"Moog Lap Steel powers groundbreaking EP exploring uncharted expanses of Ameritronica
ASHEVILLE, N.C. (September, 2011) Mix cutting-edge electronic vibration control technology with an instrument born on a train track, put it in the hands of musical omnivore Billy Cardine and the result is music with one foot in the past, one foot in the future and both ears wide open. Refining a lifetime of musical influences and liberating them with a combination of string and studio wizardry, his new EP Looking Forward, Looking Back shines a light on a musical future true to its roots yet constantly growing and evolving.
To know where you’re going though, you have to know where you’ve been…
The story goes that the lap steel guitar was invented in the 1880s by seven-year-old Joseph Kekuku as he walked along a Hawaiian railroad and experimented with playing his guitar using a metal bolt he found. By the 1930s, Hawaiian music had become one of the first waves of American interest in exotic “world music” and the lap steel became the first stringed instrument to be electrified, predating Les Paul’s first electric guitar. Also in the ‘30s, the Sacred Steel tradition was born in African-American House of God churches, fueled by the low cost and highly expressive nature of this new instrument. From there it spread to many far-flung homes, including Indian classical music and American country and bluegrass, the genres in which it and its musical progeny, the dobro and pedal steel guitar are most closely associated.
Fast-forward to the present… While a spin across the radio dial today results in very little country music featuring the lap steel, the instrument has been embraced by a number of innovative players pushing musical boundaries, including U2 producer Daniel Lanois and Wilco guitarist Nels Cline.
The lap steel guitar itself is now even more suited to “boundary pushing” with the introduction of The Moog Lap Steel, an instrument that brings state-of-the-art control technology to the instrument born on a 19th century Hawaiian train track. It incorporates the same electronics that earned The Moog Guitar numerous industry accolades including Guitar Player Magazine's Reader's Choice Award, Electronic Musician Magazine's Editor's Choice Award, NAMM "Best In Show" honors, a “Best of What’s New Award” from Popular Science magazine and a Mix Foundation TEC Award.
Billy Cardine is an Americana/Bluegrass phenomenon who has performed everywhere from Carnegie Hall and the Kennedy Center to the Ryman Auditorium and Bonnaroo. He is a member of the renowned Americana band Acoustic Syndicate and leader of the new music ensemble The Billy Sea. He also studied in India and will perform at the 2011 Bangaluru International Arts Festival with chitravina master Ravikiran. Billy was instrumental in the development of the Moog Lap Steel and played an early prototype for its debut at Moogfest 2010.
“In one of those moments of wonderful synchronicity, I met Billy about the same time I finished the first Moog lap steel prototype which I had dubbed “The Monster” said Moog Music’s Chief Engineer, Cyril Lance. “Billy and I got together and the first music he made on this crude instrument was stunning. It was immediately clear that not only was Billy perfect for this instrument, but the instrument was perfect for Billy. This began an extremely rewarding collaboration that resulted in the current Moog Lap Steel.”
Combining the unique expressive qualities of the lap steel with the innovations of the Moog Guitar results in an instrument with unlimited sonic potential. Like the Moog Guitar, it is in not a guitar synthesizer, but features an onboard Moog filter (with control voltage input) that places it firmly in the Moog family tree and allows for some amazing creative connectivity with devices ranging from theremins to massive modular synthesizers.
"For me the Moog Lap Steel represents the invention I've worked on for so many years finally taking flight on its own.” said Moog Guitar inventor Paul Vo. “Cyril Lance had the inspiration that really drove this project home. He expertly placed the same vibration control technology that I developed for the Moog Guitar into this beautifully crafted instrument, co-designed by luthier Wes Lambe. I mostly just watched. Now Billy Cardine, virtuoso of the lap steel and dobro, brings it all together and takes it to heights of musical expression that completely amaze me. I am a very grateful spectator!"
“Looking Forward, Looking Back”, the historic first EP of music for the Moog Lap Steel, is the creation of a composer and player at the height of his powers in control of an instrument that extends those powers like no other innovation since it was first electrified.
The EP kicks off with the opening track “Moolodious” whose soaring melodies and pulsating beats sweep the listener along so thoroughly that it is easy to miss the technology behind the magic. While the Moog Lap Steel plays long anthemic notes that seem to defy the laws of physics, its big brother The Moog Guitar cranks out rhythms that, although created using advanced modular synthesis techniques (routing beat-synced control voltage signals from ProTools to The Moog Guitar’s onboard analog filter), are still very much the product of strings, a pick and a guitarist’s callused fingertips… in this case, the fingertips of Moog’s Cyril Lance.
“Jet Li”, the second track moves from Americana to Asiana. Inspired by the fluid movements of martial artist Jet Li, it starts with the low rumble of Moog Taurus Bass Pedals and a unique melody created with a two-handed phrasing technique impossible on an instrument without the precise sustaining abilities of The Moog Lap Steel. This may be the first recording in history in which a lap steel gets mistaken for an erhu.
The title track “Looking Forward, Looking Back” takes the Moog Lap Steel and Moog Guitar in a new direction. As it unfolds, the Lap Steel’s timbre is more reminiscent of a dobro while the Moog Guitar takes on a surreal, funky banjo-like role. When the long, sustained-note melody comes in, being played on the same instrument with the same strings creates a pleasing timbral cohesiveness.
“Stacks”, the most electronic of the tracks, showcases the instrument at play with its other Moog siblings. Built on an analog filtered drum beat, the Moog Lap Steel intertwines with the sounds of the Moog Guitar and Slim Phatty synthesizer while a Little Phatty synth generates a beat-synced control voltage making the Lap Steel’s filter dance in time with the rhythm. Meanwhile other keyboards and vocal processors fill out a soundscape proving that analog and digital can get along quite nicely.
The closing track, “The Curious Boo” was written on the original Moog prototype and combines sacred steel feel with an Indian approach to slide guitar phrasing. A Moog MF-102 ring modulator adds a unique metallic edge to these fluid lines.
The Roman god Janus, for whom the month January was named, is depicted as having two heads, one looking into the past and the other into the future, making him the archetype of beginnings, transitions and gateways (and New Year’s parties). When listening to “Looking Forward, Looking Back”, it’s hard not to hear the music in a similar light… as a harbinger of new beginnings, transitions and gateways… as a new voice… as “Ameritronica”. It’s also hard not to hear it as just damn good music.
Looking Forward, Looking Back is available from Indidog Records through bandcamp at:
"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.
Moog Urges ''Moment of Moog'' Throughout the World; In Addition, Foundation Launches Web Site to Continue the Moog Legacy
"Moment of Moog" audio file ASHEVILLE, N.C.--(BUSINESS WIRE)--Aug. 17, 2006--August 21st, 2006 is a difficult date for lovers of the synthesizer. It was one year ago on August 21st that Bob Moog, inventor of the synthesizer, passed away. This year, Moog Music is rallying the media world to honor the memory of Bob Moog with a special, 20-second "Moment of Moog." During the Moog moment, Moog requests that radio stations play a short musical piece, recorded on one of Moog's most famous inventions, the Minimoog(R) Voyager(R). (See MULTIMEDIA AVAILABLE links or download from www.moogmusic.com.) [Here's the mp3] In doing this, the world of music will be paying tribute to one of the greatest legends in electronic musical instruments.
"Sometimes it feels as if he is still here; other times, he is sorely missed. One year ago his fate was sealed and the finality of his death certainly gave all of us pause. The 'Moment of Moog' is our way of honoring the tens of thousands of musicians who carry Bob's legacy forward," reflected Mike Adams, President, Moog Music.
Another organization is also set to honor and continue the Bob Moog legacy. The Bob Moog Foundation for Electronic Music will launch its Web presence on August 21st, 2006. The foundation will be online at www.moogfoundation.org. The objectives of the Foundation are to create: endowed scholarships at University of North Carolina-Asheville, Berklee School of Music and Cornell University; a Memorial Museum in Moog's name; an outreach/mentoring program that brings electronic music into disadvantaged schools; and to sponsor electronic music competitions and concerts that would foster innovation in the field.
Ken Soper, composer of the "Moment of Moog" piece, said, "These sounds remind me that Bob, like the Minimoog Voyager, is alive."
Moog Music and our customers carry on the legacy of Bob Moog, the inventor of the synthesizer. We design and manufacture electronic musical instruments with unlimited sonic possibilities, including Etherwave(R) theremins, Moogerfooger(R) effects modules, Minimoog(R) Voyager(R), Little Phatty(TM) synthesizers, and the Moog PianoBar(R). Founded by Robert Moog, Moog Music is located in Asheville, NC."
We all know he didn't invent the synthsizer. It's just annoying when they state that. Some history on the synthesizer on wikipedia.
Update5: We now have confirmation with an official video from Moog Music.
"After more than 30 years, the Minimoog Model D returns with a pilot-production run at Moogfest 2016 in Durham, NC. Handcrafted in the Moog Pop-Up Factory, the pilot-production units built during the festival will only be available for purchase on-site in the Moog Store by Guitar Center."
Update6: and a video from Moogfest:
Moog Reintroduces The Minimoog Model D - Moogfest Video
Published on May 19, 2016 Synthtopia
"At Mioogfest 2016, Moog Music has reintroduced the classic Minimoog Model D.
We talked with Moog's Nick Montoya about the new Minimoog Model D, what's changed and what they've kept the same.
They've gone to great lengths to recreate the iconic Minimoog sound - but also added a new LFO, a better keyboard and support for additional control voltage options."
Inside The New Minimoog Model D
Published on May 22, 2016 Synthtopia
"At Moogfest 2016, Moog reintroduced the classic Minimoog Model D.
We talked with Moog's Nick Montoya, gave us a tour of the inside of the new Minimoog Model D, and explained some of the lengths they went to to nail the original Minimoog sound, and also what they changed to make the new Minimoog more reliable."
How To Build A New Minimoog Model D Synthesizer
Published on May 26, 2016 Synthtopia
"At Moogfest 2016, Moog reintroduced the classic Minimoog Model D synthesizer.
They also had a 'pop-up factory' onsite at the event. Basically, they moved their production line to Durham for the week and were assembling the new Minimoog's at the festival.
We talked with Moog's TJ Mills, who gave us a tour of their assembly process.
They start from a collection of individual parts and pre-assembled components from suppliers. The circuit boards, for example, are supplied pre-populated, using a variety of new and 'new old stock' parts. And the metal components are supplied reshaped and drilled to Moog's specifications.
In the video, TJ discusses what gets done at each stage of their assembly process, and how they calibrate and test the synthesizer once it is assembled."
I heard a rumor that it might have been shown at the Musikmesse, but there were no images at the time. This looks a bit more legit, unless of course that's just a vintage Model D being refurbished for Moogfest. :)
Update: via the Herald Sun: "A Moog Pop-Up Factory, featuring the interactive Global Synthesizer Project and assembly of Minimoog Model D synthesizers, opens in the Power Plant Gallery of the American Tobacco District."
Note the plural in "assembly of Minimoog Model D synthesizers". These are real and new. Soviet Space Child also noticed the three MINI jacks on back and the lack of an S-Trig jack on the left.
Update2: Another pic in via Soviet Space Child below. This one shows a dedicated LFO knob in the mod wheel section.
Update3: One more image of the parts spread out below and a quick video test of one being played by Gene Stopp.
"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."
Back to the Future Sounds Published on Jan 19, 2015
"On January 19, 2015 Moog Music Inc. announced their plans to recommence a limited run manufacturing of three of their most sought after 5U large format modular synthesizers: The System 55, the System 35 and the Model 15. These three modular synthesizer systems were originally created and manufactured by Moog in 1973.
To commemorate the announcement, Moog shot a short film at their factory about the inspiring and multifaceted relationship artists have with modular synthesizers. The video features electronic music pioneers such as Suzanne Ciani, Malcolm Cecil, David Borden, Dick Hyman and Herb Deutsch alongside performances on the new Moog modular systems by Holy Ghost! (DFA Records), Gavin Russom (ECSTATIC/Entropy Trax), Max Ravitz AKA Patricia (L.I.E.S./Opal Tapes/ Spectral Sound), Kaitlyn Aurelia Smith (Western Vinyl), Jacques Greene (Vase/LuckyMe) and M. Geddes Gengras (Stones Throw/Leaving). Each artist played a patch on one or more of the new Moog modular synthesizers recorded in one take with no overdubs."
Suzanne Ciani | System 55
Published on Jan 19, 2015
"In this video, electronic music and sound design pioneer Suzanne Ciani explores the Moog modular System 55 for the first time in decades. Ciani came to the Moog factory in Asheville, NC to play the first System 55 newly handcrafted by Moog in over thirty years. The patch, created and performed live, was shot in one take and features a sequence designed on the 960 Sequential Controller that's driving three 921B oscillators into a 904B High Pass filter whose cutoff is being modulated by a 921 oscillator. A second set of 921B oscillators is also being played manually into a 904A Low Pass filter whose cutoff knob is also being modulated by the 921 oscillator. The resulting sound of each is then sent through its own dedicated MF-104M analog delay for ambience. The audio has been captured directly with no eq, compression, or editing applied."
And the press release:
"ASHEVILLE, NC – January 19, 2015 — January 19, 2014 Asheville, NC: 50 years ago, at its first introduction, the Moog modular synthesizer represented as radical a transition as Kandinski’s abstracts or Kodak’s cameras – offering both a break from yesterday and a startling glimpse of tomorrow. And, as with all cultural explosions, the impact of Dr. Bob Moog’s invention was impossible to evaluate from the epicenter. It’s only now, 50 years down the line that we can get some measure of the importance, and the sheer untapped potentiality of the Moog Modular Synthesizer.
Today, it is with great excitement that Moog Music Inc. announces their plans to re-commence the limited run manufacturing of three of their most sought after 5U large format modular synthesizers: The System 55, the System 35 and the Model 15. These three modular synthesizer systems were originally created and manufactured by Moog in 1973.
To commemorate the announcement, Moog shot a short film at their factory about the inspiring and multifaceted relationship artists have with modular synthesizers. The video features electronic music pioneers such as Suzanne Ciani, Malcolm Cecil, David Borden, Dick Hyman and Herb Deutsch alongside performances by contemporary modular artists like Holy Ghost! (DFA), Gavin Russom (ECSTATIC/Entropy Trax), Max Ravitz AKA Patricia (L.I.E.S./Spectral Sound/Opal Tapes), Kaitlyn Aurelia Smith (Western Vinyl), Jacques Greene (Vase/LuckyMe) and M. Geddes Gengras (Stones Throw). Each artist played a patch live, in one take, with no overdubs on one or more of the new Moog Modular systems.
The foundation for this announcement was laid last year at Moogfest 2014, when Moog released the Emerson Moog Modular system – a faithful recreation of Keith Emerson’s legendary modular instrument, which was the culmination of three years worth of research and engineering. Now Moog will use the techniques learned recreating the EMMS manufacturing process to once again build these modular systems. Crucially, in deference to the unique character and appeal of the original instruments, these systems will be made entirely to their original product specifications and manufacturing techniques and processes.
Working from the 1970s schematics, the System 55, the System 35 and the Model 15 will be meticulously handcrafted, as a true recreation of the original. The modules are built from the original circuit board films - just as they were in 1973- by hand-stuffing and hand-soldering components to circuit boards, and using traditional wiring methods. The front panels are photo-etched aluminum, a classic process rarely still used in today’s synthesizer manufacturing, to maintain the classic and durable look of vintage Moog modules.
Upon their first release in 1973, the System 55, the System 35 and the Model 15 represented a high watermark for modular synthesis, and their inimitable tones can be heard shaping many much-loved albums. They were fundamental in the development of contemporary soul, RnB, and disco from giving Stevie Wonder’s classic run of 70s LPs their questing, innovative edge, to providing Giorgio Moroder with the pulsating machine melodies that ushered in electronic dance. At the same time, these were the instruments that inspired Brian Eno to push further out into seas of layered tranquillity on his pioneering ambient albums, or provoked bands like Yes and Tangerine Dream to blast their sonic freak outs into the cosmos.
However, the reintroduction of these instruments is not about reliving the past – while much incredible work has been done with the Moog Modular, there is so much further yet to be explored in this relatively young instrument. Artists had only begun to grasp the vast possibilities of these large format modular synthesizers when they went out of production over thirty years ago. Decades of electronic experimentation have enabled musicians to move on from viewing the Moog Modular as a replacement for traditional instrumentation. Now a new generation of artists, with a greater understanding and more complex tools, will have the opportunity to explore the power of these singular sonic machines. Today, the modular synthesizer is viewed in the manner Bob Moog originally intended: to “discover endless offbeat, unconventional, and even irrational ways of working.”
The dedicated nature of the Moog modular rebuilding process is such that the units will come in extremely limited quantities. There will be 55 units of the System 55, priced at $35,000 per instrument; 35 of units of the System 35, priced at $22,000 per instrument; and 150 units of the Model 15, priced at $10,000 per instrument.
Alongside these Moog Modular Systems will be the Sequencer Complement B Expansion Cabinet, a dual 960 Sequential Controller, an accompaniment to the System 35 and System 55, that has been out of production for over 30 years– as well as an optional 5-Octave duo phonic keyboard."
(pics of the inside below)
via the listing/seller: "Up for sale is the ULTRA RARE Moog Minitmoog Preset Synthesizer... NOT VERY MANY UNITS WERE MADE & TO MY KNOWLEDGE ACCORDING FROM OTHER SOURCES ONLY ABOUT 10 UNITS ARE FULLY WORKING PROPERLY WORLDWIDE... Why..?? Because of the "Variable Capacitance" Touch Sensor Bar or After Touch Mechanism is not like any other synthesizer's after touch mechanisms. This one is based on a simple variable capacitance set up by the use of a semi-conductive material which is extremely hard to find and obviously in ALL of the Minitmoogs around the world have failed because that semi-conductive material has ceased to work because of the aging chemical reaction between all the other materials involved & the semi-conductive material. But I managed to source all the parts and materials needed exactly as it was used by the Moog Factory back then... Note to add up to this, I have owned several synthesizers with after touch most of them by variable resistance, etc but no other mechanism responds as neatly as this one with variable capacitance... Read later why...
"This is an R.A.Moog "701 Drum Synthesizer" module hand made by Bob Moog himself back in the late 60's...!
It was built for Eric Siday, one of Moog's first customers, but was also used in the historic "Jazz In The Garden" concert in 1969. You can read more about it here...
The 701 module was a 'prototype' and didn't ever get to the production stage. It seems only eight were ever made with six of them currently in the "Museum of Music" in Paris.
Here is a link to more info and photo's of the Paris system...
At the bottom of that page you can see Bob setting up the system with the eight modules in place.
I cannot call this *rare*... because that isn't an accurate description. It is basically a completely unobtainable one-off and a true piece of Moog history, and obviously analogue musical instrument history, which the price here reflects (...as a starting point)
This unit was designed as a part of a system, but I have managed to get it to make sounds..! So I have also included links to a couple of short videos I made..."
R.A. Moog 701 Drum Synthesizer - Part 1
Published on Jun 24, 2013 noddyspuncture·44 videos
"Here is my first video of the "R.A. Moog 701 Drum Synthesizer". I managed to get some sounds out of it - even though it was meant to *work* with the full "one-off" system as built by Bob in 1970. I think in the system it might behave a little more "drum-like"...!?! Ha!"
"Playing ambient chillout music on Moog One analog synthesizer. This ambient music soundscape created via Moog One sequencer, filter adjustment, reverb and live piano improvisation.
The Moog One features the most powerful synthesizer architecture ever developed for a Moog instrument. This synth demo showcases ambient chillout music created on the Moog One."
"Asheville, NC - May 2014... Synthesizer pioneer Bob Moog's upcoming 80th birthday was commemorated in grand fashion on May 8th with a "Tribute to Dr. Bob" concert by virtuoso synthesist Erik Norlander and his band The Galactic Collective to benefit the Bob Moog Foundation.
The concert, held at Asheville's Isis Music Hall, featured Norlander, accompanied by bandmates Jeff Kollman on guitar, Mark Matthews on bass, and Nick Le Par on drums. Norlander's onstage rig included three very special, fully restored vintage synthesizers from the Bob Moog Foundation Archives, including a 1967 Moog modular, an early Minimoog Model D, and an extremely rare Moog Apollo.
"The convergence of the Moog modular, the Minimoog, and the Moog Apollo in one performance is nearly unprecedented," notes Michelle Moog-Koussa, executive director of the Bob Moog Foundation. "Not since Keith Emerson toured with a prototype Apollo in the early '70s have they been heard together in live performance, making this "Tribute to Dr. Bob" concert a truly historic occasion."
The 1967 R. A. Moog Co. modular is an iconic synthesizer on permanent loan from the University of North Carolina at Greensboro. It was built for the first electronic music studio in the state, and hand delivered by Bob Moog.
The 1973 Minimoog was donated to the Foundation by Asheville composer and arranger Tom Coppola, who used it to record the signature three-note "Duracell sound", among many other commercial and musical applications. The Minimoog was the first mass-produced commercially available synthesizer that the working musician could afford. It is considered by many to be the most iconic synthesizer of all times.
Norlander used the Foundation's Minimoog and modular for giant bass sweeps and drones, adding weight and atmosphere to his tracks, "Arrival," "Sky Full of Stars" and "The Dark Water."
The priceless Moog Apollo is one of the few of its kind in the world. This 1973 instrument, newly and fully restored by the Bob Moog Foundation, served as a prototype for the production model Polymoog. The Apollo is one of the earliest polyphonic synths, synthesizers that could play more than one note at a time.
Norlander brought the Apollo alive in a stunning solo during his signature piece, "Dreamcurrents," using the harpsichord program to conjure the early days of polysynth performance art with classic, vintage tones. He reprised the harpsichord again in the waltz section of "After the Revolution," normally played on acoustic piano. Norlander later employed famous "Vox Humana" program in his bombastic choral opening of "Neurosaur" and used the Apollo soft analog brass sound for his gentler introductory theme on "Fanfare for Absent Friends."
"Bob Moog brought a new voice to the musical landscape, and our musical vernacular would be very different without his enduring contribution," Norlander remarked. "The name 'Moog' is synonymous with art, science and innovation, and as a keyboardist and synthesist, I can think of no greater tribute than using Bob's timeless inventions as the core instruments in my own craft."
Drew Heller, guitarist for the African fusion band Toubab Krewe, opened the show for the Galactic Collective, joined by his father, Grammy award winning producer/composer Steven Heller. Bob Moog had a close musical relationship with Toubab Krewe; Steven Heller was long-time friend and musical collaborator. Their acoustic set was marked by stories about Moog's generosity, fearless pursuit of the unknown, and his sense of humor."
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.
Some of the serial numbers on the back lead up to 1982.
"Used but in unbelievable condition for it's age!
Please watch the test video. We do know that the keyboards need to have the bushings replaced. They electrically work fine but the action is not perfect and the keys sit at different heights. There is one burned out pilot light and 3 system bulbs not lighting. There are 10 missing screws that hold the modules in the rack. One of the 960 Sequential Controllers is only working through the manual step process and not auto repeating through the 8 steps. All the lights do work on it and I've been told it is an easy fix. One missing case handle, Tolex covering is 97% in perfect shape with just a few very small rip marks, one cut and a few dents.
Vintage Modular Moog Synthesizer Suit Case System From 1968-1970s [82] with 2 Keyboards
This MOOG system come to you from the Western Michigan University Music School where it has been in their lab since the late '60s. There is a manual booklet full of blue prints and schematics for the modules that comes with the purchase and the log-in books from the university.
The system has been tested and is 95% functioning perfectly. Please watch the testing video. When played the sounds of the past all come to life! That big fat low pitched analog sound produced by the oscillators is gut shaking to experience. Also the higher flute and brass sounding tones just sing out. The sequencer can generate another layer of melodies that you can then play over. We will ship this freight and cover the cost to ship it to you.
Module Specifications
Eight - 902 Voltage Controlled Amplifiers
Eight - 911 Envelope Generators
Six - 921B Oscillators
Two - 921 Voltage Controlled Oscillators
Two - 921A Oscillator Drivers
Two - 960 Sequential Controllers
Two - 961CP Interfaces
Two - 962 Sequential Switches
Two - Patch / Attenuator & Mixer Modules
One - CP8A On/Off Power & Fuse Module
One - Filter And Attenuator Module
One - Patch Panel with Multiple Patch Inputs & 6 Slide Switches
One - Pitch & S-Trig On/Off Fuse Module
One - 903-A Random Signal Generator
One - 912 Envelope Follower
One - 907 Fixed Filter Bank
One - 905 Reverb Unit
One - 904A Voltage Controlled Low Pass Filter
One - 904-B Voltage Controlled High Pass Filter
One - 904C Filter Coupler
One - 951 Keyboard Controller
One - 950 Keyboard Controller
Four - Rail System Suit Cases
Some of the serial numbers from the images of the back below:
Model 902 SN 3435
Model 902 SN 3436
Model 902 SN 3438
Model 902 SN 3437
Model 911 SN 3441
Model 911 SN 3440
Model 921B SN 10157
Model 921B SN 10161
Model 99-921A SN 10143
Model 911 SN 5605
Model 911 SN 5600
Note the Western Michigan University stickers 84343 & 88843 on one case. There also appears to be some custom work.
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
Pics of the inside below. Description via the auction: "ULTRA RARE Moog Minitmoog Preset Synthesizer... NOT VERY MANY UNITS WERE MADE & TO MY KNOWLEDGE ACCORDING FROM OTHER SOURCES ONLY ABOUT 10 UNITS ARE FULLY WORKING PROPERLY WORLDWIDE... Why..?? Because of the "Variable Capacitance" Touch Sensor Bar or After Touch Mechanism is not like any other synthesizer's after touch mechanisms. This one is based on a simple variable capacitance set up by the use of a semi-conductive material which is extremely hard to find and obviously in ALL of the Minitmoogs around the world have failed because that semi-conductive material has ceased to work because of the aging chemical reaction between all the other materials involved & the semi-conductive material. But I managed to source all the parts and materials needed exactly as it was used by the Moog Factory back then... Note to add up to this, I have owned several synthesizers with after touch most of them by variable resistance, etc but no other mechanism responds as neatly as this one with variable capacitance... Read later why...
"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."
"During Moogfest 2012, Synth Pioneer and collaborator of Bob Moog, Professor Herb Deutsch, visited the Moog Machine Shop to explore Moog's next generation analog synthesizer while in it's research & design phase.
Since the inception of the synthesizer, Bob Moog tested his ideas, instruments, and sounds with musicians and colleagues, most notably Wendy Carlos and Herb Deutsch on the Moog Modular systems.
This spirit of collaboration continues at the Moog factory to this day and is essential to our work. It is a key part of the product development process, as it furthers our ideas and helps us shape better tools for musicians."
Update: Some notes/analysis (I may add to this so check back and of course, feel free to add yours in the comments): It sounds aggressive. Note the Multidrive - pre-filter gain in addition to the overload on the Little Phatty. Also pointed out are the sub oscillator and noise generator.
It looks tiny! It will be interesting to see how it is ultimately packaged. The one Herb is playing in this video has a two octave keyboard and is smaller than the Phatty. A new mini Mini? A new Prodigy?
Note he never touches the left panel. On the right the large knob is obviously the filter cutoff knob. Bottom right of it is the Multidrive. I'm guessing the bottom left would either be resonance or possibly a separate gain knob for the Multidrive? The center knob to the left appears to be the sub oscillator. To the right you can clearly see what looks like two ADSRs and a Volume knob. Possibly a separate headphone volume knob? The bottom left knob on the board is the noise generator and to the right of it (the bottom left of the two adjacent knobs) I'm guessing is Filter Env amount as it adjusts the filter amount as he turns it. What's the knob to its right? A separate Res Env amount? That would interesting.
As for the left board, there are three switch type knobs in the top row. I'm guessing one selects the oscillator for the corresponding knobs, one for oscillator waveform, and one for octave pitch. What's not clear though is if this is a one osc plus sub or multi-osc plus sub synth. I only hear one osc plus sub. You don't hear the typical beating between oscillators, but then Herb mentions "stable oscillators" in the plural. The knob above and below the sub oscillator knobs are likely oscillator levels. The bottom row on the left looks like they could be a pitch envelope. Finally, a knob for audio in and the last two knobs for an LFO?
As for sound, my initial impression was that this sounds aggressive. More so than my Voyager. Similar to the Minitaur (see my review), but drier sounding for some reason. I'm guessing it's just the patch he's playing, but we'll see. To date, I'd say the Voyager, Phatty series, and to a large extent, the Minitaur all have the same tonal quality. They have that creamy analog Minimoog feel to them. It will be interesting to see if this synth can go in another direction. The first obvious thought would be Arturia's Minibrute. Herb doesn't make a point to call out a completely new direction for the Moog sound though. His message is the classic Moog filter sound with new Multidrive and Noise.
"ASHEVILLE, N.C. – September 19, 2011 – A raffle to benefit the Bob Moog Foundation begins today. Two lucky winners will each receive the new impOSCar2 Controller from Touch Digital Controllers and an entire suite of five virtual instruments from GForce software—a prize package valued at nearly $2,500. The raffle will continue until all 500 tickets have been sold. Because the BMF will be awarding two complete packages, each entry has a 1 in 250 chance of winning. Tickets are $20 each, or you can improve your odds by buying six for $100.
Raffle tickets are available from the Bob Moog Foundation’s Web store. Be sure to enter before all 500 tickets have sold out. Two winners chosen by a random-number generator will be announced once all 500 tickets are sold. The winner will be announced within 24 hours after that time. Raffle participants should check the Foundation’s website and social media outlets to learn when all 500 tickets have been sold and who the two winners are. The winners will be contacted by email.
The new impOSCar2 Controller provides a physical user interface for both the standalone and plug-in versions of GForce Software’s acclaimed impOSCar2 soft synth. The combination of software and hardware offers the sound and functionality of one of the most sought-after analog/digital hybrid synthesizers ever made—Oxford Synthesizer Company’s OSCar—brought up to date with automation, effects, 16-note polyphony, and tons of patch storage.
As a tribute to the memory of Bob Moog, Touch Digital Controllers donated not one, but two impOSCar2 Controllers to the BMF. One is produced in a hand-finished natural mahogany and the other in ebony black on oak. These beautifully made controllers deliver plenty of visual and tactile feedback to make programming impOSCar2 a pleasure, just like programming the original OSCar but with total recall. With 101 high-resolution knobs and buttons, every parameter is available from the controller’s front panel to remotely operate the software. In addition to its dedicated impOSCar functionality, the controller can be configured to control any software instrument that supports MIDI Learn.
“The impOSCar2 Controller is our first product, and we are proud of what we have been able to achieve with this handcrafted music instrument,” said Richard Lawson and Kent Spong of Touch Digital Controllers. “As synthesists, and as a manufacturer, we have been deeply inspired by the one man who pioneered the whole thing: Bob Moog.”
Released in July, GForce’s impOSCar2 breathes new life into the popular previous version, first launched in 2004. New features include more comprehensive modulation routing, an improved arpeggiator, ring modulation, panning mono and poly unison modes, and more than 1,000 signature patches. Add nine filter types, six portamento modes, and a programmable additive synthesis grid, and you have one powerful soft synth.
Want more? The BMF’s raffle winner will also receive licenses for M-Tron Pro, Minimonsta, Oddity, and Virtual String Machine, which realistically emulate the Mellotron, Minimoog, ARP Odyssey, and numerous polyphonic string synthesizers, while adding dozens of innovative touches. In addition, GForce Software has included the ChamberTron and OptiTron Expansion Packs for M-Tron Pro.
BMF Executive Director Michelle Moog-Koussa said, “Through the ImpOSCar2 Controller, Richard and Kent bring their love of vintage synthesizers into the design and ethos of this very special piece of handcrafted hardware. Bob’s goal was always to give musicians the highest level of expressivity, and his interface design was a big part of that. The construction of the ImpOSCar2 Controller echoes that commitment to musicians. Our many thanks to Richard, Kent, and the team at GForce Software for sharing their life's work with us. Their support is a tribute to Bob Moog's legacy and to the work of the Bob Moog Foundation.”
The Bob Moog Foundation (www.moogfoundation.org) honors the legacy of synthesizer pioneer Dr. Bob Moog through its mission of igniting the innovative and creative spirit at the intersection of music, science, and history. Its projects include Dr. Bob's SoundSchool, 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 to ignite innovation and creativity in children and adults. It will be located in Asheville, N.C., 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."
Back with a 3rd Volume of Patches for the fantastic Moog One, demonstrating Patches 97 to 128. The Bank contains 128 Patches, which can be either Single, Split of Layered using all 3 Synth Engines.
There's a wide range of Sounds, especially Motion and Evolving Pads, Brass and Strings, solid Bass and Leads, plus a whole host of others.
Some of the Sounds are more experimental, however they all are playable and have Controllers assigned to the Mod Wheel, Aftertouch and X/Y Pad for maximum control of how the Sound evolves over time.
There can be only One...MOOG ONE - Singularity Vol 3.
"Moog Lap Steel powers groundbreaking EP exploring uncharted expanses of Ameritronica
