Talk:Moog synthesizer

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Grammar Choice[edit]

Corrected some misspellings and changed grammar stylings to American, since that's where this story takes place. —Preceding unsigned comment added by (talk) 18:27, 15 July 2009 (UTC)

Merge section from Robert Moog?[edit]

See instructions at WP:Merge. When you place a merge tag, you are should state your reasons on the talk page.

Disagree - I don't see a reason to merge. This is so far just a WP:DAB page. If you want to build it into something, go ahead, just copy the info from Moog's article here and have at it. The sections you want to merge are quite small, and help readers to understand Bob Moog. If you get something going here, just add a "main article" link to here from the appropriate section on the Moog page. --Blainster 23:57, 3 March 2006 (UTC)

That's kind of the point. Build this into an article and make Robert Moog more of a biography. The last 2 paragraphs from the "Development of the Moog synthesizer" section and pretty much all of the "Moog synth in culture" section could start the rudiments of an article over here. I don't suggest we not mention any of that over there, just trim off the fat and put it into an article about synthesizers rather than a person. -- Krash (Talk) 00:30, 4 March 2006 (UTC)

Article barely satisfactory[edit]

This page would benefit from a description of the *development* of Moog synths. Descriptions of the actual *use* of early machines are vague. Moog seems to have created many modular standards: the bio mentions development at Columbia-Princeton -- there's nothing here. Moog's sounds became the standard by which others were judged: why? Why do many artists still consider analog synth sound superior to digital?
As it stands the article is barely satisfactory: this genius created something that had an enormous impact on music -- and nearly all future synths -- and the article fails to reveal how that happened. (How did feedback from artists aid Moog in improving his gear?)
And the technical side is almost completely missing: did Moog pull these module ideas out of his rear, or were there precursors elsewhere in electronics? Did he invent envelope-generators out of thin air? Low-pass filters existed before Moog: what did he contribute? Who assisted him in his designs? Why were the early oscillators unstable? How were early Moogs *so much better* that the name became synonymous with synths? Or was that just good PR?

This article needs a lot more improvement, and correction. First Walter Carlos, who became Wendy Carlos was a co creator/inventor of the Moog Synth, not just some random musician as the article suggest. Secondly, Walter Carlos was the first to create a whole Album using all electronic/synthesized music. All the other people followed. Third, Stevie Wonder was actually taught how to use the earlier Moogs by Walter Carlos personally. The article also fails to mention Paul Williams who was also one of the first to use the original studio moog configuration, and the the first commercial version of the Moog can be seen in the movie "Phantom Of The Paradise", which also stars Paul Williams. —Preceding unsigned comment added by (talk) 20:10, 18 September 2007 (UTC)

Also: the list of Moog users seems arbitrary and rather pointless. I mean, Glenn Tilbrook? Whatever else the merits of Squeeze's music, synths are hardly the first thing one associates with it. (talk) 15:40, 29 May 2008 (UTC)


Consider using Image:Doug Dino KeithEmersonsMoog.jpg. Bovlb (talk) 06:28, 16 April 2008 (UTC)


I have to concur with the previous comments -- this needs some serious editing. The claim that the Moog was "one of the first widely used electronic musical instruments" is pretty tenuous -- actually, it's a crock, IMO. The electric guitar and the electric organ can both be classified as electronic musical instruments and clearly both electric guitars and electronic organs (e.g. Hammond, Lowrey) were in widespread use long before the Moog was created. Dunks (talk) 12:37, 6 November 2008 (UTC)

The electric guitar and organ are electric, not electronic. The difference is that synthesizers generate sounds using electronic components such as transistors, not by making any physical vibrations with rotating saw esque devices (like electric organs) or vibrating metal strings (like electric guitars). Although there were electronic musical instruments before the Moog modular, such as the Telharmonium, they weren't anywhere near as popular. I believe the Moog modulars were the first to combine filters, envelopes, attenuators and the like with an actual musical keyboard (as opposed to Buchla, who was making modular synthesizers but not listening to the feedback of practical popular musicians so not building in musical keyboards), but I could be wrong. Zoeb (talk) 13:31, 10 April 2009 (UTC)

Moog synthesizers[edit]

From the summary, "Moog synthesizer [...] is commonly used as a generic term for analog and digital music synthesizers."

Is there a citation for that? I've spent quite a lot of time reading about synths and I can't recall a time where someone has called another brand of synth a Moog. Moog's are also notoriously analog, and so to claim that Moog is a common generic term for digital synths is quite a stretch. (talk) 02:52, 29 November 2009 (UTC)

Moog Constellation Ensemble[edit]

I am surprised this article doesn't contain anything referencing the Constellation Ensemble, a group of mostly-unreleased synthesizers. The ensemble included two keyboard synthesizers, the monophonic Lyra (designed by Bob Moog with employee Jim Scott) and the polyphonic Apollo (designed by Dave Luce) that was released as the Polymoog, and one bass pedal synthesizer, the Taurus I. I am hoping this article will contain this in the near-future. For right now, here is the background:

Moog came up with this concept as its response to the Yamaha/Electone GX-1 synthesizer, that which premiered at the 1973 NAMM show and was released to the public in 1975. Moog hoped to have its version on sale as both the complete ensemble and as separate units by early 1974, however, production problems surfaced early with both the Lyra and the Apollo. Less than ten Lyras were known to be made, while about less than five Apollos were built. Keith Emerson used both the Lyra and the Apollo on the Emerson, Lake & Palmer album Brain Salad Surgery; these can be heard on the songs "Jerusalem," "Benny the Bouncer" and "Karn Evil 9: 3rd Impression."

The project reportedly ended up costing Moog lots of money. The Lyra was never commercially released in its original form; only surfacing after repeated developments as the Micromoog in 1975, and as the larger Multimoog in 1978. The Apollo eventually became the Polymoog Synthesizer, also released in '75.

Go here:

WikiPro1981X (talk) 10:22, 30 March 2010 (UTC)

I'm concerned[edit]

This page seems very much of a rambling nature. As a matter of fact, I don't see why this page should even exist--this is the kind of information that should go into the Moog Music history page. We already have separate pages for every synthesizer mentioned on this page. Eddievhfan1984 (talk) 08:32, 1 June 2011 (UTC)

Comment: We know the rambling nature of Wikipedia article which didn't yet reach to maturity. It is often caused by peep hole editing without consideration of total balance. Such chaotic state should be improved by copy&edit  technique, but I have not yet the motivation to do it. In the future, someone may do it. --Clusternote (talk) 02:09, 2 June 2011 (UTC)

well, the pics could be better too. that one with the 960s... did it not occur to anyone to move the lump of mic stand out of the way? the cup I can sort of understand, but an unused mic stand? come on.....

duncanrmi (talk) 19:23, 10 August 2014 (UTC)