Technical Limitations of Moog Modular Synthesiser
Posted: Tue Feb 02, 2016 7:25 am
Hello Moog enthusiasts!
I am writing a paper for my University course on the ways in which the physical constraints and affordances of the design of the Moog modular synth has affected compositional practices ( I'm using terminology here I've borrowed from writers like Paul Thebrege' and James Mooney who have written papers on compositional matters).
What methods of composition did they synthesiser encourage? Would notable users, such as Keith Emerson, Wendy Carlos, have realized their music differently on a Buchla synthesiser, for example?
I'm aware of the surface differences between Moog and Buchla machinery; I'm hoping to come up with original points that can't be found on a half hour google search around the topic; in order to do this I've had to teach myself a fair bit about voltage-control oscillators, potentiometers, subtractive synthessis and other things using the Computer Music Journal (Curtis Rhodes) amongst other books.
In terms of a particular model, I suppose I am aiming to talk primarily about the System 15.
I was wondering if anyone had a couple of minutes to shed a little light on particular modules which had features on note, or anything else that springs to mind on the topic? I was hoping to write in the style of Point-Evidence-Explanation:
"The low-pass filter of the Moog. has been noted as being a key part of the distinctive sound of the synthesizer. What was it that made the low pass filter unique?"
I'm trying to make my way through the the technical service manual, which I have attached. But it's dense reading! So if anyone can help me with this, then much appreciated.
I look forward to your responses! If anything I have said is unclear, then please let me know =)
Peter
I am writing a paper for my University course on the ways in which the physical constraints and affordances of the design of the Moog modular synth has affected compositional practices ( I'm using terminology here I've borrowed from writers like Paul Thebrege' and James Mooney who have written papers on compositional matters).
What methods of composition did they synthesiser encourage? Would notable users, such as Keith Emerson, Wendy Carlos, have realized their music differently on a Buchla synthesiser, for example?
I'm aware of the surface differences between Moog and Buchla machinery; I'm hoping to come up with original points that can't be found on a half hour google search around the topic; in order to do this I've had to teach myself a fair bit about voltage-control oscillators, potentiometers, subtractive synthessis and other things using the Computer Music Journal (Curtis Rhodes) amongst other books.
In terms of a particular model, I suppose I am aiming to talk primarily about the System 15.
I was wondering if anyone had a couple of minutes to shed a little light on particular modules which had features on note, or anything else that springs to mind on the topic? I was hoping to write in the style of Point-Evidence-Explanation:
"The low-pass filter of the Moog. has been noted as being a key part of the distinctive sound of the synthesizer. What was it that made the low pass filter unique?"
I'm trying to make my way through the the technical service manual, which I have attached. But it's dense reading! So if anyone can help me with this, then much appreciated.
I look forward to your responses! If anything I have said is unclear, then please let me know =)
Peter