Moog Machine Tools

1/10/2018by

I was at a machine shop auction last week, and among the items was a verical mill, in all ways looking like a Bridgeport except maybe a third larger than a series 1. And cast into the dovetail slide was Moog Hydroform where it normally would say Bridgeport. In fact it had a variable speed Bridgeport head on it that aparently just bolted right on. Anyone familiar with this? I googled it, and found stuff about Moog machines that do hydroforming, but nothing on milling machines. I will add that it wasn't a series 2 bridgeport, looked nothing like that, exactly like a extra beefy series 1.

Moog Machine Tools

Probably kicking a dead horse here, but just curious. Did these Moogs come with the bridgeport head? This one at the sale had been 'converted' to manual cranks, and actually sold for 700$ without vise, but did have a DRO.

Moog synthesizer (pronounced / m oʊ ɡ /. These early Moogs were also complex to operate—it sometimes took hours to set up the machine for a new sound—and.

The auctioneer really had to work to get it to that price though! The bed of the thing, at least the t slotted part, was only about 30' long, and had covers over the rest of the bed. I assume the bed as a whole is stationary, and this 30' part moves on some kind of ways? All in all, unusual! IIRC, even the head was odd, maybe it used the BP tracer head mount or maybe it was ridgid, I don't remember since I never sold one. About 12 years ago a local guy who was retiring had 3 of these that he thought he was going to retire on, they weren't even running and he thought they were big money. I didn't get into them because I knew they were worthless, After that shop closed down I would get a call every so often from some guy who just picked up a Moog machine and who wanted me to sell it for him, the same machines kept being moved from one place to another.

Probably kicking a dead horse here, but just curious. Did these Moogs come with the bridgeport head? This one at the sale had been 'converted' to manual cranks, and actually sold for 700$ without vise, but did have a DRO. Some did, some didn't.there were three different models of Moog. The cheapest one had a pretty much standard Bridgeport head, but way more common was the next step up that had a Bridgeport head hidden behind some shrounding that house a couple of pneumatic cylinders to move the quill for a programmable Z axis.

The cheaper one either had nothing or some sort of pneumatic turret depth stop arrangement for automated drilling situations. But they all had pneumatic cylinders to move the table about so it's amazing someone went to the trouble of converting it to screws. Here is a Moog Hydra-Point and some other Bridgeport adaptions taken from a Bridgeport by Adcock & Shipley catalogue.

Probably 1960's, not sure as the only date mentioned is 'more than 60,000 built between 1938 and 1963. Current output in America and England in excess of 7,000 machines annually'. We used to have a mid-1970's BP with Tru trace hydraulics, a good machine for its time.

It would mill 3-D from a pattern, with pick-feed etc would run overnight unattended. Nothing compared to the Moog though! I worked at a shop in about 1980 0r so that had a some moogs but I think they were called hydrapaths. Do I remember corectly? If so is this a later version of a Hydrapoint?Different animal altogether. The Hydrapath was Moog's jump to a servo/screw driven CNC. The originals were just knee mill tracers (or all of them I've seen have been), but those morphed into a mini-VMC looking knee mill thing with an umbrella style tool changer.

That's the same time they brought out the Hydrapath II control. Traktor Scratch Pro Torrent Mac Os X. Just before they quit building machine tools, they brought out the Hydrapath III control and two series of honest to goodness VMC's (the A and B series VMC's). These weren't bad machines, though they have been orphans for decades. I have an A-22 (smaller series VMC with a 22 pocket ATC), and I'm pretty happy with it.

It's old, and not terribly fast, but it works. I did spend the coin and have Visimetrics replace the control with their PC based Hydrapath IV control. It works the same way, but about 1000X faster, and let me have a floppy, HD, etc. The Hydrapath is a very easy to use control, and only really has one or two idiosyncrasies. Just built a new enclosure for mine a few weeks ago (it had none originally). All that aside, Milacron is right about the Hydrapoints though, only really good for boat anchors as they are.

They used hydraulic cylinders for positioning the table, not pneumatics, and were famous for leaking like sieves and being a general PITA. If you could get paid to haul one off, you might be able to break even on a DIY CNC conversion, but I wouldn't hold my breath, even at that.

CoolHand, Would you happen to have any documentation on the Hydrapath III controller? Regards, PheydenIndeed. I have a full maintenance/installation manual with exploded views and such, a full set of operating manuals, and a full set of programming manuals. If I wouldn't have had them, I would have been well and truly screwed when I started out, 'cause these controls aren't exactly like a Fanuc, Fadal, etc.

They have a few idiosyncrasies, which would be tough as hell to figure out if you didn't have any reference material. You looking for a set of manuals? I guess I could copy mine, but there's near five hundred pages amongst them all. I'd have to take them to FedEx/Kinkos or the like to have them duplicated. You might be better off calling Visimetrics and asking them if they have any copies in stock.

Those guys seem to stock just about every replacement part you could want for these old girls. I don't see why manuals would be any exception. You guys won't belive this. I hired into a little shop back about 1982 or so that had one of these machines. When I left about 8 years later, they had four of 'em. At some point I worked my way into progamming and setting them up, as well as other sales and management positions.

During the time that I was there, they were reliable and accurate machines for us. Worst problem we had was with service, and I solved that by finding local techs to work on 'em, and by tracing the parts back to the original manufacturer and buying from them (as opposed to buying overpriced parts from MHP).

It was a good point in my life, and those damned old Moogs were a big part of it. There were a lot of hard times, I admit, but over all, I kinda wish I could go back. Unfortunately, One of the owners was killed in a motorcycle accident, and the other owner sold the company. I saw the end coming and bailed out just in the nick of time. In any case, those Moogs were a big part of our business, performed well, and were running like tops when I left! If I could do it again, I would. Yeah, that's the way I feel about mine as well.

It's a dandy machine, and has held up quite well for its age. Mine has glass scales on it, and even at 16 years old, it will still repeat down to a tenthou. I rebuilt the spindle last year, and while I was there I though I may as well check the table and screws and rebuild them if necessary. After 16 years, the table showed zero backlash, and that's with a DTI on the vise and a 6' 2x4 for leverage, so I left it. For the money I paid for that old machine, it's been great.

I've had it for seven years now, it's been paid-for for five of those years, and since I paid it off, it's paid for itself 20-30 times over. Like I said, very happy with it.

Left: Moog synthesizers in the early 1970s right: Historical Moog synthesizers Moog synthesizer (pronounced; often to, though preferred the former ) may refer to any number of designed by Robert Moog or manufactured by, and is commonly used as a generic term for older-generation analog music synthesizers. The Moog company pioneered the commercial manufacture of modular voltage-controlled systems in the mid 1960s. The technological development that led to the creation of the Moog synthesizer was the invention of the, which enabled researchers like Moog to build electronic music systems that were considerably smaller, cheaper and far more reliable than earlier -based systems. The Moog synthesizer gained wider attention in the music industry after it was demonstrated at the in 1967.

The commercial breakthrough of a Moog recording was made by in the 1968 record, which became one of the highest-selling recordings of its era. The success of Switched-On Bach sparked a slew of other synthesizer records in the late 1960s to mid-1970s. Later Moog modular systems featured various improvements, such as a scaled-down, simplified, self-contained musical instrument designed for use in live performance. Contents • • • • • • • • • • • Early history [ ] The Moog company pioneered the commercial manufacture of modular voltage-controlled systems. Company founder Robert Arthur Moog had begun manufacturing and selling vacuum-tube in kit form while he was a student in the early 1950s and marketed his first transistorized theremin kits in 1961. Moog became interested in the design and construction of complex electronic music systems in the mid-1960s while completing a Ph.D.

In Engineering Physics. The burgeoning interest in his designs enabled him to establish a small company (R. Moog Co., which became Moog Music and later, Moog Electronics) to manufacture and market the new devices. Pioneering electronic music experimenters like,, Christopher R. Morgan, and had built sound-generating devices and systems of varying complexity, and several large electronic synthesizers (e.g. The ) had been built before the advent of the Moog, but these were essentially unique, custom-built devices or systems. Electronic music studios typically had many, filters and other devices to generate and manipulate electronic sound.

In the case of the electronic score for the 1955 science fiction film, the Barrons had to design and build many circuits to produce particular sounds, and each could only perform a limited range of functions. Early electronic music performance devices like the were also relatively limited in function. The classic Theremin, for example, produces only a simple tone, and the that control the pitch and volume respond to small changes in the proximity of the operator's hands to the device, making it difficult to play accurately. In the period from 1950 to the mid-1960s, studio musicians and composers were also heavily dependent on to realize their works.

The limitations of existing electronic music components meant that in many cases each note or tone had to be recorded separately, with changes in pitch often achieved by speeding up or slowing down the tape, and then splicing or overdubbing the result into the master tape. These tape-recorded electronic works could be extremely laborious and time-consuming to create—according to the 1967 Moog 900 Series demonstration record, such recordings could have as many as eight edits per inch of tape. The key technological development that led to the creation of the Moog synthesizer was the invention of the, which enabled researchers like Moog to build electronic music systems that were considerably smaller, cheaper, consumed far less power, and were far more reliable than earlier systems, which depended on the older technology. 1st commercially sold Moog synthesizer prototype in 1964, commissioned by the Alwin Nikolais Dance Theater of NY Moog began to develop his synthesizer systems after he met educator and composer at a conference in late 1963. Over the next year, with encouragement from of the, Moog and Deutsch developed the first modular voltage-controlled subtractive synthesizer. Through Hoffman, Moog was invited to demonstrate these prototype devices at the convention in October 1964, where composer saw them and immediately placed an order. Moog's innovations were set out in his 1964 paper Voltage-Controlled Electronic Music Modules, presented at the AES conference in October 1964, where he also demonstrated his prototype synthesizer modules.

There were two key features in Moog's new system: he analyzed and systematized the production of electronically generated sounds, breaking down the process into a number of basic functional blocks, which could be carried out by standardized modules. He proposed the use of a standardized scale of voltages for the electrical signals that controlled the various functions of these modules—the Moog oscillators and keyboard, for example, used a standard progression of 1 volt per octave for pitch control. This specific definition means that adding or subtracting control voltage simply transposes pitch, a very valuable feature. At a time when digital circuits were still relatively costly and in an early stage of development, voltage control was a practical design choice. In the Moog topology, each voltage-controllable module has one or more inputs that accept a voltage of typically 10 V or less. The magnitude of this voltage controls one or more key parameters of the module's circuits, such as the frequency of an audio (or sub-audio—'low frequency') oscillator, the attenuation or gain of an amplifier, or the cutoff frequency of a wide-frequency-range filter.

Thus, frequency determines pitch, attenuation determines instantaneous loudness (as well as silence between notes), and cutoff frequency determines relative timbre. Voltage control in analog music synthesizers is similar in principle to how voltage is used in electronic analog computers, in which voltage is a scaled analog of a quantity that is part of the computation. For instance, control voltages can be added or subtracted in a circuit almost identical to an adder in such a computer.

Inside a synthesizer VCO, an analog exponential function provides the 1 volt per octave control of an oscillator that basically runs on a volts/kHz basis. Positive voltage polarity raises pitch, and negative lowers it. The result is that, for example, a standard keyboard can have its output scaled to that of a quarter-tone keyboard by changing its output to one-half volt per octave, with no other technical changes. Using this approach, Moog built a range of signal-generating, signal-modifying and controller modules, each of which could be easily inter-connected to control or modify the functions and outputs of any other. The central component was the, which generated the primary sound signal, capable of producing a variety of waveforms including sawtooth, square and sine waves. The output from the VCO could then be modified and shaped by feeding the signal into other modules such as,, envelope generators, and. Another customization as part of the Moog Modular Synthesizer is the sequencer, which provided a source of timed step control voltages that were programmed to create repetitive note patterns, without using the keyboard.

The inputs and outputs of any module could be cross-linked with patch cords (using tip-sleeve ('mono') ¼-inch plugs) and, together with the module control knobs and switches, could create a nearly infinite variety of sounds and effects. The final output could be controlled by an organ-style as the primary user interface, but the notes—individual sounds—could also be triggered and/or modulated by a or by other modules such as generators or low-frequency oscillators. The Moog modular systems were not designed as performance instruments, but were intended as sophisticated, studio-based professional audio systems that could be used as a musical instrument for creating and recording electronic music in the studio. 1CA Chris Swanson Modular System in 1965, is an earliest system for demonstration.

Moog's first customized modular systems were built during 1965 and demonstrated at a summer workshop at Moog's, factory in August 1965, culminating with an afternoon concert of electronic music and on August 28. Although far more compact than previous tube-based systems (e.g. The ) the Moog modular systems were quite large by modern standards, since they predated the introduction of integrated circuit ('microchip') technology; one of the biggest of these, the Moog-based ' system (built by and used by in the 1970s) occupies several cubic meters when fully assembled. These early Moogs were also complex to operate—it sometimes took hours to set up the machine for a new sound—and they were prone to pitch instability because the oscillators tended to drift out of tune as the device heated up.

As a result, ownership and use was at first mainly limited to clients such as educational institutions and major recording studios and a handful of adventurous audio professionals. 1967, through contacts at the Columbia-Princeton Center, Moog met, a recording engineer at New York's studio and a former student of. Carlos was then building an electronic music system and began ordering Moog modules. Moog credits Carlos with making many suggestions and improvements to his systems.

During 1967 Moog introduced its first production model, the 900 series, which was promoted with a free demonstration record composed, realized and produced by Carlos. After assembling a Moog system and a custom-built eight-track recorder in early 1968, Carlos and collaborator Rachel Elkind (secretary to CBS Records president ) began recording pieces by Bach that Carlos played entirely on the new Moog. When Moog played one of their pieces at the AES convention in 1968 it received a standing ovation. The use of flexible cords with plugs at their ends and sockets (jacks) to make temporary connections dates back to cord-type manually operated telephone switchboards (if not even earlier, possibly for telegraph circuits).

Cords with plugs at both ends had been used for many decades before the advent of Moog's synthesizers to make temporary connections ( patches) in such places as radio and recording studios. These became known as patch cords, and that term was also used for Moog modular systems. As familiarity developed, a given setup of the synthesizer (both cord connections and knob settings) came to be referred to as a patch, and the term has persisted, applying to systems that do not use patch cords. Late 1960s [ ].

French and German-American released albums in the 1960s as and their second album (recorded in America, released 1967) featured the. The Moog synthesizer began to gain wider attention in the music industry after it was demonstrated at the epochal in June 1967.

Electronic music pioneers and had bought one of Moog's first synthesizers in 1966 and had spent a fruitless year trying to interest studios in its use for movie soundtracks. In June 1967 they set up a booth at the Monterey festival to demonstrate the Moog, and it attracted the interest of several of the major acts who attended, including and. This quickly built into a steady stream of studio session work in Los Angeles and a recording contract with Warner Brothers. The first rock recordings to feature the Moog synthesizer were the songs on by The Zodiac (released May 1967). The Moog was included prominently throughout albums of the era such as on single ' (released July 1967), by (released September 1967, e.g.

Track 1 '), by (e.g. Tracks ', ') (released November 1967), by (released January 1968, e.g. Last track 'Space Odyssey'), and 's (released April 1968, e.g. According to author Mark Brend, the Byrds' October 1967 single ' was the first pop or rock single to feature a Moog part. At this early stage the Moog synthesizer was still widely perceived as a novel form of electronic keyboard, not unlike the, which had appeared a few years earlier - although the Mellotron (which used taped 'samples' of real instruments and voices) had the advantage of being fully polyphonic, a capability Moog synths lacked until the introduction of the in 1975.

Most early Moog appearances on popular recordings tended to make limited use of the synthesizer, exploiting the new device for its novel sonic qualities. It was generally only used to augment or 'color' standard rock arrangements, rather than as an alternative to them—as for example in its use by Simon & Garfunkel on Bookends and by ' on. According to the, 'The first live performance of a music synthesizer was made by pianist at Lincoln Center in New York City on December 26, 1969. Bley developed a proprietary interface that allowed real-time performance on the music synthesizer.' However, according to biographical notes on the website, Herbert Deutsch gave a concert at the on September 25, 1965 with his New York Improvisation Quartet, which included the first live performance with a Moog synthesizer.

The Moog was also heard on August 28, 1969 at the Museum of Modern Art in New York in a performance that included Moog and Deutsch. Among the earliest public performances was a multimedia show in New York by The First Moog Quartet, which used small portable instruments containing 900 series modules. Produced in part by Gershon Kingsley, four New York studio musicians played arrangements while images were projected onto a screen. Each synthesizer had a custom preset control box which permitted instant configuration changes, akin to a pipe organ's combination action. A lighted pushbutton for each preset made a lamp shine onto photoconductive cells to establish connections. Screwdriver-adjustable trimming pots defined the configurations, of which there were about half a dozen.

The synthesizer modules had simple modifications to permit preset control. Commercial breakthrough [ ]. Moog 3P (1968) and Sequencer module The commercial breakthrough was made by New York-based recording engineer, musician and composer who, with producer and collaborator, was primarily responsible for introducing the Moog synthesizer to the general public and demonstrating its extraordinary musical possibilities. Carlos worked closely with Moog during 1967-68, suggesting many improvements and refinements to his modules, and during 1967 Carlos composed, realized and produced electronic sounds and music for a demonstration record for the Moog company.

Carlos purchased a large Moog modular system in 1968 and then constructed a state-of-the-art eight-track from superseded studio equipment. Carlos and Elkind then began recording a selection of instrumental compositions by, realized entirely on the Moog synthesizer, with each piece painstakingly assembled one part at a time on the multitrack tape. Left: Emerson with the Moog. Right: Keith Emerson & Monster Moog synthesizer, May 2010 The resulting album was released by in late 1968 under the title.

It quickly captured the public imagination, becoming one of the highest-selling recordings ever released up to that time and earning Carlos three awards. The success of Switched-On Bach led to 3 more successful albums of electronically realized Baroque music by Carlos, as well as the acclaimed electronic soundtrack music for the 1971 film adaptation of, which featured original music by Carlos along with several Moog versions of classical pieces by and. Carlos would again employ a Moog synthesizer for the opening of Kubrick's (1980), which featured a Moog interpretation of the 'Dies Irae' (Day of Wrath) section of 's. An important contribution to Moog synthesizer's evolution was given by after purchasing the second modular system in the UK. Having problems with its assembly and tuning, he met and collaborated with Dr.

Moog so helping to develop even more stable oscillators and many new features for live and studio performance. This led the way to full commercial production of many types of synthesizers on the next decade and brought new rival manufacturers to the market. In July 1969 's recording of his composition 'The Minotaur' became the first Moog-based Top 40 hit. Other early modular Moog users were on 'London Bridge' from their released in 1969, on (programmed by ), recorded in 1970, and Terry Manning's, (programmed by Dr. Robert Moog himself) recorded in 1968, but released in 1970. The Beatles also experimented with the use of the Moog synthesizer during the recording of their album, Abbey Road, used prominently in the songs ', ', ', and '.

The synthesizer used on Abbey Road was a model IIIP bought by George Harrison. He used that instrument to create his solo album (1969, remastered and reissued on CD in 2014). The success of Switched-On Bach sparked a spate of other synthesizer records in the late '60s–mid '70s. Most of these albums featured of songs arranged for Moog synthesizer in the most dramatic and flamboyant way possible, covering ( ), and other genres of music. The albums often had 'Moog' in their titles (i.e. Country Moog Classics, 's, 's etc.) although many used a variety of other brands of synthesizers and even as well. The kitsch appeal of these albums continue to have a small fanbase and the 1990s band is a tribute to this style of music.

Indeed, considering it was the first practical and widely used analog synthesizer, many people came to use 'moog' to refer to music synthesizers. Moog Modular 55 (1974) The popularity and cultural impact of the synthesizer greatly expanded following Moog's development of the monophonic ' synthesizer, introduced in 1970, which was designed for live performance. Brady Emergency Medical Responder A Skills Approach 2nd Edition. Although nowhere near as powerful as its modular siblings, the Minimoog was highly flexible, relatively easy to use, and offered enormous advantages for touring bands in live performance – the briefcase-sized unit was small, light and portable (it could easily be carried by one person), it could plug into any standard instrument amplifier, it was relatively rugged and reliable, and the programming was entirely controlled by hard-wired knobs and switches, rather than the maze of patch cords used on Moog's modular synths.

Above all, the Minimoog was comparatively very affordable – at an initial retail price of US$1500, it was less than half the cost of Moog's cheapest professional modular system – according to the company's 1974 price list, a Moog System 15 was almost $4000, the System 35 was over $5000, and the largest, the System 55 (pictured above) cost nearly $9000, while the System 55A, plus optional sequencer module, cost well over $10,000. Avant garde jazz musician was loaned a Minimoog prototype B in 1969 by Robert Moog after Sun Ra was shown a demonstration of the modular Moog. This loan acted as a field test of sorts for how well the Minimoog would stand up to the stress of on the road touring. Sun Ra's first recording with a Minimoog was in November 1969 and subsequently often used the Moog as his instrument of choice to achieve his unique sound including later acquiring two Minimoogs to get duophonic tones. From 1971, the Minimoog was rapidly taken up by a number of musicians, notably of progressive rock group (who regularly used two Minimoogs on stage), and of the.

The Minimoog proved versatile enough to allow Hammer to solo with equal musicality/facility to that of his colleagues John McLaughlin on guitar and Jerry Goodman on violin. Likewise, the Minimoog, as played by the classically trained Wakeman, provided Yes with a second solo instrument that equalled and complemented the sonic colour, range, power and musical dexterity of guitarist. Indeed, Wakeman's recruitment to Yes in late 1971 came about in part because he already owned a Minimoog, and because the band's original keyboard player (who preferred the more traditional sounds of the ) was sacked partly because he was reluctant to use newer electronic keyboards like the and the Moog. One of the most important and successful uses of the Moog in popular music in the early to mid-1970s was the extended collaboration between and electronic musicians and on the series of albums Wonder released during this period. These recordings made extensive use of the duo's large synthesiser system, which they dubbed TONTO (an acronym for 'The Original New Timbral Orchestra'), reputedly the world's first and largest multitimbral polyphonic analog synthesizer.

Designed and constructed by Cecil, it was based on Moog Series III components, together with additional modules made by other manufacturers including. The duo's 1971 album Zero Time – released under the pseudonym ' – gained critical acclaim and attracted the attention of many musicians including Wonder. He first worked with Cecil, Margouleff and on his 1972 album and the collaboration continued and expanded over his subsequent albums, (1972), which won several, (1973), which won the 'Album of the Year' Grammy, (1974). Another early use of the synthesiser in the popular music realm was in Australia, where keyboard player of the pioneering progressive rock group purchased what is thought to have been the first modular Moog system imported into Australia, and used it both on the group's recordings and in live performance. A custom Moog Modular System was also featured prominently on 's song 'Lucky Man' (1970), in 's Moog solo at the end. Used the Big Moog for the first time on another famous album,, after he had obtained this synthesizer from Florian Fricke of Popol Vuh.

Another famous use of the Moog was in 's electronic landmark album in 1974, which was a major hit in the UK—it reached #15 on the British album charts and playing a significant role in establishing the fledgling independent label. Perhaps the most commercially successful, pop-industry recording primarily featuring the Moog was of ' performed by and released in 1972, which made number 1 in Australia and in a series of European countries, and made the Top 10 in both the UK (hitting No. 5) and the US (No.

' was composed and first recorded by in 1969 for. A riff played on a Moog synthesizer has been used as the background for the logo since 1972. In 1974 the German electronic group used several types of synthesizer including a Minimoog in their album. A single featuring an edited version of the title track became an international hit in early 1975, reaching #25 in the USA and #11 in the UK. A Minimoog synthesizer was used as the lead instrument (among several other instruments) for the opening and closing music of. German-based Italian producer-composer & British producer/writer incorporated the Moog synthesizer in the 1977 hit '. The use of the synthesizer created the pulsing synched feel that is characteristic of and became a benchmark for the Moog sound in Disco.

The Moog bassline in this song complemented the other Moog tracks, the only non-Moog track being the bass drum. In 1976, the Gordon Lightfoot standard would feature a Moog unit that appears on the verse that included the line. 'and later that night when its lights went out of sight, came the wreck of the Edmund Fitzgerald.' On the 1977 album,, who composed almost every song on the album, used the Moog on a great number of tracks. 1979 saw the Moog synthesizer pushed into the mainstream with the British singer/songwriter who used Minimoogs and Polymoogs extensively on his 1979 albums, and. He continued to use Moogs deep into his career. In the late 70s and early 80s, groups such as began using Moogs, and later used them in what became modern Tejano.

Also used two Moog synthesizers in his chilling score for Brian de Palma's. Contemporary composer Christopher R.

Morgan used nearly two dozen Moog synthesizers for his second album, The Quad: C. Product development [ ].

Minimoog Model D (produced from 1970 to 1981) Later Moog modular systems featured improvements to the electronics design, and in the early 1970s Moog introduced new models featuring scaled-down, simplified designs that made them much more stable and well suited to real-time musical performance. In 1970, Moog (R. At that time) began production of the Model D, a small, monophonic three-oscillator keyboard synthesizer that—alongside the British-made — was one of the first widely available, portable and relatively affordable synthesizers.

Unlike the early modular systems, the Minimoog was specifically created as a self-contained musical instrument designed for use in live performance by keyboard players. Although its sonic capabilities were drastically reduced from the large modular systems, the Minimoog combined a user-friendly physical design, pitch stability, portability and the ability to create a wide range of sounds and effects. An important Minimoog innovation was a pair of wheel controllers that the musician could use to bend pitch and control modulation effects in real time.

The two wheels are mounted to the left of the keyboard, next to the lowest key. The function of the Pitch wheel was assigned solely to control oscillator pitch (either sharp or flat from a default, detented, non spring-loaded center position), whereas its neighboring Mod (Modulation) wheel was assignable to control a mixable amount of oscillator 3 and/or Noise routed to the three oscillators and/or the VCF cutoff frequency. In particular, the intuitive function and feel of the Pitch wheel allowed Minimoog users to create similar expressive pitch-bending effects that musicians such as guitarists achieve by physically 'bending' strings and using 'whammy' bars.

Though various synthesizer manufacturers have used many other types of left hand controllers over the years—including levers, joysticks, ribbon controllers, and buttons—the pitch and mod wheels introduced on the Minimoog have become de facto standard left-hand controllers, and have since been used by almost every major synthesizer manufacturer, including Korg, Yamaha, Kawai, and (now defunct) Sequential Circuits on their ground-breaking Prophet-5 programmable polyphonic synthesizer (1977). A notable exception is the Japanese manufacturer Roland, who have typically never included Pitch and Modulation wheels as the primary controller on any synthesizer, instead including alternative controllers of their own design. However, they included the wheels as secondary controllers on their JD-XA synthesizer and as the primary controller on their JD-Xi synthesizer. The Minimoog was the first product to solidify the synthesizer's popular image as a 'keyboard' instrument and the most synthesizer sold approximately 13,180 units between 1970 and 1981, and it was quickly taken up by leading rock and electronic music groups such as the,,, and. Although the popularity of analog synthesis faded in the 1980s with the advent of affordable digital synthesizers and sampling keyboards, the Minimoog remained a sought-after instrument for producers and recording artists, and it continued to be used extensively on electronic,, and recordings into the 1980s due to its distinctive tonal qualities, particularly that of its patented Moog 'ladder' filter. The rarest Moog production model was the little Minitmoog (1975–76), a direct descendant of the rather obscure Moog Satellite preset synthesizer. It is rumored that only a few hundred Minitmoogs were made, although firm numbers are unavailable.

While it lacked programmability and memory storage, the Minitmoog did offer some forward features, such as keyboard and a sync-sweep feature, thanks to its dual voltage controlled oscillators. The bass pedal synthesizer was released in 1975. Its 13-note pedalboard was similar in design to small spinet pedals and triggered bold, penetrating synthesized bass sounds. The Taurus was known for an especially 'fat' bass timbre and was used by,,,,,,,, and many others. Production of the original was discontinued in 1981, when it was replaced by the.

In November 2009, Moog Music introduced the limited production Moog Taurus 3 pedal synthesizer, which, the company reports, exactly duplicates the original Taurus I timbre and presets, while adding modern features such as velocity sensitivity, greatly expanded memory for user presets, a backlit LC display, and MIDI and USB interfacing. Still, the original Taurus I units are highly sought after and typically command a high resale value on the used market.

Moog Music was the first company to commercially release a, the. The last Moog synthesizer released by the original Moog Music, the programmable polyphonic (and subsequent Memorymoog Plus), was manufactured from 1983 to 1985, just before the company declared bankruptcy in 1986. Moog System 15 (left) & System 35 (right) (2015, limited run manufacturing) By the mid-1990s, analog synthesizers were again highly sought after and prized for their classic sound. In 2001, Robert Moog's company was able to acquire the rights to the Moog name and officially became.

Moog Music has been producing the modeled after the original Minimoog since 2002. As of 2006, more than 15 companies are making Moog-style synthesizer modules. In March 2006, Moog Music unveiled the Analog Synthesizer, boasting 'hand-built quality and that unmatched Moog sound, at a price every musician can afford'. The first limited edition run of 1200 were a Bob Moog Tribute Edition with a Performer edition announced subsequently. In 2011, a number of Moog products can still be purchased, such as, bass pedals and.

Since 2014, additional models to the Moog line have include the and a 37-key knob-per-function variant, titled the. As production and development has progressed with the Sub Phatty, Moog has stopped production on the Little Phatty line, including an announcement in late 2014 to discontinue its rackmount model, the. At the 2015, Moog announced plans to reintroduce its original modular synthesizer systems, using original schematics and designs from 1970s models, offering a new line of,, and modulars. List of models [ ] • (1963–80, 2015–present) • (19—present) • (1974–79) • (1974–79) • (1975–76) • (1975–79) • (1975–80) • () (1976–83) • (1978–81) • (1979–84) • (1980) • (1980) • (1981) • (1981) • (1981) • (1982–85) • (1998–present) • (2002–15) • (2006–13) • (2010–14) • (2011) • (2012) • (2013) • (2014) • (2014, kit) • (2014) • (2015–present) • - limited run of 2,000 units (2017) • (2017) Legacy [ ] On May 23, 2012, as a honoring Dr. 's 78th birthday.

See also [ ] •, Moog's tablet and smartphone synthesizer • • Notes [ ]. Calgary, Canada:. Archived from (PDF) on 2014-06-30. Retrieved 2016-03-12. Longman Pronunciation Dictionary.

London: Pearson Longman. access-date= requires url= () • ^, p. 178 • ^ • •. Create Digital Music.

School of Music, Theatre & Dance,. Moog synthesizer, is known as 1st commercial Moog synthesizer commissioned by the Dance Theater of New York in October 1964. Now it resides as part of the at the •, pp. 164–65 • R. Moog, Journal of the Audio Engineering Society, Vol. 200–206, July 1965. • Holmes, Thom (2008). Electronic and Experimental Music: Technology, Music, and Culture, pp 214.

New York: Routledge.. • Selinger, Evan (ed.) (2006).

Postphenomenology: A Critical Companion to Ihde, pp. Albany, New York: State University of New York Press.. • The original modular VCOs were based on a very-simple (and very inexpensive) unijunction transistor sawtooth oscillator.

The exponential computing circuit was temperature-compensated, but also of simple, open construction that made it very difficult (author's personal experience) to trim internally. Beginning with oscillators for the ARP modular analog synthesizers, far more attention was paid to oscillator stability (and frequency range; the Moog was rather limited). This is not meant to denigrate Dr. Moog; he did what made sense in the context of the time. Nevertheless, the landmark record 'Switched-On Bach' (W. Carlos) solidly established analog synthesizers as keyboard-controlled instruments.

Zaubethafte Klangmaschinen. Institut of Media Archaeologie. Bob Moog Foundation. January 2009. • Brend, Mark (2005). Strange Sounds: Offbeat Instruments and Sonic Experiments in Pop. San Francisco, CA: Backbeat Books.

• •, p. 167 • Brend, p. • Braun, Hans-Joachim (ed.) (2002).

Music and Technology in the Twentieth Century, p. The Johns Hopkins University Press.. • • 'This Moog synthesizer. Was kept by the inventor and his colleague, Herbert Deutsch. It was used in live public performance for the first time in a concert at Town Hall in New York City on September 25, 1965.'

The instrument was donated to Museum in Dearborn, Michigan. • Deutsch, Herbert A. 'The Moog's First Decade, 1965–1975'. New York State Museum.

Excerpt online: • • • Carlos, Wendy (1999), Switched-On Bach Boxed Set, New Notes • • Joel Whitburn, Billboard Book of Top 40 Hits. ('The Minotaur' climbed to #38) • • • (news). Sound On Sound. Today, Moog Music Inc.

Announce their plans to commence the limited-run manufacturing of three of their most sought after 5U large format modular synthesizers: The System 55, the System 35 and the Model 15. • Reid, Gordon.. Sound On Sound (July 2014). The stuff of synthesizer legend, Keith Emerson's megalithic modular system hasn't just been restored? It's also been completely recreated. • • Geeta Dayal (23 May 2012).. Retrieved 24 May 2012.

References [ ] • Trevor Pinch; Frank Trocco. Analog Days: The Invention and Impact of the Moog Synthesizer. Harvard University Press, 2004, 368pp.. • Holmes, Thom (2002).

Electronic and Experimental Music: Pioneers in Technology and Composition (2nd ed.). New York and London: Routledge.. External links [ ] • • • • discography.

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