The synth proper
Meanwhile, in the USA, several inventors and entrepreneurs were examining unique ways of creating sounds, using electronics. At the more experimental end of synthesis, Don Buchla developed and released his System 100 synthesiser in 1963, which was a cross between a full blown synthesiser in module form, and a
way of affecting external signals, such as microphone or electric guitar signals. The 25 or so modules could be purchased and slotted into a case, to form a modular synthesiser which could be controlled internally, providing you had the appropriate Buchla sequencer. Don Buchla’s System became inextricably linked to the music from the west coast of America, with experimentalists working within his locale of
San Francisco.
Meanwhile, on the east coast of America, a young scientist and electrical engineer called Robert Moog was creating his own electronic musical instruments. Dr Bob Moog had an inherent interest in theremins, developing and manufacturing multiple designs, which he sold under his own branding. But crucially, in 1963 Bob met Herb Deutsch. The two of them worked together on designs that harnessed controlled voltages, in order to control the pitch and volume of electronic signals, for use in music. It was only a year later that the first Moog modules appeared, with the appearance in 1967 of the Synthesizer Model I, II and III. Not only were these complete modular systems in their own right, but it was the first time that the term synthesiser had been employed in connection with an electronic musical instrument. The interest that the Moog Systems garnered from artists resulted in numerous placements in recorded music during the late 60s, with the most notable example being the collaboration between Wendy Carlos and Moog himself, culminating in the multi Grammy award-winning album Switched on Bach.