CODE & Omega

SE-3X

CODE Luxe

Premium Quality Studio Electronics Boomstar SE80 Demos

Sweet SE80

30 years later and here we are... glorious sound makes that possible. All honor and praise to the geniuses at R. A. Moog Co, especially Bill Hemsath, and Mr. Moog himself, a person with whom I (MSR) shared a lunch space at NAMM in the 1990s—it's something folks.

Some internal patching on "Registered Pulses", "Voo R U", and "1st Midimini V30", not that I can remember what went where. No FX however, with the exception of a wet channel on Rach of Ages 2 (and 8 brilliant Kyle Kilpatrick tracks: 1, 4, 7, 11, 15, 19, 22, 24, I couldn't resist crashing this party), no compression, limiting, only a touch of some spot normalizing on several  tracks (Ok, I took liberties with the final 4.061 seconds of Basslighting 1, and 3.854 in Moreover It 3, via Audition). Essentially, as I was saying, raw and un-pestered, synth and factory direct honesty—still such a lonely word, but not every synth is so untrue...

Oh yes, and I created a few stereo tracks from multiple takes; who could resist? I'm sure you can spot them, and some very strange SC audio compression artifacts, one being a robotic whining/ghosting. Eeew.

Enjoy and Merry Christmas,
Marc St Regis 12/24/19

Midimini V30

Started out here: https://soundcloud.com/studio-electronics/code-filtered-theriots?in=studio-electronics/sets/code-omega

Haunting and expansive CODE Omega performance with ARP and Juno/Jupiter filters caught imminent co-producer Carlo St. Regis' ear. A steady groove with the main triplet motif as bedrock was requested.

This is where we ended up.

CODE Omega: See above.
Drums: Boomstar (Brotherhood*) SE-80, 5089.
Basses: 99% SE-3X (Moog & SEM), 1% Sampled Sensei Analog (Boomstar Modular) 
Leads: SE-3X (Moog & SEM)
Paraphonic Chords & Colors: SE-3X (Mood & SEM)
Human Voices: Nada (surprisingly).

No Fuzz was used or hurt in the recording process.

Easy to see why the '1X was the near secret weapon of the 90s and decades beyond for hitmakers, film composers and Sound Designers: it's got that bump 'n' thump and higher frequency clarity and warmth. Near impossible to stop layering & leveling-up with this beast. Her vibrations are so very satisfying...

But there are other mountains to ascend.

Enjoy,
MSR

p.s. This data compression up here... sad.

*Courtesy of Sean Charles

The Great '3X

---
MSR's Winter NAMM '02/'06 Dueling Omega 8s, Theriot Bank, ATC-X, SE-1X Suite
Record Date: 02.03.2006
Track Details: http://studioelectronics.com/products/synths/omega8/demos/#IDontHaveToTellHer
Product Details:
http://studioelectronics.com/products/synths/omega8/
http://studioelectronics.com/down-up/designer-sets/theriot/
http://studioelectronics.com/products/synths/atc-x/
http://studioelectronics.com/products/synths/se-1x/


I Don't Have to Tell Her (Instr)

"From Berlin With Love" by James High (of Modal Electronics)

That 8106 Boomstar Life is spiced up with near excessive variety; at 2:59 where the formant (preferred resonanting frequencies of the vocal tract) sermon is preached, it’s hard not to listen up and get lost in the message.

The filter-drenching locked-to-clock LFO Lektor Party at 1:43, is a clear highlight as well. But it's greasy and "releasy" throughout.

BoomStarTalker(1)

I usually tweak with the right hand... 

Boomstar SE80/short 1/4 to 1/4/Saffire PRO 14.  Sentence fragments tend to cut to the chase best.  Arpeggiator courtesy of DP8, right hand (and left) courtesy of Marc St. Regis.  This is not an attempt at music making in the classic sense, rather an initial "soundquest."

Lefty SE80 One Take

THE AMERICAN DREAM - I REALLY DON’T THINK

Main synth chords: SE3X in Paraphonic Mode

Supplemental synth chords (Chicago turnarounds): CODE Omega 8

Piano: Mid-‘70s Heirloom (Childhood): 87 Warren Drive, San Francisco, CA, Yamaha C7—which in the early '80s laughed off a dicey and punishing slide down a flight of concrete stairs (ours), reportedly generating (once bottom was rocked) a very non-joyful noise, louder than the re-creation of the the earth, this last time out; EMU Extreme Lead carves out Jazz-e-er changes

Primary synth bass & leads: SE-02, an indispensable sonic & EMOTIONAL tool BTW

Additional synth bass colors: SE-3X, Boomstar Modular Sensei System (glorious), Tonestar 8106, Midimini V30

Synth drums: Boomstar SE-80, Boomstar SEM, CODE Omega 8

Visceral ending analog: Midimini V30

Unconscious Matt Weinhold vocal channeling: Salvatore St. Regis
Additional Portugal boots-on-the ground imagery: Carlo St. Regis
-

Wanted to gather and connect all the SE kin. Did, with some needle-drop .wav surfing and repurposing (that’s how I include Monte Neuble in nearly everything now—talk about indispensable feel!)

The main ‘3X riff felt complete and vibrant in solo mode; pushed on until a diversity of unity was gained, and “gained honor”

Enjoy,
MSR

The American Dream - I Really Don't Think

Once again I’m on the inside — lookin’ out looking in.

SEM-filtered CODE Omega8 & @saintregis (Instagram) bring the water and its spirit to my eyes.

Single track purity, polyphonic power and purpose: sometimes it's disclosed like that.

Minimal sweetening, limiting and spot normalization, so do enjoy the wide dynamic range and culmination—now with bonus audio!

MSR Christmastime '22

CODEberheim 8

SEVEN SURE 3:03

SE-3X Paraphonic Gooseneck and Magnificent 3 Chord Monte in Eb Major

A CODE8 w/CS-80 filters gets the party started with bright and bratty horns—hard—like St. Regis used to sling in the ‘80s, via our fridge-sized RA-200, periodically rotating-speaker amp.

Greg St. Regs’ immortal patch #1 on the SE-02 then pairs and nearly overtakes the initial CODE bass work.

Shimmering CODE background colors and creations abound, including (but not limited too) cagey vocodering and gorgeous collapsing strings (nearly soloed at end in the Easter Egg hangover). "You'll see."

My vocal-eazy leads on the SE-02 channel Keys 2 genius and my good friend (ladies & gentleman), @monteneuble !

Boomstar Brotherhood Drums (SE-80 Chapter) created vast swaths of the root percussive elements—practically all, including hi hats; claps and rims not included. Blame sound wizard & partner-in-crime Sean Charles.

Some Brian Scroggins DMX/EMU Modular magic from a fruitless EMU/Fred Z/Grass Valley adventure, many decades/lifetimes back, swings in and out—Ishtar appearance as well. And I miss you brother. Avidly.

Stereo“Jaco” bass: CODE. Always juicy it is. 

Pocket "Princey" 80’s SEM-filtered chords (Abm to AbM) bounce & thrill. Celestial celeste and ancient tech Cathedral organ offer healing & wisdom ;) with bonus happy feet pedal board dance, tracked incongruously enough with one of CODE8's “Pigalle Party” patches. "A little spritz of water, a subway station, surrounded by bistros, Pigalle ... ." I'm thinking more Josephine Baker.

Guitar samples repurposed and reworked from our Modmax and Wolftone pedal demo archive; performances courtesy of Grecco Burrato, my elusive, but nevertheless marvelous friend.

MSR needle drops responsible for wildcard tones and pulses.

Enjoy,
MSR
5-11-23

Seven Sure

The American Belizers

A Greg St. Regis requested, rework of my track, The American Dream, which he was certain needed refocusing & melody (sung over the phone); that's his "mosquito" - thanks @saintregis ;) - melody, ultimately harmonized. Much more fund to play than expected, BTW.

And just like the old days, when my brother would reign in my feral overgrowth of ideas, sometimes secretly, he was... right—again!

Glorious Eb Maj main paraphonic riff: SE-3X

Fender Rhodesy and other non-Rhodesy paraphonics: SE-3X

Supplemental polyphonics, FX, basses & “housey” turnaround: CODE Omega8

Leads, most Basses & FX: the mighty & always immediately marvelous, SE-02

Needle-dropped, durty guitar leads: Throwback Grecco Burrato on the ModMax Filter & Phasor

Stutter Basses: Boomstar Modular Sensei

Stolen (think repurposed) SE-3X bass slide: Keys 2 Legend, Monte Neuble

Analog Drums: Boomstar Brotherhood—far too many synth hi hats litter my Analog streets, with their trademark, pinched and punchy frequency fulfillments, but I love them so.

Dope visuals up on Insta.

Enjoy,
MSR

The American Belizers

MSR’s Needle Drops & Isos, Take 2

"I Think That Worked" (like most things until they don't)

Built on SE-3X extremely habit-forming, paraphonic chording throughout, and a legion of instant-grease 'n grind SE-02 basses. Why settle for just one (a question asked by men-y)?

SE-02 Chickin' Pickin' plays nice-nice with juicy bass figures (periodically staccato), which then feed into the faux multi-tracked '02 Wurli (right channel) and "the real thing" (left), punctuated by SE-02 Wormy Lead crew.

All of this happens in the 1st few bars, as you have now entered The Micro Musical Klymit Zone, potentially punishing with it's creative density and attention-to-detail demands, placed upon the listener.

Childhood Heirloom C7 processed piano 3 chord preach, births culminating paraphonic purpose and a frenetic '02 bass/Wurli combo orgone generation.

Enter vintage Grecco Burrato Modmax/Wolftone guitar magic (drips, drops & crunches), and absolutely adorable/incredible '02 LFO gate "Latino Tablino" electro percussion.

Additional miraculous SE-02 multi-tracked polyphony and SE-3X paraphony reveals and revels.

Percolating fake space ensues, interrupted by a booming' SE-80 kick to Super Hero soundtrack vibes—I did just get "Flashed."

Vintage St. Regis/Sembello/Neuble (Michael) 3rd Stone drop and you're almost home... "Groove" Campasso vox; easy with those dope chords.

Dreamy SE-3X surrenders to arpeggiated, mult-tracked SE-02 polyphony.
---

Addl. Boomin' Boomstar Kicks, rims and selected hats were not harmed in the making of...

Enjoy,
MSR 7-5-23

I Think That Worked

What happens when one disappears into the wilderness road of one's mind (and mighty-mighty DP8) with a Boomstar SE80, a little help from its friends: Boom*s 4075, 5089, SEM, 3003, no fixed deadlines, the power and elegance of Kontakt, and a desire to inspire and be inspired?  This piece "right there"—my two and a half year old daughters' go to phrase.

The Boomstar SE80 got the party started early with its remarkable capacity to generate very warm, acoustic sounding drum sounds, in addition to the emblematic, voltage-flavored fare.  Hundreds of samples later—some put through "Waves" paces—I dragged my favs into a new sequence window at bar 1, with a fixed tempo, sans bar lines, and no particular key signature in mind.

Very non-random, if avant garde sounding patterns and melodies emerged, preparing me for an immersion headlong into West African rhythms, and demanding an extended vacay to the Isle of Dub.  Once those pillars were in place all of the Stevie, Gino, Duke, Cameo, Zap, Monte Moir, and St. Regis (the band yo) chords, leads, and turns—produced by both the 4075 and SE80 Boomstars—colored and kept pushing until the Roger "vocalisms" of the dual resonant SE80 filters sat atop the throne, playing the solo diva, wowing the key Dub backbeats, and hitting the combo-organy voicing stretches.  It was with great difficulty that I backed away the ’80's knobs and switches, because of that intoxicating "vocality and warmth.”

The drums, excepting one distorted fill which I enjoyed complimenting and co-opting with synthiness, the triangle (Drew Nuemann’s brilliant 3003 creation recorded at 3% of unity—it’s true Drew!), a crisp D. Neumann tom design (4075), a very Mike Neuble-ish 16th note triplet figure (SEM), an open hi hat (SEM), the crash cymbal (SEM), and the "Bonham" room mic kick drum from “Boomstar the Beguine” (SEM), were generated by the SE80; I made far more samples than I could press into service, but it was most enjoyable slipping and sliding them in whenever I could.

All of the leads are single sample stretches in Kontakt, or sampled performances (some of which went under the knife and tune); the chords are a mix of the same and individually tracked single note performances, which were in turn repurposed/retuned in various places spectrally in DP.  The more percussive and filter driven polys represent the latter.  It was amazing how good the "stretches" sounded—kind of reminded me of working with valve instruments and their gradually lower register, longer and slower envelopes ramps.

A bit of Boomstar 5089 begins supporting the last half of the Dub groove with a bass double, figure, and slide or two, snapping once in the 1st Movement (a pull from the “Shootout at the Boomstar Corral” YouTube vid for those still awake).  The B* Moog filter also supplies the sub in the rejected “Simon Says” soundtrack moodiness in Movement 5.  The piano and synth patches are from GarageBand, ported in via that .aiff stripping trick.  

Boomstar 4075 gets its Gary Wright/Rene and Angela 2600 bass groove on, above the 5089 sub fray, yet under it's own classic lead sound; a bony redux of Movement 3’s “Moir-ish” charm brings the effort to a conclusion.

Boomstar 5089 boomed both the intro bass and 1:53 breakdown.

Lest I forget, the SE80 freeform synth jazz dance of the 4th Movement (3:03), grinds into “that perfect machine voice like ELP's, "I am perfect are you!" Directly following it is my friend Dan’s “kind of atmospheric, distorted, Tomita-esque mood till 4:51 whence come the mysterious morse code signals from the nether reaches of outer space.”  All of which follows the sub movement (small m) of the SE80 Beat/Glitch Boxing: the punctuation for the preceding micro Glam Synth beatdown. 

Final Note: The ambient, “spooky sound starting at 0:43 which weaves underneath awhile,” following the 1st Movement (really another sub movement…), is an SEM lead subjected to generous Paulstretching in Audacity.

And do c.f. http://tinyurl.com/nmk7rfx for your purest listening pleasure!

Special Thanks to David Bowie whose fascinating, multimbral life and entertainment genius distracted and reinvigorated me near project’s end; throw Gino Vannelli into that motivational kettle as well—THAT VOICE!  Well, as my beloved mother Maria Therezia was wont to say without undue emphasis: "He's an Italian."

Enjoy near responsibly, preferably over some worthy Genelecs or Audix speaks,
Marc Alexandre Theriot St. Regis  6-24-14

(Quoted commentary by Peri O’Meri)

Roman Bayou's Cinq: SE80 Beats ’n Band in a Boomstar Box, in 5 (or so) Movements

First solo Omega offering still sounds stunning 21 years later.

A few secrets, snips, reverses, in-song overlays, a touch of EQ, limiting, and “Gaucho” right-side-wet, make for a nice 90 (sec).

And yes that patch change madness was tracked in real time—sans punches.

Stock SEM & Mini SE filters…

Enjoy,
MSR

Phat Fu '23

This one take rubato—groove sans tempo—SE-3X paraphonic improvisation, shares sonic and emotional space with many SE-02 “split notes” polyphony colors, indulgent ’02 basses, 70’s St. Regis Yamaha C7, Boomstar Brotherhood Drums, and careful & careless SE archive needle-dropping: ModMax/Wolftone Grecco Burrato guitars and Catero Colbert vox being highlights… at least that is what I care to remember, or wish to divulge.

My freeform lullaby & lament inspired one regular listener to write: “Had to listen several times and still hear new things, nascent melodies flying about and chattering mischief sneaking throughout a scene of almost there things, just listened again and thought I heard a real piano at 1:20-1:23. Endless discoveries.”

He did… but no mention of Third Stone Records artists St. Regis’ New Jack Swing drops!?!

Enjoy,
MSR

p.s. Easter Egg features stereo pulsed & piqued Omega8. "That was a gift."

p.p.s. InstaG: https://www.instagram.com/p/CyluI_ZOu0d/

Paraby: Through the NICU Glass

Came across this dope Ebm @MonteNeuble SE-3X  bassline, in my needle drop travels, which I had to revisit and enlist in a pulsed paraphonic exaltation in DMaj; silky chord changes from “Onward Upward UFO,” a song written & produced in the late 1970s for the St. Regis brothers, by wonderful friend and Parcourse/health food store mentor, Norman H. Landsberg, assisted that sneaky downward modulation. 

The great James Levi (Herbie Hancock fame) and strongman Gary Calvin (on bass) kept the groove going at Bear West Studios in San Francisco—1st 24 track baptism, where “UFO” was recorded—and we brothers have tried to keep the funk analog ever since. Clavinet D6 is still with us: the one Norman unveiled at St. Regis & Leuenberger and taught us to play; ‘cause he was nice with it, "Cry Baby" style.

Celebrating his remarkable life earlier this month—brilliantly and with panache, thanks to Bob Yount (Landsberg & Yount) and Socorro!—brought his lovely spirit, song, and surprising, vast accomplishments to mind:

Founding member of Mountain, featuring Leslie West; Pointer Sisters MD—“Yes We Can Can…”, Lenny Willams (Tower of Power); sampled by Jay-Z (99 Problems), Kanye West, Tribe Called Quest—heard in films like "Barbershop" and "The Taking of Pelham 123.”

His group Hammer opened up for Leon Russell AND Miles Davis at Fillmore West… Wut!?!

“When tears come, remember brighter smiles can then show."

Miss them when they are here; that’s the Power of Love—which evrybody needs.

https://www.dignitymemorial.com/obituaries/san-francisco-ca/norman-landsberg-11515731

https://www.discogs.com/artist/860823-Norman-Landsberg

p.s. SE-02 stereo leads :14; ‘02 “Dorothy Ashby” harp :21; incredible SE-02 Paraphonic Preach: 24; SE-3X dual leads :25; Omega8 “Phat Fu” goodness: 31, :35 Norman’s (Manny Moka) piano :33; Manny Moka And The Band on Fire heavenly perc. break: 39

Boomstar Brotherhood drums assist.

Angel Grey ‘3X photos courtesy of @vcousa

Enjoy,
MSR

Monte Moka

See it: https://www.youtube.com/watch?v=0xkBUlgtBmU

SoundCloud's data compression scheme... wow.

The foundation for this distinctly Analogian adventure is the Boomstar 3003 crunch 'n chunk sound, warmed-up nicely by Slate Digital's "Virtual Tape Machine." I intended to accent it merely with the ATC-1-ish cross-mod vocal sound lead work (way back in early Sept.), which re-interprets my uber-talented friend Grecco Burrato's rich and rootsy guitar solo at 2:29 in my CODE-filtered Theriot offering (http://studioelectronics.com/assets/Audio/CODEfilteredTheriot.mp3), but I kept getting pulled back into the power and poetry of the B*s circuits and smashing performance-centered feature set.

The jazzy polyphony heard at the beginning after my Uncle Mario's chuckles (more from him later, much more), is all Boomstar 5089, arranged on piano and tracked one note at a time—credit DP8's split notes feature; patience and persistence make pretty, and we are off to the races: the twin herculean pillars of 3003 rhythm and lead making friends along the way with slidey, glidey, echoey, multi-tracked B* 5089 / 1970's slippery, synthy goodness, B* 4075's punchy percolated arpeggiations, square-waved octaved finger bass, B* SE-80's rim shots, tablas, claps, 70's and 80's session snares, tuned "Tubaleans" kicks-basses, major toms, SEM  hi hats and crashes, all of which thins out dramatically at 3:06 for the 5089/SE80/4075/SEM bass and beats break—picked up by those 5089 faux muted guitars—commencing the beginning of the culmination, or so it seems.  Really, the show is just getting started with the 5089 holding court with its sweet and foxy leads on the run—love that "The Sweet" joint, a radio rediscovery one schoolday morning which revitalized and repurposed the back nine of “The Talking Booms,” called again upon the ARP-peggiations, Glam Synth drive, and clearing the mind for the late 99 year Oracle at Cleveland: Uncle M.

What are we learning?  What are we storing up inside?

Thanks for the listening and read,
Marc A. Theriot St. Regis - Thanksgiving-ish 2014

p.s. Apart from DP and various audio plugins—my DAW was my friend—everything is Boomstar, apart from a backwards piano snippet from a rejected short film score of mine, and the snappy kick drum, hit by our Fox mic pre, and wrapped with several 4075 and SE80 kicks, when things get Marley.  Oh yes, and brilliant cousin Eve (Capretta) Rouveral does the marvelous Mario mining.

The Talking Booms of Mario Capretta (Band in a Boomstar Box, the Final Chapter)

Once Upon a Synthplex:

Tonestar 2600 kick thumps & '80s quality "Simmons" toms + @huston.singletary ’s groove merchant ways / heavy (he is my brother) harmonic vision + layers of SE-02 “split note” polyphony & monophonic bass ’n’ lead bravery + selfless SE3X accents—paraphonic and m-phonic + Boomstar Brotherhood claps, snares, shimmering addl. perc. (Boomstar SE-80 mainly) + a sprinkling of SurgeXT + Grecco Burrato crunch vault gems + Folktek visuals, made this story...

=

"Oh man. Sooooo good. A voyage into layers on layers."
 - Huston Singletary

Wait those MIDIMINI V30 "How do you beat that?" "quica" breakdowns. Nice.

Kingdom Inside—listen to it.

Enjoy,
MSR 5-18-24 / L1721
—

p.s. Medium mastering to preserve dynamic range & detail; so make your 🔊🔊work!!

Kingdom Inside

ADAGIO FOR FEEDBACK

I’d like to believe Samuel Barber’s Adagio for strings cast a tender shadow on these changes & groove of mine.

Listening to Bernstein’s baton as I write this…. glorious.

CODE8: Strings mainly recorded in mono—not sure why—stereo flute/vibraphone/celeste colors, Crystal Manson “horn” blasts, Monte Moir rhythms, locked-to-clock LFO pulses, band pass rebels, reversed and initially randomly-sourced passages. AND FEEDBACK!—Crunch chords for key-man on their black ’n’ white island.

Get the heady, upper harmonic, distortion multiplier mod. for your Omega8/CODE8 today!

Boomstar SE-80: Snares, perc.

SE-3X: Hats, big bass note.

Grecco Burrato: Unarchived ModMax Pedals-blessed guitars.

SE-02: Immaculate basses and leads.

Stay tuned for the Prequel.

Best,
MSR 12-5-24

Adagio For Feedback

Prequel & Adagio For Feedback

CODE8: More stereo flute/marimba/celeste colors; Winwood leads; Crystal Mansion horn blasts; reversed and initially randomly-sourced passages; layered strings mainly recorded in mono—not sure why; @montemoir (inspired) bangers; locked-to-clock LFO pulses; band-pass rebels; 12dB filter envelope-driven bursts; location-aware Middle Earth detune spasm...

AND FEEDBACK!

Get the heady, upper harmonic distortion, warmth multiplier mod. for your Omega8/CODE8 today: https://studioelectronics.com/support/contact/

Boomstar SE-80: Snares, perc.

SE-3X: Main hats, big bass note.

@greccoburatto Unarchived (and yet juicy) ModMax Pedals-blessed guitars.

SE-02: Immaculate Keys 2 basses and leads.

Sumptuous and stirring (some would opine meditative) very recent #japantravel visuals (includes magically in-key bird song) courtesy of Carlo St. Regis.

Enjoy,
MSR 12-16-24

Prequel And Adagio For Feedback

CODE Luxe maiden voyage with periodic bassline & lead support from SE-02 and Tonestar 8106. 32 hardware filters: Mini 24dB, Obie 12dB, 8106 24dB/6dB, CS-80 holding court.

The initial horn blast benefits from a touch of our new Wavefolding circuitry as does that crisp and retro electric Harpsichord (think Elke String Machine).

Salvation Pads' borrowed "Melotron" patch (now in ROM) manages to survive persistent '02 bass and Tonestar punctuation.

A more subtle and musical "DRIVE" (formerly "fuzz") brings the warmth/grunge—you can hear it on the cheeky combo/YC-45-ish organ break.

Flutey, Fluttery, Dmaj7, is accented by the lone and lovely surviving reed patch, in our new feature reworked ROM banks.

Brassy/stringy lushness feeds the Wavefolded, Big Ben chiming and descending melody accenting.

Not sure which one of the discrete filter banks sweeps and lashes out in the culmination... but it is glorious, especially when complemented by Tonestar sub-bassing and operatic SE-02 leading.

Our new folding certainly mirrors hybrid synth tones, with its digital-esque shimmer and clang.

Same discrete SE Analog warmth and heft underneath it all.

Retiring the Ext Inputs freed up 4 CVs to control Feedback, Wavefolding, HPR (hipass resonance) and HPF (hipass cutoff) internally and via MIDI.

Enjoy—repeated listenings I hope,

MSR 3-1-25

Rhapsody In Luxe

LUXE LEADER

CODE Luxe: Luscious & alluring Monte Neuble-quality synth leads, muscular opening bass buzz, happy accident wavefolded & non, polyphonic majestics;

Tonestar8106: Multi-tracked tricky flute/brass turnaround chords;

SE-02: Fleeting but essential Reggae 'n Greg Phillinganes-inspired Funk synth bass;

—All hope to "gain honor"... on this groove of ground, sound and ether.

Desire demands design.

Filters likely employed: 24 dB Mini, 12 dB Obie, 6/24 dB Juno 8106, CS-80

Enjoy,
MSR 3.19.25

p.s. SE-3X artisan hi hat blend.

Luxe Leader

Strings in the Chamber

Praise To The Father '25

Elke Dreams

Read Better

Why Aren't You Here?

Waterpeace

MeloLuxe

Code Luxe Sus

Folded Wurli

Saved our lives one night from the great beyond: "MARY!".

As did Maria Therezia Capretta Theriot St. Regis.

Some of you spoke to our 1st gen. Italian American mom on the phone, about your Midimoog/SE-1, or were blessed to meet her/know her... listen to her stories, like the childhood fire story hidden in plain sight here.

Beautiful, cagey, often hilarious sparkling soul and singer of touching & torchy songs, she was, and remains in our eyes: A daughter who missed her mother, mystified by the persistence of memory, seemingly without mass or momentum.

Call her and she'll be around.

PS: Felecia's Cry is an Omega/CODE patch and mom's mom's Ellis Island standardized name.

CODE Luxe Dreams & Slaps - Repurposed (and brilliant) @vcousa SE-3X Feedback Rhythms - Tonestar 8106 Bass Brotherhood - "Kingdom Inside" double dips.

Enjoy,
Marc A. Theriot St. Regis
4-10-25

Felicetta's Cry

DAWN HOPETRANE

CODE Luxe: Luscious and sometimes reversed polyphonics, perfectly percussive leads (think power banjo), ending Catero “Wurli”.

Tonestar 8106 colors: Multi-tracked chordal happenings (includes “CS-80 Wah Horns”), opening lead and bass, often hard-panned continuing bass intermittents, glorious near culmination lead—in its original key/formant.

Xtreme Lead: Tim Swartz piano clarifiers.

Boomstar 8106: “9th Avenue World” leads; mas mulit-tracked chords; “Mucca Nera” lead, flutter, supplimental glide leads; surprising bells; last minute bass uplifts; 3 part “Wurli” in-a-hurry lead-into.

Boomstar Brotherhood: Select kicks, all snares and claps—SE80 w/SEM clap.

SE-1X: Hi-Hats

"...Weeping may tarry for the night, but joy comes with the morning."

Enjoy,
MSR 5-16-25

Dawn Hopetrane

CODE Luxe everything (massive kick too), except for piano and luscious, extravagant, multitracked Boomstar 8106, supporting and contrasting the "ivories" at 13 seconds in.

Oh yes, Boomstar Modular Sensei delivers percussive octave bass tones beginning at :11.

New faster Luxe envelopes definitely assist in my homage here, to Stevie Wonder's immortal "I am Singing" GX-1 pluck patch.

Enjoy,
MSR 72525

8 Hours Of Yesterchords

Kudos to St. Regis eternal bandmate & friend Nick Tumler for never letting me forget this song (Love Transition) and its driving, determined changes, that Johnny Caswell (The Crystal Mansion) and I crafted into what should have become an R 'n B classic, one fine day in the QC booth at SIR's Gower Studios. "Is it me? "Is it you?" "Could it be it's really true...?"

CODE Luxe: Main chords & more chords—gorgeous in reverse per usual—(:28 "Hopesichord too"), subs, :14 cymbals, lead bass/bass leads, whistle closure.

Boomstar 8106: Kick-matched bass, multitracked chordal support, processed "guitar" leads, "When we were new" leads... plentiful and fanciful lead 'n bass cluster ensembles... poignant plucks, "Strairway" flutes, David Frank inspired "System" basses.

Boomstar SE80: Assorted Boomstar Brotherhood Drums.

Tonestar8106: Horns, New Wave-y Boomstar Bass octave double.

SE-02: Tabla Dudes

SE-3X: Hi hats

Not an exhaustive SE rundown, but close.

Enjoy,
MSR 8-27-25

Love Transition '25

CODE Luxe: Robert Lamm inspired LFO pulsed Chordal figures, feedback/drive fantasies, needle-dropped polymoods, swan song chirping.

Boomstar8106 Faux-llphonics: multitracked piano-stalking chords; stereo leads & cries (sounding very ObieRack-ish); bass accents & smoothing; soothing ending lows.

Tonestar8106: Magic Dorothy Ashby Harping.

Enjoy,
MSR

SighOp Shadows

Aaron Todd's dynomite growling SE80 Boomstar funk can be heard at the head of the piece, and the Tonestar Folktek 5089 / Toolbar / Quadnic (with I, MSR at the helm) handles  the balance. Quadnic is being colored/enveloped by the TF5089's EXT IN—brilliantly adding warmth and vibe to the 8bit 4 voice poly dco.

Aaron Boomstar and the Funky Quad Folktek

I just wanted to play that dirty synth bass like unto my man @buscrates, a fellow SE-02/Ext Box enthusiast, and funk/music savant. This was waaay back in August of 2018; and this is what I got myself into. Think I ended up with at least 20 tracks of bass (understatement). Good thing they aren't all playing at once.  Not sure when I happened upon the sumptuous, and highly melodious Nikki Giovanni/James Baldwin (disarming, wonderfully honest, and warm) interview, but it provided the conceptual, conversational glue & gumption. #wisdom #genius #charm

Initially this was just an SE-02/Ext Box offering, the focus being the usefulness, and potency of this surprising monosynth—as if it possessed the secret means of every instrument necessary—especially when multitracked, and the grit, push, and smooth cutoff sweeping the Ext Box gives. The SE-02 seemed to be more than enough analog; then the Midimini V30 crashed the party, and the piece I was near convinced (read panicked) I would never complete, got a fresh coat of paint & purpose—a rebirth of the cool, so to speak. And my, my... these two kissing cousins sure sound(ed) good together. One programmable, and CC-powerful, with that dope delay, feedback, and unique 3x crossmod, the other, a semi-modular, through-hole, complex gain-staging, fire-breathing 1980s-90s-2000s-strong bass beast of burden. The V30 is also delivering some gorgeous lead line moods, with the Ext Box (yes you read that right) drive boosting, bumping, and smoothly filtering it: hi pass too. I TOLD Greg St. Regis it would work wonders on our 30th anniversary Midimini! Takes a bit of extra cabling is all.

All of the Analog synth polyphony is SE-02, built using the indispensable "Split Notes" feature in Motu's DP10. The organy, dreamy, digital, sometimes hashy chording, features two tracks of free-ranging Quadnic (well it was at the time), which I gradually if reluctantly colored with redux ISO phrases, and some measure of harmonic awareness of its... er, intended direction.

A touch more eurorack organ-ish flair is of chopped-up Grainy Clampit origin, and Boomstar SE-80 hi hats, snares, clap, and kick accent the lifted traps.

It's best I pass the baton here.

The Gospel According to Carlo St. Regis:

"This is the most coherently incoherent meticulous madness I’ve heard. It seems to me like a love song to song, and to sound design. I’ll need to listen to it 30 more times to grasp 30% of its nuance, but on first impression I hear Stevie synth meanderings, funeral dirges and soaring cathedral snippets, interlaced by the unmistakable genius of James Baldwin and held together by a groove that reappears just when you begin to question if you’ve heard it for the last time. It’s a clinic on transition and variety and layering, and almost in spite of this, seems to culminate in a murderously funky and contrastingly bare base and drums section that makes you think yeah, this is why I use synthesizers."

Where most songs seek to build this one isn’t afraid to deconstruct and traverse a journey fitting of the time spent in creating and experiencing it. The impractical renaissance man is here and his background vocals have shown us the way."


MSR
41920

Practical Man Suite

I just wanted to play that dirty synth bass like unto my man @buscrates, a fellow SE-02/Ext Box enthusiast, and funk savant. This was waaay back in August of 2018; and this is what I got myself into. Think I ended up with at least 20 tracks of bass (understatement). Good thing they aren't all playing at once. Not sure when I happened upon the sumptuous, and highly melodious Nikki Giovanni/James Baldwin (disarming, wonderfully honest, and warm) interview, but it provided the conceptual, conversational glue & gumption, and ultimately the energy and vibe to track, and capture a live Midimini V30 performance on top of the mountain of tracked SE-02, and V30 adventures.

Initially this was just an SE-02/Ext Box offering, the focus being the usefulness, and potency of this surprising monosynth—as if it possessed the secret means of every instrument necessary—especially when multitracked, and the grit, push, and smooth cutoff sweeping the Ext Box gives. The SE-02 seemed to be more than enough analog; then the Midimini V30 crashed the party, and the piece I was near convinced (read panicked) I would never complete, got a fresh coat of paint & purpose—a rebirth of the cool, so to speak. And my, my... these two kissing cousins sure sound(ed) good together. One programmable, and CC-powerful, with that dope delay, feedback, and unique 3x crossmod, the other, a semi-modular, through-hole, complex gain-staging, fire-breathing 1980s-90s-2000s-strong bass beast of burden. The V30 is also delivering some gorgeous lead line moods, with the Ext Box (yes you read that right) drive boosting, bumping, and smoothly filtering it: hi pass too. I TOLD Greg St. Regis it would work wonders on our 30th anniversary Midimini! Takes a bit of extra cabling is all.

All of the Analog synth polyphony is SE-02, built using the indispensable "Split Notes" feature in Motu's DP10. The organy, dreamy, digital, sometimes hashy chording, features two tracks of free-ranging Quadnic (well it was at the time), which I gradually if reluctantly colored with redux ISO phrases, and some measure of harmonic awareness of its... er, intended direction.

A touch more eurorack organ-ish flair is of chopped-up Grainy Clampit origin, and Boomstar SE-80 hi hats, snares, clap, and kick accent and propel the lifted traps.
It's best I pass the baton here.

The Gospel According to Carlo St. Regis:

"This is the most coherently incoherent meticulous madness I’ve heard. It seems to me like a love song to song, and to sound design. I’ll need to listen to it 30 more times to grasp 30% of its nuance, but on first impression I hear Stevie synth meanderings, funeral dirges and soaring cathedral snippets, interlaced by the unmistakable genius of James Baldwin and held together by a groove that reappears just when you begin to question if you’ve heard it for the last time. It’s a clinic on transition and variety and layering, and almost in spite of this, seems to culminate in a murderously funky and contrastingly bare base and drums section that makes you think yeah, this is why I use synthesizers."

Where most songs seek to build this one isn’t afraid to deconstruct and traverse a journey fitting of the time spent in creating and experiencing it. The impractical renaissance man is here and his background vocals have shown us the way."

MSR 5720

#studioelectronics#se02#synthbass#synthlead#midiminiv30#boomstarmodular#quadnic#grainyclampit#jamesbaldwin#nikkigiovanni#interview#akronohio#funk#ambient#groove#eurorack#boomstar#se80#synthdrums#analog#motu#digitalperformer#dp10@motutech

Practical Man Suite - Live V30

The tablas @ 2:56 like Mary Tyler Moore make it all seem worthwhile (suddenly or otherwise).

Absolutely desirable vocal grinding and throat-singing bass beginning @ 0:30 front-load, and funk encode, with each turn and every little movement it shows... it.

Condensed, re-composed, and contrived-down 11+ minutes of glorious dual-resonance SE-80 one-taking, from our SoundCloud sanctuary, when the world was newer—because... the reason is never because—and the SOUND Brother!

Lefty 2020 - Bomstar SE80

Once upon a drum machine, The Brothers St. Regis had to part with their beloved, stock TR-808; before it left the building, Greg St. Regis programmed this beat: "HE is The Rhythm Man, tapping at he backseat..." Several summers passed and it again found favor in their sight, after hundreds of cuts & creases and "Boomstar Brotherhood" SE-80 percussion pieces. Soon Rhodes chords followed the Rhythm-Man's-flow. It is commonly believed bass was next (30+ tracks): driving, testifying, border-defying Midimini V30, in the lead role, with wildly versatile and colorful programmable support from the SE-02. 10 or so passes of Omega 8—essentially MIDI Channel 1/1980’s style—broadened and brightened the Gospel of Chordal Excellence. The Oracle at Ableton/Atlanta spoke a Wayne Shorter spirit into the leads, so the SE-02 and Midimini began stacking up the solo flights, fighting and reuniting like play-cousin nights. Voices from the “Family Herrre” Chorus preached and ascended majestically—though soothingly prosaic at times—inspiring, shaping, begging, cajoling, demanding, elevating and refining the piece to unforeseen coherence and towering heights… feigning silence for moments, only to reanimate through & beyond fragmentation challenges with that magical dialect and love from The Lou.

"Consider all that."

FINIS

Captain’s log supplemental: 1182021:

Most if not all of the polyphonic detail work (apart from the Waves Morphoder vocoding), not tracing or amplifying the piano track MIDI, rather often clustering around spoken and sung WORD, like a gritty reverent glitter (WORD, arguably entirely too sacrosanct to digitally preserve… to orchestrate, yet now its dope message moves forward and out), was tracked note by Motu's brilliant “Split Notes” feature in DP10: Midimini V30 and SE-02 battling again for the muse’s attention/affection. There is no other DAW ;)

Original Midimini on the 1st and last conspicuous bass slides.

Additional Cameos: Modstar Sensei, Tonestar 8106, 2600.

Writers: Marc St. Regis, Greg St. Regis
Produced by MSR
Executive Producer Adrian Drummond

Special thx to Drummond, Sean Charles and Huston Singletary.

STUDIO ELECTRONICS

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