modules function. I know people who won't buy boutique audio products because they'd rather spend money on vintage stuff that isn't as good either in sound or in construction.

Up and running I was able to get a wide range of moving sounds that creep along and change timing in ways that I haven't been able to pull off on other gear. The only short coming I could come up with was that two of the modules were much older and didn't include the in/out arrows that are on everything else.

After several mind boggling patches that were complex and sounded great I pulled the patch chords and experimented with the modules in more traditional ways. each one out performed in it's expected purpose's and excelled in unexpected ways.

The Wiard isn't for everyone, if you want an organ or a piano move along. This instrument is probably a great choice for people who want to carve out their own sound and are looking for something that can take them to space.

it's like dominos

Sometimes things just go bad one after another.
Usually it happens when you are tired and repairing something with stiff wiring.

I was on the road to fixing up my EML 101. I had sought out replacement knobs and actually found 10 that a nice guy was willing to sell me at a fair price. The main reason for the need for spare knobs was that the range knob for OSC 2 was no longer working and the actual knob was refusing to come off peacefully.

I opened up the unit, braced the range knob and successfully removed the old knob, replacing it with the new one. Mission accomplished. But wait, just what I feared, two wires had come loose.

Although getting them back in place would have probably been easy with a couple of alligator probes the power died. Having no idea as to what type of fuse is in the unit I tried to unscrew the board with the transformer. Sadly one red wire came loose and I decided to give up.

Between not knowing where that red wire goes or what type of fuse is in there I feel that just giving up is about the best thing I can do right now for this instrument.

The picture below shows the yellow and green wires that came loose. One went to the range, although I'm not sure which lug, the other went to tuning.



Should anyone know the fuse type, have a detailed photo of the board with the transformer or happen to be damn sure about these two loose wires please let me know. In the mean time I will be repeating the words "I suck" over and over again, while I debate sending it to a tech or finding another one and using this for parts..

EML 101

Every good instrument has it's own personality. The EML 101 has definitely got a special thing to it. Mine was in the Caribbean at one point and later a closet in the US. it's not a perfect example and "needs some work" like the range knob on OSC 2 but as it is I'm tempted to leave most of it the was it is.

I remember reading about how Brian Eno would mark his VCS3 to make sure certain things were not repaired because the flaws appealed to him.



The EML is not a pretty looking instrument, nor does it have as much hipster cashe as other semi modulars like the ARP 2600 but what is does have is an extra oscillator and enough routing choices to make patching less immediately important in searching for interesting sounds.

Here's a little clip of it making some noises

925 Voltage Controlled Reverb

Mike Bucki just sent me my 925 reverb.
9-2-5 you ask??
You mean 9-0-5!
Nope.

From my understanding this got as far as prototypes in the custom shop at Moog, mine indeed has a smooth finish panel instead of the flat mat finish that we usually see on Moog modules and is old stock.

Mike spent a great deal of time matching output transformers to different reverb cans and tweaking it with caps until he was sort of satisfied and then I said "come on Mike it's time.. I can always tweak it myself or run it through the fixed filter bank"

Mike is not a guy who likes to let work go that he isn't 100% happy with, which as he would say is "a good thing". He and I have built up a trust where he knows I'll tell him the truth and we are usually in agreement.

To this day I don't know that our two sets of ears have disagreed yet on anything Moog. Although our musical tastes are as far away as Asia is to Motorhead.

So how does the 925 sound?
Great!



I plan on writing a full thing on Mike for this blog pretty soon and I'll see if I can find out some of the details behind The String Filter, Ring Modulator, Sample & Hold, VC Reverb, Dual VCO Rack and some of the other less common Moog products which Mike has continued to build.

In the maentime, if your vintage Moog needs a tune up give him a ring at 716-438-0756

Mike Bucki, the mixer and MORE MOOG

I got a note asking me whether the Moog Keyboard Mixer was made by Mike Bucki. When I E-mailed him an answer I figured I had what was worth posting in my blog.

The comments I made are below:

The mixer was not really a Bucki special. It was made in Moog's engineering department between 1980 and 1982 (he can't remember) out of parts from the Lab amps and who knows what.

They did go as far as to screen the graphics on there and it's a pretty well thought out 8 channel stereo mixer with 4 knob EQ section & spring reverb.

Regarding the "Mike Bucki" specials, I can speak highly of his revisions on the Moog sample & hold which has been re-numbered 1528. Also he has taken the CP3 mixer section and created a 4 channel mixer that fits a single full height Moog space.

Most of his work is exact to the specs but there are a few cases where he's done stuff like balanced the output of the 902 VCA so that the volume is equal in either control mode.

Nothing's more fun then a 2600

After 2 hours of patching and playing one can help but feel good. In fact it makes total sense that it was used for Star Wars.

One of these days I am going to have to buy an ARP Sequencer just because it's right and it'll hang nicely with the 2600 and Odyssey.

GEAR LUST

The following is a list of some of the new gear I've been dreaming of this year.

Enjoy my perversions (in no particular order):

I have always enjoyed Theremin, long before the obnoxious trend made them into a misunderstood novelty and a bad noise joke The Eowave Persephone has the ability to slide from one note to another but is configured more like a ribbon controller. It's an elegant thing really.

I've been a fan of the whole MoogerFooger line and have bought most of them. The Moog Music MF-107 FreqBox looks like a winner to me, whether it's another EH Microsynth type of thing or something new I'll bet I love it.

The thing about AudioCubes is that they look fun. Now don't get me wrong, I can't foresee someone doing a riveting and rocking live performance with them BUT in the studio or if one is just feeling arty...

okay, anyone who likes Speak & Spells is going to dig the Flame MIDI Talking Synth

We all know that touch screens are whats happening. Here are a few products that make music fun and touchable. Mononome Korg Kaoss Pad KP3, Electroplankton

For the modular lover who doesn't want his or her waveforms stock: Wiard synthesizers

Ciat-Lonbarde electronics makes electronic instruments that look like art and sound like lizards gnawing at your temples.

Continuum is the coolist controller for the Microtonal set

You can filter out or duck quak to death anything with Ebbe und Flut

A special mention needs to go to Bleep Labs who's product not only cute and fun but also works nicely with modulars. For an idea of it's size, see it pictured below with an Oberheim SEM and Steiner Microcon.

A lot of gear comes out each year and only small amount of it finds it's way into my fantasies, even less will make the final cut in terms of what I think is worth plunking down hard earned cash on. Aside from having to be 1. good 2. something that inspires creativity and 3. special

Plus I do have an ongoing habit with Doepfer who keep putting out interesting and affordable modules for their A-100 modular Synthesizer.