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Average rating:
4.3 out of 5
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In keyboard US (november 2002) Rick Wakeman talk about his rig on the 2002 Yes tour.
KB :Conspicuous in its presence is your Minimoog. Being one of the first artists to use it, what do you think of the significance of that instrument, and why do you think it won�t leave you ?
RW: Because there is nothing else that can do what it does ! I was talking to Bob Moog in Frankfurt just a few month ago, and I was saying there is nothing else. People have sampled them, and there are some good virtual synths floating around. But you can realy tell the difference. It�s like with organs: there are great Hammond sounds, but if you put the real thing up there, with a Leslie, then you can realy hear that difference. The Minimoog sticks out like a sore thumb. It�s just the most wonderful machine. I�ve got two, and I�m desperatly trying to find another two. I had nine and seven where stolen a few years back, wich was tragic. There are load of them about, but many are in terrible condition. Finding a nice one is difficult. There are quite a few out there in America, but the ones that everybody wants, strangely enough are English ones, because for whatever reason, the ones that work at 220-240 volts are much more stable than those that work at 110.
KB: What advice would you give to young musicians ?
RW: keyboard players in particular ? If you are looking to be individualistic, then just an individualistic style is not enough. You have got to create your own sounds, find sounds that are unique to you. I get around 30 or 40 CDs a month. I don�t know why (laughs). With 99% of them, I listen and think, �Oh yeah I know that setting, I know that patch, I know that one, I know that one�. What they don�t realize is when they buy an instrument, go into a preset and think, �Oh, that�s a great sound�, there are 10,000 others who are also going, �That�s a great sound!�. [�] I think technology has brought laziness to some players, to some extent. I think the young players should try to be as individualistic as possible. In the early days, with synths like Minimoogs, there were no presets. You took something out of the box and spent a week trying to get a sound out of it. And when you did, you nurtured it. With some of the first Moogs, the big modulars ones, you couldn�t tune them. What you did was trying to get it the best you could. And you�d say, �Ok, that�s what it is�. It was good fun.
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with the mini, its all about which version you get, version 1s were big, but to unstable, version 2's are perfect, and i think they go up to serial # 8k or so, not sure exactly, and version 3 which has the overly stable osc, and they dont drift (ala, fat) nearly as much.
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Classic Analog is simply that, and if you can't HEAR the difference..my deepest sympathy! In an age of digital-everything, it's comforting to know that the McJob type people out there are sneering at the MiniMoog...Think of it as validation that some people's taste is all in their mouth! The MiniMoog one of the best portable analog synths ever made! Although I do like the Arp2600 as well..if you can keep it tuned! (Or as Frosty says: "Hey think of it as JOB SECURITY!") ;)
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This is a superb bit of kit! 3 oscillators, 6 waveforms on each one, a fantastic filter bank, glide control, noises, what more could you want? I regularly use one on my keyboard rig, and it fits in perfectly. The Minimoog is THE original portable synth, that although it has been long-since discontinued, is still the most sought-after. No matter what wave forms or noises you use here, it still sounds GREAT! I use mine for soloing, background lead lines, effects, and occasional bass. I think it's best used for soloing though, because you can really go to town on the filtering, and let it take over for a while.
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I placed mine next to the Vox Continental and the Hammond L100. And that's where I would categorize it, as well. This thing is not a synth, it's a real instrument with a great characteristic sound.
And a V8 powered one, too !
Wohoooo...!!!!
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