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Moog Guitar with midi
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BobTheDog



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PostPosted: Sat Feb 06, 2010 2:04 am    Post subject: Moog Guitar with midi
Subject description: Yes Please!
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The Moog Guitar Adds MIDI

The spirit of sonic exploration kindled by The Moog Guitar has led many intrepid guitarists to imagine the possibilities of combining its ground-breaking innovations with MIDI guitar technology. At Winter NAMM 2010, imagination became reality: introducing The Moog Guitar Model E1-M.


Works With the Latest MIDI Converters and Virtual Guitar Systems

Fast, Accurate Tracking, Low Latency Design

Industry-Standard 13 Pin Hex Output

Magnetic and Piezo Pickup Signals Still Accessible

Added Controls: MIDI Volume, Output Toggle & MIDI Patch Change Toggle

Existing Moog Guitar Players - Upgrades are available!



Visit the Moog website for photos, videos, specs and more.


http://www.moogmusic.com/moogguitar/?section=product&product_id=21355
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GovernorSilver



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PostPosted: Mon Feb 08, 2010 11:38 am    Post subject: Reply with quote  Mark this post and the followings unread

Goddamit, there goes my last excuse to not save up for a Moog Guitar.
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Antimon



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PostPosted: Mon Feb 08, 2010 3:08 pm    Post subject: Reply with quote  Mark this post and the followings unread

Yeah... but 4 grand... I'm sure it's worth it, but imagine dropping it out the window or something just after unpacking it. pale

/Stefan

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GovernorSilver



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PostPosted: Mon Feb 08, 2010 3:10 pm    Post subject: Reply with quote  Mark this post and the followings unread

Antimon wrote:
Yeah... but 4 grand... I'm sure it's worth it, but imagine dropping it out the window or something just after unpacking it. pale

/Stefan


Any guitar made by a small shop is going to cost $2000 or more, except perhaps those made by the really, really new to the market luthiers who are trying to make a name for themselves.

Check out the prices of guitars made at the Fender Custom Shop or the Fender Masterbuilt line. Also, certain models of Gibson Les Paul. All beacoup d'argent, mon ami.

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Antimon



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PostPosted: Mon Feb 08, 2010 3:19 pm    Post subject: Reply with quote  Mark this post and the followings unread

I'm sure you're right. Hell, my Rickenbacker was almost a third of that price second hand. It's just the thought of that kind of investment in something so delicate-looking and relatively fragile - it makes me nervous for some reason.

/Stefan

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BobTheDog



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PostPosted: Thu Feb 18, 2010 7:59 pm    Post subject: Reply with quote  Mark this post and the followings unread

I just wish I hadn't just bought that bloody Dusk Tiger!
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GovernorSilver



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PostPosted: Fri Feb 19, 2010 8:53 am    Post subject: Reply with quote  Mark this post and the followings unread

Antimon wrote:
I'm sure you're right. Hell, my Rickenbacker was almost a third of that price second hand. It's just the thought of that kind of investment in something so delicate-looking and relatively fragile - it makes me nervous for some reason.

/Stefan


Just one more thing I'd like to point out - if you see a guitar that sells for $1000 US or less, it was manufactured and assembled (like an automobile) at a factory staffed with grossly underpaid (by Western standards) workers - most likely in Asia. If it were not for this cheap labor, there would be no guitars selling for less than $1000.

A common story I hear about small guitar builders - who build each and every guitar by hand - is that they make less than minimum wage on the sale of every guitar.

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ark



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PostPosted: Fri Feb 19, 2010 1:45 pm    Post subject: Reply with quote  Mark this post and the followings unread

GovernorSilver wrote:
A common story I hear about small guitar builders - who build each and every guitar by hand - is that they make less than minimum wage on the sale of every guitar.

Here's a concrete data point for you. About 10 years ago I visited the workshop of James Goodall Guitars, when it was still in Hawaii. He told me that they sold about 400 guitars a year and employed 12 people. That means that they need to make enough profit on the sale of 33 guitars to employ someone for a year. That's profit, not purchase price. You do the math.
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GovernorSilver



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PostPosted: Sat Feb 20, 2010 3:47 pm    Post subject: Reply with quote  Mark this post and the followings unread

ark wrote:
GovernorSilver wrote:
A common story I hear about small guitar builders - who build each and every guitar by hand - is that they make less than minimum wage on the sale of every guitar.

Here's a concrete data point for you. About 10 years ago I visited the workshop of James Goodall Guitars, when it was still in Hawaii. He told me that they sold about 400 guitars a year and employed 12 people. That means that they need to make enough profit on the sale of 33 guitars to employ someone for a year. That's profit, not purchase price. You do the math.


Pretty much in line with what my electric cello builder - Todd Keehn, the luthier behind TK Instruments told me. He didn't have to justify his pricing to me as I already understood how this stuff works, but he told me anyway how much profit he'd make off my cello - pretty much just barely enough to feed himself and his family. His unsoliticted advice = "Don't become a guitar maker unless your REALLY love doing it, because you won't make much money."

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Antimon



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PostPosted: Sat Feb 20, 2010 3:58 pm    Post subject: Reply with quote  Mark this post and the followings unread

Yeah I hear you - I don't think I'm cheap or anything. What I mean is: the love and labour and financial risk put in by the builder combined with the investment I'd make to buy it would make me very nervous about being around the item - a bit like I'm nervous about holding a baby (not being a father and of a slightly reckless nature, and not really trusting myself to not go into spasms at the thought of the responsibility).

I think things are generally cheaper today, so when I see stuff like this, that really is reasonably priced, I regard it as very expensive. When I was young a TV cost about as much as it does today (maybe even more), even though the crown has inflated, making prices tenfold in other cases.

/Stefan

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DrJustice



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PostPosted: Sun Feb 21, 2010 6:03 am    Post subject: Reply with quote  Mark this post and the followings unread

BobTheDog wrote:
I just wish I hadn't just bought that bloody Dusk Tiger!

Don't despair, Andy - the Tiger is bloody cool, that's what it is. When you get the RIP sorted you're going to love it... how can you not Very Happy

Of course, the Moog is cool too...

DJ
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GovernorSilver



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PostPosted: Mon Feb 22, 2010 9:50 am    Post subject: Reply with quote  Mark this post and the followings unread

I will admit, if I get a Moog Guitar, I'd probably be pissed the first time I scratch it - and I will scratch it sooner or later. Of course I don't want to scratch something on which I spent over $2000 US. I'd get over it eventually, though.

The electric cello is the only I am still kind of paranoid about damaging, though I have taken it out for two live shows already. It costs more than a Moog Guitar, even the "cheap" one. I'm more worried about the cello because it is harder to find someone to repair any damage to the bridge.

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PostPosted: Tue Mar 09, 2010 9:46 am    Post subject: Reply with quote  Mark this post and the followings unread

Well I have gone and ordered one, black with Trem. Rolling Eyes

Should arrive 2-3 weeks.

Now I just have to put the stockings and suspenders on and go and sell myself on the street to pay for it!

Andy
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Antimon



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PostPosted: Tue Mar 09, 2010 10:22 am    Post subject: Reply with quote  Mark this post and the followings unread

Lol! You're not good at resisting the g.a.s. are you? Wink It will be very interesting to hear your opinion, it does seem like a marvellous piece of gear.

/Stefan

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GovernorSilver



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PostPosted: Tue Mar 09, 2010 3:39 pm    Post subject: Reply with quote  Mark this post and the followings unread

BobTheDog wrote:
Well I have gone and ordered one, black with Trem. Rolling Eyes

Should arrive 2-3 weeks.

Now I just have to put the stockings and suspenders on and go and sell myself on the street to pay for it!

Andy


Laughing

Form a Full Monty crew and do shows for the ladies! Laughing



Congrats!

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PostPosted: Wed Mar 10, 2010 12:54 am    Post subject: Reply with quote  Mark this post and the followings unread

I don't seem to be able to resist guitar g.a.s at the moment I must admit!

Not sure about the Full Monty idea, I may need to answer one of those "Enlargement" spam emails first to avoid embarrassment Smile
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seraph
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PostPosted: Wed Mar 10, 2010 5:49 am    Post subject: Reply with quote  Mark this post and the followings unread

Andy,
I would suggest leaving "stockings and suspenders" alone. next time you feel the urge of going to India just think: "it's just about time I stay home and play with my toys" and probably you break even Wink

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PostPosted: Wed Mar 10, 2010 9:29 am    Post subject: Reply with quote  Mark this post and the followings unread

CD - DISCOVERY - Garaj Mahal & Fareed Haque present The Moog Guitar

Copied from the online liner notes:

The making of DISCOVERY
Fareed's Notes

DC SWING

That opening swell is ONE gtr! Melody one is Moog Guitar in controlled sustain mode. Wah effect is moog gtr with classic filter. Then rhythm gtr comes is, using classic filter mode as well...arpeggio gtr on one side, arpeggio keyboard on left. Can you tell which is which??? I can't!...melody over arpeggios is keyboard.

That long descending chord is gtr chord bent WAY down slowly, since sustain gives us all the time we need, using trem bar.


Philly Electronic

This entire track is MOOG GUITARS. Background pulsing chord is achieved using MOOG Multipedal set on a random CV wave generator, set using tap tempo. Bass line is MOOG gtr w/ low E tuned down a fifth. "4th-y" chords use controlled sustain mode. Fat jazzy tone is neck pickup with tone rolled off just a bit...


Never Give Up

This is a rockin line from Bassist Kai Eckhardt.
The opening is two, then four Moog guitars using the piezo - this creates a great shimmering hybrid acoustic tone.
The lead line is The Moog gtr straight thru a Bogner head and cabinet.
For the solo I'm using the gtr in Controlled sustain mode, using trem bar for some effects, using the expression pedal to play with overtones.

For the clean rhythm playing I uses the expression pedal to control the moog filter in classic filter mode, as well as some 'pads' in controlled sustain mode. Other than a little delay there is no processing on the gtr.

For the drum solo, I'm counting and praying...Sean Rickman PLEASE SAVE ME!


Sea and Sky

Sustaining note is of course controlled sustain mode. Strum gtr is piezos, 'Rhodes chords' gtr, is simply neck pickup played with fingers. Vibrato from trem bar. Background chord notes changing is from sweep of harmonics with expression pedal.

Repeating theramin-like melody is moog gtrs played LEFT HAND ONLY in full sustain mode, harmonics turned down, and trem bar for vibrato...I can make this unbelievably tasteless and Halloween with a little distortion and delay - just you wait, Scary Robo-funk man is on his way.


Make a Hippy Happy

You'll hear mostly different uses of the classic filter and articulated filter here...pretty funky, even for a 1/2 paki 1/2 chile...the little 'mouse' squeeking on the right is the classic moog filter, Using the pedal as 'psycho wah'. The bridge melodies are played using the articulated filter, sort of a hippified envelope filter from one of the outer moons of Jupiter.

You can hear me landing behind Eric Levy's funkship, using a bit of controlled sustain and fuzz. Not distortion, FUZZZ.

Guitar solo is articulated filter AND controlled sustain. Towards the end of the solo I step in a pile of stank, so I gotta slide the guitar into middle pickup mode, a very funky, nasal and especially naughty setting.

Last bridge after guitar solo is played using classic filter and pedal sweeping the filter.
Coda is two guitars played two whole-steps apart, another trick from the outer moons of Jupiter. Here on earth we call this interval a Major third. But up there - you don't even wanna know.


It Goes Up Your Nose

All Moog guitars here. Bassline is Piezo pickup with a little bass boost. Two rhythm guitars, Right side is piezo rhythm, Left side is classic filter 'Psycho wah', center is a bright jazz tone using bridge pickup, and a bit-o-controlled sustain, and articulated filter. And of course I'm using a little Be Bop, which does not come with the Moog Guitar, at least not the one I have. But Cyril tells me they'll have some on the new models. I CANT WAIT!


Artorius

Folky south asian guitars are using mute mode to create hybrid ethnic guitars. I like to call them 'Ghuitars'. Background guitar is in controlled sustain mode. PAD that comes in is gtr in full sustain mode. Then in comes articulated filter in middle pickup position.
Two handed tapping while sweeping the expression pedal in classic filter mode. AND no its not panning you are hearing, but me RUNNING around the room, tapping with two hands and working the pedal. WOW.

The little bebop solo at end of the track is gtr in articulated filter mode. The Lick at end is trying real hard to be an augmented chord.


Moog Improv #1

This is in fact the very first piece of music I ever played on the Moog guitar. So be forgiving. It is in a romantic and trancey 7/8 time. I'm holding the melody with one finger and playing the line underneath with the fingers left over. The soaring sustain is full sustain mode, where harmonics will dance of their own accord, full of surprises and richness.


Largo from Vivaldi concerto in D for Lute and Continuo.

7 moog guitars - 2 on cello line, 2 on first violins, 2 on second violins, 1 playing lute part.

Most of you who know this piece will know it from its inauthentic versions with huge orchestras and classical guitar. This version is even less authentic, yet adheres to principles of authentic baroque performance practice - loosely. Ornamentation is improvised. Band is small. For each part I used 1 gtr to swell each note in controlled sustain mode and the other gtr to sustain a bit more, creating the feeling of bowed intstruments, esp in celli. Some notes are allowed to ring out, in keeping with the practice of many baroque guitarists and lutenists useing re-entrant tunings and cross string fingerings specifically chosen so that notes ring over each other.


Of a Simple Mind

Pretty tune. I wrote it. So what? Got my heart on my sleeve that's all, a sensitive guy. Heart up my sleeve, head up my...who knows where.

Once again the Moog guitar piezos create a great shimmering acoustic gtr texture. Melodies are CLEAN tones using controlled sustain. Solo is where I can't deal with all the love anymore. Just gotta to bust out with some Macho. Kaplah.


Bobolink

More folky "Ghuitars" in mute mode.
Arpeggio Guitar is using articulated filter, and fancy fingerings. Then in comes guitar using classic filter with pedal sweeping filter. The Tibetan muskrats at end of track are all Levy. The Captain and T. would be proud!!! Anyway, I still think Toni is hot.


Round Midnight

Improvised chord melody solo, using the controlled sustain mode to help hold out, bring out certain voices, and play SLOW.- Something we don't do that often as guitarists. When we play songs with lots of long notes we tend move things along when notes die away on conventional guitars... not so here, subtle and musical sustain are infinitely available. Give me another year on this thing and Ill be better at it. Promise.


Eric's Notes

The first thing I needed was a "sample library" from the rest of the band, so I chose four tempos, attached four corresponding keys, and suggested them to the guys. Once I received their audio files, I opened them in Ableton Live and began combing them for clips. I didn't give my band members much direction, and I'd never asked them to do anything quite like this before, so I was pleasantly surprised at their results. Fareed gave me over three hours of raw guitar, which fortunately was well labeled! I went in and isolated segments of audio, sculpted them into loops (and occasional one-shot samples), and rendered them as new clips.

I started on the 90bpm G major track, which I ultimately named Sea To Sky. The opening guitar note on the track is a very long sustain of a single note. This sample is repeated in the middle and at the very end - it is the last note remaining and falling off, so it ties the track into a sort of long symmetry. Other sustaining notes fill the remainder of the song. I found myself very excited about the role of these clips! The drums and percussion effects are allowed space to play 32nd notes, and they are counter balanced by the long guitar sustains, which I'd define as the "atmosphere".

There's a guitar melody clip that enters at 2:18 which I'd labeled as "Alien Chorus", because looping it soloed up sounded to me like an alien preacher for the first seven notes, and its congregation the last three. This and a high melody clip give the track a bit of an interlude, while the main theme is a combination of a fat chordal melody over bars one and two of the four bar phrase, and a short acoustic sounding clip in bar three. There's also a nice little open fifth guitar chord that drops from time to time. There are no keyboards until 4:09 when a synth solo comes in, played on a Moog Voyager Old School, and that's the only keyboard on the track. Also of note is that I used exclusively the direct signal on all of the guitar clips on the track (the other three tracks use amp tone).

Artorius is the name of the 100bpm C minor track. The guitar loop that begins at 3:31 contains long filter sweeps that Fareed played in his original performance. There's a slowly shifting auto pan on the clip, which was also quantized to 100%, a ping pong delay is there as well. I should point out that this amount of processing (along with eq, compression and reverb) was as much as I did with any guitar clip on these tracks - I stayed true to the natural timbre of the guitar. At 5:17 a guitar enters that I'd labeled "Zelda", the tone reminded me of the Nintendo 64. 1:55 marks the entrance of synth, a Voyager OS. It's followed by a synth bass, provided by a Moog Little Phatty, with an LFO on the filter cutoff tempo synced to the track.

Artorius picks up steam and evolves over time, ultimately as a result of my finding two very different sounding song sections while playing around with the clips. I loved the eerie and sad guitar chords which enter at :38, the way the harmonics become more aggressive in a linear way across the 8 bar loop, so I built the section around that part. By midway through, I incorporated what I'd found on Sea To Sky, with an extremely slow guitar melody over 32nd notes, this time represented by a guitar loop as well as percussion. By the end, there are very distinctive and different tones for melodies as an earlier middle eastern melody clip makes a cameo appearance - these helped me to establish the jazz / filter sweep tone of the guitar solo which closes the tune.

Bobolink started out as 120bpm D harmonic minor (over A). Among the first loops I created was a 4 bar cowbell and kick drum loop from Sean. He'd been playing in 3/4, and the resulting kick drum pattern was interesting but unsupported. I wrote a Little Phatty bass line to strengthen the part, but both are out before the tune is half done. The theme of three is later picked up by a Little Phatty melody, which plays a nine bar loop divided in three (A A A'); there's a 16th note arpeggiation played on the Little Phatty as well during the latter stages of the song, and it's a long clip - besides delay, all the effects were generated in performance by the instrument. Other than these synth clips, bass and drums, everything is guitar. There's another couple 16th note quantized arpeggiating guitars, lots of middle eastern type melody loops, and long sustained guitar notes for atmosphere. There's a lot of percussion programming on this one too - I used dunbek and djembes samples to give the 16ths a little swing, reinforced the marching bass line with kick and snare, and layered in loops from Sean's sample library.

DC Swing was first 130bpm E minor. There's a Voyager Old School melody, bass and drums, everything else is guitar. The "Intruder Alert" which enters at 1:22 is all guitar harmonics and wah, all I did was loop and quantize (plus a little delay). The craziest guitar event is the one off the top, and that was also a natural, single performance. The two harmonized arpeggiating guitars highlight the closing segment, those are again filter effects from the Moog Guitar itself, as are all the guitar filter effects on these tracks.

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