StepPolyArp for iPad controlling an Oberheim FVS from Logan Mannstrane on Vimeo.

Logan Mannstrane sends in this lovely video combining an iPad MIDI step sequencer — with an Oberheim FVS. It’s a striking intersection of analog and digital technology. But I wanted to ask Logan to explain why he’d use the iPad in this case instead of other MIDI tools — why crossing this generational gap mattered. He responds:

That fact that I can interface a synth from the 70′s to new device in 2010 is pretty amazing by iteself. I can have the sequencer in my hands and pull a chair up the window while laying back with my feet up it is very inspiring and a comfortable workflow. Also, for people that have multiple analogue synths scattered around, it is very nice to sequence the synth when you are right next to it. In a world full of DJ applications, rompler sequence programs, it sure does feel
good to have something fun and musical to try out. For a version 1 of the software, it is very neat. I heard more Midi apps are coming to the iPad in the future so this is a great beginning to wireless MIDI.

While TouchOSC is great, there are many people that want to start making music without having to spend a week of building an interface to talk with hardware and software alike. The StepPolyArp software was well thought-out and cleanly executed with a elegant interface. With Analogue synths you have instant control and feedback for designing the sound, and now you can step away from the mouse and chair to sequence. It doesn’t get better than that.

If you like the looks of this software and have an iPad, here it is:
StepPolyArp

It uses the free DS MIDI WiFi, a project born – as the name implies – on Nintendo DS. Viva open source.

There’s no question in my mind that MIDI remains lingua franca for interconnecting devices across the previous decades. Of course, that to me also suggests we need to make more progress on standardizing the way network MIDI protocols work.

Through the grapevine, I’m hearing the iOS SDK will incorporate network MIDI capabilities, but I think there are still some challenges there. Apple’s protoco,l while thoroughly standards-based and still essentially MIDI, is nonetheless for now specific to them. I’d also like to see some solid numbers on performance. New gear may want to investigate Bluetooth and not just WiFi, as Bluetooth could work nicely for embedded hardware, DIY synths, and the like. But it’s certainly an interesting time.

As a counterpoint, here’s Logan with a Pro One – no iPad in sight, just physical knobs. I think there’s something to be learned from the interaction design of each, and something unmistakably wonderful about the connection of hardware like this to sound and experience.

The infamous white faced Pro One from Logan Mannstrane on Vimeo.

For more Oberheim goodness, gaze into the glossy ads the company produced in 1981 and 1982 for Keyboard, and dream of the day when we enjoy electronic music ads again: Retro Synth Ads: Oberheim, at one of my new favorite sites.

You are looking at the Moog Synthesizer, Stearns 2035. It currently resides as part of the Stearns Collection at the University of Michigan. According to the university it was the first commercially produced MOOG Synthesizer.

“This particular instrument has the distinction of being the first commercially produced Moog synthesizer. It was commissioned by the Alwin Nikolai Dance Theater of New York in 1964 after being demonstrated at the Audio Engineering Society convention in New York in October of that year. Nikolai used the synthesizer to compose recorded musical accompaniments for his dancers. Later, the instrument was acquired by the Collection. In 1989, Robert Moog gave a demonstration lecture using this synthesizer—a lecture jointly sponsored by the Stearns Collection and the College of Engineering at the University of Michigan. Synthesizer technology has advanced significantly and become much more widespread since the original Moog synthesizer—Robert Moog himself has designed a number of successors—which underscores the importance of this artifact of early electronic music.” You can find more info and images at the Stearns Collection Online Exhibit. To see the collection from the beginning click here.

Mike Oldfield’s OB-Xa?

Next we have an Oberheim OB-Xa claimed to have been owned by Mike Oldfield of Tubular Bells fame. Remember the theme song to The Exorcist? That was Mike Oldfield’s Tubular Bells. Before you conclude this OB-Xa was used in that release, realize the album was released in 1973 while the Oberheim OB-Xa was released in 1980. However, you can see the Tubular Bells image on the case. This shot comes from an auction that was recently pulled. If anyone knows more about this piece feel free to comment. I did manage to grab the details and more images from the auction here before it was removed.

$32k of Synth History

The MOOG Synthesizer IIIp. This one is actually up for sale. The asking price? $32,000 US. It was purchased by Phil Davis in 1969 and used in film (George Harrison – Ravi Shankar – film score) and a number of live performances including “Tommy,” “Jesus Christ Superstar,” a Sgt. Pepper Stage production and Disney’s “Electric Light Parade,” and Paul McCartney’s “Ram.” You can find more images and info here.

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