"Waves of Inspiration: The Legacy of Moog Museum Exhibit Features Electronic Music Pioneer's Archives for the First Time
Carlsbad, CA/Asheville, NC – The Museum of Making Music and The Bob Moog Foundation announce Waves of Inspiration: The Legacy of Moog exhibition to run from August 29, 2009 – April 30, 2010 at the Museum’s facilities in Carlsbad, California. The exhibit is the first of its kind, marking the first public display of the artifacts from Bob Moog’s archives.
Bob Moog (1934-2005) was a pioneer in the field of electronic music, inventing the Moog synthesizer in 1964. His invention made synthesis accessible to musicians for the first time and in doing so provided them with new realms of sonic expression. The instrument revolutionized the face of music and was used by such early synthesists as Wendy Carlos, Keith Emerson, Rick Wakeman, Stevie Wonder, Chick Corea, Herbie Hancock, Jan Hammer, and more.
“The Moog synthesizer defined the sounds of progressive rock and was regarded as the best sound in synthesizers. ” – Keith Emerson(Emerson, Lake and Palmer)
The Moog synthesizer is widely used today in almost every genre of music and continues to be coveted for its rich, warm analog sound and high level of expressiveness.
“Bob Moog was one of the great visionaries of our time. His ideas far transcend just music, and to this day continue to have impact on everything from rock to rap to quantum physics” – Billy Corgan (Smashing Pumpkins)
Moog's career spanned over 50 years and his work left an indelible impact on music, musicians and music-lovers alike. Bob Moog's unique legacy is one of expanding musical expression through innovation and inspiring musicians to explore the boundaries of sonic reality. Tens of thousands of musicians worldwide were, and continue to be, inspired by Moog's work, and the sonic palette it provides.
Bob Moog was awarded two GRAMMYs for his work: the NARAS Trustee's Award in 1970 and Award for Technical Achievement in 2002. He also won the Polar Music prize in 2001 from the King of Sweden and numerous other awards that recognized his contributions.
The exhibition, which highlights the inventor's career and the impact that it had on the world of music, will feature rare vintage synthesizers and other related Moog instruments and memorabilia from the Bob Moog Archives and from various private collections. A custom video presentation created by Moog historian and exhibit consultant Brian Kehew will form a central part of the exhibit. The exhibit will explore the numerous musicians, engineers and colleagues who played a vital role in the evolution of the Moog sound and the relationship between and the inventor/toolmaker and the musician, as well as the genesis of a variety of musical interfaces.
The instruments featured in the exhibit will trace the history of Moog’s work. The exhibit begins with vintage theremins and a prototype of the first modular synthesizer which originally belonged to Herb Deutsch, an experimental music composer from Long Island whose 1963 meeting with Dr. Bob Moog would help define the synthesizer as a musical instrument, and set a course for the future of electronic music. Other excellent examples of modular instruments from the late 1960s and early 1970s will be on exhibit, most notably Keith Emerson’s famous “Monster Moog” will be featured for the first time as a part of the museum display.
The exhibition will highlight and explore crucial steps that were taken in the advancement of the Moog synthesizer during the years following the development of the modular system. The display will showcase a sequence of models that led to the emergence of more compact instruments, such as the Minimoog. The main impetus behind this tremendous work was Moog’s vision to create a portable electronic music studio on which musicians could compose and perform.
The opening weekend (August 29 -31) will kick off with a launch of the Moog exhibition featuring an intimate musical performances by Keith Emerson and Erik Norlander and talks by Larry Fast and Brian Kehew.
Tickets for the opening weekend events can be purchased on the Museum's website beginning August 3, 2009. The Museum is planning an array of exciting programming throughout the seven month exhibition with panel discussions featuring people who collaborated with Moog throughout his lifetime, and concerts featuring top synthesists. The ultimate goal of this exhibition and its programs is to highlight Moog's career while celebrating synthesis as a whole.
This exhibition is funded in part by The Norris Foundation.
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The Museum of Making Music is a division of the NAMM Foundation.
Founded in 1998 under NAMM’s organizational umbrella and with its sponsorship, the Museum of Making Music explores the multifaceted history of the American music products industry from its beginnings in the 1890s to today. Housed at NAMM Headquarters in Carlsbad, California (north San Diego county), the Museum tells stories of hard work, challenge, inspiration and pioneering innovation, and reveals the profound relationship between the industry, popular music, and global culture. For more information see www.museumofmakingmusic.org.
The Bob Moog Foundation is a non-profit organization founded upon Moog's passing in August 2005. The mission of the foundation is to educate and inspire children and adults through the power and possibilities of electronic music and through the intersection of science, music and innovation. The foundation has three main projects: preserving and protecting Bob Moog's archives, creating a Student Outreach Program that brings electronic music into the schools, and its hallmark project, the creation of a Moogseum in Asheville, NC, for which it was recently awarded a $600,000 lead grant by the Buncombe County Tourism Development Authority. The Moogseum is planned to open late 2012.
"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.
"Jazz, Funk and R&B Legend George Duke and Quartet To Perform Benefit Concert for the Bob Moog Foundation and the Museum of Making Music in Carlsbad, CA
CARSLBAD, CA/ASHEVILLE, NC
On Friday, November 6, 2009 at 7 PM, George Duke—whose very name is synonymous with funk, R&B, pop, soul and jazz and who is heralded as a world class keyboardist, synthesizer pioneer, composer and Grammy award winning producer—will perform an intimate concert with his quartet at the Museum of Making Music in Carlsbad, California.
Proceeds from the concert directly benefit The Bob Moog Foundation and the Museum of Making Music, two organizations whose sympathetic missions and
like‐mindedness have kindled the exhibition, Waves of Inspiration: The Legacy of
Moog, a first‐ever look at the life and work of synthesizer innovator, Dr. Robert Moog.
In addition to the proceeds from the concert, several items will be auctioned off during the evening of the concert to raise additional funds for the two organizations.
Tickets to the concert are $75 for the general public and $65 for museum
members. Optionally, for $100 guests can enjoy both the concert event AND a
special VIP after‐party reception with George Duke that will take place following
his performance. Attendance is limited.
For tickets and information, please contact the Museum at 760‐438‐5996 or visit
www.museumofmakingmusic.org The Museum is located at 5790 Armada Drive
in Carlsbad, California, just north of San Deigo.
GEORGE DUKE
George Duke is a highly acclaimed keyboardist, synthesist and vocalist who has enjoyed a prolific career as an R&B, funk, jazz and rock musician and as an accomplished composer and producer. He has worked with an array of artists, including: Jean-Luc Ponty, Frank Zappa, Stanley Clarke, Billy Cobham, Dianne Reeves, George Clinton, Anita Baker, Miles Davis, Denise Williams, Jeffery Osborne, Regina Belle and others.
In the past 40 years, Duke has released over 30 albums as well as appearing on countless other albums. Most recently Duke released Dukey Treats (2008), which highlights his skills as a jazz/funk master and song writer. Duke talks about the album in this video.
George Duke EPK
YouTube via HeadsUpRecords
George Duke has also worked as musical director at numerous large-scale musical events, including the Nelson Mandela tribute concert at Wembley Stadium in London in 1988. In 1989, he was the interim musical director of NBC's late-night music performance program Sunday Night.
THE EXHIBIT Waves of Inspiration: The Legacy of Moog focuses on Bob's Moog's work and the impact that he had on the world of music. It features rare vintage synthesizers and other related Moog instruments and memorabilia from the Bob Moog Foundation Archives and from various private collections. The exhibit explores the numerous musicians, engineers and colleagues who played a vital role in the evolution of the Moog sound and the relationship between and the inventor/toolmaker and the musician, as well as the genesis of a variety of musical interfaces.
Bob Moog (1934-2005) was a pioneer in the field of electronic music, inventing the Moog synthesizer in 1964. His invention made synthesis accessible to musicians for the first time and in doing so provided them with new realms of sonic expression. The instrument revolutionized the face of music and was used by such early synthesists as Wendy Carlos, Keith Emerson, Rick Wakeman, Stevie Wonder, Chick Corea, Herbie Hancock, Jan Hammer, and more.
“The Moog synthesizer defined the sounds of progressive rock and was regarded as the best sound in synthesizers. ” – Keith Emerson (Emerson, Lake and Palmer)
The Moog synthesizer is widely used today in almost every genre of music and continues to be coveted for its rich, warm analog sound and high level of expressiveness.
“Bob Moog was one of the great visionaries of our time. His ideas far transcend just music, and to this day continue to have impact on everything from rock to rap to quantum physics” – Billy Corgan (Smashing Pumpkins)
Moog's career spanned over 50 years and his work left an indelible impact on music, musicians and music-lovers alike. Bob Moog's unique legacy is one of expanding musical expression through innovation and inspiring musicians to explore the boundaries of sonic reality. Tens of thousands of musicians worldwide were, and continue to be, inspired by Moog's work, and the sonic palette it provides.
Bob Moog was awarded two GRAMMYs for his work: the NARAS Trustee's Award in 1970 and Award for Technical Achievement in 2002. He also won the Polar Music prize in 2001 from the King of Sweden and numerous other prizes that recognized his contributions.
THE MUSEUM OF MAKING MUSIC
The Museum of Making Music, a division of the NAMM Foundation, explores the multifaceted history of the American music products industry from its beginnings in the 1890s to today. Located in Carlsbad, California (north San Diego county), the Museum tells stories of hard work, challenge, inspiration and pioneering innovation, and reveals the profound relationship between the industry, popular music, and global culture. For information, please visit www.museumofmakingmusic.org.
THE BOB MOOG FOUNDATION
The Bob Moog Foundation is a non-profit organization founded upon Moog's passing in August 2005. The mission of the foundation is to educate and inspire children and adults through the power and possibilities of electronic music and through the intersection of science, music and innovation. The foundation has three main projects: preserving and protecting Bob Moog's archives, creating a Student Outreach Program that brings electronic music into the schools, and its hallmark project, the creation of a Moogseum in Asheville, NC, for which it was recently awarded a $600,000 lead grant by the Buncombe County Tourism Development Authority. The Moogseum is planned to open late 2012.
The legendary George Duke has passed away. Pictured here is George with the Clavitar [image via Legacy Recordings]. It was his main instrument when performing live for much of his early career. It was featured on the album cover "Dream On" released in 1982 (pictured below).
via wikipedia: "George Duke (January 12, 1946 – August 5, 2013)[2] was a multi-faceted American musician, known as a keyboard pioneer, composer, singer and producer in both jazz and popular mainstream musical genres. He had worked with numerous acclaimed artists as arranger, music director, writer and co-writer, record producer and professor of music. He first made a name for himself with the album The Jean-Luc Ponty Experience with the George Duke Trio. He was known primarily for thirty-odd solo albums as well as for his collaborations with other musicians, particularly Frank Zappa."
He had just released a new album "DreamWeavers" dedicated to his late wife who passed away in July, 2012.
"ARTISTS ARE DREAMWEAVERS
We take tangible and intangible elements from the known world and combine them with elements from the spiritual world in order to reach deeper levels of understanding between the two. We spin undeveloped yarn of ideas into reality - it is the ultimate act of creating something from nothing in this world. In short, we are the storytellers and conduits of possibilities. The best of us are those that weave deeper levels of yarn thus giving the fabric more depth. That doesn't necessarily mean that more complexity is better for many times the simplest fabric conveys the strongest meaning. The important thing is intent, message, execution and honesty of design and in that I have always tried to hold my stead. Thus my musical fabric is diverse with multiple levels. That is the way of life and definitely the way I roll, so enjoy the ride … as Cannon used to say - 'Ahoom'.." click here for more.
"We are saddened by the sudden passing of jazz legend George Duke, and we extend our deepest condolences to his family. He was taken too soon. The world needs more people with the kind of big talent and big heart that George shared so generously.
The photo below of Michelle Moog-Koussa and George Duke was taken on November 6, 2009, at the Museum of Making Music during the exhibit "Waves of Inspiration: The Legacy of Moog". George performed a benefit concert that evening to an enraptured audience."
George Duke - Reach Out
Uploaded on Apr 14, 2009 JedYuseco01·361 videos
"Put your hands together for George Duke,Louis Johnson,Steve
Farrone and Paul Jackson and the GD Band for a seriously slammin'
set live in Tokyo in 1983. A fantastic journey back to a time when REAL musicians played REAL funk before studio created groups and overly choreographed boy bands took center stage."
George Duke Studio Tour 2013
Published on May 23, 2013
"Fusion, funk, and rock keyboard legend George Duke gives us a tour of his home studio, 'Le Gonks West.' Look for a major feature in Keyboard soon on his upcoming new album 'Dreamweaver.'"
George Duke - Shine On
Uploaded on Aug 3, 2009 smoothworld01·228 videos
"From album "DREAM ON" 1982.
George Duke:Vocals,A.Piano,Fender Rhodes
Byron Miller:Bass
Leon "Ndugu" Chancler:Drums
Michael Sembello:Guitar
Jerry Hey,Gary Grant:Trumpet
Bill Reichenbach:Trombone
Larry Williams:Tenor Saxophone"
George Duke - DreamWeaver
Published on Jun 25, 2013 concordrecords·323 videos
OUT OF DEVASTATING PAIN COMES DREAMWEAVER FROM KEYBOARDIST/COMPOSER/ARRANGER/PRODUCER GEORGE DUKE
Out of devastating pain comes DreamWeaver, the new disc, which GRAMMY Award-winning keyboardist/composer/arranger/producer George Duke considers his "most honest album in several years." The making of DreamWeaver occurred after his wife, Corine, passed away. Struck with grief, he found it difficult to work during that period. "I didn't feel like creating any music, which was odd, because normally that's the easiest thing for me to do," he says, "Sometimes, I would walk into the studio and say, 'Nah. It's not going to happen.'"
Duke's mojo returned while on a Capital Cruise. During the first couple of days, he didn't play any music, but did check out some of the other bands. "By the third day, something happened," he remembers. After returning to his cabin around 4 a.m. from listening to music, inspiration ignited. "I went back on the deck and watched the sun come up. A couple of songs started coming to me; I got out my pen and paper, and started writing."
With the assistance of an illustrious cast of musicians that includes bassists Christian McBride and Stanley Clarke; singers Teena Marie, Lalah Hathaway, Rachelle Ferrell, and Jeffrey Osborne; guitarist Paul Jackson, Jr. and the late Jef Lee Johnson; among others, DreamWeaver, set for release July 16, 2013 on Heads Up International, a division of Concord Music Group, finds Duke emphasizing more instrumentals than in the past as well as concentrating more on his mastery on various synthesizers.
Like the bulk of Duke's discography, DreamWeaver accentuates eclecticism with 15 tracks that range from swinging jazz and sweat funk to gospel-inflected pop and sensual R&B ballads. As the title implies, Duke likens mixing all of the idioms to weaving a sonic fabric. He also compares that stylistic dynamism to life. "Everything is in transition -- from hot to cold, from life to death," he philosophizes, "I wanted to incorporate that kind of thing and include a lot of things that are a part of my life."
The disc begins and ends with allusions of nothingness, starting with the title track, a sparse etude, and finishes with "Happy Trails," a misty ballad that was at first just dedicated to Duke's wife, but later gained more emotional poignancy because of the sudden passing of Johnson, whose distinctive guitar work fades out the conclusion. In between, the disc unfolds with the evocative, mid-tempo modern jazz composition, "Stones of Orion," showcasing Duke's crystalline piano improvisations along with longtime collaborator Clarke on upright bass; the feisty 15-minute workout, "Burnt Sausage Jam," a track that Duke refurbished from his 2002 Facing the Music sessions with Johnson, McBride, and drummer Lil' John Roberts; the frisky gangster-leaning groover, "Round the Way Girl;" the feet-friendly burner, "Jazzmatazz;" and the heartfelt ballad, "Missing You," another direct tribute to Duke's wife."
You'll find a number of posts featuring George Duke here. RIP DreamWeaver. You were a true inspiration us all.
"The opening weekend (August 29 -31) will kick off with a launch of the Moog exhibition featuring an intimate musical performances by Keith Emerson and Erik Norlander and talks by Larry Fast and Brian Kehew."
via the Museum of Making Music. "On August 29 at 6 PM, the public is invited to view the new exhibition "Waves of Inspiration: The Legacy of Moog," and enjoy the music of The Volt Per Octaves during a wine & cheese reception. Following the reception, the museum presents a demonstration with Keith Emerson and music by Erik Norlander. Emerson, the personification of the Moog legacy and maverick of the Moog synthesizer, will demonstrate his “Monster Moog” modular system. Norlander is a prolific artist who pushes the Moog tradition into the future with an evocative synthesizer technique. His perpetual live use of vintage instruments—Moog synthesizers in particular—give his performances a depth of sound seldom seen. Don't miss this memorable evening!
"The exhibit will also include many artifacts from other private collections including the Moog Modular prototype previously owned by Herb Deutsch, a full Moog Modular IIIC and a working and extremely rare Eaton-Moog Multi-Touch Sensitive Keyboard loaned by avant garde opera composer John Eaton. Of particular note, Keith Emerson’s (Emerson, Lake and Palmer) custom built “Monster Moog” synthesizer will be displayed for the first month of the exhibition along with notes and schematics from Bob’s archives regarding the instrument." Note I gave this post the DIY label, just to make the point that it all starts with DIY. Click on the image.
Update: the following official newsletter came in from the Bob Moog Foundation on the event. I thought I would capture it here for the archives.
Keith Emerson to Perform at Opening of Moog Archives Exhibit Synth legend Emerson and Erik Norlander will both perform at the Museum of Making Music to celebrate the opening of the first exhibit of Moog Archives!
Who: The Bob Moog Foundation & The Museum of Making Music What: Waves of Inspiration. The Legacy of Moog. An exhibit, interactive engagement and opening weekend of performances including Keith Emerson and Erik Norlander. When: August 28-30, 2009 Where: The Museum of Making Music, Carlsbad, CA
Interested in purchasing a ticket? Email to request details.
Visit our blog for details on the exhibit and "sneak preview" pictures of Bob Moog's archives, including a schematic drawing Bob drafted for Emerson's "Master Module".
The Museum of Making Music, a division of the NAMM Foundation, is a small museum located 35 miles north of San Diego. The museum is dedicated to the exploration of the multifaceted history of the American music products industry from its beginnings in the 1890s to today. The Bob Moog Foundation has been planning this exhibit over a year and a half ago with the museum’s Executive Director, Carolyn Grant and Curator, Tatiana Sezinenko. Moog historian Brian Kehew has been involved as the consultant for the exhibit and is responsible for introducing the two parties at Winter NAMM 2008.
Here at the Foundation we regard Bob’s archives as a fascinating testament to history, innovation, and a lifetime of perseverance. Since retrieving the archives from unstable storage conditions in January of 2006, we have worked to preserve and protect this priceless collection that traces the 50 year career of a dedicated pioneer. With this exhibit, we are delighted to be sharing an extensive part of the archives with the public for the first time.
A special thanks to Carolyn Grant and Tatiana Sezinenko for their generous energy and thoughtful attention to telling a rich, fascinating story with an emphasis on accurately portraying Bob Moog as the toolmaker he so often described himself to be while giving careful consideration to the many people who make up the Moog Legacy. Thanks also to Brian Kehew who has worked (and will be working over the next six weeks!) tirelessly to help bring this exhibit to fruition. Finally, our deepest thanks to Douglas Babb, who made the trek from Indiana to North Carolina five times (on his own dime) to help us sort out and understand Bob’s archives.
We encourage all of you who are in the San Diego area to attend this unique exhibit. It will be an excellent opportunity to share in the life and work of Bob Moog – and for all you gearheads out there, it will be a chance to see many rare, if not one-of-a-kind pieces. Come share in the legacy that continues to inspire!
Continue to check our blog and the museum’s website for updates.
Thank you for everything Bob. The synths, the inspiration, the humor, positive vibes and the magic.
Update:Mark Pulver's Moog tattoo. Mark was good friends with Bob Moog. I remember him getting this tattoo after his passing.
BTW, if you have anything Moog specific you'd like to send in, feel free. You can reach me at matrixsynth at gmail. Of course feel free to comment.
Also, I don't ask for a dime to run this site. I've had people suggest I put up a Paypal Donate Here button. I don't because I do have ads on the site and I believe in offering the site for free. But if you do want to donate, even just a few bucks, donate something to The Bob Moog Foundation. Little donations can add up. They are keeping not only Bob Moog's memory alive, but the magic and history of synths.
Update: On the technical side of things, here is a list of patents (creations) from Bob Moog via Jerry on the SDIY list: "well to name a few, "Voltage-Controlled Electronic Music Modules" (R.A. Moog, Journal of the Audio Engineering Society , Vol.13, No. 3, pp 200-206, July 1965...
Update on the Patents via ASSI:
Here's the fulllist of patents where he is named an inventor:
EP000000157821A4 PEPPER WILLIAM JR MOOG ROBERT A [DE] LEITFÄHIGE
ELEKTRODENMATRIX UND MATRIX VON WIDERSTANDSELEMENTEN ... no
EP000000157821A1 PEPPER WILLIAM JR, US MOOG ROBERT A, US [DE] LEITFÄHIGE
ELEKTRODENMATRIX UND MATRIX VON WIDERSTANDSELEMENTEN ... yes
US000004778951A PEPPER JR WILLIAM, US MOOG ROBERT A, US [EN] Arrays of resistive
elements for use in touch panels and for producing ... yes
US000004280387A MOOG ROBERT A [EN] Frequency following circuit yes
US000004213367A MOOG ROBERT A, US [EN] Monophonic touch sensitive keyboard
yes
US000004202238A MOOG ROBERT A, US [EN] Compressor-expander for a musical
instrument yes
US000004180707A MOOG ROBERT A, US [EN] Distortion sound effects circuit yes
US000004166197A MOOG ROBERT A, US WALBORN RICHARD M, US [EN] PARAMETRIC ADJUSTMENT
CIRCUIT yes
US000004117413A MOOG ROBERT A [EN] AMPLIFIER WITH MULTIFILTER yes
US000004108041A MOOG ROBERT A COX ROGER FLAVIUS [EN] Phase shifting sound effects
circuit yes
US000004050343A MOOG ROBERT A [EN] Electronic music synthesizer yes
US000003475623A MOOG ROBERT A [EN] ELECTRONIC HIGH-PASS AND LOW-PASS FILTERS
EMPLOYING THE BASE TO ... yes
WO001985001375A1 PEPPER WILLIAM JR, US MOOG ROBERT A, US [EN] CONDUCTIVE
ELECTRODE ARRAYS AND ARRAYS OF RESISTIVE ELEMENTS FOR ... yes
Other patents listed at the site of Don Tillman are either from employees of Moog
Music or related to some inventions that have been used in Moog products (like the
Bode frequency shifter). This is not to take away from Bob, but I'm sure he would
have been the first to point out that some other guy had invented something. The
patent family he's got together with Mr. Pepper is of course for the touch panel
for the Voyager.
Polyphonic Modes
US 4,778,951: Arrays of Resistive Elements for use in Touch Panels and for Producing Electric Fields"
Update via The Bob Moog Foundation:
"August 21, 2009 -- A Moog Day of Rememberance and Celebration
When August 21st comes around each year, we pause to remember Bob and the remarkable legacy that he left for us all to enjoy. His impact is so widespread that people remember him in all kinds of ways that are meaningful to their particular connection with him. Take a moment today to pay tribute to Bob by:
* Connecting with Bob through your instrument. Lay down a killer lead on your synth or play an ethereal melody on your theremin.
* Listening to some of your favorite Moog tunes. Bob loved working with musicians and fed off their creative drive. He was often astonished at what they could do with his instruments.
* Going out and hear some live music tonight. Bob believed deeply in live music as a force that brings people together in community.
* Reading about Bob's life, work, and legacy. Visit the CaringBridge site and read Ileana Grams-Moog's reflection on today's significance.
* Supporting the Bob Moog Foundation. We carry Bob's legacy forward by inspiring and educating people through electronic music. Donate here so that we can continue our important work.
Today we also celebrate the Bob Moog Foundation's third anniversary of making waves. Next week we head to the Museum of Making Music in Carlsbad, CA for the opening of the first exhibit featuring Bob's archives. The exhibit, Waves of Inspiration. The Legacy of Moog, pays tribute to Bob's impact and celebrates his legacy, just as we are doing at the foundation today.
Update via Richard Lainhart in the comments:
"Here's a link to Part 1 of Jordan Rudess and Richard Lainhart's Moog Birthday Space Jam, from May 23, 2004, featuring an introduction by Bob Moog:
http://www.otownmedia.com/Polaris_Part_1.mp3 [link updated]
"50 years ago, American maverick inventor Robert Moog began developing electronic instruments that altered the course of modern music for all time and have since become an integral part of our musical culture. Jordan Rudess, keyboard virtuoso, and Richard Lainhart, synthesist extraordinaire, will be performing live online on Sunday, May 23, at 1 PM Eastern Daylight Savings Time, to honor Bob Moog on his 70th birthday, and on the 50th anniversary of his company Moog Music. We'll be using old and new Moog instruments exclusively, including a vintage Mini-Moog, a modern Moog Voyager Mini-Moog, Arturia's Moog Modular V software, and a Moog Etherwave Theremin, in a classic electronic space improvisation streaming live on the Internet from O-Town Live."
Bob was a great man, and a good friend, and we still miss him."
Update: the Moog hockey table has been verified as real. You might remember the Moog phone. Note these were made by Moog in the 80s long after Bob Moog left the company.
Update via NOISECOLLECTIVE
Saint image below with Moog and Roland and: "Here are some pictures of my moog prodigy exposed @the past 'TORINO SYNTH CLINIC'"
Update on the hockey game via brian in the comments: "It's not called Moog hockey, but "Super Chexx" hockey. Sadly, the Super Chexx game has ALWAYS been collectible in the arcade world anyway, due to it's clear plastic bubble look and the sound effects.
With "sound by Moog" written up there at the top as I recall. It sounds REALLY bad, but grainy as hell in a good way. I'd be surprised if it was 8-bit. More like 4..."
"The Bob Moog Foundation will be co-sponsoring three events at winter NAMM 2010, which takes place in Anaheim, CA on January 14-17, 2009 at the Anaheim Convention Center.
Main Showcase on NAMM Floor Highlights Items From Moog Exhibit – From January 14-17, the Bob Moog Foundation, in collaboration with the NAMM Museum of Making Music, will feature dozens of items taken from their exhibit Waves of Inspiration:The Legacy of Moog in the main showcase on the floor of the convention center. Of particular note, an extremely rare Eaton-Moog Multi-Touch Sensitive keyboard will be on public display for the first time. Numerous vintage instruments, photographs, articles and project notes will also be on display. The full exhibit runs at the Museum through April 30, 2010.
An Evening Celebrating The Legacy of Vintage Keyboards Through Documentary Film - On Friday night, January 15th, from 6-8pm in the Avila Room at the Anaheim Hilton, neo-symphonic synthesist Amin Bhatia and documentary filmmaker Dianna Dilworth headline an evening exploring the evolution and impact of vintage keyboards. Amin Bhatia will be joined by Michelle Moog-Koussa, Executive Director of the Bob Moog Foundation for a question and answer session followed by a screening of a short documentary on the making of his innovative realization of Bolero Electronica, for which he used over 70 synthesizers covering 75 years of evolution in synthesis in music. The documentary features rock legends Steve Porcaro and Patrick Moraz and Roland Founder Ikutaro Kakehashi.
Following Bhatia, Dianna Dilworth and Markus Resch of the Mellotron Archive will screen Mellodrama: The Mellotron Movie which explores the rising and falling fortunes of the Mellotron – the first musical keyboard to “sample” the sounds of other instruments – from its birth in a California garage in the 1950s, through its dominance on concert stages in the 1970s, through its almost religious cult of followers in the 2000s. From the Beatles’ “Strawberry Fields” to Black Sabbath to Kanye West, Mellodrama traces a 50-year odyssey of musical invention, revolution, betrayal, and rediscovery. Panel Discussion To Explore the Impact of Bob Moog's Work on the Music Industry Past, Present and Future as Interpreted though Museum Exhibit - On Sunday January 17th from 3-4pm in the Idea Center at NAMM, The Bob Moog Foundation and the NAMM Museum of Making Music will present a panel discussion in celebration of the premiere exhibition Waves of Inspiration: The Legacy of Moog. The discussion will involve industry and musical luminaries in an exploration of the impact of Bob Moog's work on the music industry as it relates to the exhibition at the NAMM Museum of Making Music public display through April 30, 2010.
The discussion will be moderated by Museum Curator Tatiana Sizonenko.
Panelists include: * Dominic Milano (former Editor: Keyboard Magazine) * Craig Anderton (Senior Editor: Harmony-Central.com, Senior Editor: EQ Magazine, Contributing Editor: Keyboard Magazine) * Herb Deutsch (collaborator on first Moog synthesizer) * Larry Fast (Synergy, Peter Gabriel) * Brian Kehew (Moog Cookbook, The Who, Exhibit Advisor) * Michelle Moog-Koussa (Executive Director, the Bob Moog Foundation)
"Inspired. That word is embedded in the history, ethos and mission of the Bob Moog Foundation.
Bob was inspired by the possibilities of unlimited sonic reality and by what he called "the network of ideas." The convergence of those ideas and possibilities in Bob's work effected millions of people around the world who were in turn inspired by his inventions and the music they spawned. This inspiration, and the way it changed people's lives, drives the very heart of our work in igniting creativity at the intersection of music, science, history and innovation.
In 2010, the inspiration that is rooted in Bob's work has manifested itself in some of my proudest moments in the Foundation's history:
* In April we concluded "Waves of Inspiration: The Legacy of Moog" exhibit at the Museum of Making Music in Carlsbad, California. Over 200 items from Bob's archives were on display, seen by over 20,000 people.
* In May, we made modular synthesis accessible (thanks to Amos Gaynes and August Worley) by transforming Erik Norlander's legendary "Wall of Doom" custom modular Moog synthesizer from a 6' x 7' monolithic structure into six portable rack mount cases. It was featured at our spring fundraiser Moogus Operandi. This unique instrument will travel once again this spring (and beyond), giving audiences new insights into the origin of synthesis.
* In October, the Bob Moog Foundation wowed standing-room-only audiences at Moogfest with historical, educational and technical panels and discussions, drawing the attention of the New York Times and The Wall Street Journal . That same month, preservationist Seva Ball finished restoring and transferring 88 reel-to-reel tapes from our archives.
* Throughout the year, we exposed children and adults to the science of sound through MoogLab; we gave people all over the world a rare glimpse into some little known facets of the Moog legacy through historian Brian Kehew's detailed explorations of moments in time captured in material from our archives; and we reveled in the varied and important work of our corps of committed, talented volunteers.
What inspires you? Unbridled musical exploration? Innovative methods in education? Unknown history brought alive to illuminate the future? Opening people's minds to a world of possibilities that in turn make them more creative thinkers?
This is our work-- the work of the Bob Moog Foundation. We illuminate history so that it might serve as a lesson for the future. We provide unparalleled opportunities for young and old to explore sonic realms and sculpt sound as an avenue to ignite creativity through science.
Take this opportunity at year's end to be part of our inspired and inspiring work. Make an on line donation today or send a donation to:
Bob Moog Foundation P.O. Box 8136 Asheville, NC 28814
Inspired and grateful for your support, Michelle
Michelle Moog-Koussa Executive Director Bob Moog Foundation"
"Live at the Museum of Making Music plus your chance to get an autographed Bob Moog Foundation 2010 Calendar
We're here in Carlsbad, CA enjoying the opening weekend of our first full exhibit of Bob Moog's Archives, Waves of Inspiration. The Legacy of Moog., at the Museum of Making Music. Last night the museum opened its doors for a private opening for its members. The response was enthusiastic and everyone was impressed with the depth and breadth of materials displayed. Tonight we're thrilled to attend a musical celebration of the public opening of the exhibit with synth legends Keith Emerson and Erik Norlander.
You can join us tomorrow by streaming the discussion Conversations in the Key of Moog with Brian Kehew (The Moog Cookbook, The Who) and Larry Fast (Synergy, Peter Gabriel). Just visit the www.MuseumOfMakingMusic.org at 1:00PM PST (4:00PM EST) to see the live video.
To celebrate the occasion, we're giving away two of our brand new 2010 Bob Moog Foundation calendars that have been signed by several of our "rockstar" guests this weekend. To get one of these calendars for free, all you have to do is spread the word about the live talk tomorrow on your Twitter or Facebook pages and send us an email letting us know.
"Introducing Element: The first ever synthesizer from Waves. Powered by Virtual Voltage™ technology, Element is an analog-style polyphonic instrument engineered to deliver the fat, gritty sound of the classics, with all the precision, flexibility and control of contemporary digital synths.
Element includes a vast array of convenient features and functions. Like integrated effects. A 16-step arpeggiator / sequencer. MIDI Learn for all controls. And a massive preset library, with total tweakability. Plus, all parameters are laid out right there in front of you, so when inspiration strikes, there’s no need to scroll through page after page to customize your sounds. Searing leads, booming basses, ethereal pads, electro-percussion, sequential motions, mind-blowing FX and lots more: Element does it all.
Published on May 19, 2016 ARTURIA - Update: new video uploaded May 30, 2016
Update: Clarification: the NED Synclavier is not an emulation but a port of the original software:
"this is not an emulation - it is the real thing, the real mccoy. Cameron Jones himself ported the original Synclavier code to run on PC/MAC/VST etc.
- you have the choice of playing each patch either in the original 8-bit depth, or change it to 4-bit (!), 10-bit, 12-bit, 14-bit, 16-bit, 18-bit, 20-bit, 22-bit or 24-bit depth.
- resynthesis: not implemented in the current release but there may be plans to put it in a future release. However some of the original factory patches included (83 total) are resynthesis-based
- the partials/timbre frame functionality was vastly expanded"
Video description:
"The new V Collection 5 is a giant leap forward in our quest to create the greatest legendary keyboards collection ever, including 5 new softwares instruments: Piano V, Synclavier V, B-3 V, Stage-73 V, Farfisa V.
Update:It's not clear if the Synclavier V supports sampling resynthesis (see above), although it does take the FM and additive synthesis with partials to a new level. For reference, you can find the history of features for the original Synclavier on Wikipedia here.
"Arturia announces the Synclavier V, the first recreation of the legendary digital synthesizer made in collaboration with Cameron Jones, the inventor of the original instrument.
The Synclavier V faithfully recreates the elite digital synthesizer/workstation that started it all, powering some of the biggest hits and film soundtracks of the early ‘80s with its unique rich, edgy sounds.
While the Synclavier V expertly brings this historic instrument to life, we’ve improved it dramatically by taking advantage of today’s processing power. We’ve also infused into it everything we’ve learned over 16 years of developing award-winning software synthesizers. The result is a thoroughly modern, cutting-edge instrument that stands alone among hardware and software synths alike.
Update: some details on the synth engine:
Timbres consist of up to 12 Partial Timbres
Much of the magic of the original Synclavier owed to the ability to build Timbres (presets) by creating and layering four completely different sounds or Partial Timbres to realize massive, complex sounds. With the Synclavier V, we’ve taken the number of Partial Timbres to 12, dramatically expanding the creative possibilities. Since each Partial Timbre is a complete sound, that means that you can stack many different sonic elements into electrifying Timbres resounding with rich complex textures brimming with subtleties.
Partial Timbres are each compete synth engines
Each of the 12 Partial Timbres has two digital oscillators that combine the principles of both additive and frequency modulation (FM) synthesis. Rather than using filters to subtract harmonics from simple oscillators, additive synthesis builds up complex sounds by selectively adding harmonics in this case. The Synclavier V goes way beyond that, combining these oscillators in an FM architecture where the carrier (main) oscillator is modulated by the second harmonic oscillator. The fusion of additive and FM technologies make for a stunningly diverse and unique universe of cinematic pads, epic leads, evolving bass lines and more.
Time Slices animate long passages
Time Slices allow you to specify up to 50 snapshots of the 12 Partial Timbres of additive and FM synthesis goodness, and animate through them over time. For each Time Slice, you can set the volume, pitch, FM modulation amount, and delay. The ability to set parameter crossfades of up to 30 seconds between Time Slices—over a total time of 5 minutes—makes it possible to create long evolving ambient pads and cinematic cues of incredible complexity.
Improvements make a great instrument even greater
We’ve made a lot more improvements beyond boosting the sound engine from four Partial Timbres to 12. Where the original modulation oscillator was only a sine wave, now you can also choose sawtooth, square, or triangle—or graphically build your own waves comprised of 24 phase-controllable harmonics. These enhancements allow you to create outrageous textures never possible before. Each Time Slice can now even have a separate FM modulator waveform. Variable bit depth between 4- and 24-bits, on-board effects, and a MIDI Learn feature are just some of the many examples of the new options available to you in Synclavier V.
With the Synclavier V, digital synthesis meets total creative and performance expression.
Sure, all synths have LFOs, but the vibrato section of the Synclavier V is exhaustive, giving you control over LFO attack, phase, quantizing, bias and more. Things get even more interesting when you apply the LFO to the FM harmonic oscillator that, in turn, modulates the carrier. Let that sink in for a minute!
Want to take your listeners on an animated journey? Add extra energy to your pads and soundscapes with the stereo modulation section. It actually takes the form of separate linkable tremolos for each channel, making for unique spatial animation effects that will have everybody’s heads spinning.
Imagine performing with expressive nuances never possible before. Press harder on the keyboard to change the amount of FM modulation. Ride the expression pedal to affect the frame speed of your Time Slices. Grab the mod wheel to rock the FM modulation ratio. These are just some examples of what’s possible when you use the modulation matrix to easily map any of your favorite MIDI controllers to dozens of sound engine parameters—discretely for each Partial Timbre."
Update: the official press release for the entire V Collection 5 [Note: The Analog Lab press release below was the first to go up. Apologies for the all the updates, but this is how it comes in, and posts here on MATRIXSYNTH are about capturing that]:
"Arturia advances industry-standard V Collection of virtual classic keyboards
GRENOBLE, FRANCE: music software and hardware developer Arturia is proud to announce availability of V Collection 5 — the latest incarnation of its impressive industry-standard collection of authentic-sounding virtual instruments, expanded and updated to include five all-new additions alongside new versions of ‘old favourites’ (plus Analog Lab 2) — as of May 19…
With no fewer than 17 virtual instruments that recreate hard-to-source synthesizers and classic keyboards, V Collection 5 represents really remarkable value on many musical levels. At an attractive monetary level, it’s a no-brainer! Bringing something special to the 21st Century performance and production table, five all-new authentic-sounding additions lead this latest V Collection charge.
B-3 V beautifully recreates the distinctive tones of the B-3 tonewheel organ, one of the most iconic and influential instruments of all time. It truly transcends time and place by bringing this still-sought-after sound to the computer-based music-making masses. Meanwhile, Farfisa V virtually puts players in the driving seat of the sound that drove the hits of several decades as a superb software simulation of the famous Farfisa Compact Deluxe organ. Pushing the physical boundaries of an acoustic piano, Piano V meticulously models the sound and behaviour of one of the most important instruments history has yet thrown up — albeit not as one but rather nine virtual instruments rolled into one! An authentic-sounding software simulation of the Seventies-vintage Stage and Sixties-vintage Suitcase 73-key electric pianos, Stage-73 V is the sound of the Sixties, the sound of the Seventies… the sound of today, the sound of tomorrow! Thanks to Arturia’s close collaboration with original Synclavier® software developer Cameron Jones, Synclavier V takes everything the trailblazing Synclavier® could do as the most powerful additive and FM synthesizer ever created and makes it more powerful!
Put it like this: thinking about all those thousands of new sounds and styles in V Collection 5 that are available at the touch of a (virtual) button beggars belief, but Arturia’s aim is true… to create the tools that lend a helping hand to today’s musicians, taking inspiration from the past to (re)invent the music of tomorrow. The 12 remaining virtual instruments in V Collection 5 — ARP 2600 V, CS-80V, JUP-8V, Matrix-12 V, Mini V, Modular V, Prophet V, and SEM V analogue synthesizers; Prophet VS digital synthesizer; Wurli V electric piano; VOX Continental V electronic organ; and Solina V string machine — do just that, too. All are updated with resizable (Retina/4K-compatible) GUIs that truly have to be seen to be believed! But digging deeper, Native Instruments’ new NKS® (NATIVE KONTROL STANDARD) — allowing advanced integration with third-party software instruments — naturally features across the board. As does AU, AAX, VST2, and VST3 compatibility, standalone operation, plus MIDI Learn (to easily map all parameters to a MIDI CC).
Continuing Arturia’s quest for absolute authenticity through TAE® (True Analog Emulation), physical modelling, and additional technologies, anyone prepared to dig deep into V Collection 5’s treasure trove of hard-to-source synth and classic keyboard recreations will be musically rewarded in kind. Conversely, Analog Lab 2 is a powerful yet painless way of accessing a broad selection of sounds from across V Collection 5 within a single application. As it supports Arturia’s many MIDI controller devices natively, it adapts to reflect their physical controls when they are connected… connect with V Collection 5, then, and accept Arturia’s helping hand to today’s musicians, taking inspiration from the past to (re)invent the music of tomorrow!"
The Analog Lab press release:
"Arturia advances Analog Lab composite virtual instrument to include V Collection 5 sound selection
GRENOBLE, FRANCE: music software and hardware developer Arturia is proud to announce availability of Analog Lab 2 — an all-new incarnation of its composite virtual instrument that gathers together a broad selection of sought-after sounds from its V Collection 5 software bundle — as of May 19...
Analog Lab 2 is a powerful yet painless way of accessing a sought-after selection of sounds from all 17 of Arturia’s authentic-sounding virtual instruments as a single application. Included are sounds from eight emulated analogue synthesizers (ARP 2600 V, CS-80V, JUP-8V, Matrix-12 V, Mini V, Modular V, Prophet V, and SEM V), two digital synthesizers (Prophet VS and Synclavier V), two electric pianos (Stage-73 V and Wurli V), an acoustic piano (Piano V), and three electronic organs (B-3 V, Farfisa V, and VOX Continental V). Those virtual instruments recreate hard-to-source hardware synthesizers and classic keyboards of the past and conveniently transport them to the present-day desktop.
Analog Lab 2 invites instant exploration as an AAX-, AU-, VST-, and VST3-compatible plug-in in any DAW (Digital Audio Workstation) or as a standalone version. Its redesigned, resizable (Retina/4K-compatible) GUI (Graphical User Interface) is as easy on the eye as it is to use. Studio View shows the original historic hardware, helpfully bringing up the best presets from each instrument in question. But there’s a whole lot more to Analog Lab 2 than good looks alone.
Accessing those sought-after sounds at the speed of sound is simple, thanks to a new preset browser. Browse presets by TYPES, BANKS, sonic CHARACTERISTICS, and INSTRUMENTS (crossing categories). Create PLAYLISTS. Or simply Search for presets by NAME. Needless to say, with 4,500-plus presets to choose from there’s always a sound to suit every mood, every ambiance, and every music style — sounds that transcend time and fashion.
For those wishing to dig deeper then the dual-instrument MULTI feature with independent MIDI settings panel for each instrument will make their musical day. Drag and drop splits and layers of those presets to take ownership of the sound. Sounds and Multis can be organised in the PLAYLISTS area for instant recall via program change messages, making Analog Lab 2 a best friend in the studio and a pillar of live performance.
Put simply, Analog Lab 2 is so much more than just a sound library. It’s a substantial sound design tool and an amazing live performance instrument integral to immeasurably improving everyday workflow. When connected to one of Arturia’s many MIDI (Musical Digital Instrument Interface) controller devices, Analog Lab 2 will automatically adapt to reflect their physical controls. Generic MIDI controllers of course can also be used with MIDI learn to easily map all parameters to a MIDI CC (Control Change).
Changing the sound of Analog Lab 2 is even easier thanks to two EFFECTS slots with pre/post fader switch per instrument. Included Bitcrusher, Chorus, Delay, Destroy, Dub Delay, Eq4, Flanger, Overdrive, Phaser, Pitchshift, Reverb, Roundpanner, and Vocal Filter effects ensure that Analog Lab 2 always sounds the way you want it to.
Take your sound and workflow to another level with Analog Lab 2, an easily-accessible environment at an easy-to- swallow price point. What’s not to like?"
Arturia B-3 V Tutorial
Published on May 19, 2016
"The B-3 V delivers the most authentic tonewheel organ and rotary speaker experience you’ll find anywhere, plus customizations that open up new creative opportunities."
"Arturia pulls out all the software stops to realistically recreate tonewheel organ combo classic
GRENOBLE, FRANCE: music software and hardware developer Arturia is proud to announce availability of B-3 V — an authentic-sounding software simulation of the classic B-3 tonewheel organ and Leslie rotary speaker combo — as of May 19...
B-3 V realistically recreates the special sound of the B-3 tonewheel organ. One of the most iconic and influential instruments of all time. One which has graced many of the greatest recordings of all time. Today Arturia brings this to its award-winning Analog Classics family of virtual instruments that recreate hard-to-source synthesizers and classic keyboards.
Keyboard players have made their mark in all forms of popular music with the B-3, back from its inception in the Fifties way past its discontinuation through to today. Procol Harum’s hit ‘A Whiter Shade Of Pale’ proved particularly memorable with a melancholic countermelody displaying an altogether softer side to the B-3. But raucousness remains the order of the day for the blues, jazz, and gospel genres with which it first found favour. After all, it had historically been aimed at churches as a more compact and affordable alternative to conventional pipe organs.
One saying springs to mind: Pulling out all the stops — to hold back nothing — is an allusion to organ stops being pulled out to turn on each set of sounds in a pipe organ. The B-3 effectively ‘emulates’ this with its drawbars. Doing this and a whole lot more is what B-3 V does best, thanks to Arturia pulling out all the software stops to make it happen!
Thirties-developed tonewheel technology originally made that special sound happen. An electronic current is created when rotating a metal tonewheel near an electromagnetic pickup and amplifying that signal. The B-3 has 91 of those tonewheels with each key connected to a fixed set of tonewheel outputs. Drawbar settings control how these are mixed together. The tube preamplifier subsequently shapes the sound a little further — filtering and distortion take hold here — while factoring the position of the expression pedal. This not only acts as a volume control but also affects the frequency response of the preamp which is connected to a speaker.
Speaking of which, B-3 V faithfully simulates the favoured Leslie tone cabinet, containing a power amplifier that drives a rotating horn and a stationary woofer firing into a rotating drum reflector. Spellbinding spatial and frequency-shifting effects above and beyond the sound-shaping effects of commonplace loudspeakers are all perfectly possible!
B-3 V brings this classic combo — complete with the inherent imperfections that made that tonewheel technology sound so unique — to the present-day desktop as an AAX-, AU-, VST-, and VST3-compatible plug-in in any DAW (Digital Audio Workstation) or as a standalone version. Visually, things couldn’t get clearer, thanks to the resizable (Retina/4K-compatible) GUI (Graphical User Interface) that’s as easy on the eye as it is to use.
Under the hood, things couldn’t be better with MIDI control of many parameters and insert slots for ANLALOG DELAY, CHORUS, FLANGER, OVERDRIVE, and PHASE effects, as well as ADVANCED SETTINGS for upper and lower manuals and rotary speaker behaviour. B-3 V boasts a built-in step sequencer, allowing anyone to easily set an amount of modulation for each step of the sequence! Naturally, Native Instruments’ new NKS® (NATIVE KONTROL STANDARD) allows advanced integration with B-3 V.
All of the benefits of the original iconic instrument are available to modern music-makers with B-3V, but without the heavyweight hassles. Where anyone chooses to take it musically is anyone’s guess, but bet your bottom dollar that special sound will be being heard for many more years to come... courtesy of B-3 V!"
Arturia Stage-73 V Tutorial
Published on May 19, 2016
"The Stage-73 gives you actual authentic modeling of both Stage and Suitcase versions of the most popular electric piano on the planet —completed with unparalleled control of virtual mechanics, a complement of effects pedals, and built-in classic amps."
Update: And the official press release for the new Farfisa-V:
"Arturia augments Analog Classics collection with faithful Farfisa Compact series software simulation
GRENOBLE, FRANCE: music software and hardware developer Arturia is proud to announce availability of Farfisa V — faithfully modelling the famous Farfisa Compact Deluxe electronic organ with additional features from its Duo Compact series sibling — as of May 19...
Arturia’s award-winning Analog Classics family of virtual instruments recreate hard-to-source synthesizers and classic keyboards. As a worthy addition, Farfisa V virtually puts players of today in the musical driving seat with a still-sought-after sound that drove the hits of several decades: Farfisa’s famous Compact Deluxe electronic organ, one of a series of iconic instruments manufactured in Italy between 1964-1968. A staple of Sixties-produced popular music, they made their musical mark with a wider-ranging sound than that of their main VOX Continental competitor. With more bass waveforms and an expanded percussion and vibrato section sales soared.
Speaking sonically, Farfisa Compacts are almost more top octave synth-like than organ-like, thanks to a rudimentary envelope that allows for attack and decay control that went way beyond the typical organ sound of its day. Little wonder, then, that they proved popular with musicians throughout the Sixties (‘Sam The Sham’ and The Pharaohs, Percy Sledge), Seventies (Jean-Michel Jarre, Kraftwerk), Eighties (B-52s, Blondie), and beyond. But unlike heavyweight Hammond tonewheel organs, transportation to performances was trouble-free. For the fortuitous Farfisa form factor included integrated legs that could be folded up and stored within the body of the instrument itself, surely sealing many purchasing deals!
Today, though, finding and maintaining an original Farfisa has become both difficult and costly. Farfisa V solves such problems by bringing all the benefits without any of the hassles to the present-day desktop! Developed using an original hardware organ for reference, it meticulously models the original circuits and sounds of the famous Farfisa Compact Deluxe. Features from its Duo Compact series sibling are also included alongside an authentic combo amp simulation. Standalone instrument operation on Mac OS X and Windows is a given for performance purposes. Plug-in support for all major formats inside any DAW (Digital Audio Workstation) with easy MIDI-learn functionality provides hands-on control of many of its parameters and automation support for considerable creative control. Naturally, Native Instruments’ new NKS® (NATIVE KONTROL STANDARD) — allowing advanced integration with third-party software instruments — is there for the taking.
As always, recreating an instrument in software provided an opportunity to add a number of more advanced features fit for the 21st Century. Cue the special USER WAVE position, allowing anyone to create an additive waveform. Why not use the ToneDraw feature to create a new waveshape based on the graphical look of the sliders? Having modelled the original built-in spring reverb, Arturia added other reverb IRs (Impulse Responses). Reorder the additional ANALOG DELAY, CHORUS, FLANGER, OVERDRIVE, and PHASER effects. Easily-accessible individual voice tuning, PARA (paraphonic) and POLY (polyphonic) modes, ATTACK and RELEASE envelopes for upper and lower keyboards, BASS WAVE (waveform selector), TONE control for bass section, TREMOLO SYNC, and REPEAT SYNC round out this all-new Analog Classic. Hearing is believing. So is seeing, thanks to the resizable (Retina/4K-compatible) GUI (Graphical User Interface) that’s as easy on the eye as it is to use.
Ultimately, then, whether you’re set on recreating a distinctive and powerful organ sound of the past or forging ahead with a new organ sound of the future, Farfisa V does it all. But best of all... legs no longer play a part in sealing this must-have musical deal!
via this auction
"This Little Phatty® synthesizer was donated to the Bob Moog Foundation and the Museum of Making Music by Moog Music, Inc. pursuant to their joint exhibit, Waves of Inspiration: The Legacy of Moog, which was on display at the Museum of Making Music until April 2010. The Bob Moog Foundation and the Museum of Making Music both convey inspiration from music, history, and innovation. They will share the proceeds from the auction.
George Duke signed the back of the synthesizer after his November performance at the exhibit with the inscription “Keep Playing” and his signature. Herbie Hancock signed the iconic curved side panel of the instrument. Duke and Hancock are both considered synthesizer pioneers, making heavy use of the innovative instruments in the 1970s and 1980s.
This Little Phatty will be a unique conversation piece in your studio or music room. After all, who else has a synthesizer signed by two legendary synth players?
This is truly a one-of-a-kind piece!
50% of the sale price will be donated to the Bob Moog Foundation and 50% will be donated to the Museum of Making Music.
From the Moog Music site:
Like the Stage and Tribute Edition before it, the Little Phatty Stage II puts the performer in control of a 100% analog signal path, two ultra stable Voltage Controlled Oscillators, a Voltage Controlled Filter and other versatile features like an external audio input, CV and KB gate inputs and a full MIDI controller.
“The Little Phatty not only has it’s own signature killer sounds, but the ability to use it’s innovative interface as a versatile general MIDI controller make it an incredible tool for both performance and the studio.”
-Cyril Lance, Engineering Manager
Additionally, the Stage II boasts great new features including; MIDI over USB, MIDI Clock Sync, an Arpeggiator, Tap Tempo and a stylish New Black Finish.
The addition of MIDI over USB makes this performance and sound sculpting tool even more powerful. Combined with its warm analog sound, ability to process external audio and its intuitive performance, sound design and control features, the Stage II makes a great addition to any rig... from full-on analog, to a laptop/softsynth setup. You can also connect it directly to a computer running the Little Phatty Editor/Librarian.
MIDI Clock Sync allows you to synchronize the LFO and arpeggiator rate to the tempo of your MIDI sequencer, drum machine or software. Sample and hold, triangle, square, sawtooth and ramp wave modulations can now be perfectly timed with your rhythm tracks and the arpeggiator.
The arpeggiator is a great new performance feature with applications for musicians in all genres. Its wide variety of uses is sure to find a place in any style, and of course it also syncs to MIDI clock. Tap Tempo brings LFO and arpeggiator tempo sync functionality to situations in which there is no MIDI clock.
“The new features in the Little Phatty Stage II bring true analog synthesis to contemporary performance and production.” says Cyril Lance, “USB, MIDI Clock Sync, Tap Tempo and the Arpegiator make it a modern music powerhouse.”
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 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 historical archive; and the future Moogseum, an innovative educational, historical, 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.
The Museum of Making Music www.museumofmakingmusic.org
The Museum of Making Music's mission is to celebrate the rich history and encourage the future of music making.
The Museum's vision is to preserve, communicate, and advance the tradition of innovation and excellence in the music products industry and to help ensure that music making processes, in their broadest sense, continue to thrive.
To achieve this vision, we engage people of diverse backgrounds in the exploration of the creation, design, distribution and use of musical instruments and tools, and provide opportunities for people to develop their personal connections with music."
"Celebrating great strides in 2009; building momentum in 2010 With your help we can continue to make an impact in science education and historical preservation.
Sincere best wishes to you for a happy, healthy and prosperous 2010 from all of us at The Bob Moog Foundation. While many folks are understandably glad putting the old year behind them, we proudly count 2009 as a good one for the foundation and Bob’s rich legacy. As a result, our New Year is less about making a fresh start as it is about building momentum. To that end, we need your support.
The Bob Moog Foundation exists to educate and inspire hearts and minds – young and old - around the intersection of music, science and innovation. The frontier of electronic music Bob Moog laid open to the world invites the brand of curiosity and creativity essential to generating answers for 21st-century challenges.
We have ambitious plans to nurture that kind of thinking and to celebrate the power and possibilities of electronic music. Thankfully, many others share those aspirations.
In 2009:
*The Buncombe County Tourism Development Authority gave $600,000 to help establish a Bob Moog Museum, or Moogseum, in Asheville. Costing more than $3-million, The Moogseum will serve as one of the world’s most innovative artistic and community development spaces.
*Hundreds turned out for the second Enter the Mind of Moog fundraiser and launch of a permanent MiniMoogseum at the Orange Peel in Asheville. Thousands more will interact with the display each month and explore its custom-built theremin.
*The GRAMMY Foundation gave $15,000 towards restoring precious reel-to-reel tapes from the Bob Moog archives.
*The Museum of Making Music in Carlsbad, CA invited our support in staging Waves of Inspiration: The Legacy of Moog, which runs through April. Drawn largely from Bob's historical and extensive archives, this major exhibit is expected to garner national media attention and attract more than 15,000 visitors.
*Hundreds of individuals wrote checks, shared ideas and lent their muscle to generate a collective and critical mass that makes us more excited than ever about the possibilities and reach of what lies ahead.
We bow and thank those of you who have sown the seeds of success to date. We look forward to your continued faith and invite new supporters to join the Bob Moog Foundation community. Gifts of time, talent and treasure are all are needed, not only for future goals but to maintain current programs and services such as the Student Outreach Program, the Archive Preservation Initiative, planning for the Moogseum and our web interface, MoogFoundation.org.
The latter is a great window on the work of the foundation, where we’re headed and how we plan to get there. Please take a look and then act on the inspiration you find. It will be a sound investment in every sense.
If you have not done so already, we ask that you make a year-end, tax-deductible gift today that will allow us to nurture our programs and Bob's legacy in such a way that his impact will be felt by many generations to come.
Many thanks for your support and consideration.
Sincerely,
The Board of Directors of The Bob Moog Foundation
Ileana Grams-Moog (Chair) Professor of Philosophy Emerita, UNC-Asheville
Mike Adams (Vice-chair) President, Moog Music, Inc.
Erin Rafalowski (Secretary) Manager, WriteMind Institute
Kathy Davis (Treasurer) Certified Public Accountant
Ashley Capps, Owner, AC Entertainment
Steven Heller Owner, Upstream Productions
David Huskins Director of Development, Brevard Music Center
"Waves of Inspiration: The Legacy of Moog Museum Exhibit Features Electronic Music Pioneer's Archives for the First Time
The opening weekend (August 29 -31) will kick off with a launch of the Moog exhibition featuring an intimate musical performances by Keith Emerson and Erik Norlander and talks by Larry Fast and Brian Kehew.
