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In The Know (8)
Posted by: John Silver on 3rd Feb 2009 in In The Know
Our occasional series where great design objects are described by those who know them best; their owners.
Architect and musician John Silver talks about the archetypal synthesizer...
What is it? Minimoog model D Synthesizer
Tell me more... The definitive performance orientated monophonic synthesizer, developed by Robert Moog in the late 1960s, and which fundamentally helped to shape the soundtrack of the 1970s.... and beyond.
Why did you buy it? I first saw Rick Wakeman play one (two actually) on the Oscar Petersen 'Piano Party' TV show in 1976. I was 15 years old and had never imagined such an instrument even existed....it totally captured my imagination.....but I had to wait until 1980 before I finally got one!
About its looks? I really love the tactile chunky analogue controls and big graphics...everything does exactly what you expect it to. The folding control panel is a stroke of genius because it's totally accessible and adjustable for performance, but folds away for transportation. Importantly it's really robust, made from brushed mill finished aluminium and thick vinyl folding into a solid hardwood case. It looks really purposeful, definitely very American and is certainly not a toy - you need to treat it with respect!
Technical advantages? It's very intuitive and fast to programmme - always from left to right across the panel. It's also very legible; you can see what you've programmed from the control positions, so you pretty much know what kind of sound you're going to get. This makes it great for live performance and rapidly exploring different sound textures when writing and recording. The controls can be altered with one hand (ie 'played') as you play the keyboard with the other. The filter (which is what gives the instrument its unmistakeable and searingly powerful sound), modulation and keyboard control sections all provide the potential for incredible levels of animation. The sounds really fly and soar and are never bound by the conventional constraints of a keyboard.
Emotional appeal? Knowing that it's still the benchmark, the best instrument of its kind and, although out of production for nearly 30 years, probably still heard everyday.
Could it be improved? The ergonomics and the sound are exactly right and have stood the test of time. However, the one thing that all vintage Moogs suffer from is tuning stability; so you would be a brave man to take one on stage without a pair of headphones to check that the thing was still in tune!
Not recommended for... Fragile loudspeakers.
There are no comments. Be the first to post one.
Posted by: John Silver on 3rd Feb 2009 in In The Know
Our occasional series where great design objects are described by those who know them best; their owners.
Architect and musician John Silver talks about the archetypal synthesizer...
What is it? Minimoog model D Synthesizer
Tell me more... The definitive performance orientated monophonic synthesizer, developed by Robert Moog in the late 1960s, and which fundamentally helped to shape the soundtrack of the 1970s.... and beyond.
Why did you buy it? I first saw Rick Wakeman play one (two actually) on the Oscar Petersen 'Piano Party' TV show in 1976. I was 15 years old and had never imagined such an instrument even existed....it totally captured my imagination.....but I had to wait until 1980 before I finally got one!
About its looks? I really love the tactile chunky analogue controls and big graphics...everything does exactly what you expect it to. The folding control panel is a stroke of genius because it's totally accessible and adjustable for performance, but folds away for transportation. Importantly it's really robust, made from brushed mill finished aluminium and thick vinyl folding into a solid hardwood case. It looks really purposeful, definitely very American and is certainly not a toy - you need to treat it with respect!
Technical advantages? It's very intuitive and fast to programmme - always from left to right across the panel. It's also very legible; you can see what you've programmed from the control positions, so you pretty much know what kind of sound you're going to get. This makes it great for live performance and rapidly exploring different sound textures when writing and recording. The controls can be altered with one hand (ie 'played') as you play the keyboard with the other. The filter (which is what gives the instrument its unmistakeable and searingly powerful sound), modulation and keyboard control sections all provide the potential for incredible levels of animation. The sounds really fly and soar and are never bound by the conventional constraints of a keyboard.
Emotional appeal? Knowing that it's still the benchmark, the best instrument of its kind and, although out of production for nearly 30 years, probably still heard everyday.
Could it be improved? The ergonomics and the sound are exactly right and have stood the test of time. However, the one thing that all vintage Moogs suffer from is tuning stability; so you would be a brave man to take one on stage without a pair of headphones to check that the thing was still in tune!
Not recommended for... Fragile loudspeakers.
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