Moog Archives - Noisegate

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Behind the Score: The Virgin Suicides

The moody soundtrack for the Sofia Coppola’s dreamy masterpiece The Virgin Suicides is inextricable from the film’s sticky wonderland inhabited by the Lisbon sisters and the teenage boys who feverishly obsess over their demise. French duo Air, composed of Nicolas Godin and Jean-Benoit Dunckel, were

My Gear: Zach Schneider [Great Outdoors, Totally Mild]

Whether they’re a gear nerd or a gear noob, the type of gear an artist uses has a huge impact on their signature sound. In this regular series called My Gear, Noisegate picks the brains of exciting and diverse artists for a behind-the-scenes scoop on

The Art of Synthesis: Melbourne Synth Festival 2018

If you are into LFO's, High Pass Filters, VCO's, DCO's, Envelopes, DSP, Aftertouch, ADSR's, CV's, MIDI, Arpeggiators or simply just keys, then this event will certainly trigger your Multi-Timbral. As part of Melbourne Music Week, Australian Musician, MESS and PBS 106.7 the inaugural Melbourne Synth Festival

Behind The Score: Suspiria by Goblin

Welcome back to Noisegate’s special series called Behind The Score. We are very excited to present these bi-monthly investigative articles, which will explore all the nerdy details and behind-the-scenes secrets of your favourite synthesised film soundtracks. We’ve already covered the infamously intricate Wendy Carlos Moog

Meet The Moog One: Moog’s first Analogue Poly Synth in Decades

In what must be the most anticipated synth release of all time, Moog have finally..finally added a poly-synth to their product line, the Moog One. And good god. It looks immense. It's only been 33-years since Moog produced a poly, the company being understandably hestitant

Behind The Score: A Clockwork Orange by Wendy Carlos

The stark opening to the Stanley Kubrick classic A Clockwork Orange is the perfect meeting of alarming stimulus; a screen bathed in blood red and three unsettling synthesised sounds melting downwards in pitch and tonality. These otherworldly sounds are followed by synthesised timpani hits and

The Art of Synthesis According to Arturia

At their core, analog synthesisers are potentially unexciting and lifeless boxes of electronic components. It’s one thing to tune an oscillator to produce a musically relevant pitch, but constructing an inspiring, playable musical instrument is another discipline entirely. In our ‘Art of Synthesis’ series, we examine

5 Drum Machines That’ll Help You Get Weird

Whether it’s a pounding synthesised kick or randomly generated glitch patterns, sometimes percussion that’s a little unusual and experimental can really make a track. The bread and butter sounds of classic drum machines are great and all, but with some of the powerful machines on

Greenwave Beth: 3 Favourite Things about the MicroKorg XL+

Greenwave Beth have been described as a "musical risk" by founder and creator Charles Rushforth and they do this by combining the restrictive and industrial sounds of midi sequenced drum and bass with the MPC1000 and the MicroKorg XL+, along with free form songwriting. Their

Steve Williams: Addicted to Synths

Steve Williams is addicted to synthesisers and his vast synth collection verifies that. Amongst his collection are rare vintage synths such as the British EMS VCS-3 (as used by Pink Floyd on “Dark Side of The Moon”) and the Australian Fairlight Series IIx and CMI

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