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Paul Beaver
Paul Beaver
Paul Beaver
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Paul Henry Beaver Jr. (August 14, 1925 – January 16, 1975) was an American musician who was a pioneer in popular electronic music, using the Moog synthesizer. From 1967, Beaver collaborated with Bernie Krause as the recording duo Beaver & Krause.

Early life and career

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Born in Columbiana, Ohio, Paul Beaver studied classical music and learned the organ, before acquiring technical knowledge of electronics while serving in the US Navy in World War II. After the war, he played the organ at the Angelus Temple in Los Angeles, made music and special effects for movies such as The Magnetic Monster (1953), and became a technical consultant to the Hammond Organ Company. He also became a successful session musician, had his own recording studio, and rented out musical instruments from his collection.[1]

Work with Bernie Krause

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Main article: Beaver & Krause

Beaver was the electronic half of a 1967 experimental free-form album for Dunhill Records with studio drummer Hal Blaine called Psychedelic Percussion. In 1966, he was approached by Jac Holzman of Elektra Records, who wished to make an album that used electronic music in a format that would appeal to the emerging hippie culture. Holzman introduced Beaver to Bernie Krause, another synthesizer enthusiast. They decided to pool their savings to buy a Moog synthesizer, and agreed to work together on the project, alongside composer and arranger Mort Garson. The result was the album The Zodiac: Cosmic Sounds.[2]

They continued to work together in a project to master the new Moog synthesizer and present it as a viable instrument for film and recording work. From 1967, Beaver collaborated with Krause as the recording duo Beaver & Krause. They were one of the first groups to record pop-commercial electronic music, which later became known as electronica. Their double album The Nonesuch Guide to Electronic Music, issued on Jac Holzman's Nonesuch record label, was a landmark work, introducing the public to the full range of individual sounds that the Moog could make, and in great detail.[3]

As Robert Moog's sales representatives on the U.S. West Coast, they attracted limited industry interest until the Monterey Pop Festival in June 1967, when musicians and artists' representatives visited their stall and began placing orders for Moogs.[4] Over the next two years, Beaver played a key role in popularizing the instrument in rock music and in film and television.[5][6] During that time, he undertook a steady stream of session work for their Moog customers and led workshops attended by film composers and session keyboardists.[7][8]

Among his many appearances on recordings by pop and rock acts, Beaver played the Moog on The Monkees' song "Star Collector", the final song on their fourth album Pisces, Aquarius, Capricorn & Jones Ltd., released in November 1967, and on The Byrds' "Goin' Back", from their 1968 album The Notorious Byrd Brothers.[9] He also contributed to the Elektra Records 1966 release The Zodiac: Cosmic Sounds, an album that is widely recognised as the first recording in the genre to feature the Moog synthesizer.[10]

Beaver was a friend and associate of George Martin, and he aided in the production of The Beatles' Magical Mystery Tour album, supplying the first-generation Hammond B3 organ which provided the strange sound effect at the end of "Blue Jay Way" (accomplished by switching the motorized 'tone wheel' off and on). During this time he and musician-engineer Phil Davis built a custom polyphonic Moog modular synthesizer, based on the Moog Apollo prototype, for Keith Emerson of Emerson, Lake & Palmer that was one of the first electronic instruments to have programmable preset sounds, controlled by an auxiliary 8-bit computer which used a TV monitor. In addition, Beaver, together with associates Phil Davis and Dan Wyman, worked alongside composer Alexander Courage, composing and performing incidental ambient music ("The Cage" and others) and creating several sound effects for the original Star Trek television series.

Beaver & Krause continued releasing electronic albums, first for Mercury Records' spin-off label, Limelight, with their album Ragnarok (1969), then three albums for Warner Bros. Records: In a Wild Sanctuary (1970), Gandharva (1971), and All Good Men (1972). Combining the Moog with acoustic instruments, these albums are key early documents of the "New Age" musical movement. The ending of the track "Spaced", from the Wild Sanctuary album, which features two synthesizers simultaneously gliding up and down to merge into a final single chord, was later re-performed to become the musical soundtrack for the original THX logo used in movie theatres. With Ruth White, Beaver established the Electronic Music Association in the 1970s.

Personal life and death

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Beaver was a Scientologist, a right-wing Republican, unmarried, and a bisexual proponent of sexual liberation.[11] His health began to deteriorate in 1973. He died of a cerebral aneurysm in January 1975, at the age of 49, while working on a revised version of The Nonesuch Guide.[12]

Legacy

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Writing on his website Head Heritage (under his pseudonym "the Seth Man"), musician and musicologist Julian Cope describes Beaver as "one of the first and most unique American synthesizer players".[12] Tom Oberheim said of Beaver that "other than Carlos, [he was] probably the person most responsible for getting the synthesizer thing going."[13]

Discography

[edit]

With Beaver & Krause

  • The Nonesuch Guide To Electronic Music (Nonesuch, 1968)
  • Ragnarok (Limelight, 1969)
  • In A Wild Sanctuary (Warner Bros., 1970)
  • Gandharva (Warner Bros., 1971)
  • All Good Men (Warner Bros., 1972)

With Les Baxter

  • Moog Rock (GNP Crescendo, 1969)

With The Beach Boys

With Hal Blaine

  • Psychedelic Percussion (Dunhill, 1967)

With The Byrds

With Cold Blood

With Spade Cooley

  • Fidoodlin' (Raynote, 1959)

With Neil Diamond

With Modesto Duran

  • Fabulous Rhythms Of Modesto (Raynote, 1960)

With The Electric Flag

With Donald Erb

  • Music For Instruments & Electronic Sounds (Nonesuch, 1969)

With Don Everly

  • Don Everly (Ode, 1971)

With James William Guercio

With LaMont Johnson

  • Nine: A Musical Mystical Allegory (Orchard, 1976)

With Quincy Jones

With Roger Kellaway

  • Spirit Feel (Liberty, 1967)

With Gail Laughton

  • Harps of the Ancient Temples (Rapture, 1969)

With Jackie Lomax

With Mike Melvoin

  • The Plastic Cow Goes Moooooog (Dot, 1969)

With The Monkees

With Hugo Montenegro

  • Moog Power (RCA, 1968)

With The Mystic Moods Orchestra

  • Emotions (Philips, 1968)
  • Extensions (Philips, 1969)

With Emil Richards

  • New Sound Element Stones (Uni, 1967)
  • New Time Element (Uni, 1967)

With Leonard Rosenman

With Salvation

  • Gypsy Carnival Caravan (ABC, 1968)

With Lalo Schifrin

With Ravi Shankar

With Skylark

  • Skylark (Capitol, 1972)

With The Sound Of Feeling

  • Spleen (Limelight, 1968)

With Styx

With Mason Williams

  • The Mason Williams Ear Show (Warner Bros., 1968)

With The Zeet Band

  • Moogie Woogie (Chess, 1970)

With no album artist name

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Paul Beaver

View on Grokipedia
from Grokipedia
Paul Beaver was an American electronic musician and keyboard player known for pioneering the use of the Moog synthesizer in popular music and for his influential partnership with Bernie Krause as the duo Beaver & Krause. Beaver and Krause played a key role in popularizing the Moog synthesizer during the late 1960s, serving as Robert Moog's West Coast sales representatives and demonstrating the instrument at the 1967 Monterey Pop Festival. Their debut release, The Nonesuch Guide to Electronic Music (1968), became a landmark album that introduced electronic music techniques to a broader audience and served as both a technical guide and a commercial success. The duo went on to release several innovative albums on Warner Bros., including In a Wild Sanctuary (1970), which pioneered elements of new age music through its integration of field recordings and electronic sounds, and Gandharva (1971), recorded live at San Francisco's Grace Cathedral with guest appearances by musicians such as Gerry Mulligan and Bud Shank. Beaver also contributed Moog and electronic effects to recordings by numerous prominent artists, helping to integrate synthesizer sounds into mainstream rock and pop music. Born on August 14, 1926, in Columbiana, Ohio, Beaver began his career in the Hollywood studio system as a session musician and sound effects specialist before shifting focus to electronic experimentation. He died on January 16, 1975, in Los Angeles at the age of 48 while working on a revised edition of The Nonesuch Guide to Electronic Music. His work with Krause is widely regarded as instrumental in establishing the synthesizer as a legitimate musical instrument beyond mere novelty effects.

Early life

Birth and background

Paul Beaver was born on August 14, 1925, in Ohio, United States. Information regarding his family, childhood, education, or other aspects of his early background remains limited in publicly available biographical sources, with most accounts focusing primarily on his later professional achievements as a musician. Some references suggest Columbiana as a possible specific birthplace within Ohio, though detailed records from his pre-career years are scarce and largely unelaborated upon in standard music industry profiles.

Career

Early career and session work

Paul Beaver established himself as a veteran session musician in the Hollywood studio system during the 1950s and 1960s, contributing keyboards including organ and piano to recordings in Los Angeles studios. He gained recognition as a sound effects specialist for film and television productions, employing tape-delay units and banks of audio equipment to create innovative soundscapes long before his synthesizer work. His technical expertise in electronics, developed during Navy service in World War II, supported his early contributions to film music and special effects, as seen in projects such as the 1953 science fiction film The Magnetic Monster. Beaver also served as a technical consultant for the Hammond Organ Company and operated his own recording studio, renting out instruments to other musicians and productions. Specific session credits from this period remain limited and often uncredited due to the nature of studio work in Los Angeles at the time, but his reputation as a reliable keyboard player laid the foundation for his later transition to electronic music experimentation and acquisition of the Moog synthesizer.

Adoption of the Moog synthesizer

Paul Beaver emerged as a pivotal figure in the early adoption and promotion of the Moog synthesizer on the West Coast during the mid-1960s. Designated as Moog's West Coast representative, he helped introduce the instrument to the region's music scene. By late 1966, Beaver and Bernie Krause pooled their resources to purchase one of the very first production Moog modular synthesizers, making it the first such instrument on the West Coast. In June 1967, Beaver and Krause demonstrated the Moog at the Monterey Pop Festival, setting up a booth in a hot tent that drew large crowds interested in creating sounds like thunderstorms and waves. This event generated significant interest, leading several musicians to purchase Moog synthesizers and sparking further engagement with the instrument in the rock community. Beaver played a key role in introducing the Moog to prominent artists including The Doors, The Monkees, The Byrds, and The Rolling Stones. Beaver featured prominently on early Moog recordings, appearing as a player or programmer on nine of the first ten commercial albums to incorporate the Moog modular synthesizer. Many of these contributions involved programming patches or assisting other musicians who had recently acquired the instrument but lacked expertise in operating it, and some early work remained uncredited or collaborative in nature.

Partnership with Bernie Krause

Paul Beaver and Bernie Krause formed their musical partnership as Beaver & Krause in the mid-1960s, pooling resources to purchase a Moog Modular synthesizer by late 1966 and establishing Parasound, a company that provided consulting, recording, and production services using the Moog and related equipment. Beaver served as Robert Moog's official West Coast sales representative, while the duo actively promoted and demonstrated the synthesizer through performances and studio work. Their collaborative output began with The Nonesuch Guide to Electronic Music (1968), a pioneering double album on Nonesuch Records that systematically demonstrated the Moog's modules and oscillator types through 68 short tracks, serving as an instructional guide to early electronic sound design. Subsequent albums expanded their innovative approach, including Ragnarök (1969), In a Wild Sanctuary (1970) on Warner Bros. Records, which incorporated ambient and environmental elements, and All Good Men (1972). Gandharva (1971), also on Warner Bros., marked a notable evolution in their techniques, with one side featuring studio recordings blending Moog with blues, gospel, jazz, and rock influences, and the other side consisting entirely of live performances recorded at Grace Cathedral in San Francisco on February 10 and 11, 1971. The cathedral's long natural reverb was chosen deliberately, and the sessions experimented with quadraphonic sound—an early attempt at a live quad album—with Beaver playing pipe organ, Krause operating the Moog synthesizer, and guest musicians including Gerry Mulligan on baritone saxophone, Bud Shank on alto saxophone and flute, and others contributing to dynamic spatial effects as performers moved throughout the space. Their partnership emphasized the Moog's potential for ambient and contemplative electronic music, often through live demonstrations, environmental integrations, and cross-genre experimentation, with their joint efforts also overlapping briefly with duo contributions to film soundtracks. The collaboration lasted until Paul Beaver's death in 1975.

Contributions to film and television

Paul Beaver was a pioneering figure in the integration of the Moog synthesizer into film and television soundtracks, providing electronic music, enhancements, and sound effects primarily during the late 1960s and early 1970s. His work often occurred in post-production and was largely uncredited, as he and collaborator Bernie Krause added Moog sounds to an estimated 150 or more motion pictures between 1967 and 1974. These contributions typically involved creating atmospheric cues, unsettling effects, or enhancing orchestral scores with the synthesizer's distinctive tones, reflecting Beaver's role as the primary West Coast programmer and performer of the Moog for Hollywood composers. Among his notable uncredited Moog contributions were early examples such as Point Blank (1967), where the synthesizer added disorientation and strangeness throughout the score, and Bullitt (1968), featuring keyboard and electronic elements. He provided synthesizer work on The Illustrated Man (1969), They Shoot Horses, Don't They? (1969), and Beneath the Planet of the Apes (1970), the latter blending Moog with orchestral elements for eerie and interrogative sequences. Later uncredited synthesizer credits included High Plains Drifter (1973) and Escape to Witch Mountain (1975). Beaver also received specific composing credits for several projects. He composed the score for Come to Your Senses (1971) and contributed electronic effects to Our Totem is the Raven (1972, credited jointly with Bernie Krause). His most prominent credited role was as composer for The Final Programme (1973), where he handled the full electronic score. These works highlighted his ability to create complete synthesizer-based music alongside his more common supportive contributions.

Personal life

Affiliations

In commentary on his collaboration with Bernie Krause, Beaver was noted for his affinity to Scientology, though both musicians were described as devoted secularists overall.

Death

Final years and passing

In January 1975, Paul Beaver collapsed while performing at a concert at UCLA. This incident preceded his sudden death shortly thereafter. He died on January 16, 1975, in Los Angeles, California, from a cerebral aneurysm at the age of 49 while working on a revised edition of The Nonesuch Guide to Electronic Music. Beaver's passing brought an abrupt end to his active musical collaborations, including his long-standing partnership with Bernie Krause.

Legacy

Influence on electronic music

Paul Beaver played a pivotal role in popularizing the Moog synthesizer across pop, rock, and film music during the late 1960s and early 1970s, helping to establish electronic synthesis as a mainstream creative tool. As one of the earliest musicians to master and record with the modular Moog system, Beaver—often in collaboration with Bernie Krause—introduced its unprecedented sonic possibilities to a wide range of artists and producers, bridging experimental techniques with commercial genres. Their work at events like the 1967 Monterey Pop Festival, where they demonstrated the instrument publicly, proved instrumental in sparking interest among musicians and accelerating its adoption. Beaver and Krause ranked as the most sought-after Moog Modular operators between 1967 and 1970, performing on 30% of the 223 commercial recordings that featured the instrument during that time. In film, they contributed Moog sounds to an estimated 150 motion picture soundtracks from 1967 to 1970, with Krause later estimating more than 150 films overall through 1974; most of these were post-production additions for mood, special effects, or music enhancement, and many remained uncredited. Such widespread, though often anonymous, involvement helped embed electronic timbres into mainstream cinema, influencing sound design practices and broadening audience exposure to synthesis. Their partnership also advanced pioneering electronic and ambient-oriented recordings, including instructional releases that educated musicians on synthesis principles and experimental works blending electronic tones with natural elements. Beaver's early session work, such as processing Jim Morrison's vocals on The Doors' Strange Days and contributing to psychedelic projects like Mort Garson's The Zodiac: Cosmic Sounds, demonstrated the synthesizer's expressive potential in rock and popular contexts. Despite frequent lack of credit for their contributions, Beaver's extensive body of work has earned recognition from sources like the Moog Foundation as that of a key early adopter whose efforts shaped the instrument's integration into diverse musical forms and its lasting influence on electronic music.
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