7 Bob Moog images that say a lot about electronic music history

The story of electronic music making is ultimately a human one, even as those humans work with machines. So as the Bob Moog Foundation plans a Moog museum and expanded education, we share seven images from the archives that follow a thread through that history.

The Bob Moog Foundation is a non-profit American organization dedicated to continue the legacy of its namesake. And now they’re expanding their educational project for kids, the Dr. Bob’s SoundSchool, which uses sound technology to teach engineering and science as well as culture. Plus they’re raising funds to create a physical Moogseum. And to do that, they’ve got some classic instruments to give away as fundraising items in a raffle (details below).

There are tons of amazing images and artifacts now in the foundation archives. But let’s examine a few that capture a set of moments across that history. Thanks to Bob’s daughter and Moog Foundation Executive Director, Michelle Moog-Koussa, for sending these to CDM. (Captions also courtesy Michelle.)

1974.

Roger Powell and Bob Moog with custom modular controller designed by Bob for Roger, at Radio City Music Hall.

Roger donated this controller to the Bob Moog Foundation, and it is now part of their archives and will be present at the Moogseum.

1975.

Bob Moog fixing Patrick Moraz’s Polymoog in Switzerland.

1978.

Bob Moog and Less Paul with the LAB Series Amp.

1984.

Bob Moog, Suzanne Ciani, Roger Powell, UIW.

1988.
(date unconfirmed)

Bob Moog, Herbie Hancock, Will Alexander, NAMM.

1989.

Bob Moog lecturing at University of Michigan about Alwin Nikolias’ first commercially available Moog synthesizer.

1992.

Chick Corea and Bob Moog, Asheville Civic Center.

About that raffle:

A Memorymoog, Moog Source, and Moog Rogue will be offered as first, second, and third prizes, respectively. The Moog Trifecta Raffle marks the first time in the Foundation’s history that it is offering more than one raffle prize.

The raffle begins on August 27, 2018 at 12:01am EDT, and ends on September 24, 2018 at 11:59pm EDT, or when all 5500 tickets sell out, whichever comes first. Tickets are $25 each or five for $100, and can be purchased here: http://bit.ly/MoogTrifectaRaffle
Funding raised from the raffle will be used to expand the Foundation’s hallmark educational project, Dr. Bob’s SoundSchool, and to help fund its newest project, the Moogseum, which was announced last week. The Moogseum, a planned interactive, immersive facility that will bring Bob Moog’s legacy and the science of sound and synthesis alive for people of all ages, will be located in downtown Asheville, NC. It is expected to open in April 2019, with an online Moogseum to follow later that year.

All three synthesizers were built in Moog Music’s Buffalo, NY factory in the early 1980s, have been fully restored, and are in excellent technical and cosmetic condition with minor flaws typical with vintage instruments.

The Memorymoog, serial number 1460, has an estimated value of $7,500. It combines six voice polyphony to create a unique polysynth with three voltage controlled, articulated oscillators. Each voice has its own 24dB voltage controlled filter. It is often referred to architecturally as six Minimoogs, and is renowned for its rich sound.

The Memorymoog being offered has been retrofitted with a sequencer and MIDI capabilities, normally found only in Memorymoog Plus models. It has been meticulously serviced by vintage synth specialist Wes Taggart, a lauded technician for Memorymoog restoration.

The Moog Source is a 37 key, two oscillator synthesizer with unique features such as patch memory storage, flat-panel membrane buttons, single data wheel assignment, and more. It has two voltage controlled analog oscillators and the legendary 24 dB Moog filter. The unit being offered is serial number 2221 and has an estimated value of $2,400. The Source has been used by such legends as Tangerine Dream, Jan Hammer, Depeche Mode, Devo, and Vince Clarke.

The Moog Rogue is a compact, two oscillator monophonic synthesizer often referred to as “small but mighty” for its legendary powerful bass sounds. Versatile and user-friendly enough to be used as the Taurus II Bass Pedal synth, the Rogue has been used by Will Butler of Arcade Fire, Vince Clarke, Peter Gabriel, Jonny Greenwood of Radiohead, Howard Jones, and more. The unit being offered, serial number 4462, has been restored by acclaimed restoration house Tone Tweakers, and is valued at $2,000.

https://moogfoundation.org/

The post 7 Bob Moog images that say a lot about electronic music history appeared first on CDM Create Digital Music.

4 Ways To Get Started With Making Quadraphonic Music

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Quadraphonic Master Class With Suzanne Ciani

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Suzanne Ciani Announces ‘Live Quadraphonic’ – The First Quad Vinyl Release In 30 Years

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Watch Moogfest kick off with epic 50-hour livestream, lineup – minus men

Women and transgender artists have too often seen their work in electronic music pushed to the margins. Moogfest’s launch this year puts them first.

Moogfest this year promises to have the mix they’ve been brewing in the latest editions: part music festival, part conference, with music and music technology meeting up with larger themes around science and innovation. The difference is, instead of the presence of female and transgender artists being just another box for curators to tick — “hey, look, we booked some women” — here, they’re leading the announcement. That includes both a 50-hour livestream of back-to-back sets from a pretty amazing and diverse set of artists, plus the first wave announcement of artists.

Here’s Madame Gandhi explaining the idea:

The result is a mixture of people you know really well (legends like Suzanne Ciani, Moor Mother) alongside a lot of artists who are almost certainly new to you – particularly as they’ve been drawn from disparate genres and geographies. Indeed, these are the kind of people who have been quietly pushing music in new directions, but who might get lost in the fine print of music programs, or pushed to the side in music headlines. In fact, I think the upshot is a potential victory not only for gender equality, but for independent and out-of-the-mainstream music, too. And knowing CDM readers, irrespective of your gender, I think that’s a value you’re likely to enjoy seeing represented.

As Ciani tells The New York Times:

For Ms. Ciani, the theme for Moogfest 2018 is only natural. “Women have long been intimately connected to electronic music, perhaps because it offered a path outside male-dominated conventional music worlds,” she said. “What has changed is an awareness of women in the field historically as well as a huge influx of contemporary talent.”

Moogfest Shines a Spotlight on Female, Nonbinary and Transgender Musicians

To that I’d add that it’s worth noting that the “influx” and “contemporary” parts are also closely tied to international artists. Our own CDM contributor will have a conversation with a fellow Romanian woman in the Bucharest scene for one link to that; I’ve also had conversations recently with a some Iranian artists about the situation for women making music there (and the resulting international scene as they travel), and … well, look down the list of countries below.

Moor Mother, the ground-breaking experimental project of Philadelphia’s Camae Ayewa, is one of many people deserving of first-wave headliner recognition – and now getting it.

We’ll have some interviews with artists shortly, so Moogfest’s lineup is your gain, wherever you are.

To watch the livestream:

You can watch from anywhere beginning at 12pm ET on Wednesday December 6 until 2pm ET on Friday December 8.
http://AlwaysOn.Live

Or watch here:

I’m also cross-posting to our CDM Facebook page.

The schedule:

The beginning is – starting very radical, in a nice way! Unfortunately, upstream bandwidth / encoding looks … very choppy. Hoping some of the artists sort that out better. (This is a real roadblock of livestreaming, but that’s a topic for another time.)

Livestream artists:

Admina
(Bucharest, Romania)
Adriana T
(Athens, GA, USA)
Alissa Derubeis
(Asheville, NC, USA)
Amy Knoles
(Valencia, CA, USA)
Ana Paula Santana
(Guadalajara, Mexico)
Andrea Alvarez
(Buenos Aires, Argentina)
Annie Hart
(Brooklyn, NY, USA)
Awaymsg
(Durham, NC, USA)
Aseul
(Seoul, South Korea)
Bells Roar
(Albany, NY, USA)
Caz9
(Dublin, Ireland)
Club Chai (8ULENTINA & FOOZOOL)
(Bay Area, CA, USA)
Despicable Zee
(Oxford, UK)
DJ Haram
(Philadelphia, PA, USA)
Dot
(Los Angeles, CA, USA)
Ela Minus
(Bogota, Columbia)
Elles
(London, UK, USA)
Emily Wells
(New York, NY, USA)
Fari B
(London, UK)
FOSIL
(Chile, Santiago)
Galcid
(Tokyo, Japan)
Jil Christensen
(Durham, NC, USA)
KALONICA NICX
(Bandung, Indonesia)
Kandere
(Melbourne, Australia)
Katie Gately
(Los Angeles, CA, USA)
Kim Ki O
(Istanbul, Turkey)
Lauren Flax
(New York, NY, USA)
Lilith Ai
(London, UK)
Lucy Cliche
(Sydney, Australia)
Lya “Drummer”
(London, UK)
Madame Gandhi
(New Delhi, India)
Mileece
(Los Angeles, CA, USA)
Moor Mother
(Philadelphia, PA, USA)
Nazira
(Almaty, Khazakhstan)
Nesa Azadikhah
(Tehran, Iran)
Nicola Kuperus
(Detroit, MI, USA)
Nonku Phiri
(Johannesburg, South Africa)
OG Lullabies
(Washington, DC, USA)
OTOMO X (Fay Milton & Ayse Hassan)
(London, UK)
PlayPlay
(Durham, NC, USA)
Pulpy Shilpy
(Pune, India)
SARANA
(Samarinda, East Borneo)
Sassy Black
(Los Angeles, CA, USA)
Stud1nt
(Asheville, NC, USA)
Sui Zhen
(Melbourne, Australia)
Suzanne Ciani & Layne
(Bolinas, CA, USA)
Suzi Analogue
(Miami, FL, USA)
Therese Workman
(New York, NY, USA)
Vessel Skirt
(Hobart, Tasmania)
Zensofly
(Durham, NC, USA)

Of course, even better than live streaming is – being there in person. (No buffering issues! Or… if there are, seek medical attention!)

Here’s the first-wave lineup announcement, including a couple of friends (and a couple of idols)!

Amber Mark
Annie Hart
Armen Ra
Aurora Halal
Bonaventure
Carla Dal Forno
CEP (Caroline Polachek)
Caterina Barbieri
DJ HARAM
Ellen Allien
Emily Sprague
Fatima Al Qadiri
Fawkes
Gavin Rayna Russom
Helen Money
Honey Dijon
Jamila Woods
Jenny Hval
Kaitlyn Aurelia Smith
Karyyn
Katie Gately
Kristin Kontrol
Kyoka
Lawrence Rothman
Madame Gandhi
Maliibu Miitch
Midori Takada
Nadia Sirota
Nicole Mitchell
Noncompliant
Pamelia Stickney
Sassy Black
Shanti Celeste
SOPHIE
Stud1nt
Umfang
Upper Glossa

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Suzanne Ciani & Nick Verstand – Live Audiovisual Performance

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The amazing classic synth and experimental moments on children’s TV

Before it reverted to Internet age-blandness, American kids’ TV enjoyed a golden age of music, scored by oddball indie composers and legends alike.

And, wow, it could even teach you about synthesis.

Perhaps the most famous of thesse moments is when none other than Suzanne Ciani went on 3-2-1 Contact in 1980 to step inside her studio:

Fred Rogers of Mister Rogers’ Neighborhood fame was actually a composer before going into television, and the show’s deep commitment to music education reflected that. That music was generally of the acoustic variety, but he did one day tote a rare ARP Soloist synthesizer along with his trademark shoes and handmade sweaters – and his message and song about “play” might well be an anthem for us all.

Canadian-born composer Bruce Haack made an epic appearance on that same show in 1968, where he demonstrated a homemade electronic instrument. Haack himself as as prolific a composer of far-out sci-fi music for children as he was (much darker) experimental compositions and psychedelic works.

The best all-time “Fairlight CMI on a kids’ program” (because, amazingly, there’s been more than one of those) – Herbie Hancock, Sesame Street, 1983. Herbie keeps a terrific sense of cool and calm that all kids’ shows could learn from in this day of cloying, sugar-sweet patronizing programming:

Synths were all over vintage Sesame Street, often providing sound effects as in this oddly hypnotic Ernie puzzle:

Steve Horelick, the composer behind Reading Rainbow, showed off his Fairlight CMI and how digital sampling worked. (I have vivid memories of watching this as a kid – sorry, Steve.) Steve apparently came up at a time when Fairlight ownership was rare enough to get you gigs – but a good thing, too, as a whole generation still sings along with that theme song. And you probably got a second educational gift from Steve if you ever followed one of his brilliant video tutorials on Logic.

Even better than that is Reading Rainbow‘s synesthesia 3D trip – John Sanborn and Dean Winkler’s Luminaire, which was made for Montrea’s Expo ’86, to music by composer Daniel “No, I’m not Philip Glass” Lentz.

Better video of the actual animation and music, which – sorry, Mr. Glass, I actually kind of prefer to Glassworks:

Somehow this looks fresher than it did when it was new.

A young, chipper Thomas Dolby explained synthesis to Jim Henson’s little known 1989 program The Ghost of Faffner Hall!:

Oh yeah, also, apparently Jem and the Misfits imagined an audiovisual synth in 1985 that predicts both Siri and Coldcut / AV software years before their time. Plus dolls should always have synthesizer accessories:

Apart from education, there’s been some wildly adventurous music from obscure (who’s that?) and iconic sources (the Philip Glass?!) alike.

For a time, an experimental music Tumblr followed some of these moments. Here are some of my favorites.

Joan La Barbara does the alphabet (1977):

And yes, trip out with a composition by Philip Glass written especially for Sesame Street:

You can read the full history of this animation on Muppet Wiki,

More obscure, but clever (and I remember this one) – from HBO’s Braingames (1983-85), evidently by a guy named Matt Kaplowitz.

Not growing up in the UK, I’d never heard of Chocky, but it has this trippy, gorgeous opening with music by John W. Hyde:

American composer Paul Chihara’s 1983 score for a show called Whiz Kids is hilariously dated and nostalgia-packed now. But the man is a heavyweight in composition – think Nadia Boulanger student and LA Chamber Orchestra resident. He has an extensive film resume, too, which now landed him a position at NYU:

From Chicago public access TV, there’s a show called Chic-A-Go-Go, which in 2001 hosted The Residents.

But The Residents were on Pee-Wee, too:

Absurdly awesome, to close: “The Experimental Music Must Be Stopped.” This one comes to us from 2010 and French animation series Angelo Rules:

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Watch Suzanne Ciani, thinkers on open music and future machines

Electronic pioneer Suzanne Ciani got interviewed by KORG guru Tatsuya Takahashi. Thinkers from MIT and the Open Music Initiative pondered the future. It’s all in the video lineup from this year’s SONAR+D. Here are a few of the best:

Keynotes

Red Bull Music Academy presents Suzanne Ciani:

A synth pioneer and adventurous electronic composer since the early ‘80s, Suzanne Ciani has defied assumptions about genre, sound design and technical knowledge ever since. Ciani’s ongoing romance with the synthesizer started with a Buchla, and her skills to create synthetic sounds made her one of the first sound designers, when the concept of sound design didn’t even exist. She is the creator of the sonic blueprint of brands like Atari, ABC and General Electric and she is proof that technology is not exclusively masculine.

Suzanne Ciani spoke at Sónar+D 2017 with Tatsuya Takahashi, one of the world’s foremost experts when it comes to analog electronics. After working as a chief engineer at Korg, developing series such as Monotron and Volca and the Minilogue, recently, synth pioneer Takahashi has taken on a new role hosting Red Bull Music Academy lectures.

From littleBits and the open source hardware movement, SONAR+D also invited Ayah Bdeir to talk open hardware, coding, and creativity:

Ayah Bdeir is an engineer, interaction artist, free hardware advocate and, most of all, a distinguished creative entrepreneur. Ever since Bdeir founded her company littleBits, her name has been making the top lists for most creative people in the world. Bdeir received her Master’s degree in Computing Culture from the MIT after graduating from the American University of Beirut with her BA in Computer Engineering and Sociology.

littleBits is a kit of open source electronic modules (engines, oscillators, batteries, even IoT modules) snapped together with magnets –forget your welder!– to easily create complex systems. littleBits is a platform focused on education used by hundreds of schools to teach electronics, and it is also one of the favourite tools of designers, makers and inventors. A must-have for prototyping.

And on other topics…

New models for learning, replicating machines

This one’s interesting – a peek inside fabrication in general, and the question of self replication:

Nadya Peek: Making Machines that Make

Nadya Peek from the MIT’s Center for Bits and Atoms talks about the future of digital fabrication and the challenge to make the machines that make the machines that make the machines…

Amidst sometimes apocalyptic visions of machine learning and AI, here’s a product designer with a more optimistic view (though for our upcoming move into the subject at CTM Festival this year, we welcome futures dark and bright alike):

Carla Diana: How Our Robots Will Charm Us (and Why We Want Them to)

Something exciting has been happening to our everyday objects. Things that were once silent and static can now sing, glow, buzz and be tracked online. Some are constantly listening for sounds, sights and touches to translate them into meaningful inputs. Others have the ability to learn, refining their behaviours over time. They can be connected to one another as well as the Internet and will behave as robotic entities that accompany us through all aspects of everyday life.

In this talk, product designer and design futurist Carla Diana will explore the emergence of smart objects in the home, highlighting designers’ opportunities to pioneer new territory in rich interaction, while emphasizing the importance of creating products that are meaningful and responsible. Diana will share case studies from the front lines of design and creative technology, showcasing how art, science, and business are merging to enable new product experiences.

New economic models, openness

Here’s what happens when De La Soul meet Kickstarter:

Connecting Technology and Community: The new story of De La Soul

Brandon Hixon (artist manager, De La Soul) interviewed by Molly Neuman (head of music at Kickstarter). In this conversation, Kickstarter’s Head of Music Molly Neuman interviews Brandon about their approach and philosophy and how they continue to pursue innovation in their career.

When legendary hip-hop group launched their Kickstarter project to fund their first album in 11 years, it was a surprise for some. But not those who had been following the group and seen their celebration of their 25th anniversary in 2014 by making their entire back catalog available for free via BitTorrent. The group, along with their manager Brandon Hixon, have embraced new technologies and platforms with savvy and creativity.

A lot of the rest of the program this year covered new economic models for music distribution, centering on the Blockchain. That included a meetup of the Open Music Initiative, which is looking to put together those technologies and new currencies to change music distribution, and the likes of Resonate.

How to blockchain for artists, labels and fans

Peter Harris from Resonate streaming platform, copyrights specialist Cliff Fluet, visual artist and musician Blanca Rego and music strategist Bas Grasmayer talk about blockchain.

Open Music Initiative Meetup Panel

Open Music Initiative members and artist and technologist Richie Hawtin discuss the ideas and challenges that are changing the music industry’s landscape.

SONAR+D 2017 talks

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