Page 52 - Zone Magazine Issue 017

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1970 - Bob Moog – Minimoog
Bob Moog’s Minimoog synthesizer, proved to be one of the most important creations in synthesizer history, when it began production in the early 1970’s. Unlike his modular designs which were built to order, near impossible to transport and were made up of multiple modules. The Minimoog was a sleek and compact instrument aimed at musicians and studios and to this day is still
being used on countless tracks across multiple genres. It would be harder to name a group who didn’t use the Minimoog, as opposed to naming a group who did. When people think of the perfect analogue sound, they will more often than not think of the Minimoog.
1979 - Peter Vogel & Kim Ryrie – Fairlight CMI
Originally priced at a staggering $27,500, the Australian creation was the first sampling synthesizer to hit the market in 1979. With its touch screen control partnered with a light pen, it looked like something more suited to an episode of Star Trek, rather than a recording studio. Not only could you record sounds and map them along the keyboard, you could also draw and edit waveforms, using the built-in computer. Famous musicians such as Herbie Hancock, Stevie Wonder and Peter Gabriel were early supporters of the machine. Probably the most famous example of the CMI in use, can be heard in the Miami Vice theme tune by Jan Hammer.
1983 - Yamaha – DX7
One of the most well know digital synths of all time, the DX7 by Yamaha, became an instant hit with producers of the 80’s. Even with the synths huge popularity, it never got the attention it deserved because of its difficulty in programming and its tiny LCD screen. Most producers relied on the stock presets, rather than attempt to program their own custom patches. One of the most famous users and probably one of the few well know producers to actually use it to its fullest was Brian Eno. In fact, it is reported that Eno loved the DX7 so much, that he bought several of them. The stock presets have become famous for their use in hits such as Axel F by Harold Faltermeyer, or the instantly recognizable Rhodes keyboard sound, in Whitney Houston’s Greatest Love of All.
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1996 -
Steinberg – VST
VST, short for Virtual Studio Technology, is one of the most important
developments in Synthesizer history. Developed in 1996 by Steinberg, it allowed
developers to re-create studio gear, instead of relying on using a huge hardware
version. Prior to this, producers would have to route their hardware units through
mixing desks and relied heavily on their DAW to output midi to each. Now, the
producer was offered the ability to control their toys within the box. A couple of
years later in 1999, the VST interface was updated to allow MIDI data to be
received. This meant that it was now possible to re-create real world
synthesizers, for a fraction of the price of a real unit. 20 years later with
computer processing speed becoming increasingly better, programmers have
pushed the boundaries of their creations and created VST Instruments that even sample real world choirs and symphony orchestras. Allowing users to control a very convincing version, of something as amazing as The London Symphony Orchestra on their laptop.
Next issue we will return to our regular format of Studio Tips and bring you some useful information to further you musical career.
52 ZONE-MAGAZINE.COM
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