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YEStalk Discussion Forums • View topic - Moraz's synths with yes-- what are they

Moraz's synths with yes-- what are they



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Moraz's synths with yes-- what are they

Postby ariceffron » Fri Feb 20, 2004 12:06 pm

does anyone know what moraz used when he was touring with yes? all i know is that he kept adding more synths tour by tour...
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Postby theproffet » Fri Feb 20, 2004 5:07 pm

I don't know if there's a list in Story of i, but there is in the self-titled Moraz--it came out in 1978, when he had already joined the Moody Blues . . .

Hammond C3 organ, Minimoog, Polymoog, custom built Oberheim 8 voice and 4 voice synthesisers, Computron, Yamaha CS80 Polyphonic synthesiser, Micromoog, Yamaha CP70 Electric Grand, Mellotron Mk, 2, ARP Pro-soloist, AKS EMS Electronic effects . . . That's not counting the harpsichord or Steinways . . .

It's a bit after his touring with Yes, but does that help? An afficianado with a knowlege of vintage keys and a keen ear with a few bootlegs could help . . .

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Postby NineLives » Sat Feb 21, 2004 3:32 am



Patrick's 1975/76 setup included a Steinway Grand Piano, a Fender Rhodes Electric piano, an Orchestron (used disks instead of its Mellotron counterpart's tapes), a Hammond C-3 organ (in custom built case), two Mini-Moogs, an Aarp String Ensemble, and an Aarp 2600 modular synthesiser. Additionally, Patrick was carrying with him another "slab" electric piano, but I could never get close enough to figure out what it was. He rarely used it in '75, but did use it on the '76 tour to play his own extremely substandard version of the famous Wakeman harpsichord solo on Siberian Khatru. Lastly, on the '75 tour Patrick kept his Grand Piano separate from his electronic keyboard setup, using it primarily during his solo piece. On the '76 tour, he incorporated it into his full stage setup, presumably to use it during the acoustic piano parts in Heart Of The Sunrise, which Yes had added to its set for that tour.

Special Note: Patrick's Mini-Moog sounds were very different from those used by Rick Wakeman. Moraz was heavily into de-tuning oscillators, and his use of the pitch and modulation wheels was 2nd to none - an art Wakeman never really quite mastered. While Wakeman's style is primarily classical in nature, Moraz drew heavily from the jazz synthesizer stylings of Chick Corea, one of Patrick's idols. It is for this reason that Wakeman has a difficult time coming to terms with the keyboard parts on Relayer, and why you'll probably never hear anything from that album while he's in the band (with the possible exception of "Soon," which they played at the end of a medley during the '78/'79 tours).

Hope this has helped clear up your questions concerning Patrick's mid-70's keyboard setup.

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Postby geoff feakes » Sat Feb 21, 2004 3:49 am

Bloody hell Nine Lives!
I was going to pitch in some info my self re. Moraz's stage set up, having seen him play live with Yes at least 5 times. However I'm glad I didn't, it would have paled in comparison to your input!
Well done, a great post!

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Postby psychopomp95 » Sat Feb 21, 2004 6:45 am

<BLOCKQUOTE id=quote><font size=1 face="Verdana, Arial, Helvetica" id=quote>quote:<hr height=1 noshade id=quote>
<b>NineLives wrote:</b>

Additionally, Patrick was carrying with him another "slab" electric piano, but I could never get close enough to figure out what it was.
<hr height=1 noshade id=quote></font id=quote></BLOCKQUOTE id=quote>

"I could never get close enough"... what, were you roadie-ing with the group back then, Nine?? <img src=pix/icon_smile_tongue.gif border=0 align=middle> Judging by the depth of info you've got, you or someone close to you must've been!! That's one impressive post!
Oh, and:

<BLOCKQUOTE id=quote><font size=1 face="Verdana, Arial, Helvetica" id=quote>quote:<hr height=1 noshade id=quote>
Special Note: Patrick's Mini-Moog sounds were very different from those used by Rick Wakeman. Moraz was heavily into de-tuning oscillators, and his use of the pitch and modulation wheels was 2nd to none - an art Wakeman never really quite mastered. While Wakeman's style is primarily classical in nature, Moraz drew heavily from the jazz synthesizer stylings of Chick Corea, one of Patrick's idols. It is for this reason that Wakeman has a difficult time coming to terms with the keyboard parts on Relayer, and why you'll probably never hear anything from that album while he's in the band (with the possible exception of "Soon," which they played at the end of a medley during the '78/'79 tours).
<hr height=1 noshade id=quote></font id=quote></BLOCKQUOTE id=quote>

That's all extremely true. That crazy, off-the-deep-end solo style is my favorite thing about Moraz! And it's probably why I much prefer his solo stuff to Wakeman's.
Rick can still tear it up on a Moog though! <img src=pix/icon_smile_approve.gif border=0 align=middle> But there's a huge difference in their style, which is great, really! Same for the vast stylistic gulf between Howe and Rabin, and also between Rick, Patrick, Tony, and Geoff Downes! Yes has never resorted to 'replacements' when they could get someone with a completely new slant on things! <img src=pix/icon_smile.gif border=0 align=middle>
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Postby ariceffron » Sat Feb 21, 2004 7:12 am

very informative--- you know the very 1st time i heard the siberarn harp part youre talking about, i thought the same thing, but honestly, Moraz is just playing it in a more avantgarde, jazz type of style-- that is my current take on it, but i know what you mean. that is awesome he was using the arp string ensembele. hel yeah. thats what i thought. i love my arp string ensemble.
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Postby ariceffron » Sat Feb 21, 2004 7:16 am

hey since you are obvisouly the man to ask--- what did Wakeman think of ARPs... did he ever use them with yes? Besides Moogs, what did wakeman like to use on stage with yes? Thanks for the great moraz answer. you obvisouly know a lot about synths!
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Postby EricBliss12345 » Sat Feb 21, 2004 10:19 am

He had an ARP Odyssey on the Tales tour. I'd be hard pressed to tell what played what on what song though as he always went for those sweet analog sounds.
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Postby NineLives » Thu Feb 26, 2004 1:39 am



Rick may have toyed with Arp products, but he was never a serious fan of their instruments. There are several "probable" reasons for this. First of all, he was quite the master of the Minimoog which he felt was superior to any of the mono analog synths on the market at the time. Secondly, he felt their String Ensemble sound was too "manufactured," and much prefered (in the beginning) the Mellotron - which used "spools" of tape, requiring the sound to be retriggered after 8 seconds - and the Birotron (beginning with the '77 tour) which worked from standard "8-track" tapes.

When polyphonic synths first appeared in the mid-to-late 70's, Rick first chose the Polymoog, then began to explore the possibilities of the Prophet 5, which was manufactured by a company called Sequential Circuits. Wakeman had one of the first Prophets with him during the '78 10th Anniversary "Tormato" tour, although he used it sparingly.

It's interesting to point out that after years of using digital keyboards, including his setups on the ABWH & Union tours, Wakeman once again began using a "real" Minimoog, beginning with the Yes Reunion shows in San Luis Obispo, which eventually became the "live" portion of the "Keys To Ascension" albums.

Like Wakeman, his 70's keyboard virtuoso peer Keith Emerson also seemed to avoid Arp products in leiu of Moog synths. Genesis keyboardist Tony Banks, on the other hand, was heavily into Arp synthesisers, using the preset Pro Soloist, Odyssey, Omni, 2600, and later on the versatile Arp Quadra for many of his trademark Genesis solos. For anyone into 70's Genesis, it's easy to find Tony's exact patches for "Cinema Show" by simply flipping through the preset sounds on the Arp Pro Soloist.

Because of their affordability, many "local" keyboardists during the 70's used Arp analog synths - simply because they couldn't afford a Minimoog. This economic phenomenon also put Korg on the map during the same time period.

Thanks for all your kind comments, and sorry if these last couple posts have seemed a bit "tech-head"!!

--Nine <img src=pix/icon_yes_mover.gif border=0 align=middle>
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Postby N2yes » Thu Feb 26, 2004 4:28 am

<font color=red><font face='Papyrus'>It is, no question. Still, that doesn't negate the fact that it remains interesting not to mention informative. We appreciate the input.</font id='Papyrus'></font id=red><img src=pix/icon_yes_yes2.gif border=0 align=middle>

<hr>"Master of images-Songs cast a light on you"

Edited by - N2yes on Feb 25 2004 02:29:24 PM
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Postby ariceffron » Thu Feb 26, 2004 5:19 am

pete townshend was a big fan of arp as well as heribie hancock and stevie wonder
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Postby happytheman » Thu Feb 26, 2004 6:01 am

<BLOCKQUOTE id=quote><font size=1 face="Verdana, Arial, Helvetica" id=quote>quote:<hr height=1 noshade id=quote>
<b>ariceffron wrote:</b>
pete townshend was a big fan of arp as well as heribie hancock and stevie wonder
<hr height=1 noshade id=quote></font id=quote></BLOCKQUOTE id=quote>
As was Jean Michel Jarre, and Rick Van der Linden
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Postby GMThomas » Fri Feb 27, 2004 6:42 am

Not to get too "off topic"... but, speaking of the old ARP synthesizers.... I think that the begining of "Close to the Edge"..(you know, as it's fading in and you can hear all the birds singing)... I think that I read somewhere long ago that the synthy stuff in the background is done on an ARP 2600. Might be the only time Wakeman's ever used ARPs... being so well know for his MiniMoog work as he is.... Gary

<img src="http://www.teknobo.com/img/arp/2600.jpg" border=0>
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