Seeing the MiniMoog in Portishead’s Live in Roseland NYC tape. (keep in mind I said “Seeing”). Then realizing it was Moogs all over the 90s West Coast rap tunes that I listen to. Then seeing the LP in a music store in Cape Town and thought: Oh SNAP CRACKLE POP. A MOOG? Money, Buy. Now I sleep next to it everynight and have nightmares if i don’t.
Gary numan, was the one who got me into the Moogs, that beautiful Polymoog and that deep moog bass WOW!
Never looked back since!
http://www.youtube.com/watch?v=0_TcszezOVE
this one and allot of madonna’s first album.
Didnt know why when they came out but now i know 
I always wondered what made Dre and Snoop’s albums so nice to listen to until I realized it was recycled PFunk.
Back in the olde days, Radio Shack was an actual place to go if you were an electronics hobbyist, CB enthusiast or even hi-fi nerd. They were kind of like Ace Hardware. You could be sure that if they did not have it, the folks that work there would point you in the right direction. This was way before RC cars and cellphones became their bread and butter.
So my first exposure to the Moog was the (Moog) Realistic MG1 at the local Radio Shack. I would spend hours making beep boop noises with it. Sweeping the filter and modulating the tone until the sales guys would run me out of the store.
I still need to get a Phatty and a Mini. Wouldnt mind a taurus. But I am very happy with my MG1!
its name’MOOG’ 
Actually, Wendy was in the midst of the process of change during the making of Switched On Bach. The album was released under “Walter” because Columbia didn’t want to deal with the various new and confusing issues associated with the change.
This is why it is so offensive that so many feel compelled to point out the name change, etc. whenever S-OB is mentioned… as if somehow, it’s relevant in regard to the masterpiece of synthesis and recording which that album is.
Yeah WC’s choices are fodder for just about everyone who brings her name up. Sad part is, if any ever spoke to her they would find out she is very nice. She is so beyond all that nonsense.
Agreed.
In fact the first issues of SOB didn’t carry any name at all, not even Walter' Carlos. After that first run they carried the name Walter Carlos. All recent and current releases carry the name Wendy Carlos, so it might be both pertinent and courteous to refer to Wendy Carlos’ even when discussing early influences.
Certainly in my own experience I first encountered those early albums with the name `Walter Carlos’ on them, but now I find it impossible to think of the musician who created them as anyone other than Wendy. But in the final analysis, the reasons for the change of name are personal ones outside the scope of the music itself, which is what we’re discussing here.
When I was a wee lad in the late seventies, my dad played track for me from an Edgar Winter Band album. He told me it was a Moog (as a general concept for a synthesizer) that made all the weird noises. I was fascinated and always dreamed of having a Moog. It turned out that Edgar Winter was playing an ARP 2600, but that’s besides the point.
A little later there were albums such as Geoff Wayne’s War of the Worlds, and then of course the whole synth era of the eighties.
I actually only got my first Moog synth, a LP, a couple of years ago, but have had several synths since I was a kid, including Roland’s SH-2, Juno 60 and Jupiter 8 as well as man others. All seem to have their individual strengths, but none so distinct as the Moog. Nowadays I mainly use the Little Phatty alongside a Fender Rhodes Stage MkI and a DSI Prophet 8.
Regards, Sid
I saw a tribute concert for Bob Moog in Asheville back in the early 2000’s. I can’t remember the band, but they played a minimoog and used some moog effects. The mini didn’t sound like what I thought synths sounded like, it was like a crazy mad scientist’s tool that I could not help but be intrigued by. I vowed to acquire one as well as the cool guitar keyboard that the guy was playing, which turned out to be a clavinet. Keyboards ceased to be boring to me on that day, having been obsessed with the bass from an early age. I learned that keyboard had the potential to be way more exciting than the bass or guitar or drums, since you could play so many different sounds at once. Then I saw Medeski Martin and Wood, and saw the mellotron, Wurly, and hammond B3, and to this day, have never seen a better clavinet player. If you haven’t seen him before, his clav skills are out of this world, especially when he would open the back of it and pluck the strings. He also is the only person I have seen who eill manipulate the flywheel on the mellotron, getting crazy pitch/scratch effects. no one else would dare.
I saw a CP-251 at a local shop and was intrigued by it. I already understood the basics of synthesis, but had only worked with software. Seeing the physical routing of control voltages with knobs to control things really excited me. I went home, read all of the manuals, and eventually bought a few effects and the CP-251. That led to a Little Phatty and a MP-201. One of these days, I’ll reaquire them.
There was a Canadian musician called Montag. His subtle and smooth synth melodies made me aware - added to the somewhat general knowledge that the Minimoog was the 1st stable and widely used synth, and a somewhat “father” of all later synths. After some time, I started feeling the distinct warmth of analog gear, which guided me to the direction I tried to craft in my music at the same time… Being under the influence of the sound already, I bought some (guitar amp, tape echo, and a russian analog string synth, etc.). Now finally I could offer a SP, so here I am. 
The documentary on Moog was also clearly fascinating.
The keyboard intro to the track “Tarot Woman” by Rainbow, from their album “Rising”, 1976. I do think it is a minimoog, it sure sounds like one. I can’t imagine any other synth producing such a warm filter opening sound. Tony Carey (the keyboardist responsible for that intro) played lots of great great solos on his minimoog during live shows as well. Sadly I wasn’t born then, but still, that intro remains a part of the greatest piece of music I have ever heard.
It started with me and a friend of mine playing around with echoing sounds using two cheap Radioshack reel to reel tape recorders, running the tape from the supply reel of one, to the take up reel of the other. I was also intrigued by posters in the music room at school that, for some reason, were about the Ring Modulator. Listening to the Switched on Bach LP, and reading the liner notes, intrigued me even more. Then, there was EL&P… Edgar Winter, and his ARP 2600… Jan Hammer, with the Mahavishnu Orchestra…
When I was stationed in Turkey, one of the Westinghouse guys had a MiniKorg (this was in 1975…) that he let me borrow for a while. It was fun patching it thru my stereo, and was my first time using a true synth. However, I didn’t really know what I was doing, and the control names made no sense to me, so it became frustrating to use. But, it was cool nevertheless!
Later in life, I came across this forum, and started reading about the Voyager. One thing led to another, and I decided I had to have one! It was one of those, “If I don’t do it now while I still can, I’ll probably never do it!” kind of moments. I never looked back! And, while I’m not much of a musician, I do like to experiment.
I’ve read quite a few similar stories to my own experience here, makes me feel right at home! Back in the 70’s I was a kid doing a paper round to save up for LP’s - and the first piece of vinyl I ever bought was ‘Tarkus’ by Emerson Lake & Palmer, and Keith Emerson’s keyboard skills (my kids call it skillz these days I think?!) and sounds just blew me away at the time. Soon after, the NEXT LP I got was Switched on Bach (at a local church fete, because I thought the cover was funky) The sounds on this classic once again amazed me. In the late 70’s & into the 80’s and many, many records by lots of different artists later, I was listening to a lot of Zappa & the Mothers and on the album Filmore East, Don Preston whipped out this crazy little solo called ‘Lonesome Electric Turkey’ on a minimoog, there were also lot’s of other things Zappa’s incredibly talented keyboard artists had been doing with Moogs and other keyboards of course, but for some reason this particular track stuck in my mind… So about then I decided I needed to be part of this and started saving my money, finally ending up with a Korg MS-20 and later a Korg Mono/Poly - I’m not sure why I got Korgs, I can’t really remember seeing that many Moogs avvailable in Melbourne, Australia back then, I know they were sort of like a holy grail for me though, highly desirable but out of reach.
Anyway, at that stage I really didn’t realize what gems I had, and got rather distracted by women, sex, drugs & rock & roll (listening to, not making music) in my late teens and early twenties and loaned both synths out to ‘friends’ and never saw them again. I did get some money (that promptly went on bills) back for the MS-20 but would have prefered IT back…
To cut a long story short, I’m now 50 and rediscovering my love of analogue electronic sound - this analogue thing is a pattern for me; I also have a healthy collection of old cameras that take FILM (remember that stuff?) which I develop myself! Having a mortgage and two kids puts a limitation on my budget, but I decided I wanted and was going to finally get a MOOG! After some research I figured the Little Phatty or Slim to go with my midi controllers would be ideal for my circumstances. I talked it over with my wife, expecting her to roll her eyes and say “do you really need that?” and although she did sort of roll her eyes, she thought about it for a while and asked me if it was what I really wanted, so I talked to her about the different options and what I would really, really like…she then she offered to put some of her earnings in as well to help me save for a VOYAGER! Now, I ask you, could a man hope for a better wife? So in a couple of months I will hopefully have a Voyager (I’m halfway there in my saving!), and will satisfy myself with my ‘Arturia Factory’ Moog presets in the meantime.
It took time but I finally understand the difference between real analog and virtual analog or analog emulation …
I read an interview of Printz Board,who is the black eyed Peas music director and he use Moog’s for all his basses and have a phatty on stage for all basses too…
I also see a documentary video about Bob Moog and he explain a lot of spiritual things about how electric energy on analog board can put you in touch with the universe that is surounded you
bye,
thanx for watching