Pioneering keyboard virtuoso Rick Wakeman‘s journey into the world of synthesizers began in 1968 when he first encountered Wendy Carlos‘s groundbreaking album *Switched-On Bach*, igniting a lifelong fascination with electronic sound manipulation. This initial exposure would eventually lead him to Air Studios in 1971, where he experimented with a modular Moog owned by Mike Vickers, further cementing his interest in the evolving technology.
Despite his management’s jokes about its monophonic limitations, Wakeman purchased his first Minimoog second-hand for just £30, beginning a collection that now includes nine of these iconic instruments.
When opportunity strikes, collect what others mock—Wakeman’s £30 Minimoog purchase sparked an obsession nine instruments strong.
His relationship with Wendy Carlos proved particularly influential, especially regarding technical aspects of sound transfer for film scoring projects. His experimentation with sweeping filters helped create the distinctive underwater ambiences that became hallmarks of his atmospheric compositions.
Wakeman’s distinctive playing style incorporates Dorian mode and blues scale elements in his solos, with a particular emphasis on non-triadic chord tones such as 9th, 11th, and 7th intervals that add melodic color. His performances, especially in compositions like “The Revealing Science of God,” feature complex, tastefully articulated note runs rather than simple triads, blending modal improvisation with blues elements for harmonic richness.
His elaborate keyboard setup requires technical assistance during live performances to guarantee all necessary sounds remain accessible throughout. His theatrical stage presence, complete with gold capes and dramatic synthesizer solos, became a defining element of progressive rock concerts in the 1970s. His legendary work on “Starship Trooper” exemplifies his mastery of the stereo guitar duel technique alongside Steve Howe.
Recording sessions often involve capturing synth and keyboard parts separately from other instruments, allowing Wakeman to focus on crafting complex layers. He has embraced various recording technologies, including ADAT digital recording for precise editing, while maintaining a preference for specific studio rooms that optimize drum sounds and keyboard acoustics. Like many professional musicians, he found that creating a home studio setup allowed him to experiment with new sounds and compositions without the pressure of expensive studio time.
Wakeman approaches synthesizer sound creation with scholarly dedication, studying analog subtractive synthesis principles and consulting specialized literature. He prefers crafting sounds through hands-on experimentation rather than relying on sampling technology, though he occasionally experiments with devices like the Memotron to authentically recreate Mellotron sounds in contemporary contexts.
This methodical approach to sound design has established his status as one of progressive rock’s most innovative keyboard players.
