Espen Kraft Gets Quirky: Memorymoog Sequencer Goes Full Aussie

Espen Kraft kicks things off by wrangling the Memorymoog’s sequencer, a machine that’s got more personality than a footy team after finals. With both polyphonic and monophonic sequencing on tap, this beast isn’t just a one-trick pony—it’s a whole rodeo. The interface might look like it’s straight out of a VHS instructional tape, but don’t let that fool you: it’s packing some serious creative firepower.

What really sets this sequencer apart is its ability to store both types of sequences in each memory location. That means you can layer up lush chords and then slap a monophonic line over the top, all without breaking a sweat. It’s a setup that’s as flexible as a yoga instructor at a bush doof, and Espen’s playful approach makes it clear that this isn’t just about nostalgia—it’s about having a bloody good time.

Here’s where things get spicy. Espen shows off how the Memorymoog can trigger other synths—like the MFB Dominion 1—using its trusty CV and gate outputs. It’s like inviting your mates over for a jam and letting the Memorymoog play ringmaster. With two cables running the show (one for pitch, one for gate), you can make other gear dance to the Memorymoog’s tune.

Of course, it’s not all smooth sailing—there’s a bit of voltage trimming to keep everything in tune, but that’s half the fun. Watching Espen patch things up is a reminder that this kind of hands-on control is what makes vintage gear so addictive. If you’ve ever wanted to turn your studio into a spaghetti junction of cables, this is your golden ticket.

Now, syncing the Memorymoog is where things get interesting—like trying to herd sheep during a thunderstorm. Espen attempts to wrangle the sequencer with an external clock from the Ayla S2400, aiming for that perfect groove lock. The Memorymoog Plus has a clock input and even MIDI, but in true retro fashion, Espen sticks to the old-school methods for this demo.

It’s a bit of a gamble, but when the external clock finally kicks the sequencer into gear, it’s a moment of pure satisfaction. Sure, there are a few rough edges and some dodgy playing, but that’s the charm of vintage gear—sometimes it works, sometimes it throws you a curveball. Either way, it keeps you on your toes and makes every jam session an adventure.