Dress To Synth

Bruce Haack - Electric To Me Turn (1970)

"The Electric To Me Turn" is the first track from "Electric Lucifer" an early electronic album by Bruce Haack noted for its originality and innovative use of acid rock and electronic sounds. A psychedelic, anti-war song about the battle between heaven and hell. Haack used a Moog synthesizer and his own home-built electronics, including an early prototype vocoder. It was originally released on LP in 1970. The lyrics are highly original, mentioning concepts such as "powerlove" - a force so strong and good that it will not only save mankind but Lucifer himself. It remains Haack's only album to debut on a major label. (Video by Wonder Muddle)

Polyfusion Series 2000 (1976-1982)

Polyfusion was founded in 1975 by ex-Moog employees, Alan Pearce and Ron Folkman who decided to design a system of their own.

The serie 2000 modular came in 1976, it's a very well designed and built instrument, a kind of unbreakable machine (I have never ever seen one faulty). The first modules were using the same format and the knobs as in Moog systems. The sound is close to Moog’s one but the quality and stability of the electronic set it in another range, perhaps the most reliable modular at that time, and may be even today.
It's easily tunable and remains in tune.

The sequencer is available both in stand alone or standard module format. An 8 voices cv-gate polyhonic keyboard is also available. Available format : Main cabinet, Half cabinet. Tier cabinet, Half tier cabinet. Around 150 systems have been made from 1976 to 1982 .

(Thanks to Francois Marcaud)

Moog Cordovox CDX-0652 White Elephant (1975-1979)

The dual-manual combo organ Moog CDX is basically a Cordovox organ with a built in Moog Satellite monosynth. It is the only organ product that bears the Moog name prominently across the front. Somewhat rare in the US, they seem to be in plentiful supply in parts of europe.

The Satellite was designed to be an organ player's synth. It was manufactured by the Thomas Organ Company, who paid a large royalty to be allowed to manufacture the Satellite for Moog. In return they were allowed to incorporate the Satellite into their organs. Thomas Organ Company also, along with Cordovox, designed the Moog CDX.

DEVO - Mobile Moog Liberation (1982)

The Moog Modular Story

When most people think of synthesizers they think of all-in-one instruments that are programmed by pushing buttons, turning knobs, or pushing sliders. However, that is not the way it all began.
The first synthesizers were modular, in that they were a group of modules that each performed a separate function. For example, one module, called an oscillator, produced a waveform (sawtooth, sine, pulse, etc...) and another, the amplifier, modified the amplitude (volume) of the waveform. Each of these two modules had inputs for control voltage (CV). For the oscillator, the higher the control voltage, the higher the frequency of the wave. For the amplifier, the higher the control voltage, the larger the amplitude of the waveform was, and therefor the volume of the sound. These modules can be patched together in an almost infinite number of ways, making sound far more complex than today's synthesizers can even dream of making.


























Moog Modular Synthesizer System refers to any of a number of monophonic analog modular synthesizers designed by the late electronic instrument pioneer Dr. Robert Moog and manufactured by R.A Moog Co. (Moog Music after 1972) from about 1963 until 1981. In 1964, Robert Moog created one of the first modular voltage-controlled music synthesizers, and demonstrated it at the AES convention that year. Moog employed his theremin company to manufacture and market his synthesizers which, unlike the synthesizers created by Don Buchla (the other prominent figure in the early history of the synthesizer), featured a piano-style keyboard as a significant portion of the user interface. Moog also established standards for analog synthesizer control interfacing, with a logarithmic one volt-per-octave pitch control and a separate pulse triggering signal.

Between the years 1967 and 1981, Moog Music was designing, improving upon, and selling modules for their modular synthesizers. Although each modular system was available custom configured, there were many stock design models of the Moog modular synthesizer. Models included: 3C, 2C, 1C, 3P, 2P, 1P, 10, 12, 15, 55, 35, and C.E.M.S. (Co-ordinated Electronic Music Studio).





















1967 Modular System III
The Moog modular system consists of a number of various modules mounted in a cabinet. Each module performs a specific signal-generating or -modifying function. These modules offered unprecedented control over creating sounds by allowing a user to modify primary sound waveforms (sine waves, square waves and other waveforms provided by voltage controlled oscillators or VCO) with amplitude modulators (voltage controlled amplifiers or VCA) and spectral modulators (voltage controlled filters (VCF) or fixed filter banks) and other modifiers. Envelope generators provided further control by modulating the attack, decay, sustain and release (ADSR) parameters of the VCAs, VCFs and other modules. The modules are patched together with patch cords with ¼i-inch mono plugs. The patch cords and module parameter knobs could be adjusted in countless ways to create a nearly infinite number of sounds. The final sound was heard ('triggered') from the system by pressing a key on an attached keyboard or pressing on the ribbon controller.






















Patent - The Filter Ladder
Oct. 28, 1969 -- R.A.MOOG -- Patent no. 3,475,623
ELECTRONIC HIGH-PASS AND LOW-PASS FILTERS EMPLOYING THE BASE TO EMITTER DIODE RESISTANCE OF BIPOLAR TRANSISTORS
Filed Oct. 10, 1966

In the early and experimental days of electronic instruments, Moog sold made-to-order synthesizer systems composed of whatever modules the musician desired. Starting in 1967, the company began manufacturing a number of pre-assembled stock modular systems that contained a predetermined number of modules. Later on, these systems were manufactured and modified based on customer specifications. Produced from 1967 to 1972, the earliest Moog modular systems were named the Moog 3, the Moog 2, and the Moog 1. The "C" series featured solid walnut cabinets and, starting in 1970, the "P" series, designed for portability, came in a road case.From 1971 to 1973, the Moog 10 and the Moog 12 were manufactured, each mounted in a road case. Produced from 1972 to 1981, the Moog 15, the Moog 35 and the Moog 55 featured walnut cabinets like the earlier "C" series. Moog also produced the Moog Co-ordinated Electronic Music Studio ( C.E.M.S.).















The Moog modular synthesizer offered musicians a revolutionary new way to produce sound when it was released in the 1960s. It was originally intended for use in recording studios and universities and was not intended for (or widely embraced by) musicians for use in live performance. The analog electronics of the system often made sound generation unreliable and unpredictable during live performances. For example, the VCOs were notorious for their inability to hold a fixed frequency for any extended period of time and would often change pitch and go out of tune, especially in hot or damp environments. Additionally, modular sounds could not be programmed and stored for retrieval due to the instrument's analog nature. Changing sounds on the system was a time-consuming task requiring the physical re-routing of numerous patch cords and manual knob adjustments.

1969 Moog 3P with 3 add portable cabinets plus accessoires (totally 71 modules)

Another common problem is the Moog's incompatibility with the gate/trigger voltage used in most other synthesizers of the time. Moog equipment used a high-state logic called S-trig, which maintained at +8-10 volts until the trigger was sent, dropping the voltage to 0, the opposite of what was commonly used by other manufacturers. In addition to this incompatibility, if a certain patch used an extensive amount of triggering connections, each module would cause a voltage drop sending the logic over into low-state and firing the S-trigger.
In spite of all its shortcomings, a few notable artists successfully toured with Moog modular systems:
Wendy Carlos, John Cage, Paul Bley, Jean-Jacques Perrey, Gershon Kingsley, Dick Hyman, Klaus Wunderlich, Eberhard Schoener, George Harrison, Keith Emerson, Sun Ra, Earthstar, Vangelis, Klaus Schulze, Edgar Froese, Florian Fricke (of Popol Vuh), Vince Clarke, Beaver & Krause, Giorgio Moroder, Isao Tomita, Yellow Magic Orchestra (a.o.)


Wendy Carlo's Modular Moog

Stevie Wonder plays the Arp and Moog synthesizers on the album "Talking Book", with Robert Margouleff and the Tonto's Expanding Head Band (T.O.N.T.O.) "The Original New Timbral Orchestra" became a drastically expanding Moog Modular Series 3, Moog Sytems 55 were played by Larry Fast and Richard Pinhas – and even Mick Jagger "plays" a Moog in the Movie 'Performance'.
The first Moog system was bought by choreographer Alwin Nikolais. Lothar and the Hand People began using the modular Moog in 1965. Composers Eric Siday and Chris Swansen were also among the first customers, with Paul Beaver being the first to use a modular Moog on a record in 1967. It was Wendy Carlos' 1968 Switched-On Bach which featured Carlos' custom-built modular synthesizer as the only instrument on the recording which brought widespread interest to the Moog synthesizer. Shortly after, Keith Emerson, the Monkees, Jan Hammer, Tangerine Dream, The Beatles, and The Rolling Stones also became owners of modular Moogs.

Modular System of Tonto's Expanding Head BandThis new popularity led to the 1970 release of the classic Minimoog and subsequent Moog synthesizers, modeled after the larger modular systems and designed for portability, usability, and affordability. A number of universities purchased Moog systems or modules; the University of Iowa where composer Peter Tod Lewis was a faculty member, for example, owned a Moog Modular IIIC with an optional double-sequencer addition.
The Moog modular synthesizer is considered by enthusiasts to be the original and definitive synthesizer. Although digital synthesizers and samplers are generally more user friendly than a modular synthesizer and available at a fraction of the price that it would take to acquire and maintain a modular system, modular Moogs continue to be valued by collectors and musicians alike.

Moog Operator

..call you local Moog Operator!
(Official Ad from 1979)

The Moog Modular 3C

Keyboard-Warrior Keith Emerson plays the Moog Modular 3C with extra modules including a TV monitor and progammer modules
Courtesy of Mark Glinsky (Photo)



White Moog Modular 3C

Wendy Carlos (aka Walter Carlos)

Wendy Carlos (born Walter Carlos on 14 November 1939, in Pawtuckett, Rhode Island) is one of the first famous performers of electronic music. "Switched-On-Bach", the electronically generated versions of works by Johann Sebastian Bach was contained one of the first albums that made attempt, synthesizers to use as an alternative to an orchestra.

As an assistant to Robert Moog in developing its first commercially available synthesizer, Carlos advance the technology of sound synthesis. Switched-On Bach was the best selling classical album of all time.
In 1972, Carlos underwent after a long preparation for a gender reassignment surgery and changed his name officially. The artist's first recordings were released under the name Walter Carlos. The first release credited to her as "Wendy" was Switched-On Brandenburgs (1979). Carlos's first public appearance after her gender transition was in an interview in the May 1979 issue of Playboy magazine, a decision she regrets because of the unwelcome publicity it brought to her personal life, where her surgery was described in anatomical detail.

Carlos began musical education at age six with piano lessons. Following undergraduate studies of music and physics at Brown University accompanied by early explorations of electronic music, Carlos earned a master's degree in composition at Colunbia University, studying there with Vladimir Usschevsky, a pioneer in electronic music (other teachers included Otto Luening and Jack Beeson). Remaining in New York after graduation, Carlos met Rober Moog and was one of his earliest customers, providing feedback for his further development of the Moog synthesizer. Carlos convinced Moog to add touch-sensitivity to the synthesizer keyboard, to allow a greater level of dynamics and musicality.

Around 1966, Carlos met Rachel Elkind, who produced Switched-On Bach and other early albums. With the proceeds of Switched-On Bach, the two renovated a New York brownstone, which they shared as a home and business premises, installing a studio for live and electronic recording on the bottom floor. Carlos took the unusual step of enclosing the entire studio in a Faraday cage, shielding the equipment from radio and television interference.

Carlos first came to notice in the late 1960s with recordings made on the Moog synthesizer, then a relatively new and unknown instrument; most notable were LPs of synthesized Bach and the soundtrack for Stanley Kubrick's film A Clockwork Orange. Several years prior, two Carlos compositions using classical (pre-Moog) electronic techniques had been issued on LP (Variations for Flute and Tape and Dialogues for Piano and Two Loudspeakers). Although the first Carlos Moog albums were interpretations of the works of classical composers, she later resumed releasing original compositions.
Carlos' first release was entitled "Moog 900 Series - Electronic Music Systems" (R. A. Moog Company, Inc., 1967) and it was an introduction to the technical aspects of the machine.
Switched-On-Bach (1968) was an early album demonstrating the use of the synthesizer as a genuine musical instrument. As an early user of Robert Moog's first commercially available synthesizer modules (Moog assembled these as custom installations that differed greatly from user to user), Walter Carlos helped pioneer the technology, which was significantly more difficult to use than it is today. Multitracking recording techniques played a critical role in the time-consuming process of creating this album. Switched-On Bach was the last project in his four-year-long collaboration with Benjamin Folkman and won gold records for both Carlos and Folkman. The album then became one of the first classical LPs to sell 500,000 copies, and (eventually) to go platinum.
Carlos composed and recorded music for "A Clockwork Orange" (1971). She worked with Stanley Kubrick again on "The Shining". In 1982, she scored the film "Tron" for Disney. This score incorporated orchestra, chorus, organ, and both analog and digital synthesizers. Some of her end-title music featuring the Royal Albert Hall Organ was replaced with a song by the Rockgroup Journey, and the music that originally was composed for the lightcycle scene was dropped. Digital Moonscapes (1984) switched to digital synthesizers from the analog synthesizers that were the trademark of her earlier albums. Some of the unused material from the Tron soundtrack was incorporated into it.

Beginning in 1998, all of her catalogue was remastered. In 2005, the two-volume set Rediscovering Lost Scores was released, featuring previously out-of-print material, including the unreleased soundtrack to Woundings, and music composed and recorded for The Shining, Tron and A Clockwork Orange that was not used in the films.

When You've Got The Sound...

Moog Advert (1979)

Robert "Bob" Moog

Dr. Robert Arthur Moog (pronounced /ˈmoʊɡ/, mohg), commonly called Bob Moog (May 23, 1934 – August 21, 2005) was an American pioneer of electronic music, best known as the inventor of the Moog synthesizer.

A native of New York City, Robert Moog attended the Bronx High School of Science in New York, graduating in 1952. Moog earned a bachelor's degree in physics from Queens College, New York in 1957, another in electrical engineering from Columbia University, and a Ph.D. in engineering physics from Cornell University. Moog's awards include honorary doctorates from Polytechnic Institute of New York University (New York City) and Lycoming College (Williamsport, Pennsylvania).

During his lifetime, Bob Moog founded two companies for manufacturing electronic musical instruments. He also worked as a consultant and vice president for new product research at Kurzweil Music Systems from 1984 to 1988, helping to develop the Kurzweil K2000. Moog spent the early 1990s as a research professor of music at the University of North Carolina at Asheville.
He received a Grammy Trustees Award for lifetime achievement in 1970.

In 2002, Bob Moog was honored with a Grammy Tech Award, and an honorary doctorate degree from Berklee College of Music.
He gave an enthusiastically-received lecture at the 2004 New Interfaces for Musical Expression (NIME-04), held in Hamamatsu, Japan's "City of Musical Instruments", in June, 2004. Moog was the inspiration behind the 2004 film Moog. Robert Moog was diagnosed with a brain tumor on April 28, 2005. Nearly four months later, Moog died at the age of 71 in Asheville, North Carolina. The Bob Moog Foundation was created as a memorial, with the aim of continuing his life's work of developing electronic music.

The Moog synthesizer was one of the first widely used electronic musical instruments. Early developmental work on the components of the synthesizer occurred at the Columbia-Princeton Electronic Music Center, now the Computer Music Center. While there, Moog developed the voltage controlled oscillators, ADSR envelope generators, and other synthesizer modules with composer Herbert Deutsch.

Bob Moog created the first voltage-controlled subtractive synthesizer to utilize a keyboard as a controller and demonstrated it at the AES convention in 1964. In 1966, Moog filed a patent application for his unique low-pass filter U.S. Patent 3,475,623, which issued in October 1969. He held several dozen patents.

Moog employed his theremin company (R. A. Moog Co., which would later become Moog Music) to manufacture and market his synthesizers. Unlike the few other 1960s synthesizer manufacturers, Moog shipped a piano-style keyboard as the standard user interface to his synthesizers. Moog also established standards for analog synthesizer control interfacing, with a logarithmic one volt-per-octave pitch control and a separate pulse triggering signal.

The first Moog instruments were modular synthesizers. In 1971 Moog Music began production of the Minimoog Model D which was among the first widely available, portable and relatively affordable synthesizers.

One of Moog's earliest musical customers was Wendy Carlos whom he credits with providing feedback that was valuable to the further development of Moog synthesizers. Through his involvement in electronic music, Moog developed close professional relationships with various artists. In a 2000 interview, Moog said "I'm an engineer. I see myself as a toolmaker and the musicians are my customers. They use my tools."