The synth innovator at work, as pictured in a photo from the collections of the Bob Moog Foundation.

The synth innovator at work, as pictured in a photo from the collections of the Bob Moog Foundation.

This story has been updated based on an FAQ and official response to CDM from the Cornell University Library, responding to some of the concerns.

The not-for-profit Bob Moog Foundation has been working since the synth pioneer’s death to restore and make accessible his archives, undertaking preservation efforts, mounting exhibitions, and recently acquiring a space to house them. They were therefore surprised last week, they said, to learn these archives were instead being donated to Cornell University, Moog’s alma mater. The announcement has quickly inspired an outcry from the music technology community, with critics arguing the move would cripple years of work by the Foundation and limit accessibility.

According to observers who have worked with the Foundation, the move could have the impact of restricting access to these materials to those able to physically travel to Cornell in upstate New York. It could delay efforts to digitize materials by years or decades, they say, squandering countless volunteer hours and donations made to the Foundation since Moog’s death. (Whether there’s an opportunity for Cornell and the Foundation to work together remains to be seen.)

Update: CDM has been able to reach staff at Cornell University. We’ve made them aware of specific concerns about accessibility and will share if we get an additional response. For now, they’ve posted an FAQ today responding to some concerns. In it, they argue they have specific and extensive experience in handling these materials, including “an expert staff of archivists and maintains state-of-the-art facilities, an extensive digitization program, and active public programming.”

Katherine Reagan, Curator of Rare Books & Manuscripts at Cornell University Library, tells CDM:

The Moog Archive has not yet arrived at Cornell, but once it does we will quickly open the collection for research. Anyone will be most welcome to view or study it.

You may be interested to see the FAQ just posted today by Cornell about the Moog Archive:
http://news.library.cornell.edu/news/MoogFAQ

We look forward to seeing you at Cornell once the collection has arrived.

The news came at the end of last week, carried by Moog Music, the manufacturer founded by Bob Moog (and unaffiliated with the Bob Moog Foundation):

Bob Moog’s Archives Donated to World-Class Facility at Cornell University [Moog Music]

According to Moog Music, the decision will move Bob Moog’s “personal archive of notes, plans, drawings, recordings” to the Division of Rare and Manuscript Collections at the Sidney Cox Library of Music & Dance, via a donation by Dr. Moog’s widow, Dr. Ileana Grams-Moog.

For its part, that library does have a long history of preservation and a specific focus on keyboard instruments (whether that is relevant to the synthesizer being a separate discussion). But the Foundation argues that it can already provide what Cornell’s library can, and that it has already begun the work of “re-housing the collection in archival quality storage materials, securing climate controlled storage, cataloging thousands of items, cleaning and restoring a breadth of materials including almost 100 reel-to-reel tapes in the collection, and most recently securing state-of-the-art archival storage and processing facilities” which would provide access to international researchers.

Cornell and The Bob Moog Foundation essentially each argue that they’re better equipped for preservation, archiving, and public access.

Michelle Moog-Koussa, Executive Director of the Moog Foundation and Bob Moog’s daughter, argues that the decision would actually restrict access, relative to the Foundation’s plans, and goes on to say that she feels the move from Asheville, North Carolina is contrary to her father’s wishes and to the wishes of the Moog Family:

A Personal Statement from Michelle on the Transfer of Bob Moog’s Archives [Bob Moog Foundation]

To be clear, these materials do not represent the totality of the Bob Moog Foundation’s entire collection; in the same letter, Moog-Koussa stresses that they have a repository of donated and acquired historical materials surrounding electronic music in general. But this would divide that collection, moving part of it to New York.

Many backers have already signed a petition opposing the move on these grounds:
Keep Bob Moog’s Archives in Asheville with the BMF!

With Herb Deustch, in 1963, also from the Bob Moog Foundation.

With Herb Deustch, in 1963, also from the Bob Moog Foundation.

Keyboard Magazine editor Stephen Fortner weighs in on the issue:
Transfer of Bob Moog Archives Leads to Controversy [Keyboardmag.com]

Keyboard says it hasn’t yet taken a position, awaiting more information, though it does applaud the work of the Foundation (and of Moog Music).

Journalist Geary Yelton, a critic of the move, has agreed to have his comments reprinted on CDM. Yelton argues that keeping the archives with the Foundation would broaden access:

As a friend of the late Bob Moog and members of his family (and as former senior editor of the magazine Electronic Musician), I’d like to comment on the recent controversy caused by Moog Music’s announcement that his widow, Ileana Grams-Moog, plans to remove his collected archives from Asheville and donate them to Cornell University. I’m convinced that the Bob Moog Foundation, which currently curates most of his collection, would do a better job of making it accessible to a wider audience.

For each collection that’s currently stored in Cornell’s archives, you’ll find limited online access to only a fraction of the materials in the public domain. From what I can see of Cornell’s policies, to view copyrighted materials or examine technical prototypes, you need to make an appointment with Cornell’s archivist for a supervised visit. According to Cornell’s website, they’ll scan and process the materials only as time and funding allow, so the process could potentially take decades. I strongly suspect Bob’s work would be just another collection in Cornell’s vast collection of collections, and more than likely, many of the materials would simply be put into permanent storage.

Contrast that with the Bob Moog Foundation’s accomplishments and plans. Under the leadership of Bob’s daughter Michelle Moog-Koussa and with the enthusiastic support of all her siblings, the Foundation spent much of the past seven years rescuing many of these materials from rot, damp, mold, mouse droppings, heat, cold, and other perils. They hired and consulted with professional archivists and spent thousands of hours and approximately $150,000 bringing the materials up to a point where they’ve been cleaned and restored, and they’re ready to be accessed by researchers and exhibited to the public.

While all this progress was being made, Bob’s widow, who once served as the Foundation’s Chairman of the Board, made it clear that she was only loaning the archival collection to the Foundation. Nonetheless, she verbally assured them that when the time was right, she would transfer ownership of the materials to them. No contracts were signed, as she was family, and the rest of the family felt they could take her at her word. On occasion, the Foundation displayed the limited portions of the collection that were ready for public exhibition from coast to coast. In recent years, the Foundation made some materials from the archives available for publication while protecting others from exploitation.

More than three months ago, after a year of negotiation, the Foundation secured office, exhibit, and archival storage space at the Western Office of the North Carolina Department of Cultural Resources’ Office of Archives and History here in Asheville, a new, state-of-the-art, temperature- and humidity-controlled facility that houses collections significant to Western North Carolina’s history. Currently, researchers and scholars travel from all over the world to view the historical archives of Black Mountain College, which are available there under the guidance of the facility’s full-time archivist and her staff. It would have been fitting for Bob Moog’s archives to be available alongside the works of John Cage, Buckminster Fuller, Merce Cunningham, Robert Rauschenberg, and other prominent artists and innovators who once lived and worked in the Blue Ridge Mountains.

If all had gone according to plan, once the collection actually belonged to the Bob Moog Foundation, it would have qualified for numerous grants and donations, including one for $600,000 from the Buncombe County Tourism Product Development Authority. That would have eventually allowed the Foundation to open a planned Moogseum, where experts and trained volunteers with a passion for all things Moog could have offered tours and taught visitors about Bob’s life and work, and allowed visitors a hands-on experience that would have been a tangible boost to Asheville’s musical and cultural significance.

The only recent obstacle has been that after literally years of confirming a verbal agreement that she would hand over ownership of Bob Moog’s archives and collection, his widow apparently succumbed to outside influences and simply changed her mind. No restitution was offered to the Foundation, no compensation for their hard work and money spent, not even a thank you from Moog Music or from anyone involved in the arrangement with Cornell University. No one from the Bob Moog Foundation was consulted in the decision.

Does anyone really think the Foundation made all this effort and spent all this money so Cornell University could simply accept it with, as Andy Griffith used to say, “A handful of gimme and a mouthful of much obliged”?

Quite sincerely,
Geary Yelton

We will certainly update you if we hear more from the parties involved.

Previously:
Gallery: Vintage Moog Ads, Vintage Bob Moog, from the Bob Moog Foundation Archives

Updated: Cornell FAQ

Following these concerns from the music technology community, Cornell has posted an article specifically addressing the acquisition, and describing their facilities and programs for access, research, digitization, and exhibitions:

http://news.library.cornell.edu/news/MoogFAQ

They promise that, like other assets, digitization will be part of their plans for the archives, and specifically promise access:

When permitted by copyright and other laws, CUL makes its digital assets available for use by anyone, free of charge. Cornell’s position on removing restrictions on the use of digitized materials places it in the forefront of institutions promoting broad access.

There isn’t a timeline for digitization, though, at this point, which was one of the concerns Geary Yelton (among others) expressed to CDM.

The Library also stresses that “anyone” may access the library, though this of course means that the collection would be in Ithaca, New York, and not in Asheville, North Carolina, in the home of Moog Music and the remaining archives and collections of the Bob Moog Foundation. (Though loans would potentially alleviate that; see below.)

The Library FAQ does, however, offer an answer to claims that the move of the collection will limit public access, by arguing that it will be available through online and in-person access to exhibitions:

RMC stages two major and several smaller exhibits every year. Exhibits are also accessible online. We lend items for exhibits elsewhere, and Dr. Ileana Grams-Moog specifically requested that we make materials available for loan for exhibitions in Asheville, which we will absolutely do.

What the FAQ does not do is mention the Bob Moog Foundation by name. It says only this:

[Question] Didn’t the archives already have a home?

The choice of what to do with the archives belongs to Dr. Ileana Grams-Moog. She described her reasons for choosing the Library in the Asheville Citizen-Times.

Here’s what Dr. Grams-Moog told the Asheville Citizen-Times:

The foundation is very small, and its resources are limited. They have no experience preserving and providing broad access to material of this caliber.

(The answer from The Bob Moog Foundation would, presumably, be to point to their record of providing public access and to the new facility for archiving, and therein lies the stalemate in this discussion.)

Dr. Grams-Moog also told the Citizen-Times that there had been no capital campaign in support of the tourism grant for the Moog museum, the project Geary mentions in his quotes above. Michelle Moog-Koussa responds that the Foundation had shifted goals in response to economic climate.

The full article:

Moog archives selection prompts dispute [Asheville Citizen-Times]

If the library at Cornell provides us with additional information, we will update the story. Thanks to everyone who brought this to our attention and expressed interest in Dr. Moog’s legacy.

I want to clarify unequivocally: The question of where this archive goes is a matter for those charged with the decision. It’s simply not a matter I personally feel I can weigh in on, and it’s not a matter for the site at this time. But this is a vital legacy – that can’t be overstated. So, I think it is worth reporting on legitimate concerns about preservation and access, and listening to what people close to the matter have to say.

I’m in touch with the Moog Foundation and Cornell (and Moog Music, who have been helpful researching history, as well, as they were when I detailed the history of the Minimoog for Keyboard). I happily support the work of anyone promoting research into the history of electronic music. Part of this question of “public accessibility” and online accessibility, free of geography, is something that also fits in the charter of this site. So, I’ll continue to do our best to support those working in this area – which means, in this case, supporting both the Moog Foundation and Cornell.

  • Ben Hovey

    Not a single thank you from Moog Music or Cornell for the years of hard work and dedication of the BMF to preserve these archives is beyond disrespectful. I can’t say I am surprised in the least. In my time working at Moog Music, I witnessed greed beyond imaginability. The employees there should be making a living wage, they get paid peanuts. Don’t believe the hype, there is a dark evil at the helm of that company hiding behind Bob’s legacy. The BMF is the organization carrying the torch and I can guarantee this is a move by Mike Adams (Moog Music CEO) to maximize profits and take control of everything with the Moog name. I have many friends working there still and hope one day very soon they overcome the fear of speaking out against the injustices of that factory. It is sickening. I moved here because of Bob Moog’s spirit and I refuse to see it being disrespected.

    • http://pkirn.com/ Peter Kirn

      Ben, you’re entitled to whatever feelings you have about Moog Music, and I appreciate that you’re upset. But at this time, CDM is in touch with both the Bob Moog Foundation’s board and with the Cornell Library. The information we have is what we’ve shared here.

      This is really not the place to have a discussion about Moog Music’s management or employees. And I want to be clear that my understanding of the situation does not agree with yours. Dr. Grams-Moog can choose where these archives go, with or without Moog Music.

      I don’t like to moderate comments, but this isn’t the forum for this conversation about Moog Music, and I can never allow one person to go nuts and hijack a comment thread. If you want to vent about this, please find a different venue to do so.

    • Larry Buchla

      “and I can never allow one person to go nuts and hijack a comment thread”

      Over-react much? Let the man speak. Don’t be a comment Nazi.

    • http://pkirn.com/ Peter Kirn

      I did let him speak. Everything he posted stayed up.

      Also, congratulations, Larry, you’re early:
      http://en.wikipedia.org/wiki/Godwin's_law

    • Ben Hovey

      If you would have deleted my post, I would have lost my respect for you after so many years of great articles. Speaking up against injustices is the most important thing we can do. You wouldn’t think I was so “nuts” if we had a private conversation about this subject. I respect that you make good ad revenue from Moog Music, so you probably want to keep any criticism of them to a minimum.

    • http://pkirn.com/ Peter Kirn

      Yeah, well, Cornell isn’t advertising on CDM. And people are free to criticize anyone they like. I’m pretty clear about my opinions. I just think some of this is actually best kept to that private conversation you mention – that sounds like a better idea.

    • Ben Hovey

      I have nothing but the deepest resect for you Peter and all your hard work. I read you every day, and know that you are an unbiased journalist with integrity. I will only follow up with facts from now on like this one: Cornell Press Release: http://news.library.cornell.ed
      (Look at the top: It plainly states that Jill from http://www.adaptpublicrelation… wrote the thing) And why would Moog Music’s PR company be involved in this? Is Cornell listed as one of Adapt PR’s clients? No more speculation, just facts from here on out, so the truth doesn’t get diluted by my anger…

  • http://pkirn.com/ Peter Kirn

    To be clear, we’re waiting for any word from Cornell at all (apart from the information shared in the press release, which came from Moog Music, not Cornell). We’ll share that once we get it.

  • Ben Hovey

    Cornell is a smokescreen. They don’t know the full story.

  • Ben Hovey

    They weren’t the ones preying on an elderly widow to do this.

  • Gwen at Cornell’s Library

    We put out a FAQ today, addressing some of the questions about the donation of the archive: http://news.library.cornell.edu/news/MoogFAQ

  • Ben Hovey

    From Cornell, still no mention of the BMF. Notice that FAQ #6 says, “Dr. Ileana Grams-Moog specifically requested that we make materials available for loan for exhibitions in Asheville, which we will absolutely do.” Who do you suppose will be displaying those materials?

  • Ben Hovey

    My temper was a little flared up after I read this article. Moog Music is not just who is in charge, but all the hard working engineers, salespeople, production, etc… who I have nothing but the deepest admiration for and appreciation of their friendships that were built while I was there. The focus should be on respecting the efforts and resources that the BMF has put forth in preserving these archives, in teaching kids about the science of sound, and being respectful of the people so passionate about preserving Bob’s legacy. Bob’s legacy deserves that love and respect.

    • http://pkirn.com/ Peter Kirn

      I couldn’t agree more, in regards to preserving Bob’s legacy. That’s why I raised these concerns. But that’s also why I’ve run Cornell’s answers to those concerns – already fairly complete given they don’t even yet have the archives in their possession – and why I personally feel obligated to support *any* project by Cornell or the Moog Foundation to preserve these materials, make them accessible, and continue to support research into electronic music history.

      That I believe is the priority.

    • Ben Hovey

      Except they aren’t really Cornell’s statements. It was brought to my attention that their statements were written by Moog’s PR company. I don’t know the full story, but what I do know is that It is completely disrespectful to not include the BMF in this so called Cornell FAQ.

    • http://pkirn.com/ Peter Kirn

      Ben – I’m in an email thread with Gwen Glazer, at the Cornell University Library, Hilary Dorsch Wong, Research Services at Cornell’s Division of Rare and Manuscript Collections, and one of the quotes in the story here is pasted directly from my email inbox via Katherine Reagan, Curator of Rare Books & Manuscripts. I don’t think Moog PR staff have hacked into my email or started impersonating librarians.

      The FAQ was sent to me by that office at Cornell and is hosted on their site.

      I don’t know who wrote the FAQ, but I’m imagining being library staff accepting a fairly routine donation from the widow of an alum. I don’t think those staff deserve to get dragged into this, period.

      Apparently I didn’t make myself clear: either knock it off, or I will ask you to please get off comments. Making unsubstantiated allegations about a former employer and now a university library is not the reason there’s a comment thread on posts.

      I am the first person to want to see the Bob Moog Foundation credited for the work they’ve done, and I hope we continue to work with them. But I don’t think you’re helping their cause.

    • Ben Hovey

      Ask them if these guys wrote the FAQ, Geary seems to think so. http://www.adaptpublicrelations.com Not trying to disrespect Cornell in any way, but wouldn’t this be a question worth asking?

    • Guest

      Asserting accusations based on hearsay and then following up with “I don’t know the whole story”… How about you just don’t say anything than?

      I followed the link to the PR company as well. And I saw Moog listed as a client. I also saw several other businesses listed as clients. The PR company is based in Asheville. I doubt a city like Asheville has that many PR companies in it.

      Maybe, just maybe, Mrs. Grams-Moog might have contacted a local PR company on her own? Is that even possible?

      Or maybe it’s all a big conspiracy man.

  • John Worthington

    I wonder how the phrase “when permitted by copyright” will be interpreted. If Cornell assumes that any item in the archives is someone’s intellectual property, then little will be released. I doubt that there are photographer releases for example. If they assume that it’s safe to put up everything unless there’s a DMCA take down, then it’s less of an issue.

  • Random Chance

    I guess the persons responsible at Cornell are not to blame. If we’re talking about the economic lossses to the foundation, then I’d say the people at the foundation are to blame because they spend money and effort while working in uncertain conditions. If they didn’t own the archives, why on earth would they behave as if they did? Because of a few spoken words? I’d never trust anyone with a valuable commodity, not even friends and family, not if it were considerable money and considerable amounts of work on the line. The only question, as far as I am concerned, is: Why did the foundation not secure ownership of the archive BEFORE going to all the trouble that now seems to have been for nothing? They can’t seriously believe that someone who’d given them money to do all this would believe they just took the word of Bob Moog’s widow as a binding contract because she’s family. How naive and irresponsible can someone be, please? And these are the people who are supposed to be able to take better care of an extensive and valuable archive than a university? C’mon. Outcry, my *beep*.

    • gearyelton

      Why did the Bob Moog Foundation “spend money and effort while working in uncertain conditions?” Because, if they hadn’t, most of what Bob Moog left behind would be gone by now. You have no idea how bad the conditions were where this stuff was stored or how quickly it was deteriorating. Most of the small portion left outside the care of the BMF has disintegrated into rot. The BMF secured a grant from the Grammy Foundation to restore Bob’s collection of tapes and digitize them before they became unplayable, and thousands of contributors donated funds to save other materials from permanent loss. Thank heavens for them! Given the choice between waiting for someone to relinquish control over everyone involved and allowing Bob’s archives to be lost to the ravages of time, would you have made a different choice?

    • http://pkirn.com/ Peter Kirn

      Was the Grammy Foundation-funded audio restoration completed, or does this interrupt its progress?

  • Nate Donmoyer

    may i understate, how disheartening? the bmf embodies the proliferation of the positive force motivating any of us to be a part of the music technology community who’s influence extends greatly beyond it’s namesake. how this is the best outcome for the future of the community and it’s propagation?

  • Aaron

    Feel horrible for the BMF people.. a lot of hard work and money has already been dedicated to this.. all for naught?

  • lala

    yawn, boring

  • Ben Hovey

    Cornell Press Release: http://news.library.cornell.edu/news/130718/moog

    (Look at the top: It plainly states that Jill from http://www.adaptpublicrelations.com wrote the thing) And why would Moog Music’s PR company be involved in this? No more speculation, just facts from here on out, so the truth doesn’t get diluted by my anger…

  • Mark Kunoff

    What about the Moog family’s feelings on this? Aren’t they ultimately
    the ones who get to decide? I feel for BMF, but who is really being
    disrespectful here?

    Cornell has an incredible reputation and I
    doubt very much they would discard (or would want to duplicate work –
    HigherEd budgets are shrinking constantly!) the progress that has
    already been made.

    I think the alarm has been raised
    unnecessarily here. Does BMF truly want what is best for Bob’s legacy? A
    higher ed institution like Cornell is certainly capable of doing a very
    respectful job on this. Not to mention the attention Bob’s legacy will
    receive with every new generation of students coming in. How could this
    be bad?

    I can say these things because I’m involved in digital
    assset management at another large school on par with Cornell. Like
    Cornell, we take the archival component very, very seriously and spend
    huge amounts of money on these initiatives.

    Best to everyone,
    -Mark

    • gearyelton

      All of Bob’s biological family is united in their desire for the archives to remain in Asheville. For more about the Bob Moog Foundation’s accomplishments, read this: http://moogfoundation.org/the-archives-in-review/#

    • Mark Kunoff

      Key word here – ‘biological’. You conveniently left out the widow’s thoughts:
      http://www.citizen-times.com/article/20130719/NEWS/307190011/Moog-archives-selection-prompts-dispute

      I understand BMF’s disappointment and the valiant, invaluable initial efforts they made, but sometimes if you truly love someone, you have to let them go. I just cant see how this could be viewed as a bad thing for Bob’s legacy, the historical record, and the potential for many, many more people to discover the great things he accomplished and left behind… for all of us.

    • gearyelton

      It’s obvious what she has been led to believe is best. But by whom?

    • Mark Kunoff

      It must be a conspiracy!! ;-)

      Please. Why not explain/argue why this is bad? Do you have any evidence that this will be a bad move? The only thing I hear from the complaints is “significant time and money was spent.” I have to wonder what is the motivation behind this complaint.

      Indeed I sympathize with the daughter’s statement, “We believe that moving Bob Moog’s archives away from North Carolina is inconsistent with what my father would want.”

      But the bottom line is the wife is the executor. For example, I can try to convince my own mom to donate my father’s historical items to a particular charity, but ultimately SHE gets to decide. That’s how it works. It was BMF’s responsibility to know that. Even the wife wanted BMF’s best plans to come to fruition, but in the end she had the courage to do what’s best for the historical record. A hero in my view.

    • Mark Kunoff

      Also, I can’t imagine Cornell will let the initial efforts by BMF be forgotten. It’s part of the historical record of these materials. Who would think that Cornell wants to omit that info? Thank god BMF did what they did and thank god his widow had the courage to do what is ultimately best for the legacy. I mean cmon, people how awesome will this be for students?! http://digital.music.cornell.edu/

  • Paul Schlieter

    brb, ithaca lol

  • Brendan Clarke

    It’s worth noting that Cornell also has one of the best engineering schools on the east coast. If the next generation of engineers have a chance to learn from the archives, we are all the more likely to get better designed equipment in the future!

  • http://wheatwilliams.com Wheat Williams

    Thanks to Peter Kirn for writing such a comprehensive and well-researched article in such a short time. Peter, please keep following this story!

    I’m a long-time friend of the Moog family, going back almost 20 years, and coincidentally I’ve known Geary Yelton for thirty years (he’s from my home town).

    I was a volunteer working closely with Michelle Moog-Koussa and the Bob Moog Memorial Foundation for Electronic Music from its inception through its first three years (though I have not volunteered for them in the past four years). During those three years I got to know Dr. Ileana Grams-Moog personally as well.

    Right now, it would be best for all if the Cornell Library would publicly acknowledge the Moog Foundation and its years of activities (especially the approximately $150,000 it has already spent on stabilizing and restoring the archives). Acknowledgement and respect for all parties should become a part of the public discussion.

    Right now Cornell and Moog Music, Inc. have pointedly omitted any reference to the Moog Foundation or Bob Moog’s children, not to mention his first wife, their mother, in any of their statements. (Dr. Ileana Grams-Moog was Dr. Bob Moog’s second wife, in the last decade of his life.) Also unmentioned by them are the many thousands of donors and many dozens of volunteers from across the world who have participated in the work of the Moog Foundation for seven years. If Cornell gets the archives, they will have benefitted from the prior work of all those people. Moog Music, Inc. has benefitted greatly from the Moog Foundation as well, in the form of publicity and exposure for the valuable Moog synthesizer brand. Credit is due.

    One point that is overlooked is that Mike Adams, owner of Moog Music, Inc., and Dr. Ileana Grams-Moog, were both members of the board of directors of the (registered non-profit) Moog Foundation for many years. They both withdrew from the board long before Dr. Grams-Moog made her decision about the archives. I think Mike Adams himself should make a public statement about his years of involvement in and support of the Moog Foundation before he lost faith in the Foundation.

    The bottom line for me is that all parties here: the Cornell Library and its officials; Moog Music, Inc. and Mike Adams; Dr. Ileana Grams-Moog; the Bob Moog Foundation; and Michelle Moog-Koussa herself, are going to come out looking bad. Everybody’s reputation is going to be sullied and dragged through the mud by the other parties. We are bracing for vicious ad hominem attacks, libel, and log-jamming lawsuits all around.

    Let us please have acknowledgement and respect for the rights and contributions of all parties, and acknowledgement of their ongoing interest and standing. Let all parties be open to cooperation in honoring Bob Moog’s legacy and furthering the significant work that can be done in Bob’s name for innovation and music education and artistic expression.

  • reqz

    Don’t forget that Cornell also has an excellent digital music program and that there may be some interesting synergies with the music department as well as the engineering department.

  • http://www.fluxresearch.com/ Clyde Smith

    Key Lesson: Don’t do business on a hand shake, no matter how good the vibes are.

  • Chris Muir

    If the archive was going to some fly by night organization, the anger I see would be more justified, but Cornell is very well respected, and has an endowment that will let it continue for the foreseeable future. The same can’t be said for the BMF.

  • blipmusic

    I’m sorry, but if diplomacy and politics are prioritized before the actual facilities needed for this kind of collection then screw that.

    The *one* priority in this matter is long time archiving ability. As in: more or less “indefinite”. Read it again: *long time*.

    Being in in the archiving “business” myself (language not music – and we certainly do not have the expertise of e.g. the Smithsonian or indeed Cornell) I’ve seen analogue recordings gone to waste (read: destroyed by the hand of time) due to improper handling and archiving methods. Add horribly digitized versions of these (read: clipping all over the place) and you might just reconsider your “diplomatic” choice of institution for archiving your data and go for the more secure one.

    How is this even a controversy? Has the BMF been able to show that they have both the expertise and archiving capabilities this collection needs? (Honest question)

    Ugh, that stout sure was stronger than I expected it to be…