BMF Re-Configures Norlander’s “Wall of Doom” Custom Moog Modular
Bob Moog Foundation and Erik Norlander Make Modular Synthesis Accessible for Fans and Students
Erik Norlander, synth guru and ardent supporter of the Bob Moog Foundation, is known for his Moog-laden symphonic rock. At the heart of Erik’s music is his massive custom Moog modular synthesizer, affectionally referred to as the Wall of Doom by his roadies. You can get a glimpse of the WOD, situated behind Erik, below.
Erik Norlander with his custom modular synthesizer in the background
Here’s how Erik sums up the synths unique attributes:” My modular synthesizer is a unique creation that started out life as a Moog IIC in 1967, grew to a IV-C in the late 90s and then was repackaged as the first “Wall of Doom” in 2001. All of the audio modules are original Moog modules from 1967 – 1972 except for three custom 16x2x1 oscillator mixes that use the identical circuit topology as the original 1967 (pre-CP3) Bob Moog design to mix the system’s 22 oscillators. Many other custom control modules have been added including 8 channels of MIDI to Gate/CV along with additional processor modules from Roger Arrick’s Synthesizers.com in Texas. The control elements are extremely modern and offer state of the art flexibility; The sound is pure Moog.”
Recently, Erik and the Bob Moog Foundation joined forces to make this historical synthesizer more accessible to fans and students alike. The idea was to reconfigure the massive instrument in to six large rack mount cases that Erik could take on tour and expose his audiences to modular synthesis, and to bring in to schools in his area to teach the science behind synthesis to kids, thus helping the Foundation fulfill its mission and extend its MoogLab reach.
With the generous help of a few crucial supporters, we are delighted to announce that the re-configuration was completed on the eve of Bob’s 76th birthday. We couldn’t have accommplished this without:
In-Kind Donation of Gear
- OSP Worlwide – OSP Worldwide is a distributor of all kinds of super high quality audio gear. They donated six 16-Space ATA Shock Mount Flight Case Effects Racks to the Bob Moog Foundation for this project. We simply couldn’t have done this without their generosity. The quality of the cases they provided has well exceeded our expectation;they are extremely well-made. The six OSP cases provide an ideal home to this unique modular synthesizer.
Rockstar Engineering Volunteers
- Amos Gaynes and August Worley- To many of you, Amos Gaynes from Moog Music needs no introduction. He is well-known in the synth community for his clear and insightful articulation of all things that involve a Moog tech. Amos understands the contemporary Moog gear inside and out as a tech and as a creator of firmware for some of the newer products. A student of mechatronics at UNC-A, he is well on his way to becoming an engineering force at Moog Music, Inc.
August Worley is an electrical engineer who shares a unique qualification with Bob Moog. August is the only person to have worked at Moog Music Buffalo, Big Briar, Inc. and Moog Music Asheville. He was part of the engineering team who helped Bob develop the Voyager. August was uniquely qualified to work on this modular project, as he formerly toured with ELP as the keyboard tech for Keith Emerson’s Monster Moog Modular. He also developed the pyrotechnics for Keith’s Moog ribbon controller.
Between the two, Amos and August have donated over 60 hours of time to the completely reconfiguration of the Wall of Doom in to its new home. They have planned, inquired and researched in order to re-wire Erik’s system. Working well into the wee hours of the morning on more than one occasion, this highly skilled team has completed the transition of this extraordinary synth just in time for it’s first appearance at Moogus Operandi on May 27th.
Many, many thanks to Amos and August — we couldn’t have done this without you! Your generous donation of talent and spirit is a tribute to the Moog legacy itself.
Musician Open to the Possibilities
- Erik Norlander – Not only does this guy rock musically, but he rocks as an open, creative spirit who is excited by new possibilities. Not every owner of a priceless custom synthesizer would agree to submit their musical centerpiece to be shipped across the country for a complete metamorphosis. Erik agreed to take the project on and he was an invaluable source of information, guidance and encouragement.
We cannot go without thanking Lana Lane, Erik’s lovely wife and musical partner. With Erik away on a consulting trip, it fell upon Lana to pack and ship over 300 pounds of modules with a considerable time constraint thrown into the mix.
This project is a tribute to the historical, musical and technical legacy of Bob Moog. Many thanks to all involved!
Over the coming months, we will be asking Amos, August and Erik to write blog posts from their unique perspectives about the Wall of Doom reconfiguration. Keep your eye out for those insights into this project.
“Voices” Series Launch: Beastie Boys Cut the Ribbon on the MiniMoogseum!
Hip Hop Legends Perform Ribbon Cutting Ceremony on MiniMoogseum Installation, Paying Tribute to the Moog Legacy
The Beastie Boys have been rocking crowds the world over for more than 25 years; they are the undeniable innovators of both hip hop and rock and roll. Known for looking forward and backward, the Beastie Boys were among the first to embrace the phat analog Moog sound in the late 80s and early 90s at a point when the world of synthesis had gone largely digital.
How fitting it was to have the Beastie Boys swing through town and perform a ribbon cutting ceremony on the Foundation’s MiniMoogseum installation in the Orange Peel, once again championing the Bob Moog and his legacy of pioneering synthesis. Check out the Beastie Boys performing the ribbon cutting ceremony here:
Here’s the embed code to share this video via Youtube:
<object width=”425″ height=”344″><param name=”movie” value=”http://www.youtube.com/v/5Mh3foz9WxY&hl=en&fs=1″></param><param name=”allowFullScreen” value=”true”></param><param name=”allowscriptaccess” value=”always”></param><embed src=”http://www.youtube.com/v/5Mh3foz9WxY&hl=en&fs=1″ type=”application/x-shockwave-flash” allowscriptaccess=”always” allowfullscreen=”true” width=”425″ height=”344″></embed></object>
Dubbed the “MiniMoogseum,” the eight foot high showcase serves as the first permanent installation of Bob Moog’s archives, including one of his Grammy awards and relics from the early development of Moog synthesizers. Michelle Moog-Koussa, who serves as the Executive Director of the Foundation named after her father, explained that “Over the decades to come, hundreds of thousands of people will see the installation as they visit the Orange Peel…” which was recently voted in the top five in the country by Rolling Stone magazine. The “MiniMoogseum” can be thought of as a small scale version of the future “Moogseum“, coming soon to the Asheville area.
Beastie Boys join a growing group of celebrity musicians, including Stevie Wonder, Keith Emerson, and Billy Corgan who have all voiced their support of the Foundation’s mission to teach science to children using musical instruments. In the video the band expresses that they are “…proud and happy to be here at the beginning of this beautiful thing…..the Moogseum.” They continue by saying “There should be a Moog synthesizer in every classroom.”
This video marks the first in a new series of videos and blogs that the Foundation is calling “Voices” — reflections and ideas from the wider Moog community, focused on how Bob Moog inspired their creativity.
Making the MiniMoogseum a Reality: Volunteers and Sponsors
The MiniMoogseum was designed and built by a team of volunteers and sponsors—the foundation playfully refers to them as “Rockstars”–including Gene Felice, Chris Perryman, Steve Dunnington and Mike Pieo.
Materials for the project were donated by Cormark International, Speed Graphics, Moog Music, Asheville Hardware and Henco Reprographics. This project is the first step in an iterative process for the Foundation. The full-sized Moogseum, scheduled to open in four years, will feature interactive and experiential exhibits that inspire the next generation of “Bob Moog” like innovators, as well as an intimate performance area, where musicians from around the world can participate in the Foundation’s programming.
Special thanks to Meg Lauzon, Rhino & Jon Leidel for capturing this even on both video and photo! And a special thanks to the Orange Peel for hosting this amazing event.
Moog-Inspired Art Auctioned on eBay
The Bob Moog Foundation Launches Auction of Moog-Inspired Art
Asheville Area Artists Donate Moog-inspired Art to Pay Tribute and Raise Funding
The Bob Moog Foundation announces the launch of six eBay auctions featuring visual art inspired by the legacy of Bob Moog. The link to the auctions can be found here.
The eBay auctions will run for 7 days, and will end during the Foundation’s spring fundraiser, Moogus Operandi, to be held on May 27th from 7-11pm at the Orange Peel in Asheville. The event will feature local musicians performing with a virtuoso synthesist from California, Erik Norlander, and a legendary Moog modular synthesizer from 1967, the release of Moog Filtered Ale from Asheville Brewing Company, and a MoogLab interactive exhibit. Those who attend the event will have the opportunity to see the Moog-inspired art in person, as well as to bid on the items via computer workstations provided by City Mac. The unique format of the auction gives the participating artists an opportunity to showcase their work to an international audience of Moog enthusiasts. Featured items range from large scale paintings to smaller pen and ink designs and mini-synth sculptures.
All proceeds from the auctions and the event will go to benefit the projects of the Bob Moog Foundation, which is a registered 501 (c) (3) non-profit organization. Through this opportunity artists are given a chance to become part of the Bob Moog Foundation’s effort to bring innovative science and music programs into the schools and to create a Moogseum in Asheville, NC.
Many thanks to all of the participating artists who are donated their works of art to help us further our mission. It’s wonderful to see visual artists who are inspired by the intersection of music, technology, innovation and creativity that Bob Moog represents. We love seeing this creativity help us raise funding to teach science and music in the schools!
The artists participating in the auction include:
Gabriel Shaffer - www.gabrielshaffer.com
Gabriel Shaffer is a visionary artist who is internationally recognized for is attention to detail, vibrant color palette and intriguing concept.
Auction Link: http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=140409639580&ssPageName=ADME:L:LCA:US:1123#ht_611wt_1139
Phil Cheney - www.dynamicartgallerie.com
Phil Cheney is a musician and an artist who is known for his whimsical, eclectic designs. He designed the label for the Foundation’s Moog Filtered Ale, which was based on the image that is being auctioned.
Auction Link: http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=140409621113&ssPageName=STRK:MESELX:IT#ht_560wt_1139
Dustin Spagnola – www.dustinspagnola.com
Dustin’s striking image of Bob Moog is inspired by the contemporary urban landscape. His images reference the texture, depth, and color of structures in decay and the visual language of graffiti.
Auction Link: http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=140409631595&ssPageName=STRK:MESELX:IT#ht_729wt_1139
ArtYes / Marie Knight – www.artyes.net
Marie Knight combines flattened, distorted, embellished, and scaled-up representations of all manner of life forms with scaled-down signmaking to make arresting and occasionally nerdy graphic art.
Auction Link:http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=140409636486&ssPageName=STRK:MESELX:IT#ht_639wt_1139
Seja Vogel -www.etsy.com/shop/pulsewidth
Recently referred to as the “synth whisperer” by Mess and Noise magazine, Australian Seja Vogel is probably better known as a musician more than anything else. However her recent solo album features a cover of handmade felt synthesizers created by Vogel. She is the only artist represented in the auction who does not call Asheville home. Her donation of two felt synths to the foundation was the inspiration for the art auction.
Auction Link: http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=140409637689&ssPageName=STRK:MESELX:IT#ht_643wt_1139
Seva Explores the Abominatron Tape, part 2
Seva David Ball is the the preservationist for the restoration of 40 reel-to-reel tapes in Bob’s archives, a project which is generously funded by two grants from the GRAMMY Foundation. Seva is an audio engineer whose accomplishments include serving as associate founder of Waves, mastering Dolly Parton’s only live DVD, and being the preservationist on David Lewiston’s archives of over 650 tapes for the Library of Congress. He is the owner of Soundcurrent Mastering in Knoxville,TN. As he restores the tapes, Seva will be blogging a bit about each one, and including sound samples.
While the GRAMMY Foundation provides generous funding, they do not cover all of the costs associated with the extensive project. If you are inspired by historical material that we are preserving, please consider making a donation to the Foundation to help us continue our efforts.
In this blog post, Seva explores a tape that was donated to us by pioneering synthesist Herb Deutsch, who collaborated with Bob on the first prototype modular. In this 84 minute tape, Bob methodically explains the functions of the modular. We are excited to include five snippets of that tape here. Many thanks to Herb Deutsch for this historical treasure.
Abominatron Tape Transfer, Part 2
Seva David Ball
As alluded to in my first entry, when Dr. Moog was working on the prototype modular synthesizer in the early sixties, he had set in motion a very large number of design parameters, terminologies, and infrastructures. Things such as using ‘feet’ as designation for which pitch range within the oscillator would work, just as in pipe organs, i.e. 32′, 16′, 8′, 4′, 2′, 1′, all measured in feet to indicate the base length of the pipe in that rank. A pipe half the length of another gives a tone one octave higher (and twice the frequency, being inversely proportioned). Another example now in widespread use is “Voltage Control”, which was probably the most impressive part of the vocabulary to me (when I learned of it, I was 12) because it literally took the place of my hand turning a knob. Even with my limited understanding, this principle of voltage control was a cloudless sky for me; it unlocked the entire potential. The synthesizer had three main components: Sources, Controllers, and Modifiers, and voltage control made it all work.
On this tape, Bob explains that the voltages add together to control the oscillator, plus an internal voltage (selected by the Pitch Range switch=32, 16, 8, 4, etc) adds or subtracts eight-tenths of a volt, shifting the pitch up or down one octave. (Eventually there was a standard of 1volt/1octave but I will not pretend to know the precise evolution of this standard). He gives several examples of using low frequency oscillators (LFO) to provide (musical) vibrato and other forms of exotic vibrato (Frequency Modulation can yield classic space sounds or really new klang with mirrored sum-and-difference tones).
Voltage Control had already been part of Bob’s breadboard projects and his 1964 prototype. It was only a matter of months before others requested new ways for Voltage Control to be utilized. Vladimir Ussachevsky asked for a device to create an attack-decay-sustain-release voltage (ADSR) which was used to control an amplifier (VCA) so that pressing a note would create a tone with dynamic shaping. Gustav Ciamaga ordered a voltage controlled filter (VCF) in 1965, and this created the tone shaping everyone refers to as that Moog Sound (especially with Bob’s 4-pole filter design).
Bob took piano for many years as a young person, and could readily play, although he was very modest about his ability. He made a nearly innocent statement that others with more musicianship could get “some good things” out of the instrument, and I included a clip of this sincerely prophetic statement.
Better Musicianship:
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
In this proto-incarnation of the modular synthesizer — the Abominatron, as Bob called it — there were two VC devices: oscillators and amplifiers. (There’s a clip where he Gives It The Name, at least on tape). The astonishing part of all this to me remains the fact that this first modular synthesizer, this Abominatron, was POLYPHONIC. I’ve attached some audio clips from this tape, including the Intro Fanfare, where Bob plays a polyphonic greeting before he speaks, followed by a clip where Bob names the prototype.
Polyphonic Fanfare:
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
Abominatron
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
Another polyphonic section is when he first demonstrated voltage control for simple vibrato, but he plays a polyphonic example, “As I Walked Out in the Streets of Laredo”, in a two-part invention style, quite removed from Marty Robbin’s 1959 dreamy single. To my knowledge this song (and the Intro Fanfare) is the first recording of a polyphonic modular synthesizer. It is so beautiful that the inventor of the instrument is also a musician, and one who could play at the drop of a hat, and that we have this document, this recording, of Dr. Moog doing exactly that.
Modulate and Polyphonic:
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
A great thing about “audio letters” is you can stop recording any time and continue when convenient. Most of the time a click or pop signifies such a break, and in one such place Bob says “it’s 2 days later now” since his previous recording, and he reveals the spectacular news that Jacqueline Harvey of the AES (Audio Engineering Society) had called to invite him to have a booth at the October 1964 AES meeting in the Commercial Exhibits area (which at that time was hardly the large tradeshow floor familiar today; the main purpose of the meeting was for presentation of papers and so forth). There’s an audio clip where he reveals this news to Herb Deutsch, and went on to say that it was a “tremendous opportunity for me to get this going, sooner than I thought”, but he also recognized being at the AES show had the potential for him to makethat it was also a “an a– of myself”. That didn’t happen. The opportunity for success immediately began to realize itself. Clearly, we all know he succeeded beyond his expectations and would initiate a paradigm shift in the use of electronics in music as instruments.
AES Invite:
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
Moogmentum Article from the Mountain Express
Brian Postelle from the the Mountain Express, the local alternative paper in Asheville, wrote a great article about the Bob Moog Foundation back in May 2009, just prior to our Enter the Mind of Moog : Bob’s Birthday Bash event. The article offers a fantastic glimpse at all of our activities.
Thanks to everybody at the Mountain Express for your continued support!
