From nobrand@teleport.comSun Apr 16 17:42:17 1995 Date: Sun, 16 Apr 1995 07:36:33 -0700 From: Brian Coates To: Matt Haines , analogue@hyperreal.com Subject: Re: Crumar Spirit At 10:19 PM 4/15/95 -0800, Matt Haines wrote: >Anyone know about the Crumar Spirit? I know an on-line dealer who's had it >for maybe a year and feeling a bit desperate. Is it worth anything at all? >What's the specs on it? CV/gate inputs (or easily modfiable)? How many >osc's, etc. How's it sound? Is it worth $100? Thanks. > >Matt Haines haines@cloverleaf.com HO-LEE-COW!! 100 bucks? heck, yeah. Three filters, 2 ADSR's, inverse ADSR on filters, 3 mod wheels, sync'able oscillators, arpeggiator, sample and hold, audio input, uuuuh, MIDI(?), equal amounts of both sliders _and_ knobs, big buttons, Bob Moog helped design it... um..... 2 lfo's. um. Stereo(?).... Am I leaving anything out? Yeah, get it. Brian ------------------------------------------------------------------------------ 5 6 4 .-------. 7 / \ |=============================| 3 | | 8 | BRIAN COATES | | \\ | | nobrand@teleport.com | 2 \ \\ / 9 |=============================| 1`-------' \|\/|/ RESONANCE.= 10! = /|/\|\ ---------------------------------------------------------------------------- -- From MOOGMAN@aol.comThu Apr 20 10:59:41 1995 Date: Wed, 19 Apr 1995 21:58:05 -0400 From: MOOGMAN@aol.com To: analogue@hyperreal.com Subject: Crumar Spirit Info Since there appears to be some interest on AH about the Crumar Spirit, I thought i'd dust off old S/N 00049 and give it a run. If there's enough interest i'll write a longer post about the modulation possibilities on this strange beast, and if anyone wants to know , i'll rip the thing apart and do a small hardware report. For now this brief summary is for the curious: Designed in 1982 by Bob Moog, Jim Scott & Tom Rhea, the spirit was released in 1983. It costs $895.00 . It sported a 37note keyboard with 2 VCO's with available waveforms being, saw, square,and triangle on both. It had the ability to sync both osc and they had a octave range from 32' to 4'. Ring Modulation, low and high pass filters, 12 DB & 24DB slope, Single & Multiple triggering, Keyboard filter tracking, band pass filtering, Loudness envelope, filter envelope, Arpeggiator linked to LFO (mod-X) with 4 different Arpeggiations, LFO1 modulated 6 different ways, a second waveshapable LFO called (shaper-y) with 4 fixed waveforms and shape control adjustable from saw to reverse-sawtooth, Performance panel to include Auto & preset Glide, and 3( not 2) performance wheels, pitch, Mod-x, and Shaper -Y. with the latter 2 having 5 different destinations. An audio mixer with ability to mix OSC A & B with Ring Modulator, and Noise (LFO 1 also has a secret RED NOISE Generator ??) as well as a brightness control for overall boost of the high frequencies of the mix. A filter envelope withinverted and normal ADSR & a loudness envelope which can be bypassed. Output Jacks: External Gate in, External Pitch in, Keyboard Pitch out, Keyboard Gate out, OSC B Pedal, Filter Pedal, Shaper Audio Out, ADSR Mix Out, External Audio In. How does it sound???? I 'll leave that up to another post. Hope this helps out Larry From MOOGMAN@aol.comThu Apr 20 17:22:30 1995 Date: Thu, 20 Apr 1995 20:05:49 -0400 From: MOOGMAN@aol.com To: jeanniel@merle.acns.nwu.edu Cc: analogue@hyperreal.com Subject: Crumar Spirit Story Well I think this is the way it goes: SOUND SOURCES (2) oscillators with 6 position switches, at one end triangle waves at the other, sawtooth, with the middle positions for different duty cycles of the square wave. (1) oscillator sync switch syncs OSC B to A (1) Noise slider, adds a mix of white & pink noise (1) Ring Modulator, this is a true sound source because it sums and differences the triangle wave output of OSC A & B and this output is internally connected to this ring mod slider. it doesn't matter which waveform is selected by each OSC. However if you shift the frequency it affects this modulation. MODULATIONS MOD-X (LFO) has triangle & square wave outputs, random, sample & hold, RED NOISE, and OSC B. Any of these canbe routed to : Either OSC A, A & B, PULSE WIDTH OF OSC A, FILTER UPPER, FILTER LOWER. SHAPER-Y (ENV-GEN) has 4 modes: FREE RUN Mode- converts this to an LFO, with a wave shaping control to change waveform output from sawtooth to Reverse-sawtooth. KB HOLD Mode- produces and envelope with sharp rise-time and abrupt cut-off, cycled by rate control. RESET Mode- produces an envelope with graduated rise-time and abrupt cut-off. RUN Mode - produces a simple sinewave LFO output. Shaper Y can be routed to: OSC-A & B, OSC-B, Pulse Width of OSC-B, LFO Rate, Lower FIlter. If all this isn't bad enough, the "SHAPE X with Y switch allows additional modulation of MOD-X with Shaper-Y, allowing for precise shaping of Vibrato-Depth, for example. Finally an arpeggiator with 3 Modes: RIPPLE- Up & Down ARPEGGIO- Up Several Octaves LEAP- Leaps 1 Octave steps up to 4 octaves ------------------------------------------------------------------------------ --------- SIGNAL TIMINGS GAted signal sources can be applied to Env. Gen from either MOD-X or Shaper-Y ------------------------------------------------------------------------------ ----------------- There are : 24 Knobs, 10 Switches, 15 Sliders, & 3 Performance wheels. HOW DOES IT SOUND ?????? I was able to produce most Mini-Moog sounds immediately, although the oscillators sounded more "controlled" and somewhat cleaner than the MINI. I could not push the Filter section into oscillation, it seemed to have a limited range, the Ring Modulator was actually quite pleasant, it seemd to work better than expected,and after playing with it for awhile, i could produce some interesting Metallic Gong type sounds. For sheer Noisemaking, MOD-X and Shaper-Y will blow you away, When you get these guys going with the Arpeggiator, this thing starts to take on a life of it's own. At one point there was so much going on I couldn't tell what was modifying what. Well there you have it. I tried to describe this thing as best I could, I may have left something out, I don't know......If you get the chance to play with one, give it a go! See Ya on the net.... Larry From jeanniel@merle.acns.nwu.eduMon May 1 10:03:24 1995 Date: Mon, 1 May 1995 11:02:04 -0500 (CDT) From: jeanniel@merle.acns.nwu.edu To: analogue-owner@hyperreal.com Subject: Could you please upload another article (Crumar Spirit) Hi, Sorry to bother you again, but the post below can be of great benefit to AH folks, so could you please place it into Music Machines archive. J:L ---------------------------------------------------------------------------- FROM: MOOGMAN@aol.com ---------------------------------------------------------------------------- Well I think this is the way it goes: SOUND SOURCES (2) oscillators with 6 position switches, at one end triangle waves at the other, sawtooth, with the middle positions for different duty cycles of the square wave. (1) oscillator sync switch syncs OSC B to A (1) Noise slider, adds a mix of white & pink noise (1) Ring Modulator, this is a true sound source because it sums and differences the triangle wave output of OSC A & B and this output is internally connected to this ring mod slider. it doesn't matter which waveform is selected by each OSC. However if you shift the frequency it affects this modulation. MODULATIONS MOD-X (LFO) has triangle & square wave outputs, random, sample & hold, RED NOISE, and OSC B. Any of these canbe routed to : Either OSC A, A & B, PULSE WIDTH OF OSC A, FILTER UPPER, FILTER LOWER. SHAPER-Y (ENV-GEN) has 4 modes: FREE RUN Mode- converts this to an LFO, with a wave shaping control to change waveform output from sawtooth to Reverse-sawtooth. KB HOLD Mode- produces and envelope with sharp rise-time and abrupt cut-off, cycled by rate control. RESET Mode- produces an envelope with graduated rise-time and abrupt cut-off. RUN Mode - produces a simple sinewave LFO output. Shaper Y can be routed to: OSC-A & B, OSC-B, Pulse Width of OSC-B, LFO Rate, Lower FIlter. If all this isn't bad enough, the "SHAPE X with Y switch allows additional modulation of MOD-X with Shaper-Y, allowing for precise shaping of Vibrato-Depth, for example. Finally an arpeggiator with 3 Modes: RIPPLE- Up & Down ARPEGGIO- Up Several Octaves LEAP- Leaps 1 Octave steps up to 4 octaves ------------------------------------------------------------------------------ --------- SIGNAL TIMINGS GAted signal sources can be applied to Env. Gen from either MOD-X or Shaper-Y ------------------------------------------------------------------------------ ----------------- There are : 24 Knobs, 10 Switches, 15 Sliders, & 3 Performance wheels. HOW DOES IT SOUND ?????? I was able to produce most Mini-Moog sounds immediately, although the oscillators sounded more "controlled" and somewhat cleaner than the MINI. I could not push the Filter section into oscillation, it seemed to have a limited range, the Ring Modulator was actually quite pleasant, it seemd to work better than expected,and after playing with it for awhile, i could produce some interesting Metallic Gong type sounds. For sheer Noisemaking, MOD-X and Shaper-Y will blow you away, When you get these guys going with the Arpeggiator, this thing starts to take on a life of it's own. At one point there was so much going on I couldn't tell what was modifying what. Well there you have it. I tried to describe this thing as best I could, I may have left something out, I don't know......If you get the chance to play with one, give it a go! -------------------------------------------------------------------------- Since there appears to be some interest on AH about the Crumar Spirit, I thought i'd dust off old S/N 00049 and give it a run. If there's enough interest i'll write a longer post about the modulation possibilities on this strange beast, and if anyone wants to know , i'll rip the thing apart and do a small hardware report. For now this brief summary is for the curious: Designed in 1982 by Bob Moog, Jim Scott & Tom Rhea, the spirit was released in 1983. It costs $895.00 . It sported a 37note keyboard with 2 VCO's with available waveforms being, saw, square,and triangle on both. It had the ability to sync both osc and they had a octave range from 32' to 4'. Ring Modulation, low and high pass filters, 12 DB & 24DB slope, Single & Multiple triggering, Keyboard filter tracking, band pass filtering, Loudness envelope, filter envelope, Arpeggiator linked to LFO (mod-X) with 4 different Arpeggiations, LFO1 modulated 6 different ways, a second waveshapable LFO called (shaper-y) with 4 fixed waveforms and shape control adjustable from saw to reverse-sawtooth, Performance panel to include Auto & preset Glide, and 3( not 2) performance wheels, pitch, Mod-x, and Shaper -Y. with the latter 2 having 5 different destinations. An audio mixer with ability to mix OSC A & B with Ring Modulator, and Noise (LFO 1 also has a secret RED NOISE Generator ??) as well as a brightness control for overall boost of the high frequencies of the mix. A filter envelope withinverted and normal ADSR & a loudness envelope which can be bypassed. Output Jacks: External Gate in, External Pitch in, Keyboard Pitch out, Keyboard Gate out, OSC B Pedal, Filter Pedal, Shaper Audio Out, ADSR Mix Out, External Audio In. How does it sound???? I 'll leave that up to another post. Hope this helps out Larry -- +-------------------------------------------------------------+ | THIS TRANSMISSION WAS BROUGHT TO YOU BY BIONAUT JEANNIE! | +-----------------------------+-------------------------------+ | jeanniel@merle.acns.nwu.edu | telephone connection rejected | +-----------------------------+-------------------------------+ |||||||||||||| Have you hugged your moog today? ||||||||||||||| +-------------------------------------------------------------+ (c)(p)2001 In labyrinths of coral caves