Of course the tweaking of analog (or any other) synthesizer (or any other audio related thing) must be done by ear, but understanding the physics behind speeds up you in your quest for ‘the sound’.
And then there were people who were both, like Roger Powell. But you could also be a techician, who perfectly understand the music, like Bob Moog.
I’ve always found the science (math/physics) relation to music quite easy. They should never be the driving force behind the music (as late Joe Meek said: ‘If it sounds right, it is right’), but they are great tools which helps you to get the things ‘right’.
Wow! I’m just as old as you (1 month short of 45). Yes, science is the vital part … but then … nothing prevents you from creating great music without knowing the s*it of the science behind. But knowing the science can help you to analyze the things behind music and give you hints how to improve your results.
People often give me odd looks when they see the oscilloscope sitting atop my old analog modular, it’s just not in their experience.
Those videos are nice. I see an ARP 2600 behind him - I would have used that in any instructional videos for analog synth, mainly because it’s patched with cords unlike the voyager which is normalized or prepatched. But then I guess if Moog is sponsoring the deal, you use Moog.
i have always thought that in a ‘live’ situation, you (the player) will have to create patches ‘on the fly’ (due the the Minimoog not having any Memory). So an understanding of Synthesis is important to enable the player to perform these instant programing actions. And that there are only two methods of operation here :-
1 - To visually memorize the settings (on the control panel) of your patches so that you can re-create these as and when required.
2 - To be able to turn the dials on the control panel without actually playing the keyboard (ie. being able to hear the sound in your head).
i would guess that all of the best players will be able to do both methods !!
i have just been offered a Mini (with MIDI) which has been fully serviced in Europe by Rudi Linhard (who has apparently said this was one of the best models to ever pass thru his workshop).
With postage etc it will cost about £4k i would think. Its a LOT of money !!
The seller is the ORIGINAL OWNER and bought it brand new in 1980 in London, UK. My original upper limit was £3,500 but i decided to pay a bit extra extra and go for this one because it is in astounding condition, no modifications, been serviced by an expert, does not have Midi, comes with a flightcase, has had all the woodwork treated and waxed, and will not be being shipped in from abroard. The seller was a professional musician and happend to be the keyboard player with the UK band MUD !!
This reminds me that we would actually write/play 8-16 (what ever it took)
bars of just drums or bass and drums etc into the music just to give the keyboard player
time to ‘set-up’ his moog for the next sound.
This was early to mid 70’s and DISCO was king. (oowe oowe)
So we could get away with that.
Ah those were the days. Satin pants and platform shoes.
{‘-’}
Yes, i am very pleased and excited about it. i have looked on ebay since 2007 at many many MiniMoogs waiting for the exatct right one to come along which was peferect in every way for my needs.
i have a few VST’s (not many) but enough for what i need. But having a real Rhodes, Clavinet and Moog is certainly a superior feeling.
Though i wanted to ask you please, have you heard of the Native Hammond B4 (i think its called) plug-in ?? i heard it a couple of years ago and thought it was amazing.
I had a moog source for a little while back in the early 80’s. it was basically a mini with a digital preset memory… Did not seem to have the tuning issues so much, at least, once it was warm.
Yeh man, one of my best mates has a Source !! Its great and i keep trying to buy it off him. It has buttons in the old Yamaha DX7 style, and the funkiest colour scheme ever. Love the sound of it. i think it has an ARPEGGIATOR or a SEQUENCER of sorts onboard ??