Moog had the pleasure to sit down with Thomas Dolby last week in England to deliver his custom Minimoog Voyager XL. Dolby talked with us about his experiences with Moog synthesizers, his musical process, and his history with many different musicians.
When were your first experiences with Moogs? When did you first get the opportunity to experiment and play with them?
There tended to be Minimoogs lying around professional studios round-about the end of the 70′s – 76-77-ish when I first got into studios. And when the Micromoog came out I picked one up second hand out of the back of Melody Maker. And that was the first off-the-shelf synth I’d owned. Before that the only synth I’d owned was a Transcendent 2000.
Ah, that’s the DIY one isn’t it?
Yeah. And I didn’t have a keyboard for it. So I could sort of generate tones but that was about it. I remember hooking it up to the keyboard from an ARP.
That’s very old school – in the sense of using it as an oscillator bank.
Yeah. So I was familiar with Minimoog but the Micro was the first one I could afford. And the next one was the Source. And for a while I had a three piece band, and I was basically playing the Micro and the bass player was using the Source.
And so I’ve used Mini’s a lot over the years but never owned one. The first serious recording I did with one was on the Foreigner “4″ album. I remember Mutt Lange had left for the night, and left me for the night like a kid locked up in a toy shop. And I had six tracks and had to make an intro for “Waiting for a Girl Like You”.
Experimenting with a few things here. Koushion step sequencer app controlling three Moog synths and a Moog MIDI-MuRF Moogerfooger. Drum track is from the Yamaha MO8 synced to the same clock. Koushion a MIDI step sequencer that allows you to easily program melodies and drum patterns using your existing hardware synthesizers, drum machine, or soft synths and samples in your DAW.
Learn more at www.experimentalsynth.com
Featuring Hammond XK3-c, Leslie 3300, Moog Voyager, Arp 2600, D6 Clavinet, Mellotron Mk. VI
This is a keyboard cover of Tron Legacy’s original soundtrack by Daft Punk. Everything was played and recorded with the Moog Little Phatty Stage II.
“The SYNTHWAY address is for my brazilian blog… only in portuguese. The first part was a bit difficult to sync with the video, but I guess you can imagine that! I played the thing 2 times in a row while recording the MIDI file (with a little bit of quantize to keep the thing like an arpeggio).The knob tweaking part is showing a nice feature of the Little Phatty, named Pot Map. I’m changing 3 parameters of the filter in realtime… the modulation knob (not seen) is for the EG Amount, oscillator knob for resonance and the filter knob for cutoff.Third part, playing the melody while changing the OSC2 pitch, to get that nice OSC Sync effect. Nothing really special… added a very smooth delay in that lead, from EHX Deluxe Memory Boy.Fourth part, playing the melody in a different way, while using the modulation wheel for controlling filter cutoff, getting that nice wah-wah sound. This part is using the internal LP arpeggio for playing the high-pitched pattern. A little touch of delay in both synth lines.Didn’t record it in video, but the deep bass and drum sounds were made with the LP. Everything was recorded thru Scarlett 2i2 in Logic Pro 9.I hope you enjoy!”
Moog Guitar processed only by the effects in Ableton Live Suite, primarily the Grain Delay. Background is constructed with Korg Wavestation VST, Yamaha MO8 and Korg MicroX. Learn more at www.experimentalsynth.com
Background video description:
We recently restored a Polymoog Synthesizer for a client. He wanted the Vox Humana patch, so we transplanted the Vox Humana filter in to his Polymoog Synth. This is a demo of us playing with the new filter in the Polymoog Synthesizer, If you would like this modification, or would like a Vox Humana filter circuit board, contact us at www.NewEnglandAnalog.com.
“I opened my mind up and the idea came through me”
In celebration of Bob Moog’s 79th Birthday we are proud to present:
Moog | A Documentary Film by Hans Fjellestad
Moog, the film, takes us inside the mind of this legendary figure as he shares his ideas about creativity, design, interactivity and spirituality. To this day Moog continues to shape musical culture with some of the most inspiring instruments ever created.
Parts 2-3 below:
“I think it comes from out there, and comes through me into the instrument, and then the music comes through you and the instrument and then out.”
“Why do you feel at one with your musical instrument? Why do you feel that it is an extension of your hands? There is something going on that is more than just the way the instrument feels and sounds.”
Look how excited Yellow Magic Orchestra is for Bob Moog Day tomorrow (what would’ve been Bob’s 79th Birthday)….
Celebrate with us by watching the Moog Movie streaming on our website tomorrow… your boss won’t notice.
Love, Your Friends at Moog.
Ryuichi Sakamoto leaning on an Ultimate Sound DS-4 Promuzer on the left.
September, 1979. Live at Nakano Sunplaza in Tokyo.
In this video Moog demonstrates the power and versatility of one knob per function synthesis. Watch and listen as the track evolves and changes in response to every touch.
The Sub Phatty is the first analog synth to feature Moog’s transformative new Multidrive section; at low settings Multidrive adds warmth and girth, but when pushed, it delivers a screaming snarl that is highly reactive to resonance, waveshape, and oscillator level. Experiment with this new circuit and unlock an undiscovered world of vivid analog tonalities.
Learn more about the Sub Phatty at:
Live session in Arjen Schat’s living room with Elektron Analog Four, Moog Slim Phatty + CP-251 and Waldorf Blofeld.
Elektron Analog Four and Octatrack