It's hard for me to judge how involved I was, but I know I kept popping in on the Memorymoog project in 19. Yes, I was involved with a few of the projects at Moog - very late in the Polymoog - the first polyphonic synthesizer project. But if you were doing this early on, it was just the practical and creative way things got done.ĭid you help develop any sort of recording equipment? I also recall you had some input with the development of the Moog keyboards, right around here in Buffalo, New York. It kind of led directly to where we've gotten to now. Before that, work was done with multiple disk recordings, but everything that came out of the late 1940s post-war - radio, tape manipulation, schools of music concreté, and later synthesis and computer music, all kind of pointed in the direction of the composer taking control of the recording process and wearing all the hats - composer, producer, engineer, instrument maker - you name it - it was part of the process. It was really an extension of what Les Paul had started doing with his 8-tracks and overdubbing in the 1950s. It was one thing if you were superstar status, but electronic music wasn't generally at that level. Of course, the only way to be really practical about any of it was to have your own studio, or at least your own composing-recording setup, because it was ridiculous in terms of budgets to be renting studio time while you were experimenting and fooling around with something that was kind of a bubbling under exploration process. It was really the concept of the studio as an extension of the instrument - though mostly just the control room part of the studio. Multitrack machines were pretty huge, the synthesizers themselves were much larger and a lot less capable, so a lot more focus was on the recording chain used to get to what we wanted, sonically, out of the synthesizers. Well, the recording equipment and the instruments - everything was physically bigger. Was it that everything was so large in physical size that, in a sense, you had to bring the recording equipment home? Let's talk about the concept of the home studio when it came to early analog synthesizers. Larry Fast is not only a creative, progressive and talented artist with an enthusiastic soul - he is also a surgeon and professor of sorts, one who adds infinite soul and inspiration to and from finite technology. As a pioneer of electronic music, he has witnessed the birth of many technologies pertaining to synthesis and recording - and since being a rarity, especially for the time, he has often had to find and create new ways of making them adapt to the recording engineering realm. For over thirty years, this ubiquitous and prominent New York-area keyboardist (Tony Levin Band, Nektar) and renowned electronic music recording artist in his own right (as "Synergy") has also been involved with laying down unique stylistic foundations to some truly monumental records, including those of Peter Gabriel. One that is on the forefront of artistically combining human with machine with music in mind in order to create a listening experience that goes beyond conventions.
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