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Also Edd Kalehoff had a lot to do with East Coast commercial use and signature sounds. > On Sunday, June 22, 2014, Tom Fine <[log in to unmask] > <javascript:_e(%7B%7D,'cvml',[log in to unmask]);>> wrote: > >> I'm very much enjoying this book, and definitely recommend it: >> http://www.amazon.com/Analog-Days-Invention-Impact- >> Synthesizer/dp/0674016173/tomslinx >> >> I've found it very interesting to find the early synth recordings on >> YouTube and listen as I read the related text in the book. Very educational >> to me is the different styles that emerged almost immediately on the two >> coasts. To hear the contrasts, I recommeding finding YouTubes of the >> following: >> >> West Coast - "The Zodiac - Cosmic Sounds" and "The Nonesuch Guide To >> Electronic Music." These feature the work of Paul Beaver and Bernard >> Krause, the West Coast pioneers of the Moog synthesizer. Also of interest >> are Morton Subotnick's works on the Buchla syth, also the Buchla-influenced >> stuff that came out of the Tape Recording Lab in San Francisco. >> >> East Coast - Walter Sear was Bob Moog's first distributor and was >> influential in Moog's development of the synthesizer. Sear and Walter/Wendy >> Carlos were the first NYC-based Moog users and programmers. "Switched On >> Bach" by Carlos was probably the most famous early synth album Columbia >> also made "Switched On Rock" to glom off the success. Walter Sear worked >> mainly with Command Records, making one album of his own and programming >> the Moog for Dick Hyman (2 albums) and Richard Hayman (1 album). Walter's >> Moog effects were also used on numerous comemrcials and sound-for-picture >> projects. >> >> An interesting thing that both Beaver and Krause and Sear say in the book >> is that, very soon after certain Moog sounds they had programmed were used >> on a few successful recordings, those were the sounds everyone wanted. Paul >> Beaver got very frustrated that it came down to 30-50 sounds, and no one >> wanted to experiment any further. The curious thing, to my ears, is that >> Beaver and Krause got a different few dozen sounds that took hold in L.A. >> and Hollywood, vs the sounds Sear came up with that took hold in NYC. >> There's a bit of crossover, but there are distinct differences. I think all >> of this went away when program pre-sets and automation came along, then >> everyone could copy the same sounds on any device. Nowadays it's almost all >> "virtual," and the possibilities are actually wider, but it's the same set >> of sounds. >> >> -- Tom Fine >> >> > > -- > best > seva > > [log in to unmask] > <javascript:_e(%7B%7D,'cvml',[log in to unmask]);> > www.soundcurrent.com > > > >