Emerson's Moog

[GuitarGeek]

It was made for a one-off concert in 1969 at the Museum of Modern Art called "Jazz in the Garden".

There were four instruments: one for percussion sounds, one for bass, one for chords (and an electric piano), and one designed for leads.
It was built from standard Moog Modules (IIRC, it was a IC), but they also made custom "pre-set" modules and wiring harness that allowed the settings to be changed on the fly and they called it a IC+.

Later, they put it up for sale and somehow it went to England.

Over the years, Emerson has had things modified, oscillators replaced, and added on to it.

If you watch the PAAE movie, you can see what it originally looked like.

But, here is a similar model.

It's worth noting most of the time, Emerson basically just used a Minimoog style voice. The main things he used on the modular that you wouldn't have on a stock Minimoog are the preset box, the ribbon controller (I know you could patch a ribbon controller into the Minimoog, but I'm not sure if it could be used the way Emerson used it), the custom sample and hold module (used on Karn Evil 9 First Impression Part Two and I believe also on some of the live versions of Tarkus), and the double sequencer (heard at the end of Karn Evil 9, it's the last sound on the album).

But I think he probably could have customized a Minimoog, to give him most of the features he used (actually, he'd not have to alter anything about the synth itself to get the sequencer and sample and hold functionality, he'd just run control signals from modules). But he would have still been stuck with a three octave keyboard versus the modular's five octaves.

The giant Moog he had later on, I think starting during the Trilogy tour (isn't that why the one tour was known as "Get me a ladder" tour, because of oversized the Moog had become?), was largely for show. I saw a video awhile back where they talked about the copy that Moog Music made a few years ago, and it was mentioned some of the modules are just panels with pots and jacks mounted on them, but they're not wired up to anything. They at one point talk about how he had a switch from fighter jet or whatever, ya know, one of the ones with the protective cover that you have to flip up before you throw the switch itself, which they said wasn't connected to anything, it was there for show. There's also a row of LED's, which likewise, didn't do anything, except flash on and off in random configurations.

As for the Apollo and Lyra prototypes, I believe those did indeed go back to Moog Music at some point. Either that, or there were at least two Apollo prototypes, as Erik Norlander performed in concert a couple years ago with a restored Apollo. But like I said, I'm not sure if it was Keith's or another one. Not sure of the whereabouts of the Lyra. Keith never used the Taurus because he liked playing bass lines on his Minimoog while Greg was playing guitar (did he use the Minimoog for anything other than basslines?)

[GuitarGeek]

For those who don't know the proper pronunciation is "mogue" as in "mode" not moog as in "dude." I'm not sure what bugs me more when people mispronounce that or when they say Neil Peart as in "pert."

Actually, I gather the name can be pronounced either way, though Bob specifically pronounced it like vogue or rogue. I like it being pronounced like the sound a cow makes, because it gives rise to such things as David Byron's "Mood symplifier" crack on the Uriah Heep Live album. For years, I didn't know what a "Mood symplifier" was. Once I figured it out, realized it was presumably a snarky nickname the rest of the band gave the instrumet (or maybe just David), I laughed. And I still laugh when I hear that bit.

[Digital_Man]

Do you wash your hair with Neil Pert shampoo too?

[Digital_Man]

Actually, I gather the name can be pronounced either way, though Bob specifically pronounced it like vogue or rogue. I like it being pronounced like the sound a cow makes, because it gives rise to such things as David Byron's "Mood symplifier" crack on the Uriah Heep Live album. For years, I didn't know what a "Mood symplifier" was. Once I figured it out, realized it was presumably a snarky nickname the rest of the band gave the instrumet (or maybe just David), I laughed. And I still laugh when I hear that bit.

According to wikipedia it's moog as in mogue. I really don't think there are two proper pronunciations for his name(just like with Peart). But people just don't know. Another one like that is when people say the soft g for Vangelis when it's suppose to be the hard g as in grate (not jell).

[simon moon]

I'm wondering what they will do with Emerson's modular - donate it to the Moog Foundation, sell to a private collector, create an Emerson museum.

(Hopefully, it won't go to the RRHOF.)

It is currently in the possession (locked in a factory) of my friend and MOOG engineer (the guy who almost single handedly is responsible for building the exact replicas).

http://www.moogmusic.com/products/mo...modular-system

I will find out, when it is appropriate to ask (he's about as broken up as anyone, Emo was a personal friend), what the plans are for it.

[Mister Triscuits]

(I know you could patch a ribbon controller into the Minimoog, but I'm not sure if it could be used the way Emerson used it)

No one should use the ribbon controller the way Emerson used it.

[A. Scherze]

Regarding the pronunciation, the story is that his wife, who was an elementary school teacher, wanted it changed because the kids would make jokes.

[rockcup]

The Moog belongs to his grandson.

https://www.facebook.com/MrAaronEmer...type=2&theater

[A. Scherze]

Give it to Rachel Flowers.

Uh, what about his sons or grandchildren?

[progeezer]

Uh, I suspect that the Moog isn't his total estate.

[Progbear]

But here's an idea: why not house it in a reputable studio facility where it can be properly looked after and cared for, as well as used by lots of musicians, not just Rachel? I would say some place like Abbey Road, but that joint seems to have an uncertain future these days.

http://www.audities.org/

[Jeremy Bender]

This is the Moog he used on the 1973 European tour (confirmed by viewing the Manticore TV special concert footage):

emerson-keith.jpg

So, it was expanded for the Brain Salad Surgery tour.

He put it to full use in the incredible Pictures at an Exhibition from Buffalo 7/26/74:



From 3:49, he uses it to duet with Carl's percussion synthesizer, some great sounds in this section
From 8:03, a fantastic solo with a terrific sound
From 9:01, a great use of the Abbadon's Bolero melody with a really biting tone
From 13:46, a glorious melody (is it a quote of something?) with nice use of a fast sequencer patch
From 17:33, wonderful use of the sequencer for a solo, that must have sounded incredible with the quad sound system (I think they used it at that show)
From 18:45, more great soloing, I think he used his left hand on the L100 and alternated soloing on the Moog and doing chordal stuff on the C3
From 19:58, I love this bit of soloing with the sequencer, until it becomes the sequencer pattern that he did the rotating piano bit on (too bad the tape of Chopin's Revolutionary Etude didn't work!)
From 20:59, more great use of the sequencer during soloing, I love the way he uses the portamento with sequencer to get the rising note that leads in to the last verse
From 22:46, special mention must be made of Carl's drumming > bells & gong work

Too bad that version fades out during the tape of Respighi's Church Windows used as the exit music.

An incredible version of a great song by a truly great band at their peak.

[Man In The Mountain]

It's probably the only way something/someone from ELP will get into the Rock and Roll Hall of Fame, besides paying admission, of course.

I agree with Gruno. While prog fans may be put-off by the RRHOF, it's a logic choice as a LOT of people will be able to see it there. As well be a part of an Emerson display, with his contribution. It is the only way he'll get in. I do understand the sadness that it won't be played again, but given it's importance, it "perhaps" shouldn't be toyed with. Any studio can buy a Moog system, or even a replica of Keith's, and it will cost significantly less than owning Keith's original. Don't get me wrong, it is a bummer if it was never played again... but it's already a bummer we'll never hear Keith do his Lucky Man solo or play Aquatarkus again either.

Rachel is a lovely girl and a miracle of talent, but she really doesn't have a significant career to utilize it, or means to maintain the instrument. I mean, why not give it to Ryo Okumoto because he'll do handstands on it.

Of course it's up to Mari, or whomever Keith may have bequeathed control of it too. Gene Stopp perhaps.... or the soon to be "Emerson Estate".

[Yellow Jester]

Great Clip; thanks for posting! Terrific performance of "Pictures At An Exhibition". Love the bit of 'Abbadon's Bolero' at the 9 min. mark.

[A. Scherze]

Uh, I suspect that the Moog isn't his total estate.

Who said it was and how is it germane to this discussion?

[JKL2000]

Who said it was and how is it germane to this discussion?

I think Geez's point is that this "idea" would have to be presented to his heirs, unless he specifically willed his Moog to some entity.

[A. Scherze]

I think Geez's point is that this "idea" would have to be presented to his heirs, unless he specifically willed his Moog to some entity.

Well, I would assume that it is obvious to all of us here that the Modular Moog was not the totality of Emerson's estate and that its disposition would be made clear in his will.

His post seems to imply that Emerson's sons, who are both keyboardists, are less worthy than Rachel Flowers.

[GuitarGeek]

No one should use the ribbon controller the way Emerson used it.

Well, I meant that he used it in place of the keyboard, to send gate and 1v/octave signals to the modular. I know that you could use a ribbon controller on the Minimoog to feed the CV inputs, ie using it for pitch bend effects or to sweep the filter. Come to think of it, I imagine you could hook the ribbon controller up to the Minimoog the same you would the sequencer.

To make matters more confusing, Moog offered an optional ribbon controller to replace the pitch bend wheel on the left hand controls section. I believe Geddy Lee's has that. But it's obviously much smaller than the one Emerson used.

[GuitarGeek]

This is the Moog he used on the 1973 European tour (confirmed by viewing the Manticore TV special concert footage):

emerson-keith.jpg

So, it was expanded for the Brain Salad Surgery tour.

Ya know, now that you mention it, I don't think I've ever seen the Manticore special. At any rate, that's still bigger than the original synth that Moog shipped to him (which can be seen in both the Pictures At An Exhibition film and the Beat Club performance). So sometime after the touring cycle for the first album, but before the 73 European tour that the Manticore special was shot on, he added those top two tiers to the synth, and then before the Brain Salad Surgery tour, he added still more to it.

He put it to full use in the incredible Pictures at an Exhibition from Buffalo 7/26/74:


From 3:49, he uses it to duet with Carl's percussion synthesizer, some great sounds in this section
From 8:03, a fantastic solo with a terrific sound
From 9:01, a great use of the Abbadon's Bolero melody with a really biting tone
From 13:46, a glorious melody (is it a quote of something?) with nice use of a fast sequencer patch
From 17:33, wonderful use of the sequencer for a solo, that must have sounded incredible with the quad sound system (I think they used it at that show)
From 18:45, more great soloing, I think he used his left hand on the L100 and alternated soloing on the Moog and doing chordal stuff on the C3
From 19:58, I love this bit of soloing with the sequencer, until it becomes the sequencer pattern that he did the rotating piano bit on (too bad the tape of Chopin's Revolutionary Etude didn't work!)
From 20:59, more great use of the sequencer during soloing, I love the way he uses the portamento with sequencer to get the rising note that leads in to the last verse
From 22:46, special mention must be made of Carl's drumming > bells & gong work

I'm not sure how incredible the quad sound system would have made the sequencer bit sound. It probably would have sounded about the same as it does on the audience tape. It kinda sounds like it's panning around the room (or at least panning from left to right), but it's hard to tell. I imagine if you were lucky to be sitting at the sound board it might have sounded pretty cool. Now if he could have sent each individual note to it's on "location", so that one note appears in the left front speakers, the second note into the left rear speakers, third into the right rear speakers, etc, then that would have sounded incredible. But he would have needed a separate output on the synth for each note (or at least some type of quad output, with some kind of matrix mixer, that would have allowed him to assign each note to it's own output).

At any rate, other than the facilities the five octave keyboard would have afforded him, I don't hear anything there that couldn't have been done with the Minimoog.

[A. Scherze]

At any rate, other than the facilities the five octave keyboard would have afforded him, I don't hear anything there that couldn't have been done with the Minimoog.

One thing is the oscillators are different. On the modular's three 921A/B pairs, there are outputs for sine, triangle, sawtooth, and rectangle, and they are all available a the same time. Also, the rectangle duty cycle is totally controllable and the oscillator's range is 1HZ to 40KHZ. It can destroy speakers on either end, which is why it is called, The World's Most Dangerous Synthesizer.

http://moogarchives.com/m921b.htm
http://moogarchives.com/m921b.htm

There is also the 921 oscillator which is more controllable and goes from .01HZ to 40KHZ.

http://moogarchives.com/m921.htm

And, the random signal generator, reverb module, fixed filter bank, etc.

[rockcup]

"Uh, what about his sons or grandchildren"

This is his grandson!

[chalkpie]

One thing is the oscillators are different. On the modular's three 921A/B pairs, there are outputs for sine, triangle, sawtooth, and rectangle, and they are all available a the same time. Also, the rectangle duty cycle is totally controllable and the oscillator's range is 1HZ to 40KHZ. It can destroy speakers on either end, which is why it is called, The World's Most Dangerous Synthesizer.

http://moogarchives.com/m921b.htm
http://moogarchives.com/m921b.htm

There is also the 921 oscillator which is more controllable and goes from .01HZ to 40KHZ.

http://moogarchives.com/m921.htm

And, the random signal generator, reverb module, fixed filter bank, etc.

I used to have a mini Casio. Is it any good?

[GuitarGeek]

One thing is the oscillators are different. On the modular's three 921A/B pairs, there are outputs for sine, triangle, sawtooth, and rectangle, and they are all available a the same time. Also, the rectangle duty cycle is totally controllable and the oscillator's range is 1HZ to 40KHZ. It can destroy speakers on either end, which is why it is called, The World's Most Dangerous Synthesizer.

http://moogarchives.com/m921b.htm
http://moogarchives.com/m921b.htm

There is also the 921 oscillator which is more controllable and goes from .01HZ to 40KHZ.

http://moogarchives.com/m921.htm

And, the random signal generator, reverb module, fixed filter bank, etc.

Did he ever use the reverb or fixed filter bank? As far as I know, the "random signal generator" is just a noise source, which the Minimoog has.

As for the oscillators, you're correct about all the points you made. But what practical use is an oscillator that can destroy speakers? The Minimoog's oscillators have an LFO setting (though only the third oscillator could actually be used as one) which go about as low as is practically necessary.

And you're right about having full access to the pulse width control on the 921. On the Minimoog you have three different duty settings at the pulse output (square, and two different rectangles). But there again, I'm not sure I've heard him doing anything where he's making use of that facility. Did he ever do anything with PWM? You could, of course, modify a Minimoog so that you have pulse width control.

One point you left out is, one could, for instance, patch three oscillators as audio generators, and use a fourth as an LFO. On the Minimoog if you want vibrato or "wah-wah" effects, you have to give up the third oscillator, so you have a two oscillator voice under such circumstances. Also, I believe on the modular, you could synch the oscillators, which a stock Minimoog can't do (but you once again could have one modify for such options). Synched oscillators are one of the secrets of the Taurus pedals, so you don't get any phase cancellation.

But my point is, what the modular synth was capable of, and what Emerson actually used on it, appear to be two different things. I know a lot of people who've listened to the recordings and insist he mostly didn't do anything that couldn't be done with a prepatched synth, and in listening to the recordings, I don't hear anything to contradict such logic.

[GuitarGeek]

I used to have a mini Casio. Is it any good?

Depends on what you want to do, and how clever you are at using it. I know a lot of people who've modified those old Casio and other similar instruments (as well as things like the Speak And Spell, etc) to do things they weren't original meant to do.

[A. Scherze]

Ya know, now that you mention it, I don't think I've ever seen the Manticore special.