Recently read this awesome article from Wired Mag – looks like the MOOG has done it AGAiN.
PLAY // LIMITS // MUSIC
GOOD VIBRATIONS: Endless Melody
Jimi Hendrix had his Stratocaster. Carlos Santana has his Paul Reed Smith. Virtuoso guitarist Fareed Haque has his Moog. Not the keyboard-cum-switchboard that made electronic music safe for rock and roll in the early ’70s, but a revamped ax that radically expands the capabilities of the electric guitar. Introduced in 2008, the $3500 instrument made its musical debut last winter with the release of Discovery, a jazz-electronica extravaganza by Haque’s group, Garah Mahal.
On a conventional guitar, “every note is a corpse,” Haque says. Once plucked, strings vibrate with decreasing energy until the sound dies away. In an effort to keep tones ringing longer – a quality known as sustain- players resort to external devices lie distortion boxes and compressors. These tricks work, up to a point: They amplify the tail end of a note as it fades, but ultimately it’s still a goner. Worse, they also boost the incidental vibrations of strings that aren’t being played, forcing the player to either damp them or contend with a barrage of fuzz. The Moog Guitar smashes that barrier by deploying magnetic fields to keep the strings vibrating indefinitely or even stop them cold. “Initially it just sounds like a guitar,” Haque says. “Then you say, wait a minute – what is that?”
Artists like Lou Reed and Trent Reznor have expressed interest in the Moog, but only Haque has recorded an album with it. “A lot of things that are taken for granted in the electric guitar would faced resistance early on,” Haque points out. “The jury is out on whether a new instrument will click – but Moog’s keyboard has stayed with us.”
Roll over, Les Paul, and tell Kurt Cobain the news.
how MOOG done did it in 1964:
[Like computers, music synthesizers once filled entire rooms. Yet the effects they created couldn’t change after the keys were struck, and electronic composer Herb Deutsch found that limiting. A young electrical engineer named Bob Moog suggested Deutsch help him wire up a better (and more portable) instrument, and so the pair spent two weeks tinkering in Moog’s unfinished basement in Trumansburg, New York. A keyboard from an old electric organ was attached to a triangle of breadboards and circuitry. Adding two oscillators allowed voltage and, therefore, frequencies to be modulated (no more fixed pitches). Deutsch explained articulation to Moog: Hitting a piano key is an “attack”; holding a finger on a depressed key allows a note to fade or “decay.” The engineer listened, then sent Deutsch to the hardware store for a 35-cent doorbell button. An hour later, he had hacked together an envelope generator to simulate articulation. Moog’s analog synth was a hit. Adopted by pop artist like Kraftwerk, Stevie Wonder, and disco producer Giorgio Moroder, it helped create the sound of the ’70s. Today, Moogs are used by everyone from Daft Punk to Dr. Dre. -Wired Mag]
When the Moog synthesizer was first introduced, Bob Moog was accused of RUiNiNG and KiLLING MUSiC!!!
Wanna learn more about Bob Moog?
Check this bad boy out:
Witness the genius.
Hear the sweet sound of music, success, and praise for just MOOGiN’ iT.