Moog Music sent the following out to subscribers of their newsletter. I thought I'd share it with those that aren't subscribed, as well as capturing it in the archives. Keith was legendary.
"Thank you, Keith Emerson
'In general, everything we've ever done has always been in collaboration with musicians... there's constant experimentation. Keith Emerson was the first guy that really, in a professional way, took a large modular system on stage and made it work.' - Bob Moog
The sudden loss of Keith Emerson, a beloved member of the Moog Family, has profoundly impacted us. We were shocked and saddened to lose our hero, friend and collaborator so soon.
Keith discovered the Moog synthesizer with his band The Nice in 1969. Shortly thereafter, he reached out to Bob Moog and acquired one of the first Moog modular synthesizers, which was built for the Museum Of Modern Art's "Jazz In The Garden" public performance. From then on, the names Emerson and Moog were entwined forever. Keith became the most-visible proponent of the synthesizer revolution, using the Moog loyally onstage for almost every show of his career. Emerson became the brightest name in the world of progressive rock music, his influence and creativity rivaled only by Jimi Hendrix. He was a masterful musician in many styles, but also a renowned showman who understood that elaborate theatrics would elevate the experience of the audience to a fever pitch. Part of his "show" was to faithfully include the monstrous wall of modules and cables that his Moog had become over the years, as it had developed an instantly recognizable sound that no other instrument could duplicate.
In 2015, nearly 45 years after the beginning, Moog and Emerson worked to create newly-built exact duplicates of Keith's legendary modular instrument. Matching his original Moog to painstaking details, the new EMMS (Emerson Moog Modular System) was the first artist signature-series Moog synthesizer. It was an honor to recognize the great contribution Keith Emerson has made to the long Moog history, and to his enormous influence felt still today on the world of synthesis.
Through his enduring friendship with Bob Moog, his pioneering use of the Moog Modular and his lifetime of creative collaborations with Moog Music, Keith's fingerprints are on the very DNA of electronic synthesized sound. We can say for certain, that our company would not be where it is today without Keith's prophetic contributions. Our hearts are broken knowing our journey together has come to a close.
Thank you, Keith. Your spirit will live on forever in those electric moments when technical brilliance and unconstrained expression collide."
Bob Moog and Keith Emerson, 1974 (photo credit: Greg Hochman)
"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.
"October 12, 2014 marks the 50 Year anniversary of the unveiling of the Moog modular synthesizer at the Audio Engineering Society's (AES) New York convention. On that day in 1964, Dr. Robert Moog introduced the world to a completely new type of instrument that would go on to change the course of music history and influence decades of future instrument design. Told by a Moog engineer, Moog Historian, and Bob Moog himself, this mini-documentary explores Moog Music's quest to resurrect the original methods, materials and designs used in the foundational modular synths. Through recreating Keith Emerson's modular system, Moog Music rediscovers the power, elegance, and enduring legacy of its first instruments.
"Moog’s 1:1 Recreation of Keith Emerson’s Modular Synthesizer shown at AES ‘14
Asheville, NC, October 11, 2014 — Tomorrow, October 12, 2014, marks the 50 Year anniversary of the unveiling of the Moog modular synthesizer at the Audio Engineering Society's (AES) New York convention. On that day in 1964, Dr. Robert Moog introduced the world to a completely new type of instrument that would go on to change the course of music history and influence decades of future instrument design.
The Moog modular synthesizer was comprised of individual electronic modules, housed in a wooden frame, and it made use of voltage-control as a new way of creating powerful sounds that had never been heard before.
After its debut at AES, the scientific-looking Moog modular instrument that made extraordinary new sounds with rapid alterations and exotic tonal colors, started to gain in popularity. Musicians began to establish the Moog system as the archetype of synthesis. One of the earliest and most famous artists to adopt the new instrument was Keith Emerson, keyboardist for the innovative band Emerson Lake and Palmer. Touring the world for over forty years with this unique instrument, Emerson has made his Moog modular system the most recognizable synthesizer of all time.
The 50th Anniversary of the Moog Modular is a historical landmark for musical instrument design and popular music. In celebration of this momentous occasion, Moog Music has faithfully and painstakingly recreated Keith Emerson’s Moog modular. This new Emerson Moog Modular System (EMMS) utilizes original design material and parts to duplicate each facet of Mr. Emerson’s custom instrument down to the smallest detail. The modules in the EMMS are built exactly as the originals were in the Moog Factory in Trumansburg, NY in the 1960s: by hand-stuffing and hand-soldering components to circuit boards, and using traditional wiring methods. Today, Moog also released a mini-documentary featuring a Moog engineer, a Moog Historian, and Bob Moog himself, that explores Moog Music's quest to resurrect the original methods, materials and designs used in the foundational modular synths.
"It's a dream come true for us to bring back these instruments that our company is so known for, and to make them visually and sonically perfect. It's even more perfect that exactly 50 years after the first Moog synth was shown to the public, people can come to AES 2014 and experience the new Emerson Moog Modular System," said Brian Kehew, Moog’s Historian.
This towering recreation of the world's most recognizable synthesizer will be on display in Moog booth 1028 at the 137th AES convention in Los Angeles, CA through Sunday 10/12/14. It is the first time the Emerson Moog Modular System has been shown to the public since it’s unveiling at Moogfest 2014.
Of the 5 Emerson Moog Modular Systems Moog will build, only 1 remains available for sale. The price is $150,000 USD. To inquire about purchasing the last remaining Emerson Moog Modular System, contact Steve Maass at Moog Music. 828.251.0090 ext. 205 or email steve.m@moogmusic.com. Serious buyers only please."
"Waves of Inspiration: The Legacy of Moog Museum Exhibit Features Electronic Music Pioneer's Archives for the First Time
Carlsbad, CA/Asheville, NC – The Museum of Making Music and The Bob Moog Foundation announce Waves of Inspiration: The Legacy of Moog exhibition to run from August 29, 2009 – April 30, 2010 at the Museum’s facilities in Carlsbad, California. The exhibit is the first of its kind, marking the first public display of the artifacts from Bob Moog’s archives.
Bob Moog (1934-2005) was a pioneer in the field of electronic music, inventing the Moog synthesizer in 1964. His invention made synthesis accessible to musicians for the first time and in doing so provided them with new realms of sonic expression. The instrument revolutionized the face of music and was used by such early synthesists as Wendy Carlos, Keith Emerson, Rick Wakeman, Stevie Wonder, Chick Corea, Herbie Hancock, Jan Hammer, and more.
“The Moog synthesizer defined the sounds of progressive rock and was regarded as the best sound in synthesizers. ” – Keith Emerson(Emerson, Lake and Palmer)
The Moog synthesizer is widely used today in almost every genre of music and continues to be coveted for its rich, warm analog sound and high level of expressiveness.
“Bob Moog was one of the great visionaries of our time. His ideas far transcend just music, and to this day continue to have impact on everything from rock to rap to quantum physics” – Billy Corgan (Smashing Pumpkins)
Moog's career spanned over 50 years and his work left an indelible impact on music, musicians and music-lovers alike. Bob Moog's unique legacy is one of expanding musical expression through innovation and inspiring musicians to explore the boundaries of sonic reality. Tens of thousands of musicians worldwide were, and continue to be, inspired by Moog's work, and the sonic palette it provides.
Bob Moog was awarded two GRAMMYs for his work: the NARAS Trustee's Award in 1970 and Award for Technical Achievement in 2002. He also won the Polar Music prize in 2001 from the King of Sweden and numerous other awards that recognized his contributions.
The exhibition, which highlights the inventor's career and the impact that it had on the world of music, will feature rare vintage synthesizers and other related Moog instruments and memorabilia from the Bob Moog Archives and from various private collections. A custom video presentation created by Moog historian and exhibit consultant Brian Kehew will form a central part of the exhibit. The exhibit will explore the numerous musicians, engineers and colleagues who played a vital role in the evolution of the Moog sound and the relationship between and the inventor/toolmaker and the musician, as well as the genesis of a variety of musical interfaces.
The instruments featured in the exhibit will trace the history of Moog’s work. The exhibit begins with vintage theremins and a prototype of the first modular synthesizer which originally belonged to Herb Deutsch, an experimental music composer from Long Island whose 1963 meeting with Dr. Bob Moog would help define the synthesizer as a musical instrument, and set a course for the future of electronic music. Other excellent examples of modular instruments from the late 1960s and early 1970s will be on exhibit, most notably Keith Emerson’s famous “Monster Moog” will be featured for the first time as a part of the museum display.
The exhibition will highlight and explore crucial steps that were taken in the advancement of the Moog synthesizer during the years following the development of the modular system. The display will showcase a sequence of models that led to the emergence of more compact instruments, such as the Minimoog. The main impetus behind this tremendous work was Moog’s vision to create a portable electronic music studio on which musicians could compose and perform.
The opening weekend (August 29 -31) will kick off with a launch of the Moog exhibition featuring an intimate musical performances by Keith Emerson and Erik Norlander and talks by Larry Fast and Brian Kehew.
Tickets for the opening weekend events can be purchased on the Museum's website beginning August 3, 2009. The Museum is planning an array of exciting programming throughout the seven month exhibition with panel discussions featuring people who collaborated with Moog throughout his lifetime, and concerts featuring top synthesists. The ultimate goal of this exhibition and its programs is to highlight Moog's career while celebrating synthesis as a whole.
This exhibition is funded in part by The Norris Foundation.
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The Museum of Making Music is a division of the NAMM Foundation.
Founded in 1998 under NAMM’s organizational umbrella and with its sponsorship, the Museum of Making Music explores the multifaceted history of the American music products industry from its beginnings in the 1890s to today. Housed at NAMM Headquarters in Carlsbad, California (north San Diego county), the Museum tells stories of hard work, challenge, inspiration and pioneering innovation, and reveals the profound relationship between the industry, popular music, and global culture. For more information see www.museumofmakingmusic.org.
The Bob Moog Foundation is a non-profit organization founded upon Moog's passing in August 2005. The mission of the foundation is to educate and inspire children and adults through the power and possibilities of electronic music and through the intersection of science, music and innovation. The foundation has three main projects: preserving and protecting Bob Moog's archives, creating a Student Outreach Program that brings electronic music into the schools, and its hallmark project, the creation of a Moogseum in Asheville, NC, for which it was recently awarded a $600,000 lead grant by the Buncombe County Tourism Development Authority. The Moogseum is planned to open late 2012.
It has come to my attention that Keith Emerson passed away yesterday in Santa Monica, CA. We all know who he is and his influence in the world of synthesizers. Below are just a handful of videos including Bob Moog introducing Keith Emerson and his mighty Moog modular, Keith going over the system back in 1993, the introduction of Keith's 50th Anniversary Moog Modular reissued by Moog Music, Fanfare for the Common Man featuring the mighty Yamaha GX1, and finally the classic Lucky Man.
Few musicians will have the impact Keith Emerson has in our world of synthesizers. He will be sorely missed.
Pictured left: Emerson performing in Saint Petersburg, Russia, September 2008 (via Wikipedia).
Update: tributes from Moog Music and The Bob Moog Foundation:
Keith Emerson at Moogfest in NYC Uploaded on Aug 21, 2007 highbiashiphop
Keith Emerson xplains his Moog Modular and synths rig in ELP 1993 tour.
Uploaded on Apr 19, 2010
"Keith Emerson talks about his giant Moog Modular synth and keyboards rig during the Emerson, Lake & Palmer worldwide 1993/94 tour, here in NYC."
50th Anniversary of the Moog Modular Synthesizer
Published on Oct 11, 2014 Moog Music Inc
Fanfare for the Common Man - Emerson, Lake & Palmer (Olympic Stadium Montreal)
Uploaded on Jan 29, 2012
"IMPORTANT DISCLAIMER: The music, video and images remain copyright of their respective owners and are strictly used here on YouTube for educational reasons as well as for the artists' promotional purposes only!"
Uploaded on Dec 18, 2007 ProgRockSongs
"Artist: Emerson, Lake & Palmer
Song: Lucky man
Album: Emerson, Lake & Palmer (1970)
Keyboards: Keith Emerson
Bass: Greg Lake
Drums: Carl Palmer"
Tons of pics at the auction, including the inside.
Update1 via 3P in the comments: "That's not a stock 55--the FFB should be a 914, not a 907. Some other modules are out of place as well."
Update2 via eben in the comments: "it looks like this has been relisted [link], and is $15000 at the moment. it appears to be kieth emmerson's 'spare' modular system! also i just noticed they have used my picture of ms peel in the auction... "
Update3: Correction via the auction: "This particular 55 was purchased from Will Alexander, the famous (Keith Emerson's) synth tech."
Some details from the new listing: "For your consideration is this 1976 Moog System 55 modular synthesizer. This complete unit (every module and keyboard) recently underwent an extensive $7,000+ service, and has been used less than 2 hours since. This particular 55 was owned by Keith Emerson, and was acquired from his good friend and personal synth tech, who has worked with Emerson both on the road and in the studio for over 30 years.
The reason for some modules being RA Moog, some being from '73, and others dating from '76-'77, is because as Emerson would service his monster Moog's modules one at a time, he would swap between units. Although at one point this was an intact '76/'77 System, it has since been serviced and repaired, as Emerson's demanding touring schedule dictated.
The auction includes both original cabinets, (although the smaller top cabinet is in rough shape due to tour abuse), a reissue 22-space top cabinet, a reissue keyboard garage/stand, an original 950 RA Moog controller, and a variety of cables. Everything one needs to fully use this synth will be included.
As explained, this synth works perfectly and sounds amazing. We encourage local interest to come view, inspect, and hear the unit in person."
Update3: It looks like this may not be Keith Emerson's after all. The following is via an email from "Keith Emerson Business Office" forwarded to me by Michelle Moog-Koussa of the Bob Moog Foundation.
"Dear All,
Please post/forward this everywhere. Keith does not wish anyone to fall victim of fraud, especially for $15100 or potentially much more.
This item sold on ebay is claimed to have been owned by Keith Emerson.
It is either
1) constructed with stolen parts, or
2) complete misrepresentation (It was never owned by Keith).
Keith does own a small back-up unit that is supposed to be in a storage unit, but it looks nothing like the photos on this page. He has NEVER sold or given any MOOG units to anyone.
Keith asked the seller to disclose the name of the person who sold it to him, but he refused to disclose the info. (Keith has a very good idea who that is, and I'm sure you do too)
Keith requested the seller to remove the listing, and has reported the fraudulent listing to eBay."
He, along with Wendy Carlos, are two of the most important musicians in the world of synthesizers. They are both credited with introducing the use of synthesizers in mainstream music. Wendy brought synthesizers to classical music, and Keith brought synthesizers to band based Rock 'n' Roll. They were the first to bring synthesizers from the realm of the experimental, musique concrete, and educational applications to the main stream.
Keith Emerson's Moog modular is iconic. Not only does Keith still perform with it, but it inspired Moog Music to re-issue the awe inspiring monolith.
Thank you Keith, and Happy Birthday!!!
Left: Keith in St. Petersburg, Russia 2008 via wikipedia.
Below: Keith back in the day via @moogfest.
via wikipedia: "Emerson first heard a Moog when a record shop owner played Switched-On Bach for him. Emerson said: 'My God that's incredible, what is that played on?' The owner then showed him the album cover. So I said, 'What is that?' And he said, 'That's the Moog synthesizer.' My first impression was that it looked a bit like electronic skiffle.'[8]
Without one of his own, Emerson borrowed Mike Vickers' Moog for an upcoming The Nice concert at the Royal Festival Hall, London with the Royal Philharmonic. Mike helped patch the Moog and the concert was a great success. Emerson's performance of Also sprach Zarathustra from the recently released 2001: A Space Odyssey was a show stopper. Emerson: 'I thought this was great. I've got to have one of these.'[8]
With ELP's record deal with Atlantic came funds to buy the Moog. Keith: 'It cost a lot of money and it arrived and I excitedly got it out of the box stuck it on the table and thought, 'Wow That's Great! a Moog synthesizer [pause] How do you switch it on?...There were all these leads and stuff, there was no instruction manual.' Mike Vickers came through by patching it to produce six sounds and those six sounds became the foundation of ELP's sound.[8]
In 1969, Emerson incorporated the Moog modular synthesiser into his battery of keyboards. While other artists such as The Beatles and The Rolling Stones had used the Moog in studio recordings, Emerson was the first artist to tour with one. Emerson's use of the Moog was so important to the development of new models that he was given prototypes, such as the Constellation he took on one tour[8] and the Apollo, which had its debut on the opening track of Brain Salad Surgery, 'Jerusalem.'"
via the seller: "For Sale is likely the only original Moog synthesizer owned and used by Keith Emerson that will ever be for sale. Keith Emerson’s other Moog unit, his massive modular system, will certainly one day wind up in a museum and not be available to collectors.
This incredible and historic Minimoog has some very serious provenance. Keith Emerson owned it, recorded with it and toured with it using it on his most famous 70’s and 80’s tours. Further to that Keith had it heavily modified for his unique purposes making it truly a one of a kind relic of music history.
Robert Moog liked the idea so much he created a prototype of what was to be a factory split system. Photos of that unit are online however I have never known anyone to actually own one or see one..
It was technician Tony Wride, who first acquired Keith’s original Moog Minimoog directly from Keith Emerson in 1992. As the story goes with a bit of help from Will Alexander who handled the transaction. The unit was later sold to a synthesizer collector in Texas via auction. That collector is whom I purchased it from.
A unique opportunity to own a piece of Rock history! This Minimoog was one of the earliest ones owned by Keith Emerson (26 June 1973 date on keyboard) and he had the keyboard and electronics separated so that it could be used in his stage setup. Basically the keyboard was set up to slide into place when required while the electronics section remained out of the way"
Update via Seth Elgart in the comments: "Moog actually did make a split keyboard. I've never seen one in person but they did exist. A bit more polished than Emerson's actually as it's not a modification."
Also this exact one appears to have been previously listed here back in 2012.
Remember the April Fools post? Turns out the April Fools joke was that it's actually real.
"Moog Music Announces The New Emerson Modular System
Friday, April 25, 2014 - Moog Music unveils one of its largest engineering undertakings, the new Emerson Moog Modular System.
On the 50th anniversary of the introduction of the Moog Modular, the first voltage controlled synthesizer, Moog Music is proud to honor Keith Emerson and his seminal collaboration with Bob Moog. Today, for the first time at Moogfest 2014, Moog Music reveals its three year effort faithfully recreating the iconic Emerson Moog Modular.
In the intervening 50 years since the advent of the first Moog synthesizer, people have steadily come to appreciate the power and flexibility of the early Moog modular systems. Now in 2014, 60 years after Bob Moog started his electronic musical instrument company, with great respect for the tradition, design, and craftsmanship of the original Moog modular systems, Moog Music proudly announces the recreation of arguably the most famous synthesizer in history--Keith Emerson’s Moog Modular System.
Over the last 3 years Moog Music has set out to research and build a faithful recreation of this highly complex, custom instrument. Using the original documentation as well as circuit board and art files for nearly every original Moog module, Moog Engineers have painstakingly recreated the original Emerson Modular System. The new Emerson Moog Modular System is comprised of handcrafted Moog modules built from the original circuit designs and are true recreations of the originals, utilizing the same hand assembly methods used in the Moog Music factory in Trumansburg, NY in 1969. The modules in the new Emerson Moog Modular System are built just as the originals were, by hand-stuffing and hand-soldering components to circuit boards, and using traditional wiring methods. Even the front panels are photo-etched aluminum (a rare process now), which is the classic and durable, look of vintage Moog modules.
Moog Music is proud to partner with Keith Emerson and salute his pioneering artistry with the announcement that Moog will build a handful of these incredible, custom handcrafted Emerson Moog Modular Systems.
To celebrate the introduction of the new Emerson Moog Modular System, Moog Music featured Emerson as a headliner at Moogfest 2014, where he played a special performance last night on Thursday, April 24th and is featuring a live discussion with Emerson today, Friday, April 25th."
Gene Stopp pictured with the new system. Gene is a renowned modular tech who worked on Keith's original system. He and Brian Kehew worked closely together on the new system. You can see them both pictured here.
"Bob Moog Foundation Announces Spectrasonics Benefit
New Spectrasonics’ Omnisphere Library and Contest to Win Custom OMG-1 Synth to Raise Funds for the Foundation
ASHEVILLE, NORTH CAROLINA — MARCH 21, 2011 — The Bob Moog Foundation today announced that music software developer Spectrasonics has launched a unique, multi-faceted tribute to honor the legacy of synthesizer pioneer Dr. Robert Moog. Spectrasonics has released the “Bob Moog Tribute Library” created by renowned artists for Spectrasonics’ Omnisphere® virtual instrument software, and also kicked off a contest designed around the library, where participants enter to win the one-of-a-kind “OMG-1” hardware synthesizer created by Spectrasonics’ Founder, Eric Persing. 100% of the proceeds from this Tribute go to benefit the Bob Moog Foundation.
Spectrasonics’ Bob Moog Tribute library features over 700 stunning new sounds for Omnisphere, Spectrasonics’ flagship synthesizer, and was produced by Persing. The sounds in the new library were created by more than 40 of the world's top synth artists, remixers and sound designers, including Hans Zimmer, Vince Clarke (Erasure/Depeche Mode), Jean Michel Jarre, The Crystal Method, Jordan Rudess, Money Mark (Beastie Boys/Beck), Bernie Worrell (P-Funk/Talking Heads), Larry Fast (Peter Gabriel/Synergy), Roger Joseph Manning Jr. (Air/Fiona Apple), Ryuichi Sakamoto (YMO), Morgan Page (Madonna/Katy Perry), Keith Shocklee (Bomb Squad/Public Enemy), Steve Porcaro (Toto), Fredwreck (Snoop Dogg/50 Cent), Jan Hammer (Jeff Beck/Mahavishnu Orchestra), Michael Boddicker (Michael Jackson), Richard Devine (Aphex Twin), Patrick Moraz (Yes/Moody Blues), Eddie Jobson (UK/Roxy Music), Diego Stocco, Danny Elfman, The Moog Cookbook, and many more.
“Through this stunning Tribute Library, Eric Persing's passion for sonic innovation is manifested in a multi-layered homage to Bob Moog's pioneering work and legacy,” said Michelle Moog-Koussa, executive Director of the Bob Moog Foundation. “That passion is continued through the myriad of synthesists and sound designers who have participated by donating sonic tributes in the way of patches and sounds. The Bob Moog Foundation is deeply grateful to Eric, Spectrasonics and the participating musicians for the creativity and generosity that has driven this project. Without a doubt, the funding generated from the Tribute Library will be a tremendous help in driving our mission forward.”
The grand prize in Spectrasonics’ contest, the OMG-1 hardware synthesizer, was designed by Persing as a live performance instrument and is not a commercial product — it’s truly one-of-a-kind, integrating the worlds of analog synthesis, computers, software synthesis and the latest multi-touch surfaces into one extraordinary instrument. The state-of-the-art dual manual OMG-1 combines a Moog Little Phatty® analog synthesizer, Spectrasonics’ flagship Omnisphere software synthesizer, a powerful internal Apple Mac Mini computer, dual Apple iPads®, dual iPods®, and Spectrasonics’ brand-new Omni TR™ iPad app — all integrated into a beautiful, hand-crafted curly maple cabinet created by American artisan Daniel Auon.
Contestants vying to win the OMG-1 buy and download the $100 “Bob Moog Tribute Library" for Spectrasonics’ Omnisphere software, then write one or more pieces of music utilizing the sounds from the library. The deadline for submission is July 15, 2011. Spectrasonics will be flying the contest winner to the October 2011 “MoogFest” in Asheville, NC, where Eric Persing will present the OMG-1 grand prize to the winner.
The Bob Moog Foundation honors the legacy of synthesizer pioneer Bob Moog through its mission of igniting creativity at the intersection of music, history, science, and innovation. Its projects include MoogLab Student Outreach Program, which brings electronic musical instruments into the schools to teach children science through music, the Archive Preservation Initiative, an effort to preserve and protect the inventor's extensive and historic archive and the future Moogseum, an innovative educational, historic, and cultural facility that will bring Bob Moog's spirit alive. It will be located in Asheville, NC in the years ahead, pending necessary funding.
The Bob Moog Foundation is an independent, donor-driven 501 (c) (3) non-profit organization and is not formally affiliated with Moog Music, Inc."
"Keith Noel Emerson (November 2, 1944 - March 10, 2016). Remembered with the highest respect and gratitude for his formidable musicianship and his unparalleled contributions to bringing modular synthesis to the fore of rock music, a combination that changed the sonic landscape.
Rare archival photos by Mark Hockman, courtesy of the Bob Moog Foundation Archives.
'Close to Home', written and performed by Keith Emerson, available on iTunes."
"And herein lies the weight of writing about Keith Emerson’s passing. My connection to him, our connection, is multifaceted, rooted in his musical relationship to my father and in my personal and professional bond to my father and his powerful legacy. When asked on several occasions by interviewers if my father were a musician, he would firmly reply no, that he was a toolmaker, and “I make tools for musicians.” This was an inherent acknowledgement that his technological creations were but silent machines unless musicians released their vast capabilities to the listener. The best musicians, starting with experimental jazz composer Herb Deutsch, astonished him with their pioneering efforts to weave early modular synthesizers into their music. Although Wendy Carlos was the first to bring the vastly expressive but technically complex Moog modular synthesizer to the popular consciousness (thanks to her musical prowess and painstaking technical achievements), it was Keith Emerson who dared to not only perform live with the instrument in front of tens of thousands of people each night, but to do so while using it as a featured voice. Keith pioneered the use of the Moog modular in a live rock context while fearlessly bringing it and other electronic keyboards to the fore of the genre."
via sequencer.de, via John:
"Even though the synthesizer has a whopping 93 keys, it is essentially two connected 4-octave synthesizers. I was given complete documentation, I’ll see what I can do to post more.
From what I was told, this synthesizer is a completed prototype, and has not yet been put into production."
via http://www.beilfusssynth.com:
"Unlike any analog or digital synthesizer's controls, the patented tone control consists of sixteen steps simply outlining the waveform as set by the Signal Controls you see at the left of the control panel. Similarly, the envelope and filter contour transients and their time intervals are also set by the Signal Controls for rhythms or extended notes. You may easily add prompted, parallel voicings, combining settings of both sides for complex notes.There are 32 controls and 142 pushbuttons for direct programming. Dedicated LED pushbuttons always read out their side of the full eight octave, split keyboard. Five octaves of transposition are possible."
Update via WD on the AH list: "Here's the patent, for anyone interested in reading about the "patented tone control": link (US Patent Number 4495846)"
Update: I sent email to the contact alias on site and received the reply further below, after the images.
"Step Synthesizer Functions
The Step Synthesizer is built around the unique Signal Controls on the left side of the instrument.
The sixteen slide controls, side by side, represent either the literal waveform, the envelope or filter contour curves (like ADSR’s), or the time intervals of the steps in the envelope and filter contour.
The circuitry is all digital, however the organization is based on analog synthesis.
The waveform values appear in the sixteen character LED readouts and may be adjusted while playing. For the envelope and filter contour, they may complete after the key is released or repeat as long as the key is held. Keyed rhythms may be input very simply. The time intervals, ranging 2ms to 2 sec, may be factored slower or faster. A stopwatch timer automatically divides for the equal intervals and enters the resulting values. Then, when altering individual time intervals, a constant sum may be maintained.
The Signal Controls may be moved any two together to set all values equal.
There are two identical instruments both sharing twenty voices and sixty-four programs. There is an alternate group (bank) of sixty-four. The eight octave keyboard is split between middle C and B.
The split point may be varied or floated. Four octaves of transposition are possible with key transposition or transpose rate control with programmed transposition setting. A full range pushbutton will automatically set the two transpositions to piano keyboard. The ergonomically positioned levers add up to an extra octave of transposition. There is key velocity, pitch, and aftertouch patching.
The 440 square inch control panel has dedicated LED pushbuttons and controls for both sides. The edit sections allow full 1 in 256 resolution adjustment of individual control settings of saved programs for both sides.
There may be up to ten voices in parallel with easily prompted editing of voice volumes and tunings. Voices may have the settings of the opposite side’s program selection. Voice reassignment modes consist of Chordal, Single Keyed, Unison, and overflow modes. There is a Legato Notes function.
Glide start and glide functions may be smooth or stepped, key release-ordered or two key overlap. Separate rise and fall controls may be set.
Programs are reset by a dedicated pushbutton. Programs are saved, inserted, deleted, or rotated in the group of sixty-four programs. Partial recalls of separate Signal Controls divisions, individual controls, and voicings are possible.
Almost all control values may be set by foot controls and some pushbuttons may by actuated by foot switches. There are program advance foot switches. The headphone jack has volume and separation controls.
MIDI has selective transmit and receive enables for Notes, Programs, Common, and Exclusive messages. System Exclusive saves the sixty-four program groups to computer or audio recorder.
Self diagnosis of circuit boards is included."
"Back in the basement with Keith Williams, we focus our attention on the right side of the Beilfuss Step Synthesizer. This side turns out to be an awful lot like the left side, which makes sense if you watch the video.
We are also treated to some audio samples of what you can do with this instrument. Granted, that basement reverb is something you're going to have to add yourself!"
Beilfuss Step Synthesizer Comes Blinking Out Of The Basement
Uploaded on Mar 26, 2011
"Once-ler-like, Keith Williams demonstrates his Step Synth with disembodied, gesturing arms. The seemingly shy inventor simply wants to focus all attention on his new Step synthesizer.
According to the Beilfuss Synthesizer Company:
This thought-through system is the optimization of flexibility with controllability for keyboard. The step synthesizer brings new, never before heard, electronic sounds to music.
Unlike any analog or digital synthesizer's controls, the patented tone control consists of sixteen steps simply outlining the waveform as set by the Signal Controls you see at the left of the control panel. Similarly, the envelope and filter contour transients and their time intervals are also set by the Signal Controls for rhythms or extended notes. You may easily add prompted, parallel voicings, combining settings of both sides for complex notes.There are 32 controls and 142 pushbuttons for direct programming. Dedicated LED pushbuttons always read out their side of the full eight octave, split keyboard. Five octaves of transposition are possible.
"A 3-cabinet authentic, period correct all RA Moog modules system that dates from 1968.
This instrument forms a part of the RL Music Vintage Synthesizer Collection. We have managed to keep some of the very best examples of Vintage Synthesizers that have come through our business over the last 22 years which we kept for our pleasure and interest. Whilst having a privileged position as a specialist dealer in this genre of equipment, we managed to hang on to particular instruments that were interesting and inspiring. The RA Moog Modular IIIC is one of 40 instruments we have, but is the oldest and most historically important.
"This is an extremely rare and amazingly intuitive sequencer. It belongs with someone who will use it more than i do. It's one of the finest Cv/Gate sequencers ever made due to it's logical layout and improvisational capabilities. More on that later...
There were only around 500 made, and they were hand made by Dave Smith himself. He started his entire company Sequential Circuits based on this round of sequencer sales, which then provided his business foundation for developing the Prophet 5 and other major musical instrument milestones .
And what's more is that of the 500, only the first 50 or so had the capability of working with both V/Octave standard AND Hz/V standard. This is one of them. It is serial number 0041, and presumably this capability was more expensive due to the pricier D/A conversion necessary for the higher resolution.
AND, what's even more, is that this is one of a small handful that had a mod done to the unit (by Dave Smith) that allows for musical rests to be placed between notes. One can add as many single beat rests as any sequence can fit.
"After over two years in the making, we are proud to be a part of the One Man ELP project; the brainchild of the amazingly talented Antoine Baril of Québec, Canada. As with his previous "One Man" videos that he has released over the last 7 years (Rush, Genesis, Yes), his attention to detail and accuracy is second to none and it was amazing to watch him at work within our walls for an intense week of keyboard craziness in July 2022. Along with his amazing videographer Paul DiGiacomo, they captured some stunning footage and audio to make this epic video project one for the ages. It was a blast to play a supporting role in this, we gave full access of our Keith Emerson keyboard rig (as well as our extensive collection of vintage analog synths) to Antoine and it was like turning a kid loose in a candy store, a cornucopia of awesomeness! Join us for an exclusive backstage peek at some of the recording processes and video shoots during this one week period. The ELP material he performed and recorded runs Then EMEAPP's executive director Drew Raison will take you on an up close and personal tour of all the keyboards and synthesizers that were used in this project.
Complete list below:
Yamaha GX1 (6:55)
Keith Emerson’s Hammond/Goff C3 w/dual Leslie 122s (7:13)
Keith Emerson’s Split Moog Minimoog Model D (7:51)
Keith Emerson's Hammond L100 (8:09)
Moog Minimoog Model D Pair (Bernie Worrell's Minimoog on right) (8:45)
Keith Emerson’s Moog Modular Synthesizer (9:16)
Mellotron M400 (9:39)
Oberheim Eight Voice (9:58)
Oberheim OB-X/OB-Xa (10:20)
ARP Quadra (10:55)
KORG PS-3300 (11:06)
Moog Taurus I (11:22)
Hohner Clavinet L (11:34)
KORG M1 (11:55)
Keith Emerson’s Steinway Model D (12:10)"
"Mike Hosker presents to you a tutorial video of the iMini, Arturia's first application for Ipad.
iMini is an application recreating the classic Minimoog™ synthesizer that is based on the TAE™ technology found in Arturia award winning Mini V software.
iMini is designed to allow users the classic sound, look and feel of this iconic synthesizer.
iMini endorsers include Stephan Bodzin, Richard Devine, Banco de Gaia"
"COMPATIBILITY
iMini is compatible with iPAD 2, iPAD 3 and IPAD Mini
DESCRIPTION
iMini is a recreation of the classic 1971 Minimoog™ synthesizer, one of most iconic synthesizers of all time.
Based on the TAE® technology found in our award winning Mini V software, iMini offers a level of sound quality never before found on the iPAD as well as over 500 sounds by leading sound designers.
We have also partnered with the Bob Moog Foundation so that a portion of each sale goes to support their work in music education via the Dr. Bob Sound school program, making available the archives of Dr. Bob Moog and funding the dream to build the Moogseum.
The Minimoog™ synthesizer was made famous by artists and bands such as Stevie Wonder, Depeche Mode, Kraftwerk, Keith Emerson, Devo, Jean Michel Jarre and more. We now bring the features and sound of this classic to the iOS platform.
The iMini not only recreates the look and feel of the most legendary synthesizer, it does it with unparalleled sound quality. iMini is based on the award winning Arturia Mini V software that was created in partnership with Dr. Robert Moog himself, back in 2003. Thanks to this heritage, continuous research and refinements over the years, iMini comes with amazing sound quality and a large collection of preset sounds created by top sound designers such as Klaus Schulze (Tangerine Dream) and Geoff Downes (Asia).
What will you do with it?
First you can play the iMini’s numerous sounds from the iPad keyboard. You can create your own sounds and start building your personal sound palette.
If you are an owner of the Arturia Mini V software on your Mac or PC, you can import and export sounds between your laptop or desktop Mini V and iMini.
You can also control iMini from a MIDI keyboard via CoreMIDI and integrate it into your studio or live performances.
But this is not all; iMini is ‘Tabletop Ready’. Tabletop is a free iPad application that allows you to integrate iMini into a full studio of devices. With Tabletop you can build an entire song, with drum machines, FX's, sequencers... and of course the inimitable Minimoog™ sound.
Tabletop Ready™
The connect page is also your avenue to open up a whole new world of possibilities with iMini via Retronyms Tabletop application.
Tabletop™ is a free app for your iPAD that allows you to integrate iMini into a complete studio environment. In Tabletop you can use multiple instances of iMini; record your performance into a real-time sequencer; automate any of the parameters; add effects; process other modules through the iMini filters, etc. Tabletop also features number of in app purchase options to add more effects and instruments from other 3rd party companies.
Features include
Classic Minimoog™ sound.
3 Oscillators
24db per octave filter.
Simulated headphone jack/external input feedback.
2 Assignable XY pads
Chromatic or tuned scale keyboard modes
Polyphonic mode
Full featured arpeggiator
Repeat
HOLD and MEMORY latch modes
Octave span
5 note order modes
Speed and sync controls
Virtual Analog Chorus
Virtual Analog Delay
Owners of both the iMini and Mini V software apps can transfer sounds from one platform to the other via iTunes.
Full user MIDI mapping of panel controls.
Supports WIST sync with other iOS devices.
‘Tabletop Ready’
Soundcloud seeder (via Tabletop)
Render to .wav file (via Tabletop)
‘Audiocopy’ to paste your audio into another iPAD application. (via Tabletop)
The Minimoog™ name used here is a trademark of the respective owners, which are in no way associated or affiliated with Arturia. These trademarks are used solely to identify the products whose sound and features were modeled during the development process."
"Arturia advances history-making Minimoog to iPad musical masses!
"The iMini turned my iPad into an ‘old skool’ analogue bass monster! Its sound is irresistibly ‘phat’ and very close to the original. If you want that typical dirty Moog sound then the iMini is all you’ll ever need. It’s by far the most powerful and hypnotising synth app on the market.”
- Stefan Bodzin, 2013 (DJ/producer, remixer of Depeche Mode, Booka Shade, and more)
GRENOBLE, FRANCE: music software and hardware company Arturia is proud to announce availability of iMini, an authentic recreation of the all-time classic Minimoog monosynth for Apple’s all-conquering iPad, as of February 27...
iMini is based on the TAE® (True Analog Emulation) synthesis technology found in Arturia’s award-winning Mini V soft synth, meticulously modelling the distinctive tones and analogue nuances of the legendary Seventies-vintage Minimoog Model D monosynth. Moog changed the musical world with the Minimoog and Arturia helped change the music software world with the Mini V.
Arturia now brings the still-sought-after classic Minimoog sound to the musical masses, transforming any iPad mini, iPad 2, or iPad with Retina display into the ultimate analogue synth emulation! Those timeless three oscillators and that 24dB per octave fabled filter are all present and accounted for in iMini. It also successfully sports the look and feel of Dr Bob Moog’s namesake iconic synthesizer for all to see (and hear). But being a game-changing iPad app for 2013 and not an analogue synth design dating back to 1970 means there’s a whole lot more to iMini than first meets the eye...
Any serious synthesizer connoisseur will instantly recognise the MAIN mode screen as an eye-catching rendering of the Minimoog Model D front panel, albeit with welcome additional ‘analogue’ CHORUS AMT. and DELAY AMT. level controls, as well as a POLY switch for playing polyphonically — impossible in 1970, obviously! Other subtle supplements include a gearwheel icon above the keyboard — press to reveal GLIDE, DECAY, LEGATO, and SCROLL switches for performance keyboard control, plus a SCALE function to choose from no fewer than 26 different scales and modes. Meanwhile, iMini comes complete with hundreds of superb sounds showcasing its supreme sonic versatility; press LOAD from the menu bar and choose from sound designer or category — couldn’t be simpler!
But ‘behind’ that familiar-looking MAIN screen lies a wealth of truly 21st Century audio action: the PERFORMANCE page accesses an arpeggiator with two latch modes and two assignable XY pads for creating all kinds of patterns and real-time morphing sounds; the FX page provides iMini with the same wide-ranging CHORUS and accurate ANALOG DELAY models found in the above-mentioned Mini V software — subtle sound thickening to wildly modulated effects (chorus) and sync to external tempo (stereo delay) possibilities abound here! Handily, all onscreen knobs and switches in each iMini page can easily be assigned to MIDI CC allowing automation from any external MIDI source. The default MIDI map will automatically work with Arturia MiniLab or Analog Player 25 Universal MIDI Controller keyboards!
And that’s not all: the CONNECT page is the gateway to making iMini talk to the outside world (using the Apple iPad Camera Connection Kit) — use WIST (Wireless Sync Start Technology) to sync the arpeggiator and delay to other iPad or iPhone apps, and integrate iMini into a complete studio environment via Retronyms Tabletop. This free iPad app allows multiple iMini instances to be simultaneously run; real-time performance recording into a sequencer; parameter automation; processing of third-party, Tabletop-ready apps through the iMini filter, and more. “iMini is an ideal Tabletop-ready app,” says Retronyms Co-Founder John-Paul Walton. “It’s a fresh take on a legendary synth, and comes packed with a ton of amazing presets — everything from retro space sounds to contemporary bass noise.”
Thanks to iMini, today there’s really no excuse for not taking that history-making Minimoog sound anywhere anytime. And in recognition of the groundbreaking instrument to which it owes its very existence, for every iMini sold, Arturia will make a donation to The Bob Moog Foundation, whose Executive Director, Michelle Moog-Koussa, kindly adds: “We are grateful to Arturia and Retronyms for donating part of the proceeds from the iMini in support of our mission to ignite creativity at the intersection of music, science, history, and innovation. A portion of this funding will go to support our educational initiative, Dr Bob’s SoundSchool, which teaches children the science of sound through the magic of music.”
For Frédéric Brun, Arturia’s President, the feeling is mutual: “We are delighted to donate to The Bob Moog Foundation and acknowledge our gratitude to Robert Moog, who helped us when we released our first virtual instrument, the Modular Moog V, back in 2003. We are also thrilled to work with Retronyms, who are a great company and a force to be reckoned with when it comes to iOS. The iMini sets a new standard for what a virtual instrument should sound like on an iPad.”
So let’s make music and help history come alive with iMini in more ways than one, and also support the dream of building the Moogseum (Bob Moog Museum), the convergence of The Bob Moog Foundation’s goals of inspiring and educating people through electronic music.
Appropriate iPad owners can purchase iMini directly from Apple’s App Store during a three-week introductory launch pricing period for €8.99 EURO/$9.99 USD (rising to €19.99 EURO/$21.99 USD thereafter)."
