Keith Emerson, Larry Fast, Steve Roach, Edgar Froese, Isao Tomita. All used a Moog synthesizers over the years. Some of these artists actually built their own.
Paul, you can sell the Moog since you mimic it perfectly 😁
8 месяцев назад+4
I still remember those incredible sounds like they came from inside a pipe from Karl Palmer's solos in "Lucky man" and "From the beginning". No one else could get those sounds out of the Moog Modular.
This is the most involuntarily hilarious video I've watched in a long time. Here he sits in front of this super elaborate instrument, and what we get in way of "demonstration" is a bunch of mouth sounds.
Wendy Carlos famous music with Stanley Kubrick and did A Clockwork Orange along with some music and those Ghostly sounds for The Shining. The Moog is definitely Incredible. 👍
Brilliant instrument, one of my favourite bands Tangerine Dream used them a lot in the 70's and they were one of the forerunners in using them on their albums.
Thanks Paul for showing us something that very few of us would have ever had the opportunity to experience. You’ve been such a wealth of knowledge and information it’s a shame that we’re not yet at a point that we can download all that so it will never be lost.
Very reminiscent of Keith Emerson system. I Too, was fascinated by Keith Emerson Moog system, full of yellow patch cords, ELP was at the St Paul Civic center, quad stacks hanging from the ceiling. The timed tones at the end of BSS sounds unbelievable in real life.
Great instrument, for sure. Even though it can only produce very limited set of waveforms (sine, square, triangle, saw, and white noise) at its oscillators, the routing capabilities are totally open for all kinds of experimentation. What's good about the modular analog synthesizer is the fact that it has one control or plug per function, so what you see on the panel, is exactly what you get in terms of functionality. Later instruments, such as Yamaha DX7, or Roland D-50, are also synthesizers, in sense that they can assemble sounds from very basic waveform (sine waveform in case of the DX7, and square wave for the D-50) but most parameters are hidden from the front panel, and one has to access the parameters only one or a handful at a time to make any parameter adjustments. And yet, because of the patch memory on those latter synthesizers, the practical use for musicians and keyboard players is far greater than than of an analog modular. On the other hand, when you internally pre-patch an analog synthesizer, it can also become an immediately usable keyboard instrument. For instance, a pre-patched analog synthesizer such as Minimoog is immediately good for keyboard lead or bass lines. But not much more really, aside from some flying saucer or ambulance siren effects. In the end, I am not sure about all these electronic instruments. They are interesting to read about and play with, but also they are the best excuses to actually not practice music. With acoustic instruments, on the other hand, there isn't much more to focus other than on actual music playing. I find it very odd though, then when one talks about oscillators, filters, and envelopes, people somewhat listen. But when talking about a Steinway piano in terms of its keyboard action components and strings vibration generating harmonics as a main topic, it probably would not make any sense to anyone. My point here is that acoustic instruments are really good for actual music, whereas synthesizers are also good for engineers and sound fanatics. Perhaps in a similar way, audiophiles are probably more into their electronic equipment, then into actual musical content, like the notes, chord progressions, composition, and orchestration. My point is probably proven by the fact that one can make a compelling video about a synthesizer without producing a single sound out of it. Either way, both musical instruments and music itself are great conversation topics, the instruments being the reflection of technological progress and craftsmanship, and music being the representation of the culture. Same as watching RUclips videos and writing pointless comments is just a procrastination of things actually worth doing.
You nailed it. Basically quite simple technique but all units together make up a complicated machine - and complicated sounds. You managed to explain it in a clear way though!
Nice, but Paul probably has not been following the Moog Co. over the years right up to the present. What we are looking at there is a System 35 / 55 with added modules/cases. AND, you could most recently purchase a brand new one of these !! Currently, they are building the Model 10 which pretty much started the suit case modulars for studio and portable use on stage, a precursor to the Model 15. I am VERY lucky to have in my keyboard studio a Moog 50th Anniversary Voyager bought new in 2005. It is ONE OF 100, and of the last 25 that Robert Moog personally hand signed ! I brought it to the Ashville factory, and Amos Gaynes personally added the optional memory capabilities. Glad to have it still in my collection as well as the keepsake photos and videos from that visit.
Wendy Carlos is somewhat of a genius. It's a great story to hear that Paul made a version of his own. Another intriguing instrument ,at least to me from an electronics standpoint is the theramin. Whilst not as complex an instrument, it provides some interesting sounds and was used extensively on old horror movies to create as sense of suspense.
Absolute coolest toy for musicians ever invented. Bulky to travel with and difficult to maintain though, which is why the Mini-Moog became so popular, followed by digital synths that took over in the 80's. But nothing is cooler than the original modular Moog.
Great video - certainly dragged up some long lost memories. I bought a second hand minimoog model D in the early 1980s. It had 3 keys which didnt work and not looked after. I remember paying about $80 for it. I fixed the keys and it worked quite well for a monophonic synth. Later on the 1980s Roland released the D50 which I bought new (Australian dollars $2,995 - you could buy a car for that sort of coin). I recall selling the minimoog through the trading post for $450. I thought I did rather well out of the deal. Little did I know how much of a collectors item this minimoog would become. Pink Floyd used the minimoog for most of the synth lead on the album Wish You Were Here (1975) - played by Rick Wright. In Australia the first Computer Sound synthesiser and composer was the Fairlight - worth as much as a home in an Australian capital city ($25,000+ in the 1970s). Only the big recording studios and wealthy bands could afford one. And you needed someone to program it - not very user friendly. The samplers arrived and the playing field changed again. (I believe that Fairlight CMI could have been the first synthesiser to have sampling capabilities - could be wrong, but certainly well ahead of its time)
Nice, I have a MINT D-50 in my studio, it really has not gone out of style and there is a HUGE following for that model with videos and reviews all over youTube. Also, I still have the ORIGINAL promo pack AND clear blue vinyl LP from SYNCLAVIAR! This was used by Telarc's synthesist (Don Dorsey) for the space themed recordings - Time Warp, Star Tracks etc...
I know a brand named Synth-werk that makes these modules now. Those are electrical and physical replicas of the originals and can be tuned and fit to replace original modules. Or you can get a completely new system. Though modular synth’s may be a representation of what became a modern synthesizer, modular synths have never been more popular than now. Modules in the MU format (moog units) are still made by many brands. The More compact format eurorack has become very popular. To many putting together a system of modules from different brands, connect cabels between them to make sounds, rythms and music can be very addictive.
As mentioned before I worked at Moog Music Inc, in Cheektowaga, NY. Only the parts department and shipping, but I did get to bring a Poloymoog to Tony Banks of Genesis to try out. He plugged it in and the band played Squank. What a feeling to be right there with no one around except the band and two engineers that I appauled with my forwardness when I introduced myself. Who the hell is this guy. Anyways, Steve Hackett was a prick. Tony and Mike were real gentlemen. Had to be late 1977 or early '78. They played the Aud that night. That's what we called the War Memorial Auditorium in downtown Buffalo. Check out Last Fast and Synergy for great syn music. As Todd Rundgren would sing: "Born to Synthesize"
I got to play with one of those in college, around 1992. It was gobs of fun. The problem I had was that I could never get quite the same sound twice even though I took detailed notes what I had patched together and where I had set the knobs. I don’t know if that was down to the nature or age of the device.
WOW! W Carlos! Saw Carlos perform on tour. "Bach Live" I think it was called, with a light show using an oil film projector. '69 or '70? And I have an original well worn copy of Switched on Bach. Along with one ( "TONTO's expanding head band" by Zero Time) from another top synth called TONTO. "One of the world's largest synthesizers, TONTO is credited with creating the iconic bassline on Stevie Wonder's "Superstition." The Original New Timbral Orchestra (TONTO) is the first and largest multitimbral polyphonic analog synthesizer, capable of producing many tone colours with different voices simultaneously."
Hi Paul, just fascinating! Been a synth freak since I first heard David Hentschel's ARP 2500 on Elton John's Funeral for a Friend. I guess you know the story of how Bob delivered Keith Emerson's Modular, set it up, and asked if he wanted a primer on how to use it. Keith said, "nah, I can figure it out." Four hours later, Bob's phone rang, "Hi uh, Bob? This is Keith, how do you turn this bloody thing on?"
I love Moogs. Classic subtractive synthesis at it's best if we're going to be technical. Great explanation you're shaving off the wave form to form a pleasant sound! I need to read your autobiography sometime I remember hearing you worked with Giorgio Moroder too hope the book goes into that too!
Although it may be apparent to some, should mention that these early synths are analog not digital. The output sound was recorded by microphone. The player sometimes took pictures of the patch cord setup or drew pictures in order to remember certain sounds, sequences. Today, the synths have been digital for a good while at least since the late 80s. They can produce a digital transcript which represents the truest sense of the instrument rather than having to be recorded as a sound to mike. If your recording is 99% to 100% digital transcript this makes your audio system the synth output. So, you get almost a purist sound as to the artist's intention no matter your hi end speakers or amps. The artist in the case only has worried about the transcript output to your ears not to any reference system. An example would be Beethoven or Bust by Don Dorsey. In this sense your system is a pure realization of the instrument.
Play the Moog! Saw Emerson, Lake and Palmer live. Two weirdest things were went he and his piano became airborne and they rotated and he threw a dagger into his amp. The amp then went crazy.
Wow - so that's it! ... and I thought it was a kind of variable diffuser on which - because of the many buttons - the (listening) room acoustics can be individually adjusted.
Thank you for answering my question Paul . It’s a beautiful system . Do you still have the schematics from your own synthesizer? And why not building one again ?
The Moog, Mellotron (Pendertron) and Theramin all shaped the music of the 60's and 70's. Mike Pender of the Moody Blues did 90% of 'Days of Future Past' on his modified Mellotron without any Orchestration. The Beatles "Strawberry Fields for Ever" was done on a Mellotron.
@2:35 "...and all these patch cords." Are those cords standard RCA connectors? Who made those patch cords? Are they copper based? Silver based? As most of us know, cords (interconnects) affect sound quality. That is why I am asking from where those patch cords originated, and their quality level.
Love modular synths, the old Moogs are kinda the most desirable (even though they weren't necessarily the best at everything), but when they arrived they were touted as being great at emulating 'real' instruments (which they weren't), and as they were big, expensive, complex they weren't originally that popular with musicians that just wanted something they could play on stage or the studio, the 80s arrived and you then had convenient digital systems that could actually emulate the real world and those old Moogs were regarded as junk. It probably wasn't until the 90s that folk started to want synths to sound like synths that the boom for subtractive analog systems became desirable again and the prices shot up to the crazy levels they are now. The only thing that bothers me about this is that synths and electronic music in general were seen as the future, making sounds no-one had ever heard before, they were associated with space and sci-fi, but now they're almost retro. Guitarists want classic Fenders or Les Pauls to use with their vintage valve amps, and electronic musicians want an old Moog or ARP synth for their record. Still, there's nothing that can blow up a set of speakers like an analog synth, they'll show no mercy.
Why doesn't Octave Records make a CD using the Moog? When you said "bing" the way you did, it reminded me of the machine in Monty Pythons operating room. Don't know where that came from , especially at 7am.😂
Paul, I've asked this question before. Are you ever likely to produce an SACD of music played on the Moog? I love electronic music, I got into it originally (in the 70s) via Tangerine Dream and Klaus Schulze.
First off you need Keith Emerson But that one is a toy compared to the one he had but i love that thing. I watched him play in Kansas city At Municipal Auditorium that nearly 100 year old building foundation shook at the sound his Moog put out. ELP never sounder better. Rip Keith. He was the master is playing it and it was bassicly made for him personally every one after that was a copy of his. The Hammon had noting on it though it was a beautiful organ as well. Music has changed. The 60- 70 had The most musical sound past the Classical music. I would love to play with that. I don't think you can even buy the electronics used to make it anymore. High quality components.
Good layman's intro to modular.... but it could just as easily have been explained while ACTUALLY patching up the instrument, and making synth sounds! Good thing there's about a million modular videos on RUclips!
7:07 Think about this: If the master had this back when they composed clasical music would they have used it? I belive they would have. They were the rock stars of there day. A mini moog would be nice to have. You can add onto them. I'm pretty sure Keith's moog was a bit larger.
I’d hope that your musicians, in your studio, would be allowed to use this at their sessions. But then, they would need a residency just to know what they want from using it.
The German group Kraftwerk. Did just that.... Build their own instruments as there were at the time nothing of the shelf to get. They did not concideration themselves as musicians but rather engineers.. That may give us a clue on how much they made instruments VS wrote music 🎶 😂
There is a 241 line comment on here by someone who calls themselves floopp? I believe that IS the New World Record, surpassing one by a Mr. Ellioy. When someone wants to win an argument that bad...Just let him win, will ya.
Like all the other commenters on here! People learn best when they can hear the device in action. I don't know what your intention is here, but you lost everybody as soon as you tried to immitate the sound. It makes this video bogus. Does the Moog not work? Are you afraid of it? So many questions. One really great thing was you actually named Walter Carlos correctly. Thank you for that.
![Lil Uzi Vert - Chill Bae [Official Music Video]](http://i.ytimg.com/vi/D7F42F_JM3U/mqdefault.jpg)
Fascinating. A big ask but could we see it in action for one episode please?
Search out Hannes Bieger if you wanna see it in action!
Noddy Puncture Modular Moog Toccata Patch is cool
To search for it use the frase «Moog Modular synthesizer».
A bit very basic for a moog modular 🙄
Thanks Paul! Could you please make another video of using it? I'd love to hear how it sounds while you explain it.
Keith Emerson, Larry Fast, Steve Roach, Edgar Froese, Isao Tomita. All used a Moog synthesizers over the years. Some of these artists actually built their own.
I remember Larry Fast and Synergy. Loved that stuff.
It looks like Miss Tomlin’s switchboard on Laugh-In.
Paul, you can sell the Moog since you mimic it perfectly 😁
I still remember those incredible sounds like they came from inside a pipe from Karl Palmer's solos in "Lucky man" and "From the beginning". No one else could get those sounds out of the Moog Modular.
This is the most involuntarily hilarious video I've watched in a long time. Here he sits in front of this super elaborate instrument, and what we get in way of "demonstration" is a bunch of mouth sounds.
Wendy Carlos famous music with Stanley Kubrick and did A Clockwork Orange along with some music and those Ghostly sounds for The Shining. The Moog is definitely Incredible. 👍
Brilliant instrument, one of my favourite bands Tangerine Dream used them a lot in the 70's and they were one of the forerunners in using them on their albums.
Also…..Kraftwerk😊
My jaw dropped when I saw that Moog. What a piece of electronic and music history.
Thanks Paul for showing us something that very few of us would have ever had the opportunity to experience. You’ve been such a wealth of knowledge and information it’s a shame that we’re not yet at a point that we can download all that so it will never be lost.
Very reminiscent of Keith Emerson system. I Too, was fascinated by Keith Emerson Moog system, full of yellow patch cords, ELP was at the St Paul Civic center, quad stacks hanging from the ceiling. The timed tones at the end of BSS sounds unbelievable in real life.
Great instrument, for sure. Even though it can only produce very limited set of waveforms (sine, square, triangle, saw, and white noise) at its oscillators, the routing capabilities are totally open for all kinds of experimentation. What's good about the modular analog synthesizer is the fact that it has one control or plug per function, so what you see on the panel, is exactly what you get in terms of functionality. Later instruments, such as Yamaha DX7, or Roland D-50, are also synthesizers, in sense that they can assemble sounds from very basic waveform (sine waveform in case of the DX7, and square wave for the D-50) but most parameters are hidden from the front panel, and one has to access the parameters only one or a handful at a time to make any parameter adjustments. And yet, because of the patch memory on those latter synthesizers, the practical use for musicians and keyboard players is far greater than than of an analog modular. On the other hand, when you internally pre-patch an analog synthesizer, it can also become an immediately usable keyboard instrument. For instance, a pre-patched analog synthesizer such as Minimoog is immediately good for keyboard lead or bass lines. But not much more really, aside from some flying saucer or ambulance siren effects. In the end, I am not sure about all these electronic instruments. They are interesting to read about and play with, but also they are the best excuses to actually not practice music. With acoustic instruments, on the other hand, there isn't much more to focus other than on actual music playing. I find it very odd though, then when one talks about oscillators, filters, and envelopes, people somewhat listen. But when talking about a Steinway piano in terms of its keyboard action components and strings vibration generating harmonics as a main topic, it probably would not make any sense to anyone. My point here is that acoustic instruments are really good for actual music, whereas synthesizers are also good for engineers and sound fanatics. Perhaps in a similar way, audiophiles are probably more into their electronic equipment, then into actual musical content, like the notes, chord progressions, composition, and orchestration. My point is probably proven by the fact that one can make a compelling video about a synthesizer without producing a single sound out of it. Either way, both musical instruments and music itself are great conversation topics, the instruments being the reflection of technological progress and craftsmanship, and music being the representation of the culture. Same as watching RUclips videos and writing pointless comments is just a procrastination of things actually worth doing.
You nailed it. Basically quite simple technique but all units together make up a complicated machine - and complicated sounds. You managed to explain it in a clear way though!
Nice, but Paul probably has not been following the Moog Co. over the years right up to the present. What we are looking at there is a System 35 / 55 with added modules/cases. AND, you could most recently purchase a brand new one of these !! Currently, they are building the Model 10 which pretty much started the suit case modulars for studio and portable use on stage, a precursor to the Model 15.
I am VERY lucky to have in my keyboard studio a Moog 50th Anniversary Voyager bought new in 2005. It is ONE OF 100, and of the last 25 that Robert Moog personally hand signed ! I brought it to the Ashville factory, and Amos Gaynes personally added the optional memory capabilities. Glad to have it still in my collection as well as the keepsake photos and videos from that visit.
Great insight if my interest, and thank you for pronouncing Moog correctly 🎹
I’ve loved the sound of the Moog bass ever since I heard it in On Her Majesty’s Secret Service
That is really amazing. Thanks Paul
This is the BEST syntisicher I ever saw!
This is the best synthesizer I have ever seen.
Wendy Carlos is somewhat of a genius. It's a great story to hear that Paul made a version of his own. Another intriguing instrument ,at least to me from an electronics standpoint is the theramin. Whilst not as complex an instrument, it provides some interesting sounds and was used extensively on old horror movies to create as sense of suspense.
Jean Michel Jarre uses a Theramin in a lot of his shows.
@@davej3487 I didn't know that.Thankyou for the information. Apparently it's a tricky instrument to master.
THEREMIN has no letter A in it!
@@SpeccyMan You're right,of course.Excuse the misspelling.
@@SpeccyMan Have a wonderful day!
I remember this on the cover of my Switched-on Bach by Walter Carlos LP in the 70`s
Absolute coolest toy for musicians ever invented. Bulky to travel with and difficult to maintain though, which is why the Mini-Moog became so popular, followed by digital synths that took over in the 80's. But nothing is cooler than the original modular Moog.
Great video - certainly dragged up some long lost memories.
I bought a second hand minimoog model D in the early 1980s. It had 3 keys which didnt work and not looked after. I remember paying about $80 for it. I fixed the keys and it worked quite well for a monophonic synth.
Later on the 1980s Roland released the D50 which I bought new (Australian dollars $2,995 - you could buy a car for that sort of coin).
I recall selling the minimoog through the trading post for $450. I thought I did rather well out of the deal.
Little did I know how much of a collectors item this minimoog would become.
Pink Floyd used the minimoog for most of the synth lead on the album Wish You Were Here (1975) - played by Rick Wright.
In Australia the first Computer Sound synthesiser and composer was the Fairlight - worth as much as a home in an Australian capital city ($25,000+ in the 1970s).
Only the big recording studios and wealthy bands could afford one. And you needed someone to program it - not very user friendly.
The samplers arrived and the playing field changed again.
(I believe that Fairlight CMI could have been the first synthesiser to have sampling capabilities - could be wrong, but certainly well ahead of its time)
Nice, I have a MINT D-50 in my studio, it really has not gone out of style and there is a HUGE following for that model with videos and reviews all over youTube. Also, I still have the ORIGINAL promo pack AND clear blue vinyl LP from SYNCLAVIAR! This was used by Telarc's synthesist (Don Dorsey) for the space themed recordings - Time Warp, Star Tracks etc...
I know a brand named Synth-werk that makes these modules now. Those are electrical and physical replicas of the originals and can be tuned and fit to replace original modules. Or you can get a completely new system.
Though modular synth’s may be a representation of what became a modern synthesizer, modular synths have never been more popular than now. Modules in the MU format (moog units) are still made by many brands. The More compact format eurorack has become very popular.
To many putting together a system of modules from different brands, connect cabels between them to make sounds, rythms and music can be very addictive.
I would like to see a series of videos featuring this instrument please
Great explanation Paul
I knew there was something I really liked about you! Your a fellow synth nerd! ❤
I am trying to build the MFOS Noise Toaster. Ordered most of the components and current working on the PCB layout.
As mentioned before I worked at Moog Music Inc, in Cheektowaga, NY. Only the parts department and shipping, but I did get to bring a Poloymoog to Tony Banks of Genesis to try out. He plugged it in and the band played Squank. What a feeling to be right there with no one around except the band and two engineers that I appauled with my forwardness when I introduced myself. Who the hell is this guy. Anyways, Steve Hackett was a prick. Tony and Mike were real gentlemen. Had to be late 1977 or early '78. They played the Aud that night. That's what we called the War Memorial Auditorium in downtown Buffalo.
Check out Last Fast and Synergy for great syn music. As Todd Rundgren would sing: "Born to Synthesize"
I got to play with one of those in college, around 1992. It was gobs of fun. The problem I had was that I could never get quite the same sound twice even though I took detailed notes what I had patched together and where I had set the knobs. I don’t know if that was down to the nature or age of the device.
Paul, you don't need a Moog, a voice microphone is all you need. 🙂
This was worth watching just to hear Paul’s SFX 😂
WOW! W Carlos! Saw Carlos perform on tour. "Bach Live" I think it was called, with a light show using an oil film projector. '69 or '70? And I have an original well worn copy of Switched on Bach.
Along with one ( "TONTO's expanding head band" by Zero Time) from another top synth called TONTO. "One of the world's largest synthesizers, TONTO is credited with creating the iconic bassline on Stevie Wonder's "Superstition." The Original New Timbral Orchestra (TONTO) is the first and largest multitimbral polyphonic analog synthesizer, capable of producing many tone colours with different voices simultaneously."
Ah shux we wanted to hear some Baba O'Riley ! 😂☮ ✌🏻🎸
Keith Emerson was a genius on the moog
Hi Paul, just fascinating! Been a synth freak since I first heard David Hentschel's ARP 2500 on Elton John's Funeral for a Friend. I guess you know the story of how Bob delivered Keith Emerson's Modular, set it up, and asked if he wanted a primer on how to use it. Keith said, "nah, I can figure it out." Four hours later, Bob's phone rang, "Hi uh, Bob? This is Keith, how do you turn this bloody thing on?"
I love Moogs. Classic subtractive synthesis at it's best if we're going to be technical.
Great explanation you're shaving off the wave form to form a pleasant sound!
I need to read your autobiography sometime I remember hearing you worked with Giorgio Moroder too hope the book goes into that too!
... at its best ... (No apostrophe in the possessive pronoun!)
Want to know more about the Infinitizer!
What would one cost today?
Awesome! I'm a big fan of Trent Reznor from NIN. He has a video on RUclips about his synthesizers
Although it may be apparent to some, should mention that these early synths are analog not digital. The output sound was recorded by microphone. The player sometimes took pictures of the patch cord setup or drew pictures in order to remember certain sounds, sequences. Today, the synths have been digital for a good while at least since the late 80s. They can produce a digital transcript which represents the truest sense of the instrument rather than having to be recorded as a sound to mike. If your recording is 99% to 100% digital transcript this makes your audio system the synth output. So, you get almost a purist sound as to the artist's intention no matter your hi end speakers or amps. The artist in the case only has worried about the transcript output to your ears not to any reference system. An example would be Beethoven or Bust by Don Dorsey. In this sense your system is a pure realization of the instrument.
Thanks for the terrific explaination
Play the Moog! Saw Emerson, Lake and Palmer live. Two weirdest things were went he and his piano became airborne and they rotated and he threw a dagger into his amp. The amp then went crazy.
Great explanation.
First day at shop class in HS the teacher told us his former student Robert Moog made his first synthesizer here.
Wendy did the Clockwork Orange soundtrack. Fairly impressive almost first customer!
Wow - so that's it! ... and I thought it was a kind of variable diffuser on which - because of the many buttons - the (listening) room acoustics can be individually adjusted.
Thank you for answering my question Paul . It’s a beautiful system . Do you still have the schematics from your own synthesizer? And why not building one again ?
Which was first, the Buchla synthesizer or the Moog?
The Moog, Mellotron (Pendertron) and Theramin all shaped the music of the 60's and 70's. Mike Pender of the Moody Blues did 90% of 'Days of Future Past' on his modified Mellotron without any Orchestration. The Beatles "Strawberry Fields for Ever" was done on a Mellotron.
That was a great overview of how an all-analog synth works. How about a follow-on overview of how a Fairlight works? 🙂
@2:35 "...and all these patch cords."
Are those cords standard RCA connectors?
Who made those patch cords?
Are they copper based? Silver based?
As most of us know, cords (interconnects) affect sound quality. That is why I am asking from where those patch cords originated, and their quality level.
Love modular synths, the old Moogs are kinda the most desirable (even though they weren't necessarily the best at everything), but when they arrived they were touted as being great at emulating 'real' instruments (which they weren't), and as they were big, expensive, complex they weren't originally that popular with musicians that just wanted something they could play on stage or the studio, the 80s arrived and you then had convenient digital systems that could actually emulate the real world and those old Moogs were regarded as junk. It probably wasn't until the 90s that folk started to want synths to sound like synths that the boom for subtractive analog systems became desirable again and the prices shot up to the crazy levels they are now. The only thing that bothers me about this is that synths and electronic music in general were seen as the future, making sounds no-one had ever heard before, they were associated with space and sci-fi, but now they're almost retro. Guitarists want classic Fenders or Les Pauls to use with their vintage valve amps, and electronic musicians want an old Moog or ARP synth for their record. Still, there's nothing that can blow up a set of speakers like an analog synth, they'll show no mercy.
Why doesn't Octave Records make a CD using the Moog? When you said "bing" the way you did, it reminded me of the machine in Monty Pythons operating room. Don't know where that came from , especially at 7am.😂
Paul, I've asked this question before. Are you ever likely to produce an SACD of music played on the Moog? I love electronic music, I got into it originally (in the 70s) via Tangerine Dream and Klaus Schulze.
First off you need Keith Emerson
But that one is a toy compared to the one he had but i love that thing.
I watched him play in Kansas city
At Municipal Auditorium that nearly 100 year old building foundation shook at the sound his Moog put out. ELP never sounder better.
Rip Keith.
He was the master is playing it and it was bassicly made for him personally every one after that was a copy of his.
The Hammon had noting on it though it was a beautiful organ as well.
Music has changed. The 60- 70 had
The most musical sound past the
Classical music.
I would love to play with that.
I don't think you can even buy the electronics used to make it anymore. High quality components.
great instrument, thanks for (Larry, Moe, Curly) soundFX
Wawww .. wawww awww .. wooww wooo heeeeee pun pun pinnnnn tinnnnnn…… thanks I learn a lot 👍 . Maybe one day we can hear 👂 in a tour in PS AUDIO
Everything You Wanted To Hear On The Moog ... But Were Afraid To Ask !!! Oh, I forgot to mention ...It's Polyphonic ! ... NO chords allowed !!🤓
Finally. Thank you.
Good layman's intro to modular.... but it could just as easily have been explained while ACTUALLY patching up the instrument, and making synth sounds! Good thing there's about a million modular videos on RUclips!
7:07
Think about this:
If the master had this back when they composed clasical music would they have used it?
I belive they would have.
They were the rock stars of there day.
A mini moog would be nice to have.
You can add onto them.
I'm pretty sure Keith's moog was a bit larger.
Thanks it's good to know
Do you still use it in the records you produce?
I’d hope that your musicians, in your studio, would be allowed to use this at their sessions. But then, they would need a residency just to know what they want from using it.
Put a click on the 8 track and synced it to the moog modular.
Wendy Carlos is still alive. At 84 maybe she can show up in Boulder and play that synthesizer. I thought it was pronounced Moog like a Cow.
Walter now Wendy... _Switched_ On Bach. now THAT's funny.
Thank you.
Thanks for that
Important to point out that this machine is 100% pure analog.
SO you do love electronic music
In the 70's PAIA sold kits to build your own. I did.
100% Analoge only discrete components no chips no 101010101 ❤👍
Progressive rock legend
I really need Paul to increase the number of sound effects in each video. Booby McFerrin's got nothing on Paul.
whoop whoop
Can't you plug it on and give us a tingle
The German group Kraftwerk.
Did just that.... Build their own instruments as there were at the time nothing of the shelf to get.
They did not concideration themselves as musicians but rather engineers..
That may give us a clue on how much they made instruments VS wrote music 🎶 😂
Yup, and in their last concerts live, they played LAPTOPS !!
There is a 241 line comment on here by someone who calls themselves floopp? I believe that IS the New World Record, surpassing one by a Mr. Ellioy. When someone wants to win an argument that bad...Just let him win, will ya.
Like all the other commenters on here! People learn best when they can hear the device in action. I don't know what your intention is here, but you lost everybody as soon as you tried to immitate the sound. It makes this video bogus. Does the Moog not work? Are you afraid of it? So many questions. One really great thing was you actually named Walter Carlos correctly. Thank you for that.
Noise, ?
Modular, subtractive analog synthesis.
Sure it’s not a 1940’s telephone Sentral 😂
I have three of “Walters” albums. They’re very well done, and he is a great musician. Check them out if you can.
Nope not one single thing got through.
yOu DeAdNaMeD wEnDy CaRlOs UwU
Why your memoir 99% true? Why not 100% ?