Moog One: The future of music

[AsianTrumpSupporter]

It will be mine... oh yes, it will be mine...

 

[fncceo]

The DX-7 ruined music and movie soundtracks of the '80s.

Please let's not have a return of the techno nightmare.

 

[AsianTrumpSupporter]

The DX-7 ruined music and movie soundtracks of the '80s.

Please let's not have a return of the techno nightmare.

 

[HaShev]

My first synth was a monophonic Moog synth and I abused that wheel to make those ufo and bomb sounds *L*
I was one of the first to sequence notes through the arpeggio, slightly before midi sequencing and sync existed, needless to say by the later portion of the songs the sequence became somewhat out of sync with the drum machine.
And yes once the Roland bassline and drum machine midi sync came out Techno was truly born, so blame people like me for what a producer manager said, "that will never become anything,
too repetitive".

 

[badger2]

The reaction to tech waa also projected by fellow musicians at the time of the MIDI transition, as a kind of betrayal and dear that it would put them out of work. My setup included and ARP Axxe for the baseline, a Drumulator and Prophet 600 linked to MIDI software via a Commodore 64.

We are aware of the consequences of MIDI tech: the wind MIDI controllers of today such as Roland and EWI have these plastic instruments that have removed some of the keys from the original invention (of saxophone) and in addition, there are alternate fingering charts published on the web that are ridiculously complex to boot.

 

[HaShev]

How I viewed midi sync is that you no longer struggled getting 5 members of a band to agree on a practice spot then a song then work around schedules and marriages to book tours.
1-2 man bands eliminated the headaches of managing many egos and unreliable musicians and splitting the gig pay.
Lastly syncing the midi signal onto a track on your recording allowed 1 man recording all instruments while allowing
overlay depths.

 

[badger2]

The musicians who looked down on MIDI also ignored the evolution of the saxophone at the same time. In 1987, it was possible to play a synth via what one knew on the saxophone. Synthesizer melody lines could be produced with a saxophone, and that's the trajectory that was forged from the frustration of seeing other instruments being adopted to MIDI while the woodwinds were being left behind. Placing switches under the keys of a saxophone and connecting them to the keys of a synth allowed the production of music controlled by the sax. Having described this, a patent lawyer said that it had substance and suggested writing to Selmer. Selmer's answer was no thanks, they would stick to their traditional instruments. Thus, at least by 1987, Selmer Corporation knew that sax could control synth. Using solenoids to control the synth keys was dangerous, as when at one time, the entire control panel of the Prophet lit up like an x-mas tree due to electromagnetics. Thus, we see that the prisoners took the bait of MIDI controllers for woodwinds, and even adopted to the absurdity of removal of keys from the original Belgian invention.