Analog Days: The Invention and Impact of the Moog Synthesizer | 
 enlarge | Authors: Trevor Pinch, Frank Trocco
Publisher: Harvard University Press
Category: Book
List Price: $18.50
Buy New: $11.54
You Save: $6.96 (38%)
New (22) Used (9) from $11.54
Avg. Customer Rating:  11 reviews
Sales Rank: 152550
Media: Paperback
Number Of Items: 1
Pages: 384
Shipping Weight (lbs): 1.3
Dimensions (in): 7.9 x 7.1 x 0.9
ISBN: 0674016173
EAN: 9780674016170
ASIN: 0674016173
Publication Date: November 15, 2004
Availability: Usually ships in 1-2 business days
Shipping: International shipping available
Condition: Brand New, Perfect Condition, Please allow 4-14 business days for delivery. 100% Money Back Guarantee, Over 1,000,000 customers served.
|
| Editorial Reviews:
Product Description
Though ubiquitous today, available as a single microchip and found in any electronic device requiring sound, the synthesizer when it first appeared was truly revolutionary. Something radically new--an extraordinary rarity in musical culture--it was an instrument that used a genuinely new source of sound: electronics. How this came to be--how an engineering student at Cornell and an avant-garde musician working out of a storefront in California set this revolution in motion--is the story told for the first time in Analog Days, a book that explores the invention of the synthesizer and its impact on popular culture. The authors take us back to the heady days of the 1960s and early 1970s, when the technology was analog, the synthesizer was an experimental instrument, and synthesizer concerts could and did turn into happenings. Interviews with the pioneers who determined what the synthesizer would be and how it would be used--from inventors Robert Moog and Don Buchla to musicians like Brian Eno, Pete Townshend, and Keith Emerson--recapture their visions of the future of electronic music and a new world of sound. Tracing the development of the Moog synthesizer from its initial conception to its ascension to stardom in Switched-On Bach, from its contribution to the San Francisco psychedelic sound, to its wholesale adoption by the worlds of film and advertising, Analog Days conveys the excitement, uncertainties, and unexpected consequences of a new technology that would provide the soundtrack for a critical chapter of our cultural history. (20021114)
|
| Customer Reviews: Read 6 more reviews...
 True Analog Bliss June 19, 2007
2 out of 2 found this review helpful
I found this book to be incredibly interesting. So interesting, in fact, that it made me wish I had been involved with the analog synthesizer scene during the era which this book details. Hearing the stories and personal accounts of individual contributions to the development, marketing, and subsequent musical evolution caused by the early analog synthesizers, made me lust for yesteryear.
After reading several compliants regarding the sociological study-aspect of this work, it must be stated that the sociological impact analysis is a vital component of the historical content contained within. In fact, if the sociological discussion was ommitted, the work would suffer, as I feel the Moog's and early synthesizer's impact on society is a fascinating subject. During the time period which this book dissects, individuals were, for the first time, hearing totally unique and original sounds. Unfortunately, humanity has since become jaded to the excrutiating beauty of subtractive analog synthesis. The statement which described the sound of two analog oscillators beating against each other on the morn of (I believe--challenging my memory here) the second day of Woodstock, reflecting it was the first time many had heard that exact sound, made me yearn to be there.
Ultimately, if you are interesting in an account of historical fact, coupled with social impact commentary as it pertains to these now ancient analog synthesizers, and associated early sequencers, read this book. However, if you have no desire to learn of yesteryear and absorb depictions of the early evolution of music technology, which has led to the crap that is virtual analog, don't waste your time.
 A Good History of the Moog Synthesizer November 8, 2006
As an unsatisfiable 'gear head,' the thing I thought was lacking was a greater examination of the modular Moog itself, and especially a detailed analysis of some of the more esoteric/custom modules that Moog made for various customers. After all, this was THE machine that set the engineering standards for years, almost decades to come. (Case in point, Moog's 902 Voltage-Controlled Amplifier was developed in the early '60s, and yet is still almost CD audio quality some 40 years later!) At least give us some loving closeups of Keith Emerson's 'Monster Moog!'
The interviews make up for the lack of photos, especially with the lesser-known lights who helped blaze the trail but are largely forgotten today.
Not just a biography on the Moog Synthesizer, but early synths July 12, 2006
2 out of 2 found this review helpful
An enjoyable read. I've been a Moog enthusiast for many years. Recently I've seen the Video Biography on Robert Moog as well and these complement each other. The enjoyable thing about the book is that is delivers good information on early synth development and there appears to be a division as to how musicians wanted to use these synths. Robert Moog worked closely with musicians who wanted a keyboard trigger and this became a worldwide format, but there was an independent group who wanted a different means of triggering and not so set on a chromatic keyboard format. There is also a very detailed chapter on Wendy (Walter) Carlos. Those that were upset at her absense in the Moog Video Documentary can gain a bit more insight here. This triggered more interest for myself in her recordings.
Overall a very good history book on early synth development and good account of early Moog modular synth Development as well as an extensive chapter on the Minimoog as well. ARP and Buchla also included.
The Roots of the synthesizer January 14, 2005
This is the best book I've read about the development of the synthesizer, focusing on the interaction between engineers and musicians and also the commercial influences that ended up determining the directions the technology eventually took. The authors let the participants speak in their own words about how and why various developments came about, keeping the story human and realistic. Lots of anecdotes and accurate information, but only enough technical information for the reader to understand what distinguishes one set of developments from another. Moog is the central character, but many others (Buchla, Pearlman, Zinovieff/Cockerell, Wendy Carlos, Keith Emerson, Suzanne Ciani) get their moments as well. One gets the feel of the workshops, the tinkering, the personalities that steered the inventions and discoveries in a way that reminded me (somewhat) of James Gleick's Chaos in that it allows the humanity of the science/technology to show through. The losses of potential that resulted from commercialization and digitalization are dealt with, but not pounded upon. Very direct (one gets the feeling of hanging out with the participants) and readable (fine sense of narrative, the authors let the stories tell themselves without over-dramatizing).
I'd love for these same authors to follow this book up with a more technical history, but as a popular book that touches base with the engineers, musicians, and entrepeneurs who were involved in the creation of synthesizer culture they have done a fantastic job.
glib but fun August 22, 2004
4 out of 8 found this review helpful
I liked this very much and recommend it for anyone involved any way in electronic music.
I have a few reservations, however:
1) I would prefer more technical information.
2) The prose tends to be trite, and there are misspellings and other errors. "All right" is repeatedly misspelled as "alright", for example. The Hammond B-3 is labeled an "electronic" instrument, when in fact it is an electrical or electro-mechanical instrument; like the electric guitar, its sound is AMPLIFIED electronically ("electronic" means using a tube or transistor, which is essentially what an amplifier is), but it is not created electronically.
3) Some of the connections are strained. The book promises us, for example, to show how the invention of the Moog synthesizer has intimately to do with the tuba, but this turns out to be a rhetorical ruse. One of Moog's associates happened to have played the tuba, and that's it.
|
|
|
