#Moog Synthesizer

[cosmonautroger]

Moog Synthesizer

[sketchinventor]

NEW OC JUST DROPPED‼️ ‼️

The band's keyboardist, cerriden is a bit of a weirdo.

[rubbish-audio]

Moog 3p modular, Synclavier II, Yamaha CS 80, Minimoog, Korg MS-20 and various other instruments at the Deutsches museum

[soundrooms]

brwnb0y 🙏🏽

[vintage-tigre]

Susanne Kuhnke of Malaria, 1982.

Photo: Inge Bekkers

[dandyhighburyman]

examples of 'electronic sound' cover design. a monthly UK electronic music magazine

[soulsoffairlight]

Some more blinkies I made !!

Again, they're completely F2U without credit. Just enjoy them !!

[helvettte]

Klaus Schulze

[gearcade]

Geordie Greep @ The Catalyst, Santa Cruz CA 5/5/25

I had the pleasure of being at this show, it was wonderful. And there’s some different gear now.

Friendly Dave kneeling down to make Greep look taller

Pedalboards:

Geordie’s pedalboard is more or less the same than it has been. Although, he replaced his usual Suhr Riot with a Moog MF Drive, a filter-based drive inspired by the Moogerfooger line.

The amp Geordie used was much different from his usual Fender reverb amps, a Limited Edition Vox AC15C1, an anniversary model offered exclusively at Guitar Center, most likely rented from them.

Amp with bongos in background. Notice the missing Les Paul SG, I don’t believe he brought it with him on this tour.

Ethan Marsh’s guitar pedalboard, out of frame being a Dunlop Crybaby Bass Wah and a BOSS OC-3 (unused)

The signal chain of this board goes as follows:

Guitar -> Dunlop DVP4 -> Dunlop Bass Wah -> BOSS SY-1 -> Fulltone Mosfet Full-Drive 2 -> ProCo Rat -> BOSS DD-7 -> MXR Phase 90 -> Amp

The amp Ethan uses is a Fender Blackface Deluxe Reverb on the Vibrato Channel and the guitar is a Gibson ES-335.

Amps (in the back, unused for the show, is a Parker Fly Deluxe)

The bassist, Friendly Dave’s pedalboard.

Dave's pedals, being a bassist, aren't too wild and are mainly just used for some fun effect during loud parts.

The signal chain is,

Bass -> Polytune 3 -> EHX Frequency Analyzer -> Darkglass Microtubes B7k Ultra -> BOSS OC-2 -> Dunlop DVP3 -> Strymon Flint -> Amp

The bass Dave uses is a Charvel Pro-Mod San Dimas Bass JJ V and the amp is a Mark Bass CMD 102P

The keys are a Nord Electro 6D and Moog MiniMoog.

MiniMoog goes through Radial Pro D2 Direct Box before going to front desk

That's all of the gear stuff I could take from this concert, percussion I know nothing about. Thank you and goodnight.

[timmurleyart]

Dressed in technology. 🤖🤖🟦🟥⬛️🟩🟨🎵

[rolloroberson]

Daily Nightly - The Monkees with the Moog

[paralytia]

MODULATIONS : CINEMA FOR THE EAR

"A TECHNOPHILE'S WET DREAM" - Details Magazine

Released October 6, 1998, by IMC Vision, MODULATIONS is a documentary film which encapsulates the essence of electronic music in its prime. Presenting electronic music as one of the most profound artistic developments of the 20th century, MODULATIONS celebrates the emergence of a new sound via the coalition of man and machine.

MODULATIONS features an array of stunning visuals, live performances, studio footage and interviews accompanied by a soundtrack album comprised of notable faces in the electronica movement. The film features an international miscellany of electronic composers including Moby, Throbbing Gristle, Robert Moog, Orbital, FSOL, and Autechre among more than 60 others.

The film is a stunning portrayal of the phenomenon that is electronic music, honouring its evolution and influence since the 20th century.

[vinylarchavist]

Switched-On Bach (MS 7194)

Clarifying the Cover Art

A standing figure holding headphones in their right hand indicates a less common or alternate cover for Switched-On Bach (MS 7194). The standard 1968 cover, designed by John Berg with photography by Horn/Griner, typically features a person in 18th-century attire (resembling Bach) seated at a Moog synthesizer, with patch cables and a keyboard prominently displayed. However, some pressings, particularly international or later U.S. editions, used alternate artwork due to Columbia’s practice of varying covers for promotional or regional releases.

Album Details

Title: Switched-On Bach

Artist: Wendy Carlos (credited as Walter Carlos)

Label: Columbia Masterworks

Catalog Number: MS 7194 (Stereo; mono version is M 7194)

Release Year: October 1968

Format: 12" Vinyl LP, Stereo

Genre: Electronic, Baroque Music, Moogsploitation

Producers: Trans-Electronic Music Productions, Inc. (Wendy Carlos and Rachel Elkind)

Performers: Wendy Carlos (Moog synthesizer), Benjamin Folkman (additional keyboards)

Country: USA (distributed globally by Columbia)

Alternate Cover: Certain pressings of Switched-On Bach feature a figure standing with headphones, emphasizing the modern, technological aspect of the Moog synthesizer. This cover may have been used for specific markets (e.g., UK, Canada, or export pressings) or later reissues. For example, a Discogs listing (r139241) notes slight artwork variations across pressings, and Rate Your Music mentions different covers for Switched-On Bach. The standing figure with headphones aligns with the album’s futuristic theme, contrasting the baroque music within.

Track Listing

Assuming MS 7194 is Switched-On Bach, the tracklist includes 12 Bach compositions reinterpreted on the Moog synthesizer:

Sinfonia to Cantata No. 29 (3:20)

Air on a G String (2:27)

Two-Part Invention in F Major (0:45)

Two-Part Invention in B-Flat Major (1:30)

Two-Part Invention in D Minor (0:48)

Jesu, Joy of Man’s Desiring (2:56)

Prelude and Fugue No. 7 in E-Flat Major (7:07)

Prelude and Fugue No. 2 in C Minor (2:43)

Chorale Prelude “Wachet Auf” (3:37)

Brandenburg Concerto No. 3 in G Major: First Movement (6:35)

Brandenburg Concerto No. 3 in G Major: Second Movement (2:50)

Brandenburg Concerto No. 3 in G Major: Third Movement (5:05)

Unique Sound

Switched-On Bach is celebrated for its groundbreaking sound, blending Baroque precision with electronic innovation. Key aspects include:

Moog Synthesizer Innovation: Wendy Carlos used a custom-built Moog modular synthesizer, a monophonic instrument requiring each note to be programmed individually. This labor-intensive process (described as “unfathomable” by reviewers) produced a range of timbres—harpsichord-like plucks, organ-like sustains, and ethereal tones—unheard in 1968. Overdubbing created polyphonic textures, mimicking an orchestra.

Baroque-Electronic Fusion: Bach’s mathematical compositions (e.g., fugues and inventions) were ideal for the Moog’s precise, clean sound. Tracks like “Brandenburg Concerto No. 3” retain Baroque structure while introducing futuristic timbres, creating a “timely and timeless” sound that feels both classical and avant-garde.

Technical Mastery: Carlos’s meticulous multitrack recording and tuning (aided by Benjamin Folkman) resulted in a polished, vibrant sound. Reviewers praised its “crisp, precise, and rapid” execution, with instruments “singing better than human voices” in some passages.

Cultural Novelty: The album’s electronic timbres were novel in 1968, sparking a “Moogsploitation” trend with imitators like Switched-On Bacharach. Its kitschy yet sophisticated sound appealed to classical fans, audiophiles, and experimental music enthusiasts.

Stereo Mix: The MS 7194 stereo pressing enhances the Moog’s dynamic range, with distinct separation of voices, making it ideal for vinyl collectors seeking analog warmth. The headphones on the cover you described underscore the album’s hi-fi appeal.

Cover Art and Packaging

Your described cover—a standing figure holding headphones in their right hand—suggests a variant emphasizing the Moog’s technological allure. Standard MS 7194 pressings feature a seated figure at a synthesizer, but alternate covers were used for some editions. The jacket includes liner notes by Carlos, Folkman, and Robert Moog, explaining the synthesizer’s technology and Bach’s suitability for electronic adaptation. The back cover lists tracks and credits, with photography by Horn/Griner. The cardboard jacket is prone to ring wear or seam splits, similar to your other 1960s LPs (Vera Lynn, Doctor Dolittle).

Vinyl Collector Details

Catalog Number MS 7194: The “MS” prefix denotes stereo, preferred for its dynamic sound over the mono M 7194. Original 1968 pressings have Columbia’s red “360 Sound Stereo” label with the “walking eye” logo. Check runout etchings (e.g., “XSM 137225-1A” or “XSM 137226”) to confirm first pressings, often marked with “P” (Pitman) or “S” (Santa Maria).

Condition and Value: On Discogs (r139241), VG+ to NM copies sell for $10–$30, with sealed or mint copies at $40–$100 (2025 prices). Promotional copies with “Demonstration” stamps or white labels can reach $150+. The album’s popularity ensures availability, but alternate covers (like yours) may increase value if rare.

Rarities: Promotional copies, signed LPs (rare, as Carlos was reclusive), or international pressings with unique artwork are highly collectible. Your headphones cover may indicate a Canadian or UK pressing, noted in some Discogs listings.

Availability: Available on Discogs, eBay, and Amazon (ASIN varies by reissue). Thrift stores or record fairs may have copies, but check for scratches or surface noise, as 1960s vinyl was heavily played.

Reissues: Later releases include CBS Masterworks CDs (MK 7194) and 180-gram vinyl by Friday Music or Music On Vinyl. The original MS 7194 is prized for its analog sound and historical value.

Reception and Legacy

Switched-On Bach was a cultural phenomenon, peaking at #10 on the Billboard 200 and selling over a million copies, a feat for a classical album. It won a Grammy for Best Classical Performance (Instrumental Soloist, 1969) and sparked a Moog synthesizer craze. Critics lauded its “incredible production” and “timeless timbres,” though some classical purists criticized its electronic approach. Its 2000s revival, noted on Rate Your Music (#267 for 1968) and UNCUT’s “500 Greatest Albums of the 1960s,” highlights its enduring appeal. Carlos’s identity as a trans artist adds social significance, especially post-1979.

Connection to Your Interests

Your queries about The Great Doctor Dolittle Songs (Pickwick/33, 1968), Blue Öyster Cult (Columbia KC 31063, 1972), and The World of Vera Lynn (London SPA 103, 1968) show a passion for late-1960s vinyl across genres. Switched-On Bach complements these as a 1968 Columbia release, offering an electronic twist that contrasts with the orchestral pop of Vera Lynn, the proto-metal of BÖC, and the budget covers of Doctor Dolittle. Its innovative sound and collectible status align with your focus on era-specific LPs.

Recommendations for Collectors

Why Collect MS 7194: This LP is essential for electronic music fans, classical crossover enthusiasts, and 1960s vinyl collectors. Its unique sound, Grammy win, and potential rare cover make it a standout alongside your other albums.

Where to Find: Search Discogs (r139241), eBay, or Amazon for MS 7194. Check thrift stores or record fairs for deals, but verify the cover matches your description. Your variant may be listed under international pressings.

Care Tips: Store in a polyethylene-lined sleeve to protect the jacket. Clean with a carbon-fiber brush to preserve the stereo mix’s clarity, vital for the Moog’s timbres.

Companion Albums: Pair with Carlos’s The Well-Tempered Synthesizer (1969, Columbia MS 7286) or Switched-On Brandenburgs (1980, CBS Masterworks) for more Moog explorations.

Additional Notes

If your copy is indeed MS 7194, check:

Runout Etchings: Look for “XSM 137225” or “XSM 137226” to confirm a 1968 pressing.

Label: Verify the red Columbia “360 Sound Stereo” label.

Jacket: Inspect for wear, as alternate covers may be rarer and more valuable.

[soundrooms]

T O M G R E E N | ⛺️

Can you smell the wood?

[histonics]

[layzcreature1]

WENDY CARLOS