1/4/2024 0 Comments Bob moog soundsource problme![]() The synth was never going to go into the box from then on. It spawned just about every future genre that followed, and Robert Moog himself didn’t really express much of an interest in any of them.įollow Far Out Magazine across our social channels, on Facebook, Twitter and Instagram. That standing ovation still ripples throughout music too this day, in fact, it’s got even louder. In light of that, everything else pales.” ‘Switched-On Bach’ came out at the end of 1968.”Ĭontinuing: “I can remember playing a cut from it at an Audio Engineering Society convention in New York City about a month in advance of its release, and I can remember all those cynical, experienced recording engineers listening to this and being so overjoyed that a piece of work so innovative and of such high quality was being done that they give Carlos a standing ovation.” As he said in 2000 regarding his favourite synth creation: “The biggie was ‘Switched-On Bach’. For him the technology and innovation was riveting, but things got a little punky with it. However, the progression towards ‘I Feel Love’ was inevitable. His synthesisers were meant to be part of the ensemble in a toolset, not the sonic Stanley knife that rendered others redundant. I love what some of the artists did with the soundsources, combining them when core library soundsources and synths. You see, despite the nature of his invention, Moog was no futurist-he saw himself as more of a toolmaker and offered his creation to orchestral composers like Richard Teitelbaum, Wendy Carlos and Vladimir Ussachevsky. Overall personal rating for the patches: 7-8/10 ( Nice ). However, given Moog’s take on Summer’s track and other innovative ones of the era, it seems that he would fall firmly on the side of the condemners. This is notion is one that has its pros and cons and could be debated over in a few hundred theses. The sound of the famous Moog filter module, labelled the 904, was an instant hit with almost everyone who heard it. ![]() ![]() Bob Moog lecturing at University of Michigan about Alwin Nikolias’ first commercially available Moog synthesizer. What a bunch of Luddite fools… as if they’d need their full bedrooms! Bob Moog, Herbie Hancock, Will Alexander, NAMM. Their fear was that sessions musicians would be automated out of work and that eventually kids could forgo tireless music training, networking and everything else and write and record a number one single from their bedroom. Six years on from ‘I Feel Love’ when new wave was building like a synthetic tsunami, the Musician’s Union tried to ban synths. Well, Mr Moog, the band might not be there at all. The difference was that ‘I Feel Love’ truly was brilliant, but nevertheless, it raised a pertinent point that Moog put his finger on from the get-go: “When is played live, what does do?” Like internet inventor Tim Berners-Lee scrolling through the libertarian hell of Twitter and Facebook, Moog had witnessed the commercial future of his nerdy invention laid bare. To my ears, when it was side by side with a Minimoog, the Source. PIANO 1, among hundreds or maybe thousands of different tracks and across genres, is something that allows modern listeners to abstract a unified notion of the “’80s sound” from a diverse and eclectic repertoire of songs produced in the 1980s.Upon hearing his invention reach the loftiest height to date, he commented: “That sequencer bass that’s chugging along through the whole thing has a certain energy to it but also a certain sterility because it’s always the same … Warm, lyrical vocals but essentially it sounded like was fighting the sequencer.”Ĭontinuing: “When the sequencer stopped, I felt that I could hear the audience sort of coming alive and breathing a sigh of relief … When is played live, what does do? The audience expects a musician to be doing something and if he’s not doing as much as they expect, it’s more showbiz than music.” The sound oozes quality and class the lead lines sear, and the bass is deep and squelchy. The web of connections created by the use and re-use of DX7 presets like E. PIANO 1 by combining ethnographic study of musician language with visual analysis of spectrograms, a novel combination of techniques that links acoustic specificity with social context. PIANO 1 also encapsulates two crucial aspects of a distinctly ’80s sound in microcosm: one, technological associations with digital FM synthesis and the Yamaha DX7 as a groundbreaking ’80s synthesizer and two, cultural positioning in a greater lineage of popular music history. The timeline, replete with nearly 100 points from Moog’s lifetime, is the most comprehensive of its kind, expressly created with the goal of providing a deeper insight into the inventor’s professional evolution. PIANO 1) astonishingly prevalent-heard in up to 61% of #1 hits on the pop, country, and R&B Billboard charts in 1986-but the timbre of E. The Bob Moog Foundation has released a timeline of Bob Moog’s life with events spanning from 1934-2005. The ’80s sound is tied to the electric piano preset of the Yamaha DX7 synthesizer. Popular music of the 1980s is remembered today as having a “sound” that is somehow unified and generalizable.
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