Synthesizer: Difference between revisions
Extended confirmed users, Rollbackers 66,600 edits |
Extended confirmed users, Rollbackers 66,600 edits delete more uncited OR |
||
Line 199: | Line 199: | ||
| work = Jarrography – The ultimate Jean Michel Jarre discography |
| work = Jarrography – The ultimate Jean Michel Jarre discography |
||
}}</ref> [[Roland Jupiter-8]], [[Oberheim OB-8]], [[Roland SH-101]], [[Sequential Circuits Six-Trak]] and [[Korg Polysix]]. A famous example can be heard on [[Duran Duran]]'s song "[[Rio (song)|Rio]]", in which the arpeggiator on a [[Roland Jupiter-4]] plays a C minor chord in random mode. They fell out of favor by the latter part of the 1980s and early 1990s and were absent from the most popular synthesizers of the period but a resurgence of interest in [[analog synthesizer]]s during the 1990s, and the use of rapid-fire arpeggios in several popular [[dance music|dance]] hits, brought with it a resurgence. |
}}</ref> [[Roland Jupiter-8]], [[Oberheim OB-8]], [[Roland SH-101]], [[Sequential Circuits Six-Trak]] and [[Korg Polysix]]. A famous example can be heard on [[Duran Duran]]'s song "[[Rio (song)|Rio]]", in which the arpeggiator on a [[Roland Jupiter-4]] plays a C minor chord in random mode. They fell out of favor by the latter part of the 1980s and early 1990s and were absent from the most popular synthesizers of the period but a resurgence of interest in [[analog synthesizer]]s during the 1990s, and the use of rapid-fire arpeggios in several popular [[dance music|dance]] hits, brought with it a resurgence. |
||
== Patch == |
|||
{{multiple image |align=right |
|||
|image1=Oberheim 4 voice.jpg|width1=220|caption1=One of the earliest patch memory (bottom left) on [[Oberheim polyphonic|Oberheim Four-voice]] (1975/1976) |
|||
}} |
|||
A synthesizer '''patch''' (some manufacturers chose the term '''program''') is a sound setting. [[Modular synthesizer]]s used cables ("[[patch cord]]s") to connect the different sound modules together. Since these machines had no [[memory (computers)|memory]] to save settings, musicians wrote down the locations of the patch cables and knob positions on a "patch sheet" (which usually showed a diagram of the synthesizer). Ever since, an overall sound setting for any type of synthesizer has been referred to as a patch. |
|||
<!-- ToDo: added description about "preset synthesizer": ARP Soloist in 1970 and Pro Soloist in 1972, ARP String Ensemble by Eminent/Solina in 1974, Moog minitmoog & Satelite, etc. --> |
|||
In mid–late 1970s, patch memory (allowing storage and loading of 'patches' or 'programs') began to appear in synths like the [[Oberheim polyphonic|Oberheim Four-voice]] (1975/1976)<ref name=Oberheim1976Ad> |
|||
{{cite journal |
|||
| title = Oberheim Polyphonic Synthesizer Programmer (ad) |
|||
| url = http://retrosynthads.blogspot.com/2010/02/oberheim-polyphonic-synthesizer.html |
|||
| journal = Contemporary Keyboard Magazine |
|||
| issue = September/October 1976 |
|||
| page = 19 |
|||
| medium = ad |
|||
| date = 15 February 2010 |
|||
}}</ref> <!-- , [[Sequential Circuits]]'s Model 700 Programmer (1977) --> and [[Sequential Circuits Prophet-5]] (1977/1978). After [[MIDI]] was introduced in 1983, more and more synthesizers could import or export patches via MIDI ''SYSEX'' commands. When a synthesizer patch is uploaded to a personal computer that has patch editing software installed, the user can alter the parameters of the patch and download it back to the synthesizer. Because there is no standard patch language, it is rare that a patch generated on one synthesizer can be used on a different model. However, sometimes manufacturers design a family of synthesizers to be compatible. |
|||
== Control interfaces == |
== Control interfaces == |
Revision as of 23:44, 15 November 2019
This article possibly contains original research. (December 2018) |
A synthesizer or synthesiser (often abbreviated to synth) is an
using a controller device, often a MIDI keyboard or other controller.Synthesizers use various methods to generate electronic signals (sounds). Among the most popular waveform synthesis techniques are
Synthesizers were first used in pop music in the 1960s. In the late 1970s, synths were used in
.History
Precursors
As electricity became more widely available, the early 20th century saw the invention of electronic musical instruments including the Telharmonium, Trautonium, Ondes Martenot, and theremin.[1] The Hammond organ, introduced in 1935, was the first electronic instrument to enjoy wide success.[1] In 1948, the Canadian engineer Hugh Le Caine completed the electronic sackbut, a precursor to voltage-controlled synthesizers, with keyboard sensitivity allowing for vibrato, glissando, and attack control.[1]
In 1957,
1960s – 1970s: Early years
The authors of Analog Days define "the early years of the synthesizer" as between 1964 and the mid-1970s, beginning with the debut of the Moog synthesizer.[2]: 7 Designed by American engineer Robert Moog, the Moog synthesizer was composed of separate modules which created and shaped sounds, connected by patch cords.[3] Whereas previous instruments had created sound from hundreds of vacuum tubes, Moog developed a means of controlling pitch and loudness through voltage, the voltage-controlled oscillator.[4] This, along with devices such as envelopes, noise generators, filters, and sequencers, became standards in the synthesizer market.[5][2]
Around the same period, American engineer Don Buchla created the Buchla Modular Electronic Music System.[6] Instead of a conventional keyboard, Buchla's system used touchplates which transmitted control voltages depending on finger position and force.[2] However, the Moog's keyboard made it more accessible and marketable to musicians, and keyboards became the standard means of controlling synthesizers.[2] In 1970, Moog launched a cheaper, smaller synthesizer, the Minimoog.[7][8] The Minimoog was the first synthesizer sold in music stores,[2] and was more practical for live performance; it standardized the concept of synthesizers as self-contained instruments with built-in keyboards.[9][10]
After retail stores started selling synthesizers in 1971, other synthesizer companies were established, including ARP in the US and EMS in the UK.[2] ARP's products included the ARP 2600, which folded into a carrying case and had built-in speakers, and the Odyssey, a rival to the Minimoog.[2] By the mid-1970s, ARP was the world's largest synthesizer manufacturer.[2] The less expensive EMS synthesizers were used by European art rock and progressive rock acts including Brian Eno and Pink Floyd.[2]
Early synthesizers were
1980s: Market growth and digital technology
The synthesizer market grew dramatically in the 1980s.[5]: 57 1982 saw the introduction of MIDI, a standardized means of synchronizing synthesizers and other electronic instruments; it remains an industry standard.[13]
An influential sampling synthesizer, the Fairlight CMI, was released in 1979 and was widely used throughout the 1980s.[11] The Fairlight had the ability to record and play back samples (prerecorded sounds) at different pitches.[14] Its high price made it inaccessible to amateurs, but it was adopted by high-profile pop musicians including Kate Bush and Peter Gabriel. The success of the Fairlight drove competition, improving sampling technology and lowering prices;[14] early competitors included the E-mu Emulator in 1981[14] and the Akai S-series in 1985.[15]
In 1983, Yamaha released the first commercially successful digital synthesizer, the Yamaha DX7.[16] Based on frequency modulation synthesis, developed by Stanford University engineer John Chowning,[17] the DX7 remains one of the bestselling synthesizers in history[16][18] and was the first synthesizer to earn six-digit sales figures.[5]: 57 It was widely used in 1980s pop music.[19] Compared to the "warm" and "fuzzy" sounds of analog synthesis, digital synthesizers are characterized by their "harsh", "glassy" and "chilly" sounds.[20]
The success of the DX7 led to competing digital synthesizers from companies including Roland, which released the
Digital synthesizers typically contained preset sounds emulating acoustic instruments, and were more difficult to customize than analog synthesizers, with complex algorithms controlled with menus and buttons.[2] The success of digital synthesizers and samplers led to a downturn in interest in analog synthesizers.[5]: 59
1990s – present: Software synthesizers and analog revival
1997 saw the release of
The market for patchable and modular synthesizers rebounded in the late 1990s.
Impact
When synthesizers emerged in the 1960s, they were viewed as avant-garde, valued by the 1960s psychedelic and counter-cultural scenes for their ability to make new sounds, but with little perceived commercial potential. Switched-On Bach (1968), an bestselling album of Bach compositions arranged for Moog by Wendy Carlos, demonstrated that synthesizers could be more than "random noise machines",[3] taking them to the mainstream.[2] The Moog was adopted by acts including the Doors, the Grateful Dead, the Rolling Stones, the Beatles, and Keith Emerson.[24] Emerson was the first major rock musician to perform with the Moog synthesizer and it became a trademark of his performances, helping take his band Emerson, Lake & Palmer to global stardom; according to Analog Days, the likes of Emerson, with his Moog performances, "did for the keyboard what Jimi Hendrix did for the guitar".[2]: 200
The portable Minimoog (1970), much smaller than the modular synthesizers before it, made synthesizers more common in live performance.[10] The Minimoog took a place in mainstream black music, most notably in the work of Stevie Wonder,[2] and in jazz, such as the work of Sun Ra.[25] It was also used by electronic artists such as Kraftwerk, who used it on their albums Autobahn (1974) and The Man-Machine (1978), and later by Tangerine Dream, Klaus Schulze, and Gary Numan.[25] In the late 1970s and the early 1980s, it was widely used in the emerging disco genre by artists including Abba and Giorgio Moroder.[25]
Early synthesizers could
In the 1970s, electronic music composers such as
In the 1980s, digital synthesizers were widely used in pop music.
Today, the synthesizer is used in every genre of music.[2]: 7 It is considered by the authors of Analog Days "the only innovation that can stand alongside the electric guitar as a great new instrument of the age of electricity ... Both led to new forms of music, and both had massive popular appeal."[2]: 7 The authors draw a connection to the synthesizer's origins in 1960s psychedelia to the raves and British "second summer of love" of the 1980s and the club scenes of the 1990s and 2000s.[2]: 321 According to Fact in 2016, "The synthesizer is as important, and as ubiquitous, in modern music today as the human voice."[20] It is one of the most important instruments in the music industry.[33]
Film and television
This section needs expansion. You can help by adding to it. (November 2019) |
Synthesizers are common in film and television soundtracks.[2]: 273 ARP synthesizers, for example, were used to create sound effects for the 1977 science fiction films Close Encounters of the Third Kind[2]: 9 and Star Wars, including the "voice" of the robot R2-D2.[2]: 273 In the 70s and 80s, synthesizers were used in the scores for thrillers and horror films including A Clockwork Orange (1971), Apocalypse Now (1979), The Fog (1980) and Manhunter (1986).[42] They were also used to create themes for television shows including Knight Rider (1982), Twin Peaks (1990) and Stranger Things (2016).[42]
Jobs
The rise of the synthesizer led to major changes in music industry jobs, comparable to the earlier arrival of sound in film, which put live musicians accompanying silent films out of work.[43] With its ability to imitate instruments such as strings and horns, the synthesizer threatened the jobs of session musicians. For a period, the Moog was banned from use in commercial work, a restriction negotiated by the American Federation of Musicians (AFM).[2] Robert Moog felt that the AFM had not realized that the synthesizer was an instrument to be learnt and mastered like any other, and instead imagined that "all the sounds that musicians could make somehow existed in the Moog — all you had to do was push a button that said 'Jascha Heifetz' and out would come the most fantastic violin player!"[44]
Musician
Sound synthesis
Additive synthesis builds sounds by combining several waveforms, usually sine waves, into a composite sound.[5]
Subtractive synthesis uses oscillators to generate waveforms, then shapes them with filters to remove or boost specific frequencies.[5]
Frequency modulation (FM) synthesis creates sounds by modulating one waveform with the frequency of another; the resulting complex waveform can, in turn, be used to modulate another, and this another, and so on. FM synthesis can imitate acoustic sounds such as piano, strings and organs.[47]
Phase distortion synthesis is a method implemented on Casio CZ synthesizers. It replaces the traditional analog waveform with a choice of several digital waveforms which are more complex than the standard square, sine, and sawtooth waves. This waveform is routed to a digital filter and digital amplifier, each modulated by an eight-stage envelope. The sound can then be further modified with ring modulation or noise modulation.[48]
Linear arithmetic synthesis is a form of synthesis that utilizes PCM samples for the attack of a waveform, and subtractive synthesis for the rest of the envelope. This type of synthesis bridges the gap between the older subtractive synthesis and the newer sample-based synthesis at a time where PCM samples would take up a substantial amount of the memory allotted. The first synthesizer to debut with this form of synthesis was the Roland D-50 in 1987.[citation needed]
Sample-based synthesis involves digitally recording a short snippet of sound from a real instrument or other source and then playing it back at different speeds to produce different pitches. A sample can be played as a one shot, used often for percussion or short duration sounds, or it can be looped, which allows the tone to sustain or repeat as long as the note is held. Samplers usually include a filter, envelope generators, and other controls for further manipulation of the sound. Virtual samplers that store the samples on a hard drive make it possible for the sounds of an entire orchestra, including multiple articulations of each instrument, to be accessed from a sample library.. See also Wavetable synthesis, Vector synthesis.[citation needed]
Analysis/resynthesis is a form of synthesis that uses a series of bandpass filters or Fourier transforms to analyze the harmonic content of a sound. The results are then used to resynthesize the sound using a band of oscillators. The vocoder, linear predictive coding, and some forms of speech synthesis are based on analysis/resynthesis.[citation needed]
Components
- Voltage-controlled filter (VCFs) – "shape" the sound generated by the oscillators in the frequency domain, often under the control of an envelope or LFO. These are essential to subtractive synthesis.
- Envelope generators– provide envelope modulation to "shape" the volume or harmonic content of the produced note in the time domain with the principal parameters being attack, decay, sustain and release. These are used in most forms of synthesis. ADSR control is provided by envelope generators.
- After the signal generated by one (or a mix of more) VCOs has been modified by filters and LFOs, and its preamp that boosts (amplifies) the electronic signal before passing it on to an external or built-in power amplifier, as well as a means to control its amplitude (volume) using an attenuator. The gain of the VCA is affected by a control voltage (CV), coming from an envelope generator, an LFO, the keyboard or some other source.[49]
Filter
The filter may be controlled with a second ADSR envelope. An "envelope modulation" ("env mod") parameter on many synthesizers with filter envelopes determines how much the envelope affects the filter. If turned all the way down, the filter produces a flat sound with no envelope. When turned up the envelope becomes more noticeable, expanding the minimum and maximum range of the filter. The envelope applied on the filter helps the sound designer generating long notes or short notes by moving the parameters up and down such as decay, sustain and finally release. For instance by using a short decay with no sustain, the sound generated is commonly known as a stab. Sound designers may prefer shaping the sound with filter instead of volume.
Envelope
Envelopes control how sounds change over time. They may control parameters such as amplitude (volume), filters (frequencies), or pitch. The most common envelope is the ADSR (Attack, Decay, Sustain, Release) envelope:[5]
- Attack time is the time taken for initial run-up of level from nil to peak, beginning when the note is triggered.
- Decay time is the time taken for the subsequent run down from the attack level to the designated sustain level.
- Sustain level is the level during the main sequence of the sound's duration, until the key is released.
- Release time is the time taken for the level to decay from the sustain level to zero after the key is released.
The "attack" and "decay" of a sound have a great effect on the instrument's sonic character.[50]
LFO
A
Arpeggiator
An arpeggiator (arp) is a feature available on several synthesizers that automatically steps through a sequence of notes based on an input chord, thus creating an arpeggio. The notes can often be transmitted to a MIDI sequencer for recording and further editing. An arpeggiator may have controls for speed, range, and order in which the notes play; upwards, downwards, or in a random order. More advanced arpeggiators allow the user to step through a pre-programmed complex sequence of notes, or play several arpeggios at once. Some allow a pattern sustained after releasing keys: in this way, a sequence of arpeggio patterns may be built up over time by pressing several keys one after the other. Arpeggiators are also commonly found in software sequencers. Some arpeggiators/sequencers expand features into a full phrase sequencer, which allows the user to trigger complex, multi-track blocks of sequenced data from a keyboard or input device, typically synchronized with the tempo of the master clock.
Arpeggiators seem to have grown from the accompaniment system used in
Control interfaces
Modern synthesizers often look like small pianos, though with many additional knob and button controls. These are integrated controllers, where the sound synthesis electronics are integrated into the same package as the controller. However, many early synthesizers were modular and keyboardless, while most modern synthesizers may be controlled via MIDI, allowing other means of playing such as:
- Fingerboards (ribbon controllers) and touchpads
- Wind controllers
- Guitar-style interfaces
- Drum pads
- Music sequencers
- Non-contact interfaces akin to theremins
- Tangible interfaces like a Reactable, AudioCubes
- Various auxiliary input device including: wheels for pitch bend and modulation, footpedals for expression and sustain, breath controllers, beam controllers, etc.
Fingerboard controller
A ribbon controller or other violin-like user interface may be used to control synthesizer parameters. The idea dates to
Fingerboard-controlled instruments include the
Rock musician
Wind controllers
MIDI control
Synthesizers became easier to integrate and synchronize with other electronic instruments and controllers with the introduction of
The
– a form of time-stamping – and became a popular standard for exchanging music scores between computers. In the case of SMF playback using integrated synthesizers (as in computers and cell phones), the hardware component of the MIDI interface design is often unneeded.Open Sound Control (OSC) is another music data specification designed for online networking. In contrast with MIDI, OSC allows thousands of synthesizers or computers to share music performance data over the Internet in realtime.
Recent trends in synthesizer design, particularly the resurgence of modular systems in eurorack, have allowed for a hybrid of MIDI control and control voltage i/o to be found together in many models. (Examples being the Moog Model D reissue, which was enhanced from its original design to offer both MIDI i/o and CV i/o). In these models of MIDI/CV hybrids, it is often possible to send and receive control voltages to control parameters of equipment at the identical time MIDI messages are being sent and received.
Additional examples of MIDI/CV hybrids include models like the Arturia Minibrute, which is able to receive MIDI messages from an external controller and automatically convert the MIDI signal into gate and pitch notes, which it can then send out as control voltage.
Typical roles
Synth lead
In popular music, a synth lead is generally used for playing the main
Synth pad
A synth pad is a sustained chord or tone generated by a synthesizer, often employed for background
The main feature of a synth pad is very long attack and decay time with extended sustains. In some instances pulse-width modulation (PWM) using a square wave oscillator can be added to create a "vibrating" sound.
Synth bass
The bass synthesizer (or "bass synth") is used to create sounds in the bass range, from simulations of the
In the 1970s miniaturized solid-state components allowed self-contained, portable instruments such as the Moog Taurus, a 13-note pedal keyboard played by the feet. The Moog Taurus was used in live performances by a range of pop, rock, and blues-rock bands. An early use of bass synthesizer was in 1972, on a solo album by John Entwistle (the bassist for The Who), entitled Whistle Rymes. Genesis bass player Mike Rutherford used a Dewtron "Mister Bassman" for the recording of their album Nursery Cryme in August 1971. Stevie Wonder introduced synth bass to a pop audience in the early 1970s, notably on "Superstition" (1972) and "Boogie On Reggae Woman" (1974). In 1977 Parliament's funk single "Flash Light" used the bass synthesizer. Lou Reed, widely considered a pioneer of electric guitar textures, played bass synthesizer on the song "Families", from his 1979 album The Bells.
Following the availability of programmable music sequencers such as the Synclavier and Roland MC-8 Microcomposer in the late 1970s, bass synths began incorporating sequencers in the early 1980s. The first bass synthesizer with a sequencer was the Firstman SQ-01.[71][72] It was originally released in 1980 by Hillwood/Firstman, a Japanese synthesizer company founded in 1972 by Kazuo Morioka (who later worked for Akai in the early 1980s), and was then released by Multivox for North America in 1981.[73][74][75]
In 1981, Roland released the Roland TB-303 bass synthesizer. Designed to simulate bass guitars, it was a commercial failure; however, cheap second-hand units were adopted by electronic musicians, and its "squelching" sound became a foundation of electronic dance music genres such as house and techno.[76][77]
See also
- Lists
- List of classic synthesizers
- List of synthesizer manufacturers
- Various synthesizers
- Related instruments & technologies
- Clavioline (Musitron)
- Electronic keyboard
- Musical instrument
- Music workstation
- Sampler
- Speech synthesis
- Components & technologies
- Music genres
- Notable works
References
- ^ a b c d Chadabe, Joel (14 September 2011). "The Electronic Century Part I: Beginnings". Electronic Musician. Archived from the original on 14 September 2011. Retrieved 12 November 2019.
- ^ ISBN 978-0-674-01617-0.
- ^ a b Kozinn, Allan. "Robert Moog, Creator of Music Synthesizer, Dies at 71". New York Times. Retrieved 3 December 2018.
- ^ a b McNamee, David (28 September 2009). "Hey, what's that sound: Sampler". The Guardian. Retrieved 12 October 2018.
{{cite web}}
: CS1 maint: url-status (link) - ^ ISBN 978-0195394894.
- ^ a b Lee, Sammy (3 July 2018). "This is the early history of the synthesizer". Red Bull Music. Retrieved 2 November 2019.
{{cite web}}
: CS1 maint: url-status (link) - ISSN 0190-8286. Retrieved 3 December 2018.
- ^ "Red Bull Music Academy Daily". daily.redbullmusicacademy.com. Retrieved 28 November 2018.
- ^ "Clear Some Space on Your Synth Rack: The Minimoog Returns". WIRED. Retrieved 28 November 2018.
- ^ a b Franklin Crawford (August 23, 2005). "Robert Moog, Ph.D. '64, inventor of the music synthesizer, dies of brain cancer". Cornell University News Service. Retrieved 4 May 2007.
- ^ a b "The 14 most important synths in electronic music history – and the musicians who use them". Fact. 15 September 2016. Retrieved 17 October 2018.
- ^ "The Prophet 5 and 10", gordonreid.co.uk, archived from the original on 8 August 2002, retrieved 9 January 2014
- ^ "The life and times of Ikutaro Kakehashi, the Roland pioneer modern music owes everything to". FACT Magazine: Music News, New Music. 2 April 2017. Retrieved 6 September 2018.
- ^ a b c Howell, Steve (August 2015). "The Lost Art Of Sampling: Part 1". Sound on Sound. Retrieved 12 October 2018.
{{cite web}}
: CS1 maint: url-status (link) - ^ "A brief history of sampling". MusicRadar. Retrieved 12 October 2018.
- ^ ISBN 9780199376681.
The first digital synthesizer to make it into the studios of everyone else, the Yamaha DX7, became one of the most commercially successful synthesizers of all time.
- ISBN 978-0-415-95781-6. Retrieved 4 June 2011.
- ISBN 978-0415957816. Retrieved 4 June 2011.
- ^ ISBN 9780262034142.
- ^ a b c d e "The 14 most important synths in electronic music history – and the musicians who use them". FACT Magazine: Music News, New Music. 15 September 2016. Retrieved 19 October 2018.
- ^ a b Vail, Mark (February 2002). "Korg M1 (Retrozone)". Sound on Sound. Retrieved 6 November 2019.
{{cite web}}
: CS1 maint: url-status (link) - ^ a b Tech, Computer Music Specials 2008-10-13T15:29:00 286Z. "A brief history of computer music". MusicRadar. Retrieved 1 November 2019.
{{cite web}}
: CS1 maint: numeric names: authors list (link) - ^ a b c "The Analogue Revival". Sound on Sound. March 2014. Retrieved 6 November 2019.
{{cite web}}
: CS1 maint: url-status (link) - ^ "Obituary: Dr Robert Moog". BBC News. 22 August 2005. Retrieved 3 December 2018.
- ^ a b c d Weiner, Sophie (20 October 2017). "Minimoog: The First Truly Portable Synthesizer". Red Bull Music Academy. Retrieved 28 November 2018.
{{cite web}}
: CS1 maint: url-status (link) - ^ "Hip-hop's most influential sampler gets a 2017 reboot". Engadget. Retrieved 3 April 2018.
- ^ "Meet the unassuming drum machine that changed music forever". Vox. Retrieved 11 May 2018.
- ^ "Jean Michel Jarre | Biography, Albums, Streaming Links | AllMusic". AllMusic. Retrieved 12 December 2017.
- ISBN 978-0-240-52072-8, retrieved 27 May 2011
- AllMusic. Retrieved 2011-06-04.
- ^ "Snowflakes Are Dancing". Billboard. Retrieved 28 May 2011.
- ^ "Kraftwerk". Discogs. Retrieved 12 December 2017.
- ^ a b c d e Borthwick 2004, p. 120
- ISBN 0-7432-0120-5
- ISBN 0-02-036361-3
- ^ Black, Johnny (2003), "The Greatest Songs Ever! Hungry Like the Wolf", Blender Magazine (January/February 2003), archived from the original on 13 October 2007, retrieved 16 April 2008
- ^ Borthwick 2004, p. 130
- ^ a b Simpson, Dave (14 August 2018). "More synthetic bamboo! The greatest preset sounds in pop music". the Guardian. Retrieved 19 October 2018.
- ^ Saxelby, Ruth. "Borne into the 90s [pt.1]". Dummy Mag. Retrieved 15 September 2011.
- ISSN 0261-3077. Retrieved 2 November 2019.
- ^ "A Beginner's Guide To The Synth". Gizmodo Australia. 29 December 2015. Retrieved 28 April 2019.
- ^ a b "A tribute to the synth: how synthesisers revolutionised modern music". BBC. Retrieved 6 November 2019.
{{cite web}}
: CS1 maint: url-status (link) - ^ From Stage to Studio: Musicians and the Sound Revolution, 1890–1950 (Baltimore: Johns Hopkins University Press, 1996).
- ^ Interview with Bob Moog, Plug, Fall 1974,p.2.
- ^ "1981–1990 – The Musicians' Union: A History (1893–2013)". www.muhistory.com.
- ISBN 9780199887132.
- ^ Crute, Adam (1 July 2019). "Learning the basics of FM synthesis and how it works". MusicTech. Retrieved 6 November 2019.
- ^ "CZ-101 Manual" (PDF). Retrieved 2 January 2019.
- ^
Reid, Gordon (2000). "Synth Secrets, Part 9: An Introduction to VCAs". Sound on Sound (January 2000). Archived from the original on 4 April 2016. Retrieved 25 May 2010.
{{cite journal}}
: CS1 maint: bot: original URL status unknown (link) - ^ Charles Dodge, Thomas A. Jerse (1997). Computer Music. New York: Schirmer Books. p. 82.
- ^ US patent 3,358,070, Alan C. Young (Hammond Co.), "Electronic Organ Arpeggio Effect Device", issued 1967-12-12
- ^ "RMI Harmonic Synthesizer". Jarrography – The ultimate Jean Michel Jarre discography.
- ^
Thom Holmes, Thomas B. Holmes (2002), Electronic and experimental music: pioneers in technology and composition, Routledge, p. 59, ISBN 978-0-415-93644-6
- ^
"Radio Squeals Turned to Music for Entire Orchestra", Popular Science (June 1932): 51, June 1932
— the article reported Léon Theremin's new electronic instruments used on his electric orchestra's first public recital at Carnegie Hall, New York City, includingFingerboard Theremin, Keyboard Theremin with fingerboard controller, and Terpsitone (a performance instrument in the style of platform on which a dancer could play a music by the movement of body). - ^
Glinsky, Albert (2000), Theremin: ether music and espionage, University of Illinois Press, p. 145, ISBN 978-0-252-02582-2,
In addition to its 61 keys (five octaves), it had a "fingerboard channel" offering an alternate interface for string players.
- ^
Brend, Mark (2005). Strange sounds: offbeat instruments and sonic experiments in pop. Hal Leonard Corporation. p. 22. ISBN 0-87930-855-9.
- ^ "Moogtonium (1966–1968)". Moog Foundation. 4 March 2010. — Max Brand's version of Mixture Trautonium, built by Robert Moog during 1966–1968.
- ^
Synthesizer technique. Hal Leonard Publishing Corporation. 1984. p. 47. ISBN 0-88188-290-9.
- ^
Pinch, Trevor; Frank Trocco (2004). Analog Days: The Invention and Impact of the Moog Synthesizer. Harvard University Press. p. 62. ISBN 0-674-01617-3.
- ^ "The "Hellertion"(1929) & the "Heliophon"(1936)", 120 Years of Electronic Music, 21 September 2013
- ^ Peter Lertes (1933), Elektrische Musik:ein gemeinverständliche Darstellung ihrer Grundlagen, des heutigen Standes der Technik und ihre Zukunftsmöglickkeiten, (Dresden & Leipzig, 1933)
- ^ J. Marx (1947). "Heliophon, ein neues Musikinstrument". Ömz. ii (1947): 314.
- ^ Christoph Reuter, Martinetta and Variophon, Variophon.de
- ^ Christoph Reuter, Variophon and Martinetta Enthusiasts Page, Variophon.de
- ^ Joseph Pepe Zawinul, Melodicas.com, archived from the original on 20 December 2011 (also another photograph is shown on gallery page)
- ^ Millioniser 2000 Promo Video Rock Erickson London, England 1983, MatrixSynth.com, 21 July 2009
- ^ The Complete MIDI 1.0 Detailed Specification, MIDI Manufacturers Association Inc., retrieved 10 April 2008
- ^ a b c
Rothtein, Joseph (1995), MIDI: A Comprehensive Introduction, A-R Editions, pp. 1–11, ISBN 0-89579-309-1, retrieved 30 May 2008
- ^
Webster, Peter Richard; Williams, David Brian (2005), Experiencing Music Technology: Software, Data, and Hardware, Thomson Schirmer, p. 221, ISBN 0-534-17672-0
- ^ Royalty Free Music : Funk – incompetech (mp3). Kevin MacLeod (incompetech.com).
- ^ "Firstman SQ-01 Sequence Synthesizer from Multivox" (advertisement). Contemporary Keyboard. Vol. 7, no. June 1981 – November 1981. p. 23.
- ^
"Multivox Firstman SQ-01 Sequencer". Keyboard Report. Contemporary Keyboard. Vol. 7, no. October 1981. pp. 82, 88. ("Keyboard Report, Oct. '81", according to the "Vol.9, 1983".
{{cite magazine}}
: Cite magazine requires|magazine=
(help)) - ^
"Firstman International". SYNRISE (in German). Archived from the original on 20 April 2003.
FIRSTMAN existiert seit 1972 und hat seinen Ursprung in Japan. Dort ist dieFirma unter dem Markennamen HILLWOOD bekannt. HILLWOOD baute dann auch 1973 den quasi ersten Synthesizer von FIRSTMAN. Die Firma MULTIVOX liess ihre Instrumente von 1976 bis 1980 bei HILLWOOD bauen.","SQ-10 / mon syn kmi ? (1980) / Monophoner Synthesizer mit wahrscheinlich eingebautem Sequenzer. Die Tastatur umfasst 37 Tasten. Die Klangerzeugung beruht auf zwei VCOs.
- ISBN 9781136122781.
- ^ A TALE OF TWO STRING SYNTHS, Sound on Sound, July 2002
- ^ Hamill, Jasper. "The world's most famous electronic instrument is back. Will anyone buy the reissued TB-303?". Forbes. Retrieved 26 March 2018.
- ^ Vine, Richard (15 June 2011). "Tadao Kikumoto invents the Roland TB-303". The Guardian. Retrieved 9 July 2011.
Bibliography
- Borthwick, Stuart (2004), Popular Music Genres: An Introduction, Edinburgh University Press, p. 120, )
Further reading
- Gorges, Peter (2005). Programming Synthesizers. Germany, Bremen: Wizoobooks. )
- Schmitz, Reinhard (2005). Analog Synthesis. Germany, Bremen: Wizoobooks. )
- Shapiro, Peter (2000). Modulations: A History of Electronic Music: Throbbing Words on Sound. Caipirinha Productions, USA. )
- Kuit, Roland (2014). SoundLab I: The Electronic Studio. Publisher's number: 13664. The Netherlands, The Hague: Donemus.
{{cite book}}
: Invalid|ref=harv
(help) - Kuit, Roland (2014). SoundLab II: Architectures for Philosophers. Publisher's number: 13665. The Netherlands, The Hague: Donemus.
{{cite book}}
: Invalid|ref=harv
(help) - Kuit, Roland (2014). Laboratory of Patching: Illustrated Compendium of Modular Synthesis. Publisher's number: 13662. The Netherlands, The Hague: Donemus.
{{cite book}}
: Invalid|ref=harv
(help) - Kuit, Roland (2014). To be On, to be OFF, that's the SWITCH. Publisher's number: 13666. The Netherlands, The Hague: Donemus.
{{cite book}}
: Invalid|ref=harv
(help) - Kuit, Roland (2014). Modular strategies in shaping reflections and space. Publisher's number: 13663. The Netherlands, The Hague: Donemus.
{{cite book}}
: Invalid|ref=harv
(help)
External links
- Sound Synthesis Theory wikibook
- Principles of Sound Synthesis at Salford University
- Synthesizer Tutorial