![]() A semi-gutted example of the Signature model sits nearby as we chat, its cherry-wood veneer in stark contract to the electronics partially spilling out of the back. I decided to change the corporate name to Moog Music and to use the Moog trademark as the final step." Voyaging OnĪnd so with his professional identity crisis sorted, Moog and his 14 or so employees have been busily checking components on the Voyager and making sure things are up to spec. I'd been using the Bob Moog signature as a trademark even before the settlement, and we'd named one of our product lines Moogerfooger, and by and large most people know about my association with the company and building up Big Briar. The transition that involved re-branding his product line from Big Briar back to Moog Music was thankfully not as arduous. As part of that process, a lot of lawyers got quite a few cases of beer out of it! Or champagne." ![]() Don Martin, who was my main adversary in the process, and I settled. I have to watch the language that I use here. What's happened this year and the past year has just been the fallout. "The time when it took the most energy and the most money was about two years ago. It's a long legal process," he says cautiously. "Well, it's been going on for three or four years. But his recent reacquisition of the Moog trademark, however, has to be the most significant development of 2002. The initial shipment of his new Minimoog Voyager has kept him quite busy, and in the early part of last year, he'd been out to Los Angeles to pick up the second of his Grammy awards for technical contributions to the field of recording. Which is understandable, considering that it's been a terribly busy time for Moog and his associates. The familiar wiry white hair is still in evidence, but he looks rather solemn and preoccupied, as if his mind were preoccupied with dozens of minute details. He arrives to meet me in an old family wagon on which he's painted a large peacock with an elaborate folk-art flourish. ![]() It's all very utilitarian and decidedly un-Stanley Kubrick.īob Moog in his Asheville workshop.The 68 year-old Moog himself, however, is something completely different. There are no huge bits of old modular gear lying around ("I'm not a collector," he insists), no employees in spotless white lab coats, and Keith Emerson isn't to be found loitering in reception. Moog's offices look nothing like what you might expect. His 'space' is a none-too-fussy workshop in a decidedly industrial swathe of Asheville, North Carolina, where there are few signs of life of among the abandoned railway lines and scrap metal yards. We occupied just one bay for the first three or four years." "This space is actually made up of two separate bays. "We've been here since July 1994," says Moog. Robert Moog's familiar logo stuck to the front door and the sight of what looks to be a real Grammy on the other side of the tinted glass. The only clue that you've arrived is a nearly microscopic version of Dr. ![]() Unless you had explicit directions, or happened to be looking for some sort of speciality hammer at the hardware shop next door, there'd be virtually no way for you to happen upon the offices of Moog Music. With the new Voyager synth about to hit the shops and the rights to use his own name restored, his star seems to be on the rise once again. More historical background can be found in The Basics of East Coast and West Coast Synthesis ().įor a more scholarly discussion, check out The Social Construction of the Early Electronic Music Synthesizer by Pinch and Trocco (1998).įinally, here are some videos which offer listening opportunities along with further explanation of these different approaches.Unquestionably the best-known name in synth design, Bob Moog is still creating innovative electronic instruments. Designed to be utilized by a black/white keyboard.Simple Waveforms such as Sawtooth, Sine or Square.VCO-VCF-VCA with ADSR Envelope Generators.Essentially a Voltage Controlled Filter Amplifier (VCFA)Įast Coast Synthesis revolves around the idea of Subtractive Synthesis oriented around a filter that removes specific frequencies to get the desired result.West Coast Synthesis revolves around the idea of Additive Synthesis, Wave Shaping and Dynamic Depth FM (Frequency Modulation) Synthesis. These two different approaches to modular design stem from Bob Moog (East Coast, NY) and Don Buchla (West Coast, CA) in the 1960s and are important to synthesizer design due to their philosophical and technical approaches. It’s worth knowing that in the early days of modular synthesizer development, there were different and to some extent competing approaches based on different philosophies of electronic music production. East Coast vs West Coast Synthesis | a bit of history
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