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Moog Modular Audio Synthesizer : ELECTRONIC

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Moog Modular Audio Synthesizer : ELECTRONIC ROBERT MOOG Moog Modular Audio Synthesizer, 1964 THE O M N I P RESENT Ilichard Lowenberg broughtus right to the beast. "the Moog"was a series of black closets with intimidating front panels, crisscrossed with tens ofpatchcords. Itmusthave been somewhere on I"lfth or Park, a Mid-town place that was elegantand pleasant. Me music-man operating the Moog fitthe interior(although we somehow had the impression thatneitherthe interior nor the instrumentbelonged to him) . Gino Pisserchio was his name and we later learned he was an early Andy Warhol star. We brought a tape, a movement/dance improvisation, and patched the video into the Moog. Me resultant successwasthe workofthe patch: peaks ofvideo triggering the sequencersteps. Laterwe went through another adventure in interactivity with Lowenberg . We hired a dancerby the name ofHei Taker and wired her up for muscle monitoring. -W.V. RO BERT Arthur Moog was born in Flushing New ROBERTMOOGISWELLALONGtheway York in 1934. He took degrees in physics from tojoining those men whose last names have become Queens College, NewYork, in electrical engineering common nouns in the language. Although the Moog from Columbia University, and received a Ph.D . in Synthesizer is only one of several manufactured engineering physics fromCornellUniversityin 1965. synthesizers, increasingly these days, a "Moog" In the mid-50s hefoundedtheR. A. Moog Co. forthe means a music synthesizer. manufacture of theremins ; the company began Moog lives and works in Trumansburg, NY. You makingelectronicmusicsynthesizers in 1965which canget there by taking route 96 north out ofIthaca. became its primary concern. Moog's first synthesiz- up the west side of Cayuga Lake. The R.A. Moog ers were designedin collaboration with the compos- Corporation is located in a white, two-story main ers Herbert A. Deutsch, and Walter Carlos; other street building, next to the local drug store, and composers who have since worked with Moog in- across the street from a service station, on the right clude John Cage, David Tudor, Gordon Mumma, as you come into townfrom the south. Richard Teitelbaum, Chris Swanson, and David Inside and up a longflight ofstairs you meet a Borden.Withthesuccess ofWalterCarlos' Switched receptionist, who will wind you through two drafting On Bach recording released in 1969 which uses a rooms and into a large room scattered with draw- Moog synthesizer, Moog's name and equipment ings, tape recorders, synthesizer components and have become widely identified with electronic syn- drafting tables. Moog's desk is the far one on the thesizers. Moog is currently active in music re- right, nextto the window, with the computerprint-out search and inthe development ofnewinstruments, ofSnoopy hanging above. with particular interest in evolving more sophisti- Bob Moog does not look like you'd expect him to. cated control devices and more complex ways of That is to say he is not a weirdo long-hair electronic applying control signals to add aural interest to freak who looks like he hasjustgrabbed a capacitor. sounds. His build is slender, and he might be described as looking "straight." He is reserved, but cordial. Before sitting down to talk, we toured the plant, looking at the assembly room and cabinet shop IIIIIIIuuuiunun 11111111111111 FRAME 069 step through next 5 frames STEP FORWARD downstairs. Since thepermanently installedsynthe- sizer downstairs was being used, we returned to his "office" for a demonstration on a smaller portable model. After looking ata tapedeck builtby Magnetic STEP BACK Recording, for which Moog's company is designing 100 ROBERT MOOG II TIT - T I 111-IT III "T" 11 1X`i MOOG Modular Audio Synthesizer, 1968-69 Robert A . Moog at conference on Electronic Art Tools, at SUNY, Buffalo, 1977 The unusual quality about this whole thing, Iguess, is thefact that it's been so long since a new major musical instrument has come out. Well, it's tooearlyto tellifthisis goingto be accepted electronics, we sat down again, rolled our tape re- in the long run. For instance, in 1929 and 1930 corder, and began. there was a huge flurry of excitement about the J.R.: How did you get into this? theremin. Today a lot of people don't even know MOOG: Out of interest. I began working with an what a theremin is. No one plays it. electronic music composer and we developed some Do you think a lotofpeople, like rock bands, are buy- of the first ideas and then itjust grew from there. ing these because it is likea sophisticatedorgan,just About when was this? another keyboard accessory, and aren't utilizing it? Well, we began in '63. It's true. It's years before you really know basically what a synthesizer is musically. Had you been tied in with any ofRCA's synthesizer work in the middle '50s? It seems like many of the people in the pop field haven't really gotten into it. No, Iwas independent. Remember thatVictornever made anything commercially. It wasjust an experi- It will be years. Dick Hyman is learning, but he is ment. learning slowly. The trouble is that guys like him and Peter Nero and George Harrison are successful Do youperform yourselp pop musicians who have made a shithouse full of No! We sponsored a concert in New York, but I am money, youknow, with traditional instruments and not a performing musician. I'm purely a designer. they are not psychologically prepared to bust their Is each unit custom built today? hump to really do a job in a new medium because they are making so much money in the old one. So Alot ofthem are standardsynthesizer systems now. they skim a little cream offthe top. Publicity value, Most of our synthesizers are built out of standard and that's it. But Hyman is doing things, he's modules, but we do some customwork. The module working. is the component ofthe synthesizer. Is it all built here? Yeah. The cabinets are built here and the modules 1111111111111111111111111111111111111111111111111 are all assembled here. INFO Frame 16508 to 18820 EI GEN W ELT D ER A PPA RA TEW ELT Youjust don't hear that much good stuff. a keyboard, couldyou use yourkeyboard to not only No, there isn't that much around. That's the short- change your oscillator, but control otherfunctions too? age. Does it take a special type ofmentality to work with Yes. We can use the keyboard to change anything a Moog? that is changeable at all. But it isn't necessary to have a keyboard to control I suppose it does, but we can't characterize it. It takes a guywho's a goodmusician, andlikes towork the instrument? alone, and has a rational mind. Right. There is usually a keyboard, but the key- Why don't you try to explain to me how a Moog board is only one way ofcontrolling the instrument, synthesizer differsfrom an electronic organ in the of playing it. way it develops or duplicates sound. fyou want to make a "replica" ofa sound . like An organ is a device on which you can playas many reproduce a trumpet or violin, how do you . ? notes as you want. There are a great many note Musicians don't usually think ofmaking replicas. It generators or oscillators in it. And that's about all is sort of a futile exercise. The synthesizer works there are. Ifyou play one note the note, has a simple according to a certain pattern oflogic and by using tone color, a tone color that cannot be varied or this pattern oflogic you can construct a great many shaped by the musician as it is being played. You sounds, some of which are trumpet-like, some of putyour fingeronakey, the note starts, you lift your which are violin-like, and some of which you never fingerfrom the key, thenote stops. Thatsort oftone, heard before. But if you think in terms of starting a tone that does not vary as it goes on, is only one with something that makes sense with acoustical of a great many types of musical tones. instruments and trying to force the synthesizer to Just about all other musical tones vary a great dothat, you'llgenerallyfail.You thinkmoreinterms deal as they go on. When a violinist plays he is offollowing thelogic ofthe synthesizer, ofthe sort of constantlymoving his hands, changingthe amount things it can do well, to get the sort oftone color as ofpressure with the bow. And these things result in close to the sort of tone color you want. variations in pitch, tone color and loudness. These Could you elaborate on that? Where does it excel? greatly affectthe expressive content ofthesounding of the music that is made up from sounds. Let's assumewewanttobuild a violin-like sound, as What the synthesizer is all about is giving this an example. We are never going to make a sound sort of control over the sounds to the musician. thatis completely violin-like, because a synthesizer Once the musician sets up a sound he can then doesn't function like a violin. impart as many variations as he wants into the We can do the following things: Firstwe can pick various properties of the sounds, either directly a wave-form that's close to the wave-form of a with his hands, or by mechanical means, program vibrating string that's being bowed. Right? Then we means. canpick a filter thathas the same resonant charac- That's the difference between a synthesizer and teristics as the bodyofa violin. Okay, so far so good. an organ. The same difference exists between a Now, we can shape theloudness, causing itto build trumpet and an organ. The synthesizer plays one up in the sameway as a violinist does when he puts note at a time, and at the most two or three, but the bow down on the string.
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