01/04/2023
Timeline photos
WATCH GERMAN COMPOSER HANS ZIMMER — ONE OF HOLLYWOOD'S MOST INNOVATIVE MUSICAL TALENTS — EXPLAIN HIS CREATIVE PROCESS
SEE THE VIDEO HERE: https://www.mentalfloss.com/article/70044/watch-two-master-film-composers-explain-their-creative-process?a_aid=46813
German film score composer and music producer HANS ZIMMER with his Moog Modular Synthesizer, a type of electronic synthesizer that was developed by Robert Moog in the mid 1950's. The photograph was taken in December 1980 (Looks like there are also some Roland Modular components on the bottom tier as well!)
Hans Zimmer has scored more than 500 projects across all mediums, which, combined, have grossed more than 28 billion dollars at the worldwide box office. Zimmer has been honored with two Academy Awards®, three Golden Globes®, four Grammys®, an American Music Award, and a Tony® Award.
His work highlights include Dune, No Time to Die, Gladiator, The Thin Red Line, As Good as It Gets, Rain Man, The Dark Knight trilogy, Inception, Thelma and Louise, The Last Samurai, 12 Years A Slave, Blade Runner 2049 (co-scored w/ Benjamin Wallfisch) and Dunkirk, as well as recent film scores including Top Gun: Maverick, Wonder Woman 1984 and The SpongeBob Movie: Sponge on the Run. Most recently, Zimmer won the Academy Award® for Best Achievement in Music Written for Motion Pictures for Dune.
In 2019, Zimmer scored the live-action remake of The Lion King, for which he received a Grammy® nomination for Best Score Soundtrack for Visual Media.
MOOG MODULAR SYNTHESIZER
The Moog was much smaller than previous synthesizers, and much cheaper, at US$10,000 compared to the six-figure sums of other synthesizers. Whereas the RCA Mark II was programmed with punchcards, Moog's synthesizer could be played in real time via keyboard, making it attractive to musicians. New Scientist described it as the first commercial synthesizer.
Most Moog synthesizers were owned by universities or record labels, and used to create soundtracks or jingles; by 1970, only 28 were owned by musicians.
The Moog was first used by experimental composers including Richard Teitelbaum, Dick Hyman, and Perrey and Kingsley. In 1968, Wendy Carlos released Switched-On Bach, an album of Bach compositions arranged for Moog synthesizer. It won three Grammy Awards and was the first classical album certified platinum. The album is credited for popularising the Moog and demonstrating that synthesizers could be more than "random noise machines".
For a period, the name Moog became so associated with electronic music that it was sometimes used as a generic term for any synthesizer. Moog liked this, but disapproved of the numerous "cruddy" novelty records released with his name attached, such as Music to Moog By, Moog Espana and Moog Power.
An early use in rock music came with the 1967 Monkees album Pisces, Aquarius, Capricorn & Jones Ltd. In the same year, the Doors used a Moog synthesizer on their song "Strange Days". In 1969, George Harrison released an album of Moog recordings, Electronic Sound, and that year the Moog appeared on the Beatles album Abbey Road on tracks including "Because", "Here Comes the Sun" and "Maxwell's Silver Hammer". Other rock bands who adopted the Moog include the Grateful Dead and the Rolling Stones. It was also adopted by jazz musicians including Herbie Hancock, Jan Hammer and Sun Ra.
In the 1970s, at the height of the Moog's popularity, it became ubiquitous as part of progressive rock bands such as Yes, Tangerine Dream, and Emerson, Lake & Palmer. Keith Emerson was the first major rock musician to perform live with the Moog, and it became a trademark of his performances; according to Analog Days, the likes of Emerson "did for the keyboard what Jimi Hendrix did for the guitar". Almost every element of Donna Summer's 1977 influential song "I Feel Love" was created with a Moog synthesizer, with the producers aiming to creating a futuristic mood. Robert Moog was critical, saying the sequenced bassline had a "certain sterility" and that Summer sounded like she was "fighting the sequencer". In later decades, hip hop groups such as the Beastie Boys and rock bands including They Might Be Giants and Wilco "revived an interest in the early Moog synthesizer timbres".
The Guardian wrote that the Moog synthesizer, with its dramatically new sounds, arrived at a time in American history when, in the wake of the Vietnam War, "nearly everything about the old order was up for revision". With their ability to somewhat imitate instruments such as strings and horns, synthesizers were believed to threaten the jobs of session musicians. For a period, the Moog was banned from use in commercial work, a restriction negotiated by the American Federation of Musicians (AFM). Robert Moog felt that the AFM had not realized that the synthesizer was an instrument to be learnt and mastered like any other, and instead imagined that "all the sounds that musicians could make somehow existed in the Moog — all you had to do was push a button that said 'Jascha Heifetz' and out would come the most fantastic violin player".
Moog features such as voltage-controlled oscillator, envelopes, noise generators, filters and sequencers became standards in the synthesizer market.[3][17] The ladder filter has been replicated in hardware synthesizers,[18] digital signal processors,[19] field-programmable gate arrays[20] and software synthesizers.