We have to start at the very beginning, with the godfather of subtractive synthesis, Robert Moog. The son of an electrical engineer, Bob Moog’s interest in electronic musical instruments started very young. Aged just ten years old, he started building simple radio circuits and other electrical projects, one of which was a three-note electronic organ.
A move to the Bronx High School of Science allowed the teenage Bob to take his interest more seriously, and it was at the tender age of 15 that he built his first Theremin as part of a science fair. Further projects followed, which included more electronic organs and even a Geiger counter, but Bob was utterly captivated by the Theremin, continuing to revise his self-builds as part of a business that he started with his father. This fledgling business called Ramco, was renamed in 1954 to R. A. Moog Co. Yet more Theremins followed but one model, called the 351, offered tone shaping capabilities, setting the direction for much greater things to come.
Moog’s debut modules
It was some ten years later that Moog began collaborations with other like-minded individuals, creating early synthesiser modules that would respond to voltage control. These new technologies gained interest from notable composers and experimental musicians, such as John Cage, and formed the blueprint for what would become the first synthesisers which were released in 1967, branded Models I, II & III. Not only were these the first machines of their kind, but they were also instrumental in the introduction of the word ‘synthesiser’ into the musical landscape (although probably ‘synthesizer’ given the US origin).
This story is from the September 2021 edition of Computer Music.
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This story is from the September 2021 edition of Computer Music.
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