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Synthesizer Pioneer Bob Moog Dies
Sigalarm writes "CNN is reporting that synthesizer pioneer and all-around vanguard of electronic music Bob Moog has passed away at age 71. Dr. Moog built his first electronic instrument -- the theremin -- at age 14 and made the MiniMoog, 'the first compact, easy-to-use synthesizer,' in 1964. He was the first to bring the electronic synthesizer within reach of most musicians, and his MiniMoog is still highly praised and often emulated, to this day."
Since Moogmusic is ./'d to hell, try
Moonarchives
"Simplify, simplify, simplify!" Thoreau
FYI, proper pronunciaction of Moog is 'Moag', like 'moat' with a 'g', and not like 'Moo'-g, like a cow would say it.
Computers are useless. They can only give you answers.
-- Pablo Picasso
The following is link from his biography on the same website:
The Man Behind the Machines
What would the world of modern music be like without the inventions of Bob Moog? One answer would be: very boring. Bob Moog's namesake analog synthesizers have affected popular music in ways he might not have expected back in 1954 when he began building theremins with his father. But 50 years later, Bob's musical instruments have catapulted so many styles of music into the future, and his contributions to both players and technicians grow even more profound in retrospect.
Where would R&B, rap and hip-hop be if groups like Parliament and Funkadelic hadn't used Moog keyboards? Where would rock and roll be if groups from Yes to the Beatles hadn't used Moog keyboards? Would jazz music have branched off into fusion without Herbie Hancock and Chick Corea using Moog keyboards? And would classical music have enjoyed such resurgence without Wendy Carlos and her modular Moog synthesizer? The questions are hypothetical, of course, because synthesizers have infiltrated every style of music, and so many companies have tried to recreate that analog sound. But above all the copycats and spin-offs, it always comes back to one name: Moog.
After ten years of making theremins, providing unearthly sounds to science fiction movies and avante garde musicians, Bob Moog met experimental composer Herbert Deutsch, whose search for electronic sounds inspired Bob to create the first Moog Modular Synthesizer. Though Bob took on the project just for fun, when he premiered it at the Audio Engineering Society Convention in October of 1964 the response was immediate and Bob started taking orders on the spot. By the time he received a graduate degree (PhD in Engineering Physics, Cornell University) in the summer of 1965, the R. A. Moog Co. had delivered several modular synthesizer systems, mostly to academic and experimental composers. But it would be a few years later when public awareness of Moog synthesizers would leap ahead beneath the nimble fingers of Wendy Carlos.
Carlos' renowned album "Switched-On Bach" was released on Columbia Records at the
end of 1968, achieving immediate success. The album went on to sell over a million copies, creating a sharp demand for Moog modular synthesizers throughout 1969 and early 1970. Many "switched-on" records were produced during that period. By the end of 1970, the now incorporated R. A. Moog Inc. introduced the Minimoog®, a compact performance synthesizer based on the technology of Moog modular products, enabling keyboardists to take the Moog on the road. And that began a decade of music that would be forever altered by the Minimoog and its incomparable sounds.
R. A. Moog Inc. officially changed its name to Moog Music Inc. in 1971 and became a division of the now defunct Norlin Music in 1973. Moog synthesizers were widely used by professional musicians and the "Sound of the Moog" became an integral part of our musical culture. The list of songs is far too long to print here, but from rock to R&B, from jazz to classical music, the Moog sounds were everywhere.
At the end of 1977, Bob left Moog Music and in 1978 founded Big Briar for the purpose of developing and building electronic musical instruments with novel player interfaces. Actual Moog keyboards were made for the better part of the next decade by Norlin Music, but with the heart and soul of Moog gone, Moog keyboards ceased production by 1986. Though gone from his namesake company, Bob's interest in synthesizers and instruments could not be quelled. From 1978 to 1992, Bob operated Big Briar on a small scale and kept building custom instruments. He was also representing Synton, a Dutch manufacturer of modular equipment, and providing consultation services to other music technology manufacturers. In addition, Bob served as Kurzweil Music Systems' Vice President of New Product Research from 1984 through 1989, and taught music technology courses at the University of North Carolina at Asheville from 1989 to 1992.
A documentary about Robert Moog, called simply "Moog", came out last year, directed by Hans Fjellestad. A site about the movie is here:
http://www.zu33.com/moog/
While the movie doesn't work for everyone (it's a little arty and a little weird), it has a lot of interview footage with Bob Moog and his unique outlook on life. It's well worth getting and a very dreamy, very loving portrait of the man.
How lucky we are that Fjellestad took this project on.
FYI, Bob didn't invent the theremin, but rather it was his work building and marketing them that led to his innovation of the modern synthesizer.
As far as I know, the original article is wrong. Moog synthesizer in 1960's were modular. They were indeed easier to use than the competition because at least they included normal musical keyboard (oddly enough, Bob Moog was one of the rare engineers who understood that musicians want to play their synths just like piano or Hammond organ). Minimoog was the compact one, but it wasn't released until around 1970.
Switched on Bach by Wendy Carlos, especially the last track (Initial Experiments). You can hear Wendy working with a prototype Moog pressure-sensitive keyboard, trying various settings and arrangements. Wendy's narration provides great background to the experiments. As a geek, it is (by far) my favorite track on the CD.
RIP, Bob.
Terry Gross interviewed Robert Moog back in 2000. The interview is available online here:
y Id=1113447
http://www.npr.org/templates/story/story.php?stor
If you have it somewhere: I Feel Love by Donna Summer. Baseline is Giorgio Moroder and the classic MS-10/SQ-10 pair. Must have been the first introduction to a sequencer for most people. Little did they know.. He will be missed.
What's really sad is how persecuted those who enjoy electronic music are. Just last weekend a rave in Utah was broken up by the national guard. Hundreds of peaceful dancers threatened with guns, and dozens beaten and arrested. This was a fully licensed event, and the police simply ripped up the permits and waved their guns. Here is a video of the raid, and some first hand accounts.
The government is waging war on its own citizens under the guise of the war on drugs, now blatantly violating the constition. It's clear that if you are not a good christian who drinks beer and watches football, you're a second class citizen. I'm just glad nobody died.
Give me Classic Slashdot or give me death!
actually - the first Rock single to use a Moog synth (as an instrument - not as a noise machine) was The Monkees' "Star Collector".
[Connection closed by foreign host]
Actually, MIDI is all about being a language of messages and control, not about actual sound signal itself.
The entire control aspect of MIDI, the entire frequency range and "note" aspect of MIDI, all of MIDI's timing, and every other control or signal is quantized, perfect, reproducable, and digital.
You can't -continuously- vary the tempo, the frequency of gate signals, the frequency of any oscillator, the resonance value of any filter, etc. Oh, sure, you can get 16 bits or more of resolution on these digital settings in MIDI and you can send those signals at some divisor of 31 kHz (or whatever MIDI's rate is), which is fairly fast and fairly smooth, but it's simply not analog or continuous control.
If you've ever heard classic MIDI "zipper" noise when controlling a filter or oscillator, you'll agree. And when you don't hear such digital artifacts during MIDI control, it's simply because a smart engineer has kept those artifacts below a reasonable level of perception. I'm not saying MIDI control is worse or evil, but it's not what Robert Moog pioneered, nor was it what he was best at, nor what is what most people will remember him for.
MIDI is actually what seperates the performance from the sound generation.
MIDI is one way to do it. Analog sequencers and analog patches are another. Where MIDI requires a distinction be made between an audio signal and a control signal (MIDI addressing only the latter, and only digitally), analog does not. Signal is signal and there's nothing to stop you from (and everything to encourage you to try) taking an "audio" output and sending it to a "control" input or vice versa.
Sweep one -10V to +10V oscillator (audio) with another -10V to +10V oscillator (control) and you'll be doing something that MIDI just can't do. When a jack says "output" on a patchable analog rig, you can treat it as control or audio. It's really quite elegant. And nasty.
I'm not saying illegal things didn't happen there. But illegal things happen at every concert and club in the world. Electronic music fans are particularly singled out.
Now as for the permits, they were destroyed by the police. If you don't believe it, we'll find out when it all goes to court. The police just didn't care that this event was as legal as an Allman Brothers concert. The linked article is extremely poorly researched, and deliberately biased towards the government.
Anyway, if you've ever been to a rave you'd know that there's almost never any trouble. Ravers are peaceful friendly people. Most all raves are well planned with security and medical. The only "problems" that happen are people consuming drugs of their own volition. Illegal yes, but does that justify waving assault rifles in their faces?
Besides, if you care so much about law and order, you should be concerned that this raid happened in a lawful manner. It wasn't.
Give me Classic Slashdot or give me death!
Polymoog wasn't his. David Luce designed that one.
I read a David Luce paper in Journal Of The Audio engineering Society. Nice measurements of musical instrument spectra, completely faulty mechanism for describing how they changed with amplitude.
Here's a link to a good history of Moog Music, including how Luce was chosen to run the outfit after Moog left.
http://www.synthmuseum.com/moog/
CBS Music never owned the Moog trademark. In the 1970/80s it was owned by Norlin, who also owned Gibson guitars, Lowrey organs, Maestro FX pedals, Pearl Drums, among others.
The Moog trademark lapsed by the mid 90s and was snatched up by Don Martin. After promises of reissued Moog products, accepting 50% deposits, and very little product delivered, Don was forced into bankruptcy and the assets were liquidated. Bob Moog stepped in to reacquire the trademarks to his name and the instruments, and operated as Moog Music since 2002.
Bob's 21st century Minimoog, the Voyager, is an outstanding product. I have one of the early Voyagers and it is a high quality product, as is the other Moog products they currently make.
We lost a great man this weekend.
Eternity: will that be smoking, or non-smoking? I Corinthians 6:9-10
That doesn't really do justice to it:
Source: From the account of one of the headline DJs
Other choice quotes:
Spread the word.