Dude plays Sidrassi & CocoQuantus

video upload by sduck409 on Jul 16, 2012

"On a recent visit to Dude's (Liam Cloyd) domicile, I filmed this brief performance/improv. Sound production is with a Ciat-Lombarde Sidrassi and a Cocoquantus, with some additional enhancements from a 4ms Bend Matrix, Moogerfooger LPF, and a Strymon Blue Sky and El Capistan. Sorry, only crappy mono camera mike audio. Copyright ®2012 Stephen Drake and Liam Cloyd."

I haven't had a post featuring the 4ms Bend Matrix in ages. I'm showing the last one on Aug 3, 2010. Click here and scroll for some posts.

An Interview with John Eaton on Astronauta Pinguim

"It was also in Rome that John Eaton met the electronic engineer Paul Ketoff, inventor of the famous and legendary Syn-Ket [pictured below], in 1964. With the Syn-Ket, John Eaton has conducted more than a thousand presentations around the world and was at one of these presentations, in 1966 at Columbia University, where he met Robert Moog, who fixed the Syn-Ket, damaged during a flight, and also built a synthesizer Moog especially for Eaton! The partnership of John Eaton and Robert Moog also created the Eaton-Moog Multiple-Touch Sensitive Keyboard [left] (which John briefly explained in the interview below)."

You'll find the interview on Austronauta Pinguim in English here and Portuguese here.

Update: I added a Moog-Eaton label below for all posts mentioning John Eaton. Do check it out. You'll find a number of posts including this post with a link to an old video of John Eaton and the Eaton-Moog Multiple-Touch Sensitive Keyboard. You'll find a newer demo towards the bottom of this Animoog post. The virtual keyboard in Animoog is based on the Eaton-Moog Multiple-Touch Sensitive Keyboard.

Moog Multi-Touch Sensitive (MTS) keyboard Comes to the Masses in Animoog's

See the bottom update in the main Animoog post for a demo of the Eaton-Moog Multi-Touch Sensitive Keyboard (MTS) being demonstrated by John Eaton. Look for this pic and scroll up to the red Update. Also, I added a new user video from ldtregent just above it.

Moog Animoog for iPad Now Available

Animoog - Moog Music Inc. - iTunes
Update: Videos below. Moog also posted some pics on flickr here. If you have an iPad, this is definitely worth picking up. What you are looking at is the X/Y pad display of the Path and Orbit Modules. If you are familiar with Vector synthesis, think of this as a place you can draw paths for the note being held to travel and morph sound. You can set the path to loop, go back and forth or just go through once, and you can set the speed and distance relative to the path. It's pretty impressive. If you picked up the app, select PATH on the right of the X/Y pad where the Filter is, click Edit, draw a path, set the Rate to 3 or 2, hold a note and watch. while holding a note, move your finger from the bottom of the "key" to the top. You'll notice the light indicating the note will drift from the path when you slide up. You can also grab and move the path in the X/Y screen. See the videos below for more.

Original post:
Animoog - Moog Music Inc. Currently $.99 for 30 days. Regular price will be $29.99. Two tweets captured for the archives from @moogmusicinc - 8:34 PM PST and the original tweet at 8:29 PM PST. [This post went up at 8:33 PM PST]

Description from iTunes:
"Animoog, powered by Moog’s new Anisotropic Synth Engine (ASE), is the first professional polyphonic synthesizer designed exclusively for the iPad. ASE allows you to move dynamically through an X/Y space of unique timbres to create a constantly evolving and expressive soundscape.

Animoog captures the vast sonic vocabulary of Moog synthesizers and applies it to the modern touch surface paradigm, enabling you to quickly sculpt incredibly fluid and dynamic sounds that live, breathe, and evolve as you play them.

Visually captivating and sonically immersive, Animoog brings iPad based music production to the next level. Whether you are new to synthesis or a professional, Animoog’s unique user interface gives you the power to easily create a visually vibrant and sonically rich universe. It is the ultimate tool for total creative expression!

Animoog’s diverse library of timbres is derived from analog waveforms captured from classic Moog oscillators, both vintage and modern, and run through a boutique’s worth of high-end outboard and analog signal processors. These include modular synth panels, Moogerfooger pedals and more.

Animoog is the newest innovation in creative tools from Moog Music, the legendary electronic musical instrument company founded by Bob Moog in Asheville, NC.

We want as many people as possible to experience Animoog. We have decided to make Animoog available for thirty days at the introductory price of $.99. Regular price $29.99.

Key Features:

• Anisotropic Synth Engine (ASE) - An exciting new Moog technology that allows the user to move dynamically through an X/Y space of unique timbres to create an expressive and constantly evolving soundscape.

• Timbre page – Assemble unique sounds in the X/Y space from timbres of a wide variety of vintage and modern Moog synthesizers and pedals. Note: this is NOT simple sample playback.

• Polyphonic Modulation - Simply slide your fingers to control multiple modulation parameters in Animoog right from the keys.

• Polyphonic Pitch Shifting - Easily manipulate the exact pitch of each note in a chord by rotating or sliding your fingers.

• Delay Module - A classic analog style ping pong delay.

• Thick Module - From bit crushing to unison voice detuning and drive, this module adds depth, edge and character to Animoog’s already massive sound palette.

• Moog Filter - The classic four-pole Moog ladder filter with High Pass, Low Pass and Band Pass modes.

• Record Module - Record your performance and overdub new layers, or play along live. Transfer recordings between Animoog and any other apps which support AudioCopy/AudioPaste

• Path Module - Direct ASE through Animoog’s X/Y space to create new expressive and shifting sounds that will blow your mind!

• Orbit Module - Control the rate of orbit in the X/Y space around the path you created for subtle to insane voice manipulation.

• Flexible Modulation Matrix - Amp, Filter and Mod Envelopes, LFO with infinitely variable wave shapes and sync, and four super flexible and assignable modulation slots.

• MIDI in/out - Use your Little Phatty or any other MIDI controller to control Animoog."

Animoog - Moog Music Inc.
iPads on eBay

Introducing Animoog

YouTube Uploaded by MoogMusicInc on Oct 16, 2011




99¢ Polyphony from Moog Music on Vimeo.

Animoog - Moog Music Inc.
iPads on eBay

And the 1st user vids:

Animoog - Test Drive 1 - Improvising on the patches

Uploaded by JackHertzVidz on Oct 16, 2011

"Moog have released their Animoog synth app. This thing is pretty damn cool. Here's a test drive of the App with random patches being played."

Animoog for iPad demo

Uploaded by aboutdafunk on Oct 16, 2011

"This video was uploaded from an Android phone."

ANIMOOG

Uploaded by jacobclemente on Oct 16, 2011

"its the best ipad synth app =)"

Moog Animoog on the iPad 2

Uploaded by ldtregent on Oct 17, 2011

"I just loaded the Moog Animoog on my iPad. It is truly cool and somewhat... weird! I love it!"

Update:

Prototype Moog demo

YouTube Uploaded by charger959 on Mar 11, 2010

"Eaton-Moog Multi-Touch Sensitive Keyboard (MTS) being demonstrated by John Eaton. (hope i got all that right!)"

via Michelle Moog-Koussa of The Bob Moog Foundation in this post on Professor William Hoskins and His Mystery Moog: "One thing I can tell you for sure is that Dad began working with John Eaton in 1970 on the Multi-Touch Sensitive keyboard [left via]. The main component of the MTS was the touch-sensitive keyboard, of course. It's not out of the realm of possibility that Dad would have used his work with John to push boundaries on another project."

And via Waves of Inspiration: The Legacy of Moog Exibition Updates
"In the 1980s, composer and musician John Eaton spent over 10 years developing a new synthesizer with Bob Moog, known as the Eaton-Moog Multi-Touch Sensitive Keyboard (MTS). This rare instrument will be on exhibit for the first time on the west coast beginning in January. Discover the birth of these ground-breaking synths with Deutsch & Eaton."

On a side note, a review on Animoog is up on Wired.

Update via Bob Berries in the comments: "This short tutorial might help to explain how the XY pad works."

Update via Vgermuse in the comments: " Hmmm...the keyboard sure looks a lot like Don Buchla's 216 Touch Controlled Voltage Source from the late 60's and early 70's" The Buchla of course was freely assignable to whatever you wanted it to control.

Professor William Hoskins and His Mystery Moog

Pictured to the left is Professor William Hoskins (via). What you see there is not the mystery Moog, but his Moog modular system. This post is about another Moog synth, one most likely based on the Sonic VI. If you have any information on what this synth might be after reading this, please feel free to leave a comment or contact me directly. My contact info is on the bottom right of the site. I have already contacted Michelle Moog-Koussa and Brian Kehew author of Kaleidoscope Eyes A Day in the Life of Sgt. Pepper, as well as Trevor Pinch, author of Analog Days [Amazon hardcover & paperback, preview on Google books], and featured in this exclusive post. I also contacted James Husted of Synthwerks, George Mattson of Mattson Mini Modular, Steven Jones of Synthwood, and Carbon111, all of whom know their synth history. None were familiar with what the synth might be.

The story: I was recently contacted by a Paul Rego with the following:

"I've been searching the Internet for over a year now and have not been able find a specific synth. Since you seem to know and work with every type of synth known, I thought I'd ask you...

Around 1973 - 1974, I took private synthesizer lessons at Jacksonville University (Florida). The instructor was Professor William Hoskins and the synth was a custom Studio Moog assembled by Professor Hoskins.

One day, Professor Hoskins showed me his personal, portable synthesizer. He brought out what looked like a brown suitcase. When he opened it, I saw a Moog Sonic VI.

This is nothing new. I've seen lots of images of this synth on the Internet. The one aspect of this particular synth, that I cannot find anywhere, is that it had a touch-sensitive keyboard. The keyboard was made of plastic and had a gray / brown color. Outlining the keys (showing the location of the 'white' and 'black' keys) was an almost medium blue color (about an eighth-inch thick). (He and I tinkered with this synth for about a half-hour to an hour.)

Professor Hoskins passed away several years ago, so I can't ask him about it. I did contact his family but they don't remember anything about this synth.

I do remember Professor Hoskins telling me that he and Bob Moog had 'gone to school together'. I think he was referring to electronics school but I never asked him more about it. I thought I had read somewhere that Professor Hoskins and Bob Moog had briefly worked together on a Sonic VI prototype but I don't know if that's true. (Even if what I saw was a prototype, someone has to own it now and should be proud enough of it to post some photos somewhere.)

I thought the background story might help in your own research on this.

Basically, I'd just like to know if this synth ever existed or am I just not remembering it correctly.

Thank you for your time and attention."

My first obvious guess considering the blue was the Buchla Music Easel or separate Buchla touchplate keyboard modded into the case of a Sonic VI. I sent Paul a couple of links to various images.

Paul replied: "the synth I saw didn't look like the Buchla Easel. Good call though.

The 'blue', which outlined the keys on the Sonic VI I saw was a bit lighter in color than the blue in your photos and maybe had a bit of green in it (closer to turquoise). There was no red or other color on the keyboard (that I can remember) and the entire keyboard seemed to be one piece of plastic with only the blue / green outlines separating the 'keys'.

I also read a story recently about the time when Musonics bought Moog and had a synth ('Sonic V'?) of their own, at that time, but I haven't research this too much yet. One thought I had was the synth I saw was something from Musonics but was never officially released (until it had the 'Moog' name placed on it). I'm pretty sure the synth I saw had the 'Moog' logo and the word 'Sonic VI'. (Not 100% sure but it seems clear in my memory.)"

I also sent Paul images of the EMS Synthi AKS. Paul replied it was the closest, but definitely not it.

I contacted Michelle Moog-Koussa and Brian Kehew to see if they knew of anything. Michelle replied: "...I can tell you that we have several of William Hoskins reel-to-reel tapes in the archives, so there was obviously a significant professional relationship between he and Bob.

I don't ever remember reading anything about the Sonic VI, but maybe Brian does. One thing I can tell you for sure is that Dad began working with John Eaton in 1970 on the Multi-Touch Sensitive keyboard [left via]. The main component of the MTS was the touch-sensitive keyboard, of course. It's not out of the realm of possibility that Dad would have used his work with John to push boundaries on another project."

Brian replied: "Bob didn't design or build the original Sonic V (from Musonics before they bought Moog) that was Gene Zumchak: The Sonic V did have a brown wood style. It's even unlikely Bob did much on the Sonic Six as it was the same thing with a new outer case.

The Sonic VI was the version Moog made in 1972 and later, in a plastic suitcase version. Many of these were made vs the very few Sonic V's. So one might think they saw a Sonic VI when it was the V (same front panel and features). But the brown suitcase and colored keys and touch sensitive thing are ALL unusual. I know a little about Prof Hoskins from the paperwork of the past, but no mention of this synth. Definitely unusual to have keys like that anywhere, anytime!" Followed by: "And there IS touch (velocity) sensitivity on Wendy Carlos' synth by 1971 for Clockwork Orange, but it's used under the normal keyboard. THIS velocity was very possible, but would not make the keys look different. Again - maybe a Sonic V was retrofitted with a cooler keyboard later in the 80s, but why not do so on a BETTER synth!?" :)

On a separate thread, Trevor Pinch got back to me with the following: "Bill Hoskins was important in that he was one of the first people David VanKouvering approached about minimoog reiail sales etc. I have a good album of his somewhere! I think he may have been Bob's favorite composer for a while.

I have no idea about the touch key board but I'm in touch with Gene Zumchak the guy who designed the Sonic Six, so I'll ask him. (I guess you know the joke that the Sonic Six was known by Moog engineers as the Chronic Sick!)

Actually its story might be kinda interesting - Zummy (as he is known) told me that it was made with 741 op amps and in many ways was more advanced than the minimoog.
Maybe it has had an unfair press. I never heard one or saw one for real."

James Husted sent me the image of Professor Hoskins at the top of this post. I sent it to Paul to see if maybe it brought back any memories that might help.

He replied: "The custom Moog modular in that photo is the same one I took lessons on. However, this is an early photo and when I saw that Moog modular, Professor Hoskins had already added a top layer to that cabinet — which included a Moog sequencer. (I have a photo of it, that I took around 1990, but the top part of the photo, showing the upper section, is cut off.)

The reason you didn't see Professor Hoskins' 'Sonic VI' is... I'm guessing that he didn't bring it to the university very often. When I saw it, I was at his home. He had invited me over one Saturday afternoon to see HIS custom Moog modular. It was in his garage, which he had made-over into a nice studio. It also had a two-manual organ, at least two reel-to-reel tape decks and LOTS of recording tape. Later, during that same session, he said 'There's something else I want to show you. Come inside.' We went into the living room and I sat on the couch. He said 'I'll be right back.' After about a minute, he came back carrying a brown 'suitcase'. He set it on the coffee table in front of me and sat down on the couch. He opened it up and... Whoa! I had never seen one of these and it was the first time I had seen a Ring Modulator!

---

I remember seeing Professor Hoskins play his Sonic VI during a live performance of his album 'Galactic Fantasy / Eastern Reflections'. The Jacksonville University orchestra played most of his composition but at one point his Sonic VI was brought out and he played it while at center stage. I could see it clearly from my seat but, of course, I could only see the back of it, which simply looked like the back of a brown suitcase.

---

Sorry it took so long to get back to you. Since I think this is important, I thought I'd try to recreate the 'Sonic VI' I think I saw. I 'Photoshopped' a production Sonic VI and attached it to this message. It's the best image of what I think I saw.

Modifying the image forced my memory to go into more detail. Here's what I'm fairly certain of:

• The outer color of the "suitcase" was almost dark brown.

• The outer shape was more square than the production Sonic VI.

• The thickness of the top and bottom sections was thicker than the production Sonic VI model.

• The keyboard was made of slightly textured plastic, otherwise completely flat, was brown / gray in color and had a vibrant blue outline between the keys. (I'm not 100% sure if the "black" keys were outlined or solid blue.)

• The background color of the back panel and the area surrounding the keyboard was almost dark brown. It looked like it was made out of either pressed cardboard or thin wood. It really reminded me more of the thin 'wood' used in old, tube televisions and radios (during the 1960s).

What I'm not 'fairly sure' of:

• I can't remember if it had a Mod Wheel.

• I think there was more space between the modules.

• I think it had two speakers (placed on the left and right side of the back panel). Each might have been the size of the center speaker-grill in my photo.

• I can't remember if there were any connectors, switches or knobs on the keyboard section."

Update: via Aaron aka theglyph in the comments: "Holy shit! That's the guy from JU. There was an electronics repair/pawn shop here in Jacksonville called Active Electronics that had a bunch of synths back in 90's. The owner had a sign in the store explicitly stating that the synths were not for sale and that customers were not allowed to walk up and look at them or touch them. I walked in day and walked close enough to notice that the MiniMoogs had very low serial #'s. It wasn't until I read Analog Days that I found out that the earliest Mini were sold here in Jacksonville. There so much more to this story that I don't know where to begin but I can say that I did an obscure Moog at the store that I've never seen photographed since and I simply thought I was loosing my mind recollecting it. WOW!

Cheers,
theglyph"

Update: Above, Brian originally mentioned Bill Hemsath as the person that designed the Sonic V. He meant to say Gene Zumchak. This has been updated.

Updates: via Dorothy in the comments:
"HI, as a Hoskins kid, I watched Dad perform on the synthesizer and I know we had the Sonic but I thought it was a "V". Dad had several custom modules built for him by Bob Moog. They were friends but didn't go to school together -- Dad went to Trumansburg NY to work with Bob on the synthesizer that they got for Jacksonville University (in 1969, I think). I will have to go digging in the Will Hoskins letters that I have. Those of you who knew Dad know that he was very meticulous about writing up the components that he bought and what they were for.
Late in Dad's life, when he was basically letting go of most composing effort except for revising existing scores, Bob helped Dad find a collector (in Germany, as I recall), who bought all of Dad's big home synthesizer. I think some of the smaller units were in the hands of Steve Smith, who was Dad's right-hand man at the JU studio for some years. Whatever happened to them, I don't think Dad would have cared as long as someone was using them to create music. He wouldn't have collected synthesizers as museum pieces, he actively used everything he got from Moog until he was ready to let it go."

Followed by: "BTW, that last time I spoke to Bob Moog was after Dad died, when Bob came to Rochester NY http://www.esm.rochester.edu/news/?id=132 which is near where I live now. Bob spoke very fondly of working with Dad, because Dad cared as much about the science of music synthesis as any composer Bob knew. Dad did some work with him on modulators and other components for JU and the Hoskins home studio."

Followed by: "Hoskins synth photo --not a Sonic -- in news article 1970 [link]"

Update 6/6/2010:

Some more interesting bits of Moog history:

Trevor Pinch checked with Gene Zumchak who had the following to say:

"I am not aware of a touch sensitive keyboard on the Sonic V or 6. It did have a two-note keyboard and the highest key pressed and lowest pressed could be routed to Osc 1 and Osc 2.

They removed the keyswitch bus and superimposed a highpitch (100KHz?) tone on the voltage string. This might have been the source of a whine that some users complained about that wasn't present in the Sonic V."

via Josh Brandt: 'Okay, I did hear back from David Mash [VP of IT at Berklee and friend of Bob Moog], who says that the story he was telling me several years ago was about a keyboard Bob was building for John Eaton. I asked about the story he'd told me and if the pictures you posted could be of the instrument he'd been talking about, and he said:

"The story I was no doubt telling was definitely about the keyboard Bob built for John Eaton [middle pic above]. Bob was going to show us the completed instrument (which my friends Jeff Tripp and Paul Derocco helped complete), but we never got to see it due to the way the conversation turned over dinner. I did see the instrument several times during the design/build stages and again later after it was complete.

The keyboard was simply a controller and not a synth, so definitely not the portable synth the blog is referring to. I know Brian, and was involved briefly with him and a bit more with Michelle Moog on the NAMM Museum exhibit, and they used a couple of my photos for the exhibit. They're great people and working hard to preserve Bob's legacy.'"

Update via WmJHeart in the comments:

"Thanks Matrix, for hosting this page. I own a copy of Will's Galactic Fantasy & Eastern Reflections (my personal favorite) recording on vinyl. But I also discovered and listened to the entire album on YouTube recently! Here:"

Galactic Fantasy - Eastern Reflections (1979)[Full Album]

video upload by

Published on Jul 12, 2017 TheHomecoming

"Rare electronic/synth/moog private pressing LP

TITLE 'Galactic Fantasy - Eastern Reflections'

William Hoskins, "Galactic Fantasy, Eastern Reflections" [CP-158]
TRACK 01 AUDIO TITLE "Overture : Stars Are Suns" PERFORMER "William Hoskins" INDEX 01 00:00
TRACK 02 AUDIO TITLE "Intermezzo : Interplanetary Communique" PERFORMER "William Hoskins" INDEX 01 06:39
TRACK 03 AUDIO TITLE "Star Nocturne" PERFORMER "William Hoskins" INDEX 01 08:11
TRACK 04 AUDIO TITLE "Scherzo : Comets" PERFORMER "William Hoskins" INDEX 01 16:35
TRACK 05 AUDIO TITLE "Beyond Beyond" PERFORMER "William Hoskins" INDEX 01 18:54
TRACK 06 AUDIO TITLE "Prolog : Theme and Variation" PERFORMER "William Hoskins" INDEX 01 23:40
TRACK 07 AUDIO TITLE "Lower Heterophonie" PERFORMER "William Hoskins" INDEX 01 27:55
TRACK 08 AUDIO TITLE "Song : Open Skies" PERFORMER "William Hoskins" INDEX 01 31:22
TRACK 09 AUDIO TITLE "Drum Chime" PERFORMER "William Hoskins" INDEX 01 35:28
TRACK 10 AUDIO TITLE "Upper Heterophonie" PERFORMER "William Hoskins" INDEX 01 39:41
TRACK 11 AUDIO TITLE "Epilog : Processional" PERFORMER "William Hoskins" INDEX 01 41:30

A1
Overture: Stars Are Suns
A2
Intermezzo: Interplanetary Communique
A3
Star Nocturne
A4
Scherzo: Comets
A5
Beyond Beyond: An Entropy Study
A6
Eastern Reflections
Eastern Reflections
B1
Prolog: Theme and Variation
B2
Lower Heterophonie
B3
Song: Open Skies
B4
Drum Chime
B5
Upper Heterophonie
B6
Epilog: Processional

Criminally under-rated set of Early American Moog Modular Synthesizer Music - the sole release by composer William Hoskins, the 'Director of Electronic Music and Composer-in-Residence at Jacksonville University in Florida.' Issued in 1979 by the Harriman, NY-based Spectrum - a 'Division of UNI-PRO Recordings, Inc.' the LP consists of a pair of discrete pieces, with each taking up a side of its own."

Update via Kimberly S Beasley in the comments:

"Hello, everyone. I am the current chair of the Department of Music at Jacksonville University and I have the original Sonic VI manuals and one of Hoskin's Moogs....happy to share photos tomorrow."

Kimberly sent in the images with the following:

"This has been in the possession of our Professor Emeritus Dr. William Schirmer as it was given to him by Hoskins. Hoskins' granddaughter Dorothy is also aware of the instrument. We also have a large collection of manuscripts of Hoskins.

There is also a mini-Moog we just refurbished in our recording studio."

You can see WM. Hoskins written on the top right of the manual. Note "Home Copy" on the blue cover. It's kind of neat to think of him perusing through the manual in the comfort of his home.

NAMM: Bob Moog Foundation Highlights Legacy and Synthesizer History in Three Events at Winter NAMM 2010

"The Bob Moog Foundation will be co-sponsoring three events at winter NAMM 2010, which takes place in Anaheim, CA on January 14-17, 2009 at the Anaheim Convention Center.

Main Showcase on NAMM Floor Highlights Items From Moog Exhibit – From January 14-17, the Bob Moog Foundation, in collaboration with the NAMM Museum of Making Music, will feature dozens of items taken from their exhibit Waves of Inspiration:The Legacy of Moog in the main showcase on the floor of the convention center. Of particular note, an extremely rare Eaton-Moog Multi-Touch Sensitive keyboard will be on public display for the first time. Numerous vintage instruments, photographs, articles and project notes will also be on display. The full exhibit runs at the Museum through April 30, 2010.

An Evening Celebrating The Legacy of Vintage Keyboards Through Documentary Film - On Friday night, January 15th, from 6-8pm in the Avila Room at the Anaheim Hilton, neo-symphonic synthesist Amin Bhatia and documentary filmmaker Dianna Dilworth headline an evening exploring the evolution and impact of vintage keyboards. Amin Bhatia will be joined by Michelle Moog-Koussa, Executive Director of the Bob Moog Foundation for a question and answer session followed by a screening of a short documentary on the making of his innovative realization of Bolero Electronica, for which he used over 70 synthesizers covering 75 years of evolution in synthesis in music. The documentary features rock legends Steve Porcaro and Patrick Moraz and Roland Founder Ikutaro Kakehashi.

Following Bhatia, Dianna Dilworth and Markus Resch of the Mellotron Archive will screen Mellodrama: The Mellotron Movie which explores the rising and falling fortunes of the Mellotron – the first musical keyboard to “sample” the sounds of other instruments – from its birth in a California garage in the 1950s, through its dominance on concert stages in the 1970s, through its almost religious cult of followers in the 2000s. From the Beatles’ “Strawberry Fields” to Black Sabbath to Kanye West, Mellodrama traces a 50-year odyssey of musical invention, revolution, betrayal, and rediscovery.

Panel Discussion To Explore the Impact of Bob Moog's Work on the Music Industry Past, Present and Future as Interpreted though Museum Exhibit - On Sunday January 17th from 3-4pm in the Idea Center at NAMM, The Bob Moog Foundation and the NAMM Museum of Making Music will present a panel discussion in celebration of the premiere exhibition Waves of Inspiration: The Legacy of Moog. The discussion will involve industry and musical luminaries in an exploration of the impact of Bob Moog's work on the music industry as it relates to the exhibition at the NAMM Museum of Making Music public display through April 30, 2010.

The discussion will be moderated by Museum Curator Tatiana Sizonenko.

Panelists include:
* Dominic Milano (former Editor: Keyboard Magazine)
* Craig Anderton (Senior Editor: Harmony-Central.com, Senior Editor: EQ Magazine, Contributing Editor: Keyboard Magazine)
* Herb Deutsch (collaborator on first Moog synthesizer)
* Larry Fast (Synergy, Peter Gabriel)
* Brian Kehew (Moog Cookbook, The Who, Exhibit Advisor)
* Michelle Moog-Koussa (Executive Director, the Bob Moog Foundation)

Links:
www.moogfoundation.org
www.museumofmakingmusic.org
www.aminbhatia.com
www.diannadilworth.com"

Waves of Inspiration: The Legacy of Moog Exibition Updates

"Exhibition features Keith Emerson's Legendary “Monster Moog” Modular Synthesizer through October 18th, 2009

CARSLBAD, CA/ASHEVILLE, NC – The Museum of Making Music (Carlsbad, CA), in partnership with the Bob Moog Foundation, has opened Waves of Inspiration: The Legacy of Moog exhibition, to run through April 30, 2010. The exhibit is the first of its kind, marking the first public display of the artifacts from Bob Moog’s archives and an examination of the impact of his work on the world of music.

MONSTER MOOG INSTALLATION
On August 30th, Keith Emerson's (Emerson, Lake and Palmer, The Nice) mammoth “Monster Moog” modular synthesizer was added to the exhibit after it was featured the previous evening in a musical celebration of the exhibit opening by Emerson and Erik Norlander. Emerson used this remarkable instrument on numerous recordings over the past 40 years, including his solo in “Lucky Man” (1969), possibly the most popular synth solo in history. He also used the synthesizer on countless world tours and is generally credited with pioneering the use of the Moog modular as a touring musician.

The “Monster Moog” began as a modest system, but grew over time as Emerson
requested that Moog create custom additions for his touring instrument, including extra modules, custom sample-and-hold, and several pre-sets, an innovative addition for that time. The synthesizer grew into a massive cabinet of five sections and over 75 modules. It stands more than four feet above its special base – almost 8 feet high. Its sound is noticeably clearer and stronger than any other keyboard Emerson plays – it is an instrument of significance and legend, and arguably the most famous synthesizer of all time.

Bob Moog and Keith Emerson enjoyed a special relationship of toolmaker and musician that grew in to a lifelong friendship. Moog is noted for listening to musician's needs and technical specifications which he then used to improve his instruments: This dynamic is explored throughout the Waves exhibit.

KEITH EMERSON

CLICK FOR MORE »

Prototype Controller from Bob Moog

via the Bob Moog Foundation blog on the upcoming Museum Exhibit, Waves of Inspiration. The Legacy of Moog. See the link for more. Keith Emerson will be performing.

"The exhibit will also include many artifacts from other private collections including the Moog Modular prototype previously owned by Herb Deutsch, a full Moog Modular IIIC and a working and extremely rare Eaton-Moog Multi-Touch Sensitive Keyboard loaned by avant garde opera composer John Eaton. Of particular note, Keith Emerson’s (Emerson, Lake and Palmer) custom built “Monster Moog” synthesizer will be displayed for the first month of the exhibition along with notes and schematics from Bob’s archives regarding the instrument." Note I gave this post the DIY label, just to make the point that it all starts with DIY. Click on the image.

Update: the following official newsletter came in from the Bob Moog Foundation on the event. I thought I would capture it here for the archives.

Keith Emerson to Perform at Opening of Moog Archives Exhibit
Synth legend Emerson and Erik Norlander will both perform at the Museum of Making Music to celebrate the opening of the first exhibit of Moog Archives!

Who: The Bob Moog Foundation & The Museum of Making Music
What: Waves of Inspiration. The Legacy of Moog. An exhibit, interactive engagement and opening weekend of performances including Keith Emerson and Erik Norlander.
When: August 28-30, 2009
Where: The Museum of Making Music, Carlsbad, CA

Interested in purchasing a ticket? Email to request details.

Visit our blog for details on the exhibit and "sneak preview" pictures of Bob Moog's archives, including a schematic drawing Bob drafted for Emerson's "Master Module".

See the pictures.

The Museum of Making Music, a division of the NAMM Foundation, is a small museum located 35 miles north of San Diego. The museum is dedicated to the exploration of the multifaceted history of the American music products industry from its beginnings in the 1890s to today. The Bob Moog Foundation has been planning this exhibit over a year and a half ago with the museum’s Executive Director, Carolyn Grant and Curator, Tatiana Sezinenko. Moog historian Brian Kehew has been involved as the consultant for the exhibit and is responsible for introducing the two parties at Winter NAMM 2008.

Here at the Foundation we regard Bob’s archives as a fascinating testament to history, innovation, and a lifetime of perseverance. Since retrieving the archives from unstable storage conditions in January of 2006, we have worked to preserve and protect this priceless collection that traces the 50 year career of a dedicated pioneer. With this exhibit, we are delighted to be sharing an extensive part of the archives with the public for the first time.

A special thanks to Carolyn Grant and Tatiana Sezinenko for their generous energy and thoughtful attention to telling a rich, fascinating story with an emphasis on accurately portraying Bob Moog as the toolmaker he so often described himself to be while giving careful consideration to the many people who make up the Moog Legacy. Thanks also to Brian Kehew who has worked (and will be working over the next six weeks!) tirelessly to help bring this exhibit to fruition. Finally, our deepest thanks to Douglas Babb, who made the trek from Indiana to North Carolina five times (on his own dime) to help us sort out and understand Bob’s archives.

We encourage all of you who are in the San Diego area to attend this unique exhibit. It will be an excellent opportunity to share in the life and work of Bob Moog – and for all you gearheads out there, it will be a chance to see many rare, if not one-of-a-kind pieces. Come share in the legacy that continues to inspire!

Continue to check our blog and the museum’s website for updates.

The Bob Moog Foundation
Make Waves by donating to the Bob Moog Foundation"

Moogfest 2007 in NYC -- featuring the first annual Moogfest Symposium

"Featuring an all-star lineup from the world of Moog
Greetings from the Bob Moog Foundation!

We have been hard at work all summer as we work towards our mission to document, celebrate & teach innovative thinking. On September 22, 2007 we will be traveling to Moogfest, an annual NYC event celebrating the musical legacy that continues through the instruments that Bob created. Check out Moogfest at moogfest.com and if you live in the NYC area, please join us for this very special tribute!

The Bob Moog Foundation has partnered with Moogfest to create the first annual Moogfest Symposium. At the Symposium, which takes place at 8pm on Thursday September 20, 2007 at Columbia University, luminaries in the field of electronic music will gather to discuss Bob’s legacy as it pertains to their own work and they will be taking questions from the audience. Symposium panel members include:

Herbert Deutsch – collaborator on the development of the first Moog synthesizer; composer, musician and performer; twice Chair of the Music Department at Hofstra University and former Director of Sales and Marketing at Moog Music, Inc.

Gershon Kingsley – musician and composer who led the Moog Quartet, which performed around the country and at Carnegie Hall. Best known for his catchy melody “Popcorn”, which is part of his “Music to Moog By” album, Mr. Kinglsey has recorded many Moog Albums, including “The In Sound From Way Out” with Jean-Jaques Perry and his most recent addition “God is a Moog”.
Joel Chadabe – composer, performer and pioneer in the development of interactive music systems. Mr. Chadabe has had a lifelong career in academia and has lectured, performed and recorded extensively. He is currently Professor Emeritus at State University of New York at Albany; Director of the Computer Music Studio at Manhattan School of Music Visiting Faculty at New York University. Joel is the President of the Electronic Music Foundation and the author of “Electric Sound: The Past and Promise of Electronic Music.”

John Eaton – Avant garde opera composer and performer and Professor Emeritus of Music Composition at the University of Chicago, where he taught for 10 years. He also taught at Indiana University (Bloomington) for 20. Mr. Eaton is a McArthur Fellow who, over a 20 year collaboration with Dr. Moog, created the Eaton-Moog Multi-Touch Sensitive Keyboard. He currently serves as the Composer and Artistic Director for the Pocket Opera Players, based in New York City.

David Borden – musician, composer and performer; played and tested early Moog Modulars in Bob Moog’s studio in Trumansburg, NY. Founder of Mother Mallard’s Portable Masterpiece, the first Moog synthesizer ensemble. Retired Director of the Digital Music Program at Cornell University, where he taught for 37 years.

Trevor Pinch – Author of “Analog Days: The Invention and Impact of the Moog Syntheziser” and professor and Chairperson of Science and Technology Studies at Cornell Univeristy.

Moogfest and the Bob Moog Foundation are proud and honored to be
sponsoring an event that pulls together Bob’s lifelong friends and colleagues and the vast amount of experiences and knowledge that they share. This promises to be a very special evening.

Please join us at:

Center Room
3rd Floor, Prentis Hall
632 West 125th Street
Columbia University

For directions online, please see:
http://music.columbia.edu/cmc/contact/index.html

For those of you who live in the New York City area, we hope to see you at the Symposium and at Moogfest. We’ll be checking in with the rest of you to let you know how it all went.

Until then-
The Bob Moog Foundation"

The "Can't-Resist-A-Sizer"

The Eaton-Moog Multiple-Touch-Sensitive Keyboard. It has two rows of keys.

Update: Found a video link on The Ledger.

What if this is Moog's new announcement? Probably not, but who knows... ; )

Note: The sound of it reminds me of the Novachord Restoration Project.

Title link takes you to the full article on the Lost Eaton-Moog Synth Keyboard.

Note that Eaton will be performing in New York on March 19:
"Eaton's works will be featured in a concert at 8 p.m. Sunday, March 19, at St. Stephen's Church, 120 West 69th St. in New York. The event is a collaboration of the New York Composers Circle and ModernWorks. The suggested donation is $15."

Some bits pulled from the article:
"It's called the Eaton-Moog Multiple-Touch-Sensitive Keyboard, a name only an engineer could love. That's fine with Eaton. He and Moog (rhymes with "vogue") spent four decades honing a tool for virtuosos, not a toy."

"It's very difficult to play. But an instrument should be difficult to play. That's the only way to master musical materials, by overcoming these difficulties," says Eaton, 70, surrounded in his cramped attic studio by upright pianos, ancient computers and programs and scores from his 20 operas."

"What is unique -- and challenging -- about the Eaton-Moog keyboard is how many ways each key can be programmed to respond. How far you depress a key matters. The actual area covered by your finger changes the sound. Sliding your finger across a key's length or width can approximate, say, a vibrato effect on a violin string. How hard you push a depressed key matters, too."

"Eaton jokingly dubs this keyboard the "Can't-Resist-A-Sizer."

"How does it sound?
Think theremin -- from quavering soundtracks of cheesy sci-fi movies -- crossed with a baseball organ. Throw in some psychedelic chemicals, and you begin to get the idea."

Lost Eaton-Moog Synth Keyboard

Interesting. Synthtopia has a post up on a Lost Eaton-Moog Synth Keyboard. They are asking if you know more about it, to contact them. I wonder how this compares to the Haken Continuum. I wonder if John Eaton knows about it.

"Composer John Eaton is waiting for someone to develop a "lost" instrument, the Eaton-Moog Multiple-Touch-Sensitive Keyboard. The keyboard design was a collaboration between Eaton and Robert Moog, and features keys with enhanced capabilities, enabling new methods of touch control of synthesizers.

The [device] is "the world's most sensitive musical instrument next to the human voice," according to Eaton. "Playing it is a kind of combination of playing a a very sensitive stringed instrument and playing a keyboard instrument."

The keys on the 49-note keybaord respond to five motions: the distance a key is depressed; the finger's front and back position and motion on each key; the finger's side-to-side position and motion on each key; the total area a flattened finger covers on each key; and pressure on a key after it is depressed fully.

These five, fully independent controls send signals in digital streams of numbers to a computer, which routes the signals to affect any possible aspect of musical continuity desired--loudness; vibrato; tremolo; reverb; tone color or instrumental change; the speed, pitch, and any other application that can be dealt with by a modern sound synthesizer or sound-generating computer program.

The prototype now lives in Eaton's attic, according to an article in the NJ State Ledger."