In 1964, Robert Moog created one of the first modular voltage-controlled music synthesizers, and demonstrated it at the AES convention that year. Moog employed his theremin company to manufacture and market his synthesizers which, unlike the synthesizers created by Don Buchla (the other prominent figure in the early history of the synthesizer), featured a piano-style keyboard as a significant portion of the user interface. Moog also established standards for analog synthesizer control interfacing, with a logarithmic one volt-per-octave pitch control and a separate pulse triggering signal.
The first Moog system was bought by choreographer Alwin Nikolais. Lothar and the Hand People began using the modular Moog in 1965. Composers Eric Siday and Chris Swansen were also among the first customers, with Paul Beaver being the first to use a modular Moog on a record in 1967. It was Wendy Carlos' 1968 Switched-On Bach which featured Carlos' custom-built modular synthesizer as the only instrument on the recording which brought widespread interest to the Moog synthesizer. Shortly after, Keith Emerson, the Monkees, Jan Hammer, Tangerine Dream, The Beatles, and The Rolling Stones also became owners of modular Moogs. This new popularity led to the 1970 release of the classic Minimoog and subsequent Moog synthesizers, modeled after the larger modular systems and designed for portability, usability, and affordability. A number of universities purchased Moog systems or modules; the University of Iowa where composer Peter Tod Lewis was a faculty member, for example, owned a Moog Modular IIIC with an optional double-sequencer addition.
The Moog modular synthesizer is considered by enthusiasts to be the original and definitive synthesizer. Although digital synthesizers and samplers are generally more user friendly than a modular synthesizer and available at a fraction of the price that it would take to acquire and maintain a modular system, modular Moogs continue to be valued by collectors and musicians alike.
