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

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

Tonestar2600 thumps & '80s quality "Simmons" toms + Huston Singletary's groove merchant ways/heavy (he is my brother) harmonic vision + layers of SE-02 "polyphony" & monophonic... bassline bravery among other Roland/SE crowning analog achievements + selfless SE3X accents + Boomstar Brotherhood claps, snares, shimmering addl. perc. (Boomstar SE-80 mainly) + a sprinkling of SurgeXT "Stevie" / Fab Four touches & Folktek visuals...

Wait that MIDIMINI V30 "How do you beat that?" "quica" breakdown,
EQUALS!:

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

Kingdom Inside; further advice will follow.

Enjoy,

MSR 5-3-24 / 172021

Kingdom Inside

Morover It - 3 (than Ever)

Morover It - 2 (than You Know)

Morover It - 1 (than Not)

DDTG - 2

DDTG - 1

Basslighting - 2

Basslighting - 1

The Impossible Drum (kit)

Kyle Kilpatrick (@vco_usa) 2 track Bass/Lead Iso with MSR edits. Dynamically ethical: little to no compression or limiting applied, just some conscientious spot normalizing.

V30 Hard Luck Panner

A fun, live DAWless jam sequenced all on the Polyend Seq using: Studio Electronics V30, Modal Electronics Craft Synth 2.0, Radikal Technologies Delta CEP A, Dreadbox Nyx V2, Jomox Alpha Base, and Analogue Solutions Fusebox! No external FX used.

Polyphonic pluck chords: Radikal Technologies Delta CEP A https://www.radikaltechnologies.com/d...

Bass: Studio Electronics Midimini V30 https://www.studioelectronics.com/pro...

Pad: Modal Electronics Craft Synth 2.0 https://www.modalelectronics.com/craft/

Lead / Counter Melody: Dreadbox Nyx V2 https://www.dreadbox-fx.com/nyx2/

Drums: Jomox Alpha Base https://jomox.de/product_details.php?...

Noise FX: Analogue Solutions Fusebox https://www.analoguesolutions.com/fus...

Sequenced on: Polyend Seq http://polyend.com/seq-midi-sequencer/

DAWless Jam 2

It’s all about the gain staging in this discrete beast: processing and managing the relative levels in each step of the V’s audio signal flow to allow for the introduction of desired noise and distortion. Clean is easy.

Feedback (loop), FBK (feedback) Gain, Amp Drive, individual Oscillator levels, and the main Volume all interact and alter one cherished fact after another; the 24dB ladder to heaven is also… everything, except for the burnished bookends, the dualistic dynamism of synthesizer tone: Ringmod and Crossmod. Fans of our ATC know this verity well.

Treatment:
Tracked with a touch of compression through our vintage dbx 163X into the ever marvelous DP10 (Will never switch!),  washed with a spot of verb in the last few seconds, and L3'd under somewhere under 4dB—beyond that the balance is pristine and massive Midimini V30.

Per usual the .wav file shames this playback quality.

MSR 2.6.20

Chords, Rings & Feedback  Wars

Greg St. Regis suggested I abandon my long form addiction, and parse out more digestible bits, and so I have. An added benefit: I have cherry-picked elements which don’t actually talk to each other in the normal course of business—in Part 4 (see below).

Part 1: Paraphonic, DAW multitracked chords, and single zone sample stretches—why do they sound so good in DP10’s Nanosampler?—are the focus here… well there is a slush/smush of everything actually (Including analog percussion & FX), although in Part 2 the emphasis will be on the bass and the wicked lines we make.

OK, we’ve covered Part 2.

Part 3: Iso leads and their deliciousness.

Part 4, you ask? My long form habit—the complete piece—which is decidedly more concise than usual.

Sometimes it’s hard to wrap my mind around how outstanding this V30 sounds. The gain staging: Oscillator levels, AMP DRIVE, FEEDBACK, Feedback Gain (FBK GAIN), and the final OUT stage, make for a vast and yet intimate micro-climate of tone, warmth and dirty, usually reserved for guitar players and their axes, amps, and pedals (lovers too). Slide on over instruments with necks; the Midimini V30 has its eyes on your prize.

And the patch points which can go #OutsToOuts keep it pushing and pulsing well beyond the call of duty.

MSR 2.22.20

Midimini V30: Monosynth / Polysynth

Midimini V30: Monsynth/Polysynth - 2

A Bass Odyssey was planned (and promised) yet a more salient inspiration was followed. And it was/is good. Built on the same shell of our mid-80s ST. REGIS tune, “You Lover Lost,” this vid features a near punishingly poppin’ bass response to the initial backstage band effect, and then drifts purposefully into organy, multi-tracked lead slides; a dreamy Fm gathering of heavenly, ethereal eternals focus and fire a Quadnic-like pulse, after that haunting “Sound in my Head” patch made the way straight for its duality. Earthy Taurus-like pedal vibrations praise and present reprise tonalities, and wise culminating paraphonic conversations. Revelations ensue.

OK, THAT was fun. In short, the MIDIMINI V30 makes sounds you like—well beyond the typical; the patchpoints, gain-staging, ringmod, triangle wave #1 wrapped around the filter, crossmod, and Boomstar LFO see to that.

MSR 2.26.20

Midimini V30: Monosynth / Polysynth #2

Midimini V30: Stereo Taurus

Chords come 1st in this 'V30 ladder filter fantasy: some are single sample Nanosampler stretches, others split note multi-tracked affairs. Motu's DP10 and Kyle Kilpatrick's Polyseq melodic minor bassline—and my misunderstanding of it—and Jomox drum innovations propelled my polyphonic purpose... powerfully. Just bangin' out ideas on the Moog One in quiet Corona, CA with Tortoises and joyous Finley, a week or so before this tortured reality, was all life needed to be.

I did get to some lead work—wasn't expecting to go there—thanks to the deep gain staging of the '30 and a Feedback test for the benefit of Mr. St. Regis (Greg).

Oh yes, there are at least 8 tracks of bass, and sometimes they all play together peacefully.

Boomstar drums too. And even more Easter Eggs.

Hope you enjoy the ride,
MSR 3.21.20

Midimini Chordchestra

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

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.

Midimini V30

STUDIO ELECTRONICS