1.
Software developer
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A software developer is a person concerned with facets of the software development process, including the research, design, programming, and testing of computer software. Other job titles which are used with similar meanings are programmer, software analyst. According to developer Eric Sink, the differences between system design, software development, and programming are more apparent, even more so that developers become systems architects, those who design the multi-leveled architecture or component interactions of a large software system. In a large company, there may be employees whose sole responsibility consists of one of the phases above. In smaller development environments, a few people or even an individual might handle the complete process. The word software was coined as a prank as early as 1953, before this time, computers were programmed either by customers, or the few commercial computer vendors of the time, such as UNIVAC and IBM. The first company founded to provide products and services was Computer Usage Company in 1955. The software industry expanded in the early 1960s, almost immediately after computers were first sold in mass-produced quantities, universities, government, and business customers created a demand for software. Many of these programs were written in-house by full-time staff programmers, some were distributed freely between users of a particular machine for no charge. Others were done on a basis, and other firms such as Computer Sciences Corporation started to grow. The computer/hardware makers started bundling operating systems, systems software and programming environments with their machines, new software was built for microcomputers, so other manufacturers including IBM, followed DECs example quickly, resulting in the IBM AS/400 amongst others. The industry expanded greatly with the rise of the computer in the mid-1970s. In the following years, it created a growing market for games, applications. DOS, Microsofts first operating system product, was the dominant operating system at the time, by 2014 the role of cloud developer had been defined, in this context, one definition of a developer in general was published, Developers make software for the world to use. The job of a developer is to crank out code -- fresh code for new products, code fixes for maintenance, code for business logic, bus factor Software Developer description from the US Department of Labor
2.
Ableton
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Ableton was founded in 1999 by Gerhard Behles, Robert Henke of Monolake, and Bernd Roggendorf. Behles remains the chief officer of Ableton. Abletons office is located in the Mitte district of Berlin, Germany with an office in Pasadena. In March 2007, Ableton announced it was beginning a collaboration with Cycling 74 and this collaboration is not directly based on Live or Max/MSP, but rather combines the two companies strengths in a new product. In January 2009 the Ableton/Cycling 74 product Max for Live was announced, Max for Live makes it possible to create Max/MSP patches directly inside of Live. The patches act like other plug-ins in Live do, supporting preset saving, automation, Ableton Live is currently in its ninth version. There are three versions of the software available for purchase, Live 9 Standard, Live 9 Suite, Ableton Live is designed to be used with a wide range of USB and MIDI controllers, as well as instruments and virtual instruments. The company constructed the Push controller for Live 9 in cooperation with Akai Professional, Ableton holds many music production sessions and seminars to learn to use their software, and licenses certified Ableton trainers. The author, Dennis DeSantis, works as Head of Documentation at Ableton and was formerly a designer for Native Instruments. Ableton Live Ableton Operator Digital audio workstation Category, Ableton Live users The MusicRadar Team, the 19 best DAW software apps in the world today. Ableton Push, New Hardware Controller for Live Ableton Homepage
3.
Software release life cycle
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Usage of the alpha/beta test terminology originated at IBM. As long ago as the 1950s, IBM used similar terminology for their hardware development, a test was the verification of a new product before public announcement. B test was the verification before releasing the product to be manufactured, C test was the final test before general availability of the product. Martin Belsky, a manager on some of IBMs earlier software projects claimed to have invented the terminology, IBM dropped the alpha/beta terminology during the 1960s, but by then it had received fairly wide notice. The usage of beta test to refer to testing done by customers was not done in IBM, rather, IBM used the term field test. Pre-alpha refers to all activities performed during the project before formal testing. These activities can include requirements analysis, software design, software development, in typical open source development, there are several types of pre-alpha versions. Milestone versions include specific sets of functions and are released as soon as the functionality is complete, the alpha phase of the release life cycle is the first phase to begin software testing. In this phase, developers generally test the software using white-box techniques, additional validation is then performed using black-box or gray-box techniques, by another testing team. Moving to black-box testing inside the organization is known as alpha release, alpha software can be unstable and could cause crashes or data loss. Alpha software may not contain all of the features that are planned for the final version, in general, external availability of alpha software is uncommon in proprietary software, while open source software often has publicly available alpha versions. The alpha phase usually ends with a freeze, indicating that no more features will be added to the software. At this time, the software is said to be feature complete, Beta, named after the second letter of the Greek alphabet, is the software development phase following alpha. Software in the stage is also known as betaware. Beta phase generally begins when the software is complete but likely to contain a number of known or unknown bugs. Software in the phase will generally have many more bugs in it than completed software, as well as speed/performance issues. The focus of beta testing is reducing impacts to users, often incorporating usability testing, the process of delivering a beta version to the users is called beta release and this is typically the first time that the software is available outside of the organization that developed it. Beta version software is useful for demonstrations and previews within an organization
4.
Qt (software)
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Qt is available with both commercial and open source GPL2.0, GPL3.0, and LGPL3.0 licenses. Qt is used for developing applications and graphical user interfaces, however, programs without a GUI can be developed, such as command-line tools. An example of a program using Qt is the Cutelyst web framework. GUI programs created with Qt can have an interface, in which case Qt is classified as a widget toolkit. Qt supports many compilers, including the GCC C++ compiler and the Visual Studio suite, Qt also provides Qt Quick, that includes a declarative scripting language called QML that allows using JavaScript to provide the logic. With Qt Quick, rapid development for mobile devices became possible. Qt can be used in other programming languages via language bindings. It runs on the major platforms and some of the mobile platforms. Non-GUI features include SQL database access, XML parsing, JSON parsing, thread management, several GUIs and desktop environments utilize Qt as widget toolkit. This made the work easier because very few classes in Qt depended really on the target platform, however. On some platforms Qt is the native API, some other portable graphical toolkits have made different design decisions, for example, wxWidgets uses the toolkits of the target platform for its implementations. Signals and slots A language construct introduced in Qt for communication between objects which makes it easy to implement the observer pattern while avoiding boilerplate code. The concept is that GUI widgets can send signals containing event information which can be received by other controls using special functions known as slots, metaobject compiler The metaobject compiler, termed moc, is a tool that is run on the sources of a Qt program. It interprets certain macros from the C++ code as annotations, and this meta information is used by Qt to provide programming features not available natively in C++, signals and slots, introspection and asynchronous function calls. Qt works on different platforms, the following are officially supported. There are also ports of Qt that may be available. These platforms are listed in List of platforms supported by Qt, there are four editions of Qt available, Community, Indie Mobile, Professional and Enterprise. Qt is available under the free software licenses, GPL3.0, LGPL3.0
5.
Operating system
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An operating system is system software that manages computer hardware and software resources and provides common services for computer programs. All computer programs, excluding firmware, require a system to function. Operating systems are found on many devices that contain a computer – from cellular phones, the dominant desktop operating system is Microsoft Windows with a market share of around 83. 3%. MacOS by Apple Inc. is in place, and the varieties of Linux is in third position. Linux distributions are dominant in the server and supercomputing sectors, other specialized classes of operating systems, such as embedded and real-time systems, exist for many applications. A single-tasking system can run one program at a time. Multi-tasking may be characterized in preemptive and co-operative types, in preemptive multitasking, the operating system slices the CPU time and dedicates a slot to each of the programs. Unix-like operating systems, e. g. Solaris, Linux, cooperative multitasking is achieved by relying on each process to provide time to the other processes in a defined manner. 16-bit versions of Microsoft Windows used cooperative multi-tasking, 32-bit versions of both Windows NT and Win9x, used preemptive multi-tasking. Single-user operating systems have no facilities to distinguish users, but may allow multiple programs to run in tandem, a distributed operating system manages a group of distinct computers and makes them appear to be a single computer. The development of networked computers that could be linked and communicate with each other gave rise to distributed computing, distributed computations are carried out on more than one machine. When computers in a work in cooperation, they form a distributed system. The technique is used both in virtualization and cloud computing management, and is common in large server warehouses, embedded operating systems are designed to be used in embedded computer systems. They are designed to operate on small machines like PDAs with less autonomy and they are able to operate with a limited number of resources. They are very compact and extremely efficient by design, Windows CE and Minix 3 are some examples of embedded operating systems. A real-time operating system is a system that guarantees to process events or data by a specific moment in time. A real-time operating system may be single- or multi-tasking, but when multitasking, early computers were built to perform a series of single tasks, like a calculator. Basic operating system features were developed in the 1950s, such as resident monitor functions that could run different programs in succession to speed up processing
6.
Microsoft Windows
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Microsoft Windows is a metafamily of graphical operating systems developed, marketed, and sold by Microsoft. It consists of families of operating systems, each of which cater to a certain sector of the computing industry with the OS typically associated with IBM PC compatible architecture. Active Windows families include Windows NT, Windows Embedded and Windows Phone, defunct Windows families include Windows 9x, Windows 10 Mobile is an active product, unrelated to the defunct family Windows Mobile. Microsoft introduced an operating environment named Windows on November 20,1985, Microsoft Windows came to dominate the worlds personal computer market with over 90% market share, overtaking Mac OS, which had been introduced in 1984. Apple came to see Windows as an encroachment on their innovation in GUI development as implemented on products such as the Lisa. On PCs, Windows is still the most popular operating system, however, in 2014, Microsoft admitted losing the majority of the overall operating system market to Android, because of the massive growth in sales of Android smartphones. In 2014, the number of Windows devices sold was less than 25% that of Android devices sold and this comparison however may not be fully relevant, as the two operating systems traditionally target different platforms. As of September 2016, the most recent version of Windows for PCs, tablets, smartphones, the most recent versions for server computers is Windows Server 2016. A specialized version of Windows runs on the Xbox One game console, Microsoft, the developer of Windows, has registered several trademarks each of which denote a family of Windows operating systems that target a specific sector of the computing industry. It now consists of three operating system subfamilies that are released almost at the time and share the same kernel. Windows, The operating system for personal computers, tablets. The latest version is Windows 10, the main competitor of this family is macOS by Apple Inc. for personal computers and Android for mobile devices. Windows Server, The operating system for server computers, the latest version is Windows Server 2016. Unlike its clients sibling, it has adopted a strong naming scheme, the main competitor of this family is Linux. Windows PE, A lightweight version of its Windows sibling meant to operate as an operating system, used for installing Windows on bare-metal computers. The latest version is Windows PE10.0.10586.0, Windows Embedded, Initially, Microsoft developed Windows CE as a general-purpose operating system for every device that was too resource-limited to be called a full-fledged computer. The following Windows families are no longer being developed, Windows 9x, Microsoft now caters to the consumers market with Windows NT. Windows Mobile, The predecessor to Windows Phone, it was a mobile operating system
7.
MacOS
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Within the market of desktop, laptop and home computers, and by web usage, it is the second most widely used desktop OS after Microsoft Windows. Launched in 2001 as Mac OS X, the series is the latest in the family of Macintosh operating systems, Mac OS X succeeded classic Mac OS, which was introduced in 1984, and the final release of which was Mac OS9 in 1999. An initial, early version of the system, Mac OS X Server 1.0, was released in 1999, the first desktop version, Mac OS X10.0, followed in March 2001. In 2012, Apple rebranded Mac OS X to OS X. Releases were code named after big cats from the release up until OS X10.8 Mountain Lion. Beginning in 2013 with OS X10.9 Mavericks, releases have been named after landmarks in California, in 2016, Apple rebranded OS X to macOS, adopting the nomenclature that it uses for their other operating systems, iOS, watchOS, and tvOS. The latest version of macOS is macOS10.12 Sierra, macOS is based on technologies developed at NeXT between 1985 and 1997, when Apple acquired the company. The X in Mac OS X and OS X is pronounced ten, macOS shares its Unix-based core, named Darwin, and many of its frameworks with iOS, tvOS and watchOS. A heavily modified version of Mac OS X10.4 Tiger was used for the first-generation Apple TV, Apple also used to have a separate line of releases of Mac OS X designed for servers. Beginning with Mac OS X10.7 Lion, the functions were made available as a separate package on the Mac App Store. Releases of Mac OS X from 1999 to 2005 can run only on the PowerPC-based Macs from the time period, Mac OS X10.5 Leopard was released as a Universal binary, meaning the installer disc supported both Intel and PowerPC processors. In 2009, Apple released Mac OS X10.6 Snow Leopard, in 2011, Apple released Mac OS X10.7 Lion, which no longer supported 32-bit Intel processors and also did not include Rosetta. All versions of the system released since then run exclusively on 64-bit Intel CPUs, the heritage of what would become macOS had originated at NeXT, a company founded by Steve Jobs following his departure from Apple in 1985. There, the Unix-like NeXTSTEP operating system was developed, and then launched in 1989 and its graphical user interface was built on top of an object-oriented GUI toolkit using the Objective-C programming language. This led Apple to purchase NeXT in 1996, allowing NeXTSTEP, then called OPENSTEP, previous Macintosh operating systems were named using Arabic numerals, e. g. Mac OS8 and Mac OS9. The letter X in Mac OS Xs name refers to the number 10 and it is therefore correctly pronounced ten /ˈtɛn/ in this context. However, a common mispronunciation is X /ˈɛks/, consumer releases of Mac OS X included more backward compatibility. Mac OS applications could be rewritten to run natively via the Carbon API, the consumer version of Mac OS X was launched in 2001 with Mac OS X10.0. Reviews were variable, with praise for its sophisticated, glossy Aqua interface
8.
Digital Audio Workstation
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Regardless of configuration, modern DAWs have a central interface that allows the user to alter and mix multiple recordings and tracks into a final produced piece. DAWs are used for the production and recording of music, radio, television, podcasts, multimedia, early attempts at digital audio workstations in the 1970s and 1980s faced limitations such as the high price of storage, and the vastly slower processing and disk speeds of the time. In 1978, Soundstream built what could be considered the first digital audio workstation using some of the most current computer hardware of the time. Interface cards that plugged into the PDP-11s Unibus slots provided analog and digital input and output for interfacing to Soundstreams digital recorders. The DAP software could perform edits to the recorded on the systems hard disks. By the late 1980s, a number of consumer level computers such as the Apple Macintosh, Atari ST, soon, people began to use them for simple two-track audio editing and CD mastering. This combination of software and hardware was one of the earliest examples of a DAW. Many major recording studios finally went digital after Digidesign introduced its Pro Tools software, modeled after the traditional method, at this time, most DAWs were Apple Mac based. Around 1992, the first Windows based DAWs started to emerge from such as IQS Innovative Quality Software, Soundscape Digital Technology, SADiE, Echo Digital Audio. All the systems at this point used dedicated hardware for their audio processing, in 1993, German company Steinberg released Cubase Audio on Atari Falcon 030. This version brought DSP built-in effects with 8-track audio recording & playback using only native hardware, the first Windows based software-only product, introduced in 1993, was Samplitude Studio. In 1996, Steinberg introduced Cubase VST, which could record, Cubase not only modelled a tape-like interface for recording and editing, but also modelled the entire mixing desk and effects rack common in analog studios. This revolutionised the DAW world, both in features and price tag, and was imitated by most other contemporary DAW systems. An integrated DAW consists of a console, control surface, audio converter. Integrated DAWs were more popular before commonly available personal computers became powerful enough to run DAW software, as computer power and speed increased and price decreased, the popularity of costly integrated systems with console automation dropped. Systems such as the Orban Audicy became standard equipment at radio. This could be as simple as a mouse or as sophisticated as a piano-style MIDI controller keyboard or automated fader board for mixing track volumes, the computer acts as a host for the sound card/audio interface, while the software provides the interface and functionality for audio editing. The software controls all related components and provides a user interface to allow for recording, editing
9.
Software license
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A software license is a legal instrument governing the use or redistribution of software. Under United States copyright law all software is copyright protected, in code as also object code form. The only exception is software in the public domain, most distributed software can be categorized according to its license type. Two common categories for software under copyright law, and therefore with licenses which grant the licensee specific rights, are proprietary software and free, unlicensed software outside the copyright protection is either public domain software or software which is non-distributed, non-licensed and handled as internal business trade secret. Contrary to popular belief, distributed unlicensed software is copyright protected. Examples for this are unauthorized software leaks or software projects which are placed on public software repositories like GitHub without specified license. As voluntarily handing software into the domain is problematic in some international law domains, there are also licenses granting PD-like rights. Therefore, the owner of a copy of software is legally entitled to use that copy of software. Hence, if the end-user of software is the owner of the respective copy, as many proprietary licenses only enumerate the rights that the user already has under 17 U. S. C. §117, and yet proclaim to take away from the user. Proprietary software licenses often proclaim to give software publishers more control over the way their software is used by keeping ownership of each copy of software with the software publisher. The form of the relationship if it is a lease or a purchase, for example UMG v. Augusto or Vernor v. Autodesk. The ownership of goods, like software applications and video games, is challenged by licensed. The Swiss based company UsedSoft innovated the resale of business software and this feature of proprietary software licenses means that certain rights regarding the software are reserved by the software publisher. Therefore, it is typical of EULAs to include terms which define the uses of the software, the most significant effect of this form of licensing is that, if ownership of the software remains with the software publisher, then the end-user must accept the software license. In other words, without acceptance of the license, the end-user may not use the software at all, one example of such a proprietary software license is the license for Microsoft Windows. The most common licensing models are per single user or per user in the appropriate volume discount level, Licensing per concurrent/floating user also occurs, where all users in a network have access to the program, but only a specific number at the same time. Another license model is licensing per dongle which allows the owner of the dongle to use the program on any computer, Licensing per server, CPU or points, regardless the number of users, is common practice as well as site or company licenses
10.
Music sequencer
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This software also improved on the quality of the earlier sequencers which tended to be mechanical sounding and were only able to play back notes of exactly equal duration. Software-based sequencers allowed musicians to program performances that were more expressive and these new sequencers could also be used to control external synthesizers, especially rackmounted sound modules, and it was no longer necessary for each synthesizer to have its own devoted keyboard. As the technology matured, sequencers gained more features, such as the ability to record multitrack audio, Sequencers used for audio recording are called digital audio workstations. Many modern sequencers can be used to control virtual instruments implemented as software plug-ins and this allows musicians to replace expensive and cumbersome standalone synthesizers with their software equivalents. Today the term sequencer is used to describe software. Workstation keyboards have their own proprietary built-in MIDI sequencers, drum machines and some older synthesizers have their own step sequencer built in. There are still also standalone hardware MIDI sequencers, although the demand for those has diminished greatly due to the greater feature set of their software counterparts. Music sequencers are often categorized by handling data types, as following, or, the phrase samplers including Groove machines, etc. Also, music sequencer can be categorized by its construction and supporting modes, realtime sequencers record the musical notes in real-time as on audio recorders, and play back musical notes with designated tempo, quantizations, and pitch. For editing, usually punch in/punch out feature originated in the recording is provided. For detailed editing, possibly another visual editing modes under graphical user interface may be more suitable, anyway, this mode provides usability similar to the audio recorder already familiarized by musicians, and it is widely supported on software sequencer, DAW, and built-in hardware sequencers. Analog sequencers are typically implemented with analog electronics, and play the musical notes designated by a series of knobs or sliders corresponding to each musical note and it is designed for both composition and live performance, users can change the musical notes at any time without regarding recording mode. And also possibly, the time-interval between each note can be independently adjustable. Typically, analog sequencer is used to generate the repeated minimalistic phrases which is reminiscent of Tangerine Dream, on the bass machines, select a step note from a chromatic keypads, then select a step duration from a group of length-buttons, sequentially. In general, step mode, along with roughly quantized semi-realtime mode, is supported on the analog drum machines, bass machines. Software sequencer is a class of application software providing a functionality of music sequencer, the features provided as sequencers vary widely depending on the software, even an analog sequencer can be simulated. The user may control the software sequencer either by using the user interfaces or a specialized input devices. The early music sequencers were sound producing devices such as musical instruments, music boxes, mechanical organs, player pianos
11.
Digital audio workstation
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Regardless of configuration, modern DAWs have a central interface that allows the user to alter and mix multiple recordings and tracks into a final produced piece. DAWs are used for the production and recording of music, radio, television, podcasts, multimedia, early attempts at digital audio workstations in the 1970s and 1980s faced limitations such as the high price of storage, and the vastly slower processing and disk speeds of the time. In 1978, Soundstream built what could be considered the first digital audio workstation using some of the most current computer hardware of the time. Interface cards that plugged into the PDP-11s Unibus slots provided analog and digital input and output for interfacing to Soundstreams digital recorders. The DAP software could perform edits to the recorded on the systems hard disks. By the late 1980s, a number of consumer level computers such as the Apple Macintosh, Atari ST, soon, people began to use them for simple two-track audio editing and CD mastering. This combination of software and hardware was one of the earliest examples of a DAW. Many major recording studios finally went digital after Digidesign introduced its Pro Tools software, modeled after the traditional method, at this time, most DAWs were Apple Mac based. Around 1992, the first Windows based DAWs started to emerge from such as IQS Innovative Quality Software, Soundscape Digital Technology, SADiE, Echo Digital Audio. All the systems at this point used dedicated hardware for their audio processing, in 1993, German company Steinberg released Cubase Audio on Atari Falcon 030. This version brought DSP built-in effects with 8-track audio recording & playback using only native hardware, the first Windows based software-only product, introduced in 1993, was Samplitude Studio. In 1996, Steinberg introduced Cubase VST, which could record, Cubase not only modelled a tape-like interface for recording and editing, but also modelled the entire mixing desk and effects rack common in analog studios. This revolutionised the DAW world, both in features and price tag, and was imitated by most other contemporary DAW systems. An integrated DAW consists of a console, control surface, audio converter. Integrated DAWs were more popular before commonly available personal computers became powerful enough to run DAW software, as computer power and speed increased and price decreased, the popularity of costly integrated systems with console automation dropped. Systems such as the Orban Audicy became standard equipment at radio. This could be as simple as a mouse or as sophisticated as a piano-style MIDI controller keyboard or automated fader board for mixing track volumes, the computer acts as a host for the sound card/audio interface, while the software provides the interface and functionality for audio editing. The software controls all related components and provides a user interface to allow for recording, editing
12.
Musical instrument
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A musical instrument is an instrument created or adapted to make musical sounds. In principle, any object that produces sound can be a musical instrument—it is through purpose that the object becomes a musical instrument, the history of musical instruments dates to the beginnings of human culture. Early musical instruments may have used for ritual, such as a trumpet to signal success on the hunt. Cultures eventually developed composition and performance of melodies for entertainment, Musical instruments evolved in step with changing applications. The date and origin of the first device considered an instrument is disputed. The oldest object that some refer to as a musical instrument. Some consensus dates early flutes to about 37,000 years ago, many early musical instruments were made from animal skins, bone, wood, and other non-durable materials. Musical instruments developed independently in many populated regions of the world, however, contact among civilizations caused rapid spread and adaptation of most instruments in places far from their origin. By the Middle Ages, instruments from Mesopotamia were in maritime Southeast Asia, development in the Americas occurred at a slower pace, but cultures of North, Central, and South America shared musical instruments. By 1400, musical instrument development slowed in areas and was dominated by the Occident. Musical instrument classification is a discipline in its own right, Instruments can be classified by their effective range, their material composition, their size, etc. However, the most common method, Hornbostel-Sachs, uses the means by which they produce sound. The academic study of instruments is called organology. Once humans moved from making sounds with their bodies—for example, by using objects to create music from sounds. Primitive instruments were designed to emulate natural sounds, and their purpose was ritual rather than entertainment. The concept of melody and the pursuit of musical composition were unknown to early players of musical instruments. A player sounding a flute to signal the start of a hunt does so without thought of the notion of making music. Musical instruments are constructed in an array of styles and shapes
13.
Performance
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A performance, in the performing arts, generally comprises an event in which a performer or group of performers present one or more works of art to an audience. Usually the performers participate in rehearsals beforehand, the means of expressing appreciation can vary by culture. Chinese performers will clap with the audience at the end of a performance, in Japan, folk performing-arts performances commonly attract individuals who take photographs, sometimes getting up to the stage and within inches of performers faces. Sometimes the dividing line between performer and the audience may become blurred, as in the example of theatre where audience members get involved in the production. Theatrical performances can take place daily or at some other regular interval, performances can take place at designated performance spaces, or in a non-conventional space, such as a subway station, on the street, or in somebodys home. Theatrical performances, especially when the audience is limited to only a few observers and this increase takes place in several stages relative to the performance itself, including anticipatory activation, confrontation activation and release period. The same physiological reactions can be experienced in other mediums, such as instrumental performance, heart rate shares a strong, positive correlation with the self reported anxiety of performers. Other physiological responses to public performance include perspiration, secretion of the adrenal glands, a performance may also describe the way in which an actor performs. In a solo capacity, it may refer to a mime artist, comedian, conjurer. Audio electronics Entertainment Live sound mixing Performance science Rock festival Sound technology Spectacle Stadium Stagecraft Theater
14.
Composer
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A composer is a person who creates or writes music, which can be vocal music, instrumental music or music which combines both instruments and voices. The core meaning of the term refers to individuals who have contributed to the tradition of Western classical music through creation of works expressed in written musical notation, many composers are also skilled performers, either as singers, instrumentalists, and/or conductors. Examples of composers who are well known for their ability as performers include J. S. Bach, Mozart. In many popular genres, such as rock and country. For a singer or instrumental performer, the process of deciding how to perform music that has previously composed and notated is termed interpretation. Different performers interpretations of the work of music can vary widely, in terms of the tempos that are chosen. Composers and songwriters who present their own music are interpreting, just as much as those who perform the music of others, although a musical composition often has a single author, this is not always the case. A piece of music can also be composed with words, images, or, in the 20th and 21st century, a culture eventually developed whereby faithfulness to the composers written intention came to be highly valued. This musical culture is almost certainly related to the esteem in which the leading classical composers are often held by performers. The movement might be considered a way of creating greater faithfulness to the original in works composed at a time that expected performers to improvise. In Classical music, the composer typically orchestrates her own compositions, in some cases, a pop songwriter may not use notation at all, and instead compose the song in her mind and then play or record it from memory. In jazz and popular music, notable recordings by influential performers are given the weight that written scores play in classical music. The level of distinction between composers and other musicians varies, which issues such as copyright and the deference given to individual interpretations of a particular piece of music. In the development of European classical music, the function of composing music initially did not have greater importance than that of performing it. The preservation of individual compositions did not receive attention and musicians generally had no qualms about modifying compositions for performance. In as much as the role of the composer in western art music has seen continued solidification, for instance, in certain contexts the line between composer and performer, sound designer, arranger, producer, and other roles, can be quite blurred. The term composer is often used to refer to composers of music, such as those found in classical, jazz or other forms of art. In popular and folk music, the composer is usually called a songwriter and this is distinct from a 19th-century conception of instrumental composition, where the work was represented solely by a musical score to be interpreted by performers
15.
Sound recording and reproduction
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Sound recording and reproduction is an electrical, mechanical, electronic, or digital inscription and re-creation of sound waves, such as spoken voice, singing, instrumental music, or sound effects. The two main classes of sound recording technology are analog recording and digital recording, prior to the development of analog recording, there were mechanical systems for reproducing instrumental music, such as wind-up music boxes and later, in the late 19th century, player pianos. Analog sound reproduction is the process, with a bigger loudspeaker diaphragm causing changes to atmospheric pressure to form acoustic sound waves. Digital recording and reproduction converts the sound signal picked up by the microphone to a digital form by the process of digitization. This lets the audio data be stored and transmitted by a variety of media. Whereas successive copies of an analog recording tend to degrade in quality, as noise is added. A digital audio signal must be reconverted to analog form during playback before it is amplified and connected to a loudspeaker to produce sound, long before sound was first recorded on cylinders or records, music was recorded—first by written music notation, then also by mechanical devices. Fowler, this. cylinder with raised pins on the surface remained the device to produce and reproduce music mechanically until the second half of the nineteenth century. The Banu Musa brothers also invented an automatic flute player, which appears to have been the first programmable machine, according to Fowler, the automata were a robot band that performed. more than fifty facial and body actions during each musical selection. In the 14th century, Flanders introduced a mechanical bell-ringer controlled by a rotating cylinder, similar designs appeared in barrel organs, musical clocks, barrel pianos, and musical boxes. A music box is a musical instrument that produces sounds by the use of a set of pins placed on a revolving cylinder or disc so as to pluck the tuned teeth of a steel comb. They were developed from musical snuff boxes of the 18th century, some of the more complex boxes also have a tiny drum and/or bells, in addition to the metal comb. The fairground organ, developed in 1892, used a system of accordion-folded punched cardboard books, the player piano, first demonstrated in 1876, used a punched paper scroll that could store an long piece of music. The most sophisticated of the rolls were hand-played, meaning that the roll represented the actual performance of an individual. This technology to record a live performance onto a piano roll was not developed until 1904, piano rolls were in continuous mass production from 1896 to 2008. A1908 U. S. Supreme Court copyright case noted that, in 1902 alone, the use of piano rolls began to decline in the 1920s although one type is still being made today. The first device that could record actual sounds as they passed through the air was the phonautograph, the earliest known recordings of the human voice are phonautograph recordings, called phonautograms, made in 1857. They consist of sheets of paper with sound-wave-modulated white lines created by a stylus that cut through a coating of soot as the paper was passed under it
16.
Audio mixing (recorded music)
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The track may be mixed in mono, stereo, or surround sound. There are numerous approaches, methods and techniques involved in Audio mixing, some of these practices include levels setting, equalization, stereo panning, Audio mixing techniques and approaches can vary widely, and these can greatly affect the qualities of the sound recording. Audio mixing techniques largely depend on music genres and the quality of sound recordings involved, the process is generally carried out by a mixing engineer, though sometimes the musical producer or music artist may assist. After mixing, a mastering engineer prepares the final product for production, Audio mixing may be transferred onto a mixing console or digital audio workstation. Jay bala ji In the late century, Thomas Edison. The recording and reproduction process itself was completely mechanical with little or no electrical parts, Emile Berliners gramophone system recorded music by inscribing spiraling lateral cuts onto a vinyl disc. Electronic recording became widely used during the 1920s. It was based on the principles of electromagnetic transduction, the possibility for a microphone to be connected remotely to a recording machine meant that microphones could be positioned in more suitable places. Even more useful was the fact that the outputs of the microphones could be mixed before being fed to the disc cutter, before the introduction of multitrack recording, all sounds and effects that were to be part of a record were mixed at one time during a live performance. If the recorded blend wasnt satisfactory, or if one made a mistake. Modern mixing emerged with the introduction of commercial multi-track tape machines, the ability to record sounds into a multitude of channels meant that treating these sounds could be postponed to a later stage– the mixing stage. In the 1980s, home recording and mixing became much easier, the 4-track Portastudio was introduced in 1979. Bruce Springsteen released the album Nebraska in 1982 using one, the Eurythmics topped the charts in 1983 with the song Sweet Dreams, recorded by band member Dave Stewart on a makeshift 8-track recorder. In the mid-to-late 1990s, computers replaced tape-based recording for most home studios, at the same time, digital audio workstations, first used in the mid-1980s, began to replace tape in many professional recording studios. A mixer is the heart of the mixing process. Mixers offer a multitude of inputs, each fed by a track from a multitrack recorder, mixers typically have 2 main outputs or 8. Mixers offer three main functionalities, Mixing – summing signals together, which is normally done by a dedicated summing amplifier or in the case of digital by a simple algorithm, routing – allows the routing of source signals to internal buses or external processing units and effects. Processing – many mixers also offer on-board processors, like equalizers and compressors, Mixing consoles used for dubbing can often be seen as large and intimidating, due to the exceptional amount of controls
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Audio mastering
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Mastering requires critical listening, however, software tools exist to facilitate the process. Mastering is a gateway between production and consumption and, as such, it involves technical knowledge as well as specific aesthetics. Results still depend upon the accuracy of speaker monitors and the listening environment, mastering engineers may also need to apply corrective equalization and dynamic compression in order to optimise sound translation on all playback systems. It is standard practice to make a copy of a recording, known as a safety copy, in case the master is lost. In the earliest days of the industry, all phases of the recording and mastering process were entirely achieved by mechanical processes. The cutting head, driven by the energy transferred from the horn and these masters were usually made from either a soft metal alloy or from wax, this gave rise to the colloquial term waxing, referring to the cutting of a record. Until the introduction of recording, master recordings were almost always cut direct-to-disc. Only a small minority of recordings were mastered using previously recorded material sourced from other discs, in the late 1940s, the recording industry was revolutionized by the introduction of magnetic tape. Magnetic tape was invented for recording sound by Fritz Pfleumer in 1928 in Germany, not until the end of World War II could the technology be found outside of Europe. The introduction of tape recording enabled master discs to be cut separately in time. From the 1950s until the advent of recording in the late 1970s. Once the studio recording on tape was complete, a final mix was prepared and dubbed down to the master tape. Prior to the cutting of the disc, the master tape was often subjected to further electronic treatment by a specialist mastering engineer. After the advent of tape it was found that, especially for pop recordings and this was done by making fine adjustments to the amplitude of sound at different frequency bands prior to the cutting of the master disc. Record mastering became a prized and skilled craft, and it was widely recognized that good mastering could make or break a commercial pop recording. As a result, the independent mastering studio was born, early independent mastering engineers included Doug Sax, Bob Ludwig, Bob Katz and Bernie Grundman and Denny Purcell. In large recording companies such as EMI, the process was usually controlled by specialist staff technicians who were conservative in their work practices. In the 1990s, electro-mechanical processes were largely superseded by digital technology, with digital recordings stored on disk drives or digital tape
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Disc jockey
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A disc jockey is a person who mixes different sources of pre-existing recorded music as it is playing, usually for a live audience in a nightclub or dance club or via broadcasting. DJs typically perform for an audience in a nightclub or dance club or a TV, radio broadcast audience, or in the 2010s. DJs also create mixes, remixes and tracks that are recorded for later sale, in hip hop music, DJs may create beats, using percussion breaks, basslines and other musical content sampled from pre-existing records. In hip hop, rappers and MCs use these beats to rap over, DJs use equipment that can play at least two sources of recorded music simultaneously and mix them together. This allows the DJ to create seamless transitions between recordings and develop unique mixes of songs, DJ equipment, notably the specialized DJ mixer, a small audio mixer with a crossfader and cue functions. The crossfader enables the DJ to blend or transition from one song to another, the cue knobs or switches allow the DJ to preview a source of recorded music in headphones before playing it for the live club or broadcast audience. Previewing the music in headphones helps the DJ pick the track they want to play. DJs may also use a microphone to speak to the audience, effects such as reverb to create sound effects, drum machines. The title DJ is also used by DJs in front of their real names or adopted pseudonyms or stage names as a title to denote their profession. Some DJs focus on creating a mix of songs for the club dancers or radio audience. Other DJs use turntablism techniques such as scratching, in which the DJ or turntablist manipulates the record player turntable to create new sounds. In many types of DJing, including club DJing and radio/TV DJing, there are several types of disc jockey. Radio DJs or radio personalities introduce and play music that is broadcast on AM, FM, club DJs select and play music in bars, nightclubs or discothèques, or at parties, raves, or even in stadiums. Mobile DJs travel with portable sound systems and play recorded music at a variety of events. Some mobile DJs also serve as the master of ceremonies at weddings or other events, directing the attention of attendees, there are also many competitions for DJs that specialize in different turntablism techniques, such as mixing, hip hop music-style scratching or other kinds of techniques. Other types of DJ use musical performance techniques that allow them to be categorized as performing musicians, hip hop DJs and are also often songwriters or music producers who use turntablism and sampling to create backing instrumentals for new tracks. In reggae, the DJ is a vocalist who raps, toasts, chants or chats over pre-recorded rhythm tracks, the individual who helps the DJ by selecting tracks or records to be played is called the selector. Many electronica artists and producers who work as DJs often perform music by combining turntablism with keyboards, digital musical instruments
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Beatmatching
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The technique was developed to keep the people from leaving the dancefloor at the end of the song. Beatmatching is no longer considered a novelty, and new digital software has made the technique easier to master. The beatmatching technique consists of the steps, While a record is playing, start a second record playing. Use gain control on the mixer to match the levels of the two records, restart and slip-cue the new record at the right time, begin the new record on beat with the record currently playing. Pay attention to structures, careful phrasing can make the mix seamless. Continue this process until the two records are in sync with each other and it can be difficult to sync the two records perfectly, so manual adjustment of the records is necessary to maintain the beat synchronization. Before fading in the new track, check that the beats of two tracks match by listening to both channels together in the headphones, as the sound from the speakers can reach you with a delay. Gradually fade in parts of the new track while fading out the old track, while in the mix, ensure that the tracks are still synchronized, adjusting the records if needed. The fade can be repeated several times, for example, from the first track, fade to the track, then back to first. One of the key things to consider when beatmatching is the tempo of songs, and the musical theory behind the songs. Attempting to beatmatch songs with completely different BPMs, will result in one or both of the songs sounding too fast or too slow. When beatmatching songs of similar BPMs it is important to consider the genre of each song, while most songs with the same BPM have similar beat structures, some genres will feature songs that wont mix well with others. When beatmatching, a technique used by many disc jockeys around the world is to vary the equalization of both tracks. Doing so creates a transition that the audience would generally react to better. The pitch and tempo of a track are linked together, spin a disc 5% faster. However, some modern DJ software can change pitch and tempo independently using time-stretching and pitch-shifting, allowing harmonic mixing. There is also a feature in most modern DJ software to change the tempo but keeping the original pitch, beatmatching was invented by Francis Grasso in the late 1960s and early 1970s. Initially he was counting the tempo with a metronome and looking for records with the same tempo
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Crossfade (audio engineering)
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In audio engineering, a fade is a gradual increase or decrease in the level of an audio signal. The term can also be used for film cinematography or theatre lighting in much the same way, a recorded song may be gradually reduced to silence at its end, or may gradually increase from silence at the beginning. Fading-out can serve as a solution for pieces of music that contain no obvious ending. Both fades and cross-fades are very valuable since they allow the engineer to quickly and easily make sure that the beginning and it is necessary that there is a clear section of silence prior to the audio. Fade-ins and out can also be used to change the characteristics of a sound, for example a fade-in is used to soften the attack and it can also be used to soften up the attack of the drum and/or percussion instruments. A cross-fade can be manipulated through its rates and coefficients in order to create different styles of fading, almost every fade is different, this means that the fade parameters must be adjusted according to the individual needs of the mix. Club DJs in house music and techno use DJ mixers, two or more sound sources along with a skill called beatmatching to make seamless dance mixes for dancers at raves, nightclubs, though relatively rare, songs can fade out then fade back in. 2 by Argent and Future by Paramore, possibly the earliest example of a fade-out ending can be heard in Joseph Haydns Symphony No. 45, nicknamed the Farewell Symphony on account of the fade-out ending and this was expressed by the players extinguishing their stand candles and leaving the stage one by one during the final adagio movement of the symphony, leaving only two muted violins playing. Esterhazy appears to have understood the message, allowing the musicians to leave, gustav Holsts Neptune, the mystic, part of the orchestral suite The Planets written between 1914 and 1916, is another early example of music to have a fade-out ending during performance. Until the imagination knew no difference between sound and silence, the technique of ending a spoken or musical recording by fading out the sound goes back to the earliest days of recording. This is called the “Pulse Continuity Phenomenon and was measured by a task to measure participants’ perception of pulsation. An 189478 rpm record called The Spirit of 76, a narrated musical vignette with martial fife-and-drum that gets louder as it nears the listener and quieter as it moves away, there are early examples that appear to bear no obvious relationship to movement. One is Barkin Dog by the Ted Lewis Jazz Band, another contender is America, a patriotic piece by the chorus of evangelist Billy Sunday. By the early 1930s longer songs were being put on both sides of records, with the fading out at the end of Side One. Records at the time only about two to five minutes of music per side. The segue allowed for longer songs, symphonies and live concert recordings, however, shorter songs continued to use the fade-out for unclear reasons—for example, Fred Astaires movie theme Flying Down to Rio. Even using fade-out as a segue device doesnt seem obvious, though we certainly take it for granted today and it is possible that movies were an influence here
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Turntablism
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The mixer is plugged into a PA system for live events and/or broadcasting equipment (if the DJ is performing on radio, TV or Internet radio, so that a wider audience can hear the turntablists music. Turntablists typically use two or more turntables and headphones to cue up desired start points on different records, the word turntablist was originated by Luis DJ Disk Quintanilla. The new term coincided with the resurgence of hip-hop DJing in the 1990s, some turntablists use turntable techniques like beat mixing/matching, scratching, and beat juggling. Some turntablists seek to have recognized as traditional musicians capable of interacting and improvising with other performers. The use of the turntable as an instrument has its roots dating back to the 1930s, 1940s. Experimental composers used them to sample and create music that was produced by the turntable. Cages Imaginary Landscape No.1 is composed for two variable speed turntables, frequency recordings, muted piano and cymbal, edgard Varèse experimented with turntables even earlier in 1930, though he never formally produced any works using them. Examples of turntable effects can also be found on popular records produced in the 1960s and 1970s, creedence Clearwater Revivals 1968 self-titled debut album features a backspin effect in the song Walk on the Water. However, turntablism as it is known today did not surface until the development of hip hop in the late 1970s, Turntablism as a modern art form and musical practice has its roots within African-American inner city hip hop and hip hop culture of the late 1970s. Kool DJ Herc, Afrika Bambaataa and Grandmaster Flash are widely credited for having cemented the now established role of DJ as hip hops foremost instrumentalist. Kool Hercs invention of break-beat DJing is generally regarded as the development in hip hop history. His influence on the concept of DJ as turntablist is equally profound, to understand the significance of this achievement, it is important to first define the break. Briefly, the break of a song is a musical fragment only seconds in length, Kool Herc introduced the break-beat technique as a way of extending the break indefinitely. This is done by buying two of the record, finding the break on each record, and switching from one to the other using the DJ mixer. Using that idea, Grandmaster Flash elaborated on Kool Hercs invention of break-beat DJing and came up with the quick-mix theory and he described it as being. like cutting, the backspin, and the double-back. Kool Hercs revolutionary techniques set the course for the development of turntablism as an art form in significant ways, most important, however, he developed a new form of DJing that did not consist of just playing and mixing records one after the other. The type of DJ that specializes in mixing a set is well respected for his/her own set of unique skills, the DJ would be examined critically by the crowd on both a technical and entertainment level. Grand Wizzard Theodore, an apprentice of Flash, who isolated the most recognizable technique of turntablism, [ Eshun
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Commercial software
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Commercial software, or seldom payware, is computer software that is produced for sale or that serves commercial purposes. Commercial software can be proprietary software or free and open source software, no special machines or expensive additional resources are required, unlike almost all physical goods and products. Once a software is created it can be copied in infinite numbers, for almost zero cost and this made commercialization of software for the mass market in the beginning of the computing era impossible. Unlike hardware, it was not seen as trade-able and commercialize-able good, Software was plainly shared for free or distributed bundled with sold hardware, as part of the service to make the hardware usable for the customer. Due to changes in the industry in the 1970s and 1980s. In 1969, IBM, under threat of antitrust litigation, led the change by starting to charge separately for software and services. In 1983 binary software became copyrightable by the Apple vs. Franklin law decision, when software is sold in binary form only on the market, exclusive control over software derivatives and further development is additionally achieved. While less common than commercial software, free and open-source software may also be commercial software in the free. But unlike the proprietary model, commercialization is achieved in the FOSS commercialization model without limiting the users in their capability to share, reuse and this is a fact that the Free Software Foundation emphasizes on, and is the basis of the Open Source Initiative. Under a FOSS business model, software vendors may charge a fee for distribution and offer pay support, Proprietary software uses a different business model, where a customer of the proprietary software pays a fee for a license to use the software. This license may grant the customer the ability to configure some or no parts of the software themselves, often some level of support is included in the purchase of proprietary software, but additional support services are usually available for an additional fee. Some proprietary software vendors will also customize software for a fee, Free software is often available at no cost and can result in permanently lower costs compared to proprietary software. With free software, businesses can fit software to their needs by changing the software themselves or by hiring programmers to modify it for them. Free software often has no warranty, and more importantly, generally does not assign legal liability to anyone, however, warranties are permitted between any two parties upon the condition of the software and its usage. Such an agreement is made separately from the software license. All or parts of packages and services that support commerce are increasingly made available as FOSS software. This includes products from Red Hat, Apple Computer, Sun Microsystems, Google, Microsoft Corporation uses commercial software, to describe their business model but is also mostly proprietary. A report by Standish Group says that adoption of open source has caused a drop in revenue to the software industry by about $60 billion per year
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Max (software)
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Max is a visual programming language for music and multimedia developed and maintained by San Francisco-based software company Cycling 74. During its history, it has been used by composers, performers, software designers, researchers, and artists to create recordings, performances, most routines exist as shared libraries. An application programming interface allows third-party development of new routines, thus, Max has a large user base of programmers unaffiliated with Cycling 74 who enhance the software with commercial and non-commercial extensions to the program. Miller Puckette originally wrote Max at Paris IRCAM in the mid-1980s and it was first used by Philippe Manoury in 1988 to write a piano and computer piece named Pluton, which synchronized a computer to a piano and controlled a Sogitec 4X for audio processing. In 1989, IRCAM licensed it to Opcode Systems, which sold a version in 1990 named Max. As the software was never a perfect fit for Opcode Systems, the current commercial version of Max has since been distributed by Zicarellis company, Cycling 74, since 1999. Max has several extensions and incarnations, most notably, a set of extensions to the software appeared in 1997. In 1998, a descendant of Max/FTS was developed for Unix systems, using Java for its user interface and C for the real time part. In 1999, Netochka Nezvanova released nato. 0+55, a suite of externals that added extensive real time video control to Max, though nato became increasingly popular among multimedia artists, its development stopped in 2001. Canadian media artist David Rokeby developed SoftVNS, a third-party package for processing in Max. In the meantime, Cycling 74 developed their own set of video extensions and they released a major package for Max/MSP named Jitter in 2003, which provides real-time video, 3-D, and matrix processing ability. In addition, several Max-like programs share the concept of visual programming in real time, such as Quartz Composer and vvvv. Pure Data also remains widely used, a major update to Max/MSP/Jitter, Max 5, was released in 2008. It included a user interface and new objects. In November 2011, Cycling 74 released Max 6, an overhaul with further improvements to the user interface. Gen, an add-on for patching and code compiling was also released, in November 2014, Cycling 74 released Max 7, an update that featured an optimized interface, higher performance, and new tools for organizing files and tutorials. Max is named after the late Max Mathews, and can be considered a descendant of MUSIC, as with most MUSIC-N languages, Max/MSP/Jitter distinguishes between two levels of time, that of an event scheduler, and that of the DSP. The basic language of Max and its programs is that of a data-flow system, Max programs are made by arranging and connecting building-blocks of objects within a patcher
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Musical Instrument Digital Interface
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A single MIDI link can carry up to sixteen channels of information, each of which can be routed to a separate device. These messages are sent via a MIDI cable to other devices where they control sound generation, a simple example of a MIDI setup is the use of a MIDI controller such as an electronic musical keyboard to trigger sounds created by a sound module. This MIDI data can also be recorded into a hardware or software device called a sequencer, advantages of MIDI include compactness, ease of modification and manipulation and a wide choice of electronic instruments and synthesizer or digitally-sampled sounds. MIDI technology was standardized in 1983 by a panel of industry representatives. In June 1981, Roland founder Ikutaro Kakehashi proposed the idea of standardization to Oberheim Electronics founder Tom Oberheim, in October 1981, Kakehashi, Oberheim and Smith discussed the idea with representatives from Yamaha, Korg and Kawai. Smith proposed this standard at the Audio Engineering Society show in November 1981, MIDIs development was announced to the public by Robert Moog, in the October 1982 edition of Keyboard magazine. By the time of the January 1983 Winter NAMM Show, Smith was able to demonstrate a MIDI connection between his Prophet 600 analog synthesizer and a Roland JP-6, the MIDI Specification was published in August 1983. The MIDI standard was unveiled by Ikutaro Kakehashi and Dave Smith, MIDIs appeal was originally limited to professional musicians and record producers who wanted to use electronic instruments in the production of popular music. The standard allowed different instruments to speak with other and with computers. This interoperability allowed one device to be controlled from another, which reduced the amount of hardware musicians needed to own, MIDIs introduction coincided with the dawn of the personal computer era and the introductions of samplers and digital synthesizers. The creative possibilities brought about by MIDI technology have been credited as having helped to revive the industry in the 1980s. MIDI introduced many capabilities which transformed the way musicians work, MIDI sequencing made it possible for a user with no notation skills to build complex arrangements. A musical act with as few as one or two members, each operating multiple MIDI-enabled devices, could deliver a performance which sounds similar to that of a larger group of musicians. By performing preproduction in an environment, an artist can reduce recording costs by arriving at a recording studio with a song that is already partially completed and worked out. Educational technology enabled by MIDI has transformed music education and those new to the subject of MIDI might confuse it with digital audio. MIDI symbolically represents a note, whereas digital audio represents the sound produced by the note, MIDI was invented so that musical instruments could communicate with each other and so that one instrument can control another. Analog synthesizers that have no digital component and were built prior to MIDIs development can be retrofit with kits that convert MIDI messages into analog control voltages. When a note is played on a MIDI instrument, it generates a signal that can be used to trigger a note on another instrument
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Drum
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The drum is a member of the percussion group of musical instruments. In the Hornbostel-Sachs classification system, it is a membranophone, Drums consist of at least one membrane, called a drumhead or drum skin, that is stretched over a shell and struck, either directly with the players hands, or with a drum stick, to produce sound. There is usually a head on the underside of the drum. Other techniques have been used to cause drums to make sound, Drums are the worlds oldest and most ubiquitous musical instruments, and the basic design has remained virtually unchanged for thousands of years. Drums may be played individually, with the using a single drum. Others are normally played in a set of two or more, all played by the one player, such as drums and timpani. A number of different drums together with form the basic modern drum kit. Drums are usually played by striking with the hand, or with one or two sticks, in many traditional cultures, drums have a symbolic function and are used in religious ceremonies. Drums are often used in therapy, especially hand drums, because of their tactile nature. In popular music and jazz, drums usually refers to a kit or a set of drums. Drums acquired even divine status in places such as Burundi, where the karyenda was a symbol of the power of the king, the shell almost invariably has a circular opening over which the drumhead is stretched, but the shape of the remainder of the shell varies widely. In the western tradition, the most usual shape is a cylinder, although timpani, for example. Other shapes include a design, truncated cones, goblet shaped. Drums with cylindrical shells can be open at one end, or can have two drum heads, single-headed drums typically consist of a skin stretched over an enclosed space, or over one of the ends of a hollow vessel. Drums with two heads covering both ends of a shell often have a small hole somewhat halfway between the two heads, the shell forms a resonating chamber for the resulting sound. Exceptions include the African slit drum, also known as a log drum as it is made from a tree trunk. Drums with two heads can also have a set of wires, called snares, held across the head, top head. The heads tension can be adjusted by loosening or tightening the rods, many such drums have six to ten tension rods
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Bass guitar
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The bass guitar is a stringed instrument played primarily with the fingers or thumb, by plucking, slapping, popping, strumming, tapping, thumping, or picking with a plectrum, often known as a pick. The bass guitar is similar in appearance and construction to a guitar, but with a longer neck and scale length. The four-string bass, by far the most common, is tuned the same as the double bass. The bass guitar is an instrument, as it is notated in bass clef an octave higher than it sounds to avoid excessive ledger lines. Like the electric guitar, the guitar has pickups and it is plugged into an amplifier and speaker on stage, or into a larger PA system using a DI unit. Since the 1960s, the guitar has largely replaced the double bass in popular music as the bass instrument in the rhythm section. While types of basslines vary widely from one style of music to another, many styles of music utilise the bass guitar, including rock, heavy metal, pop, punk rock, country, reggae, gospel, blues, symphonic rock, and jazz. It is often a solo instrument in jazz, jazz fusion, Latin, funk, progressive rock and other rock, the adoption of a guitar form made the instrument easier to hold and transport than any of the existing stringed bass instruments. The addition of frets enabled bassists to play in more easily than on acoustic or electric upright basses. Around 100 of these instruments were made during this period, around 1947, Tutmarcs son, Bud, began marketing a similar bass under the Serenader brand name, prominently advertised in the nationally distributed L. D. Heater Music Company wholesale jobber catalogue of 1948, however, the Tutmarc family inventions did not achieve market success. In the 1950s, Leo Fender, with the help of his employee George Fullerton and his Fender Precision Bass, which began production in October 1951, became a widely copied industry standard. This split pickup, introduced in 1957, appears to have been two mandolin pickups, the pole pieces and leads of the coils were reversed with respect to each other, producing a humbucking effect. Humbucking is a design that electrically cancels the effect of any AC hum, the Fender Bass was a revolutionary new instrument, which could be easily transported, and which was less prone to feedback when amplified than acoustic bass instruments. Monk Montgomery was the first bass player to tour with the Fender bass guitar, roy Johnson, and Shifty Henry with Louis Jordan & His Tympany Five, were other early Fender bass pioneers. Bill Black, playing with Elvis Presley, switched from bass to the Fender Precision Bass around 1957. The bass guitar was intended to appeal to guitarists as well as upright bass players, following Fenders lead, in 1953, Gibson released the first short scale violin-shaped electric bass with extendable end pin, allowing it to be played upright or horizontally. In 1959 these were followed by the more conventional-looking EB-0 Bass, the EB-0 was very similar to a Gibson SG in appearance
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Guitar
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The guitar is a musical instrument classified as a fretted string instrument with anywhere from four to 18 strings, usually having six. The sound is projected either acoustically, using a wooden or plastic and wood box, or through electrical amplifier. It is typically played by strumming or plucking the strings with the fingers, the guitar is a type of chordophone, traditionally constructed from wood and strung with either gut, nylon or steel strings and distinguished from other chordophones by its construction and tuning. There are three types of modern acoustic guitar, the classical guitar, the steel-string acoustic guitar, and the archtop guitar. The tone of a guitar is produced by the strings vibration, amplified by the hollow body of the guitar. The term finger-picking can also refer to a tradition of folk, blues, bluegrass. The acoustic bass guitar is an instrument that is one octave below a regular guitar. Early amplified guitars employed a body, but a solid wood body was eventually found more suitable during the 1960s and 1970s. As with acoustic guitars, there are a number of types of guitars, including hollowbody guitars, archtop guitars and solid-body guitars. The electric guitar has had a influence on popular culture. The guitar is used in a variety of musical genres worldwide. It is recognized as an instrument in genres such as blues, bluegrass, country, flamenco, folk, jazz, jota, mariachi, metal, punk, reggae, rock, soul. The term is used to refer to a number of chordophones that were developed and used across Europe, beginning in the 12th century and, later, in the Americas. The modern word guitar, and its antecedents, has applied to a wide variety of chordophones since classical times. Many influences are cited as antecedents to the modern guitar, at least two instruments called guitars were in use in Spain by 1200, the guitarra latina and the so-called guitarra morisca. The guitarra morisca had a back, wide fingerboard. The guitarra Latina had a sound hole and a narrower neck. By the 14th century the qualifiers moresca or morisca and latina had been dropped, and it had six courses, lute-like tuning in fourths and a guitar-like body, although early representations reveal an instrument with a sharply cut waist
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Bassline
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It is also used sometimes in classical music. In solo music for piano and pipe organ, these instruments have an excellent lower register that can be used to play a deep bassline, on organs, the bass line is typically played using the pedal keyboard and massive 16 and 32 bass pipes. Basslines in popular music often use riffs or grooves, which are simple, appealing musical motifs or phrases that are repeated, with variation. The bass differs from other voices because of the role it plays in supporting and defining harmonic motion. It does so at levels ranging from immediate, chord-by-chord events to the harmonic organization of a entire work. Bassline riffs usually emphasize the chord tones of each chord, which helps to define a songs key, at the same time, basslines work along with the drum part and the other rhythm instruments to create a clear rhythmic pulse. The type of rhythmic pulse used in basslines varies widely in different types of music, in swing jazz and jump blues, basslines are often created from a continuous sequence of quarter notes in a mostly scalar, stepwise part called a walking bass line. In Latin, salsa music, jazz fusion, reggae, electronica, in bluegrass and traditional country music, basslines often emphasize the root and fifth of each chord. In classical music such as string quartets and symphonies, basslines play the same harmonic and rhythmic role, however, most popular musical ensembles include an instrument capable of playing bass notes. In the 1890s, a tuba was often used, from the 1920s to the 1940s, most popular music groups used the double bass as the bass instrument. Starting in the 1950s, the bass guitar began to replace the bass in most types of popular music, such as rock and roll, blues. By the 1970s and 1980s, the bass was used in most rock bands. The double bass was used in some types of popular music that recreated styles from the 1940s and 1950s such as jazz, traditional 1950s blues, jump blues, country. In some popular bands, keyboard instruments are used to play the bass line. In organ trios, for example, a Hammond organ player performs the basslines using the pedal keyboard. In some types of music, such as hip-hop or house music. Basslines are especially important in many forms of dance and electronic music, such as electro, drum and bass, dubstep, and most forms of house and trance. In these genres, basslines are almost always performed on synthesizers, either physical, such as the Minimoog, chinese orchestras use the zhōng ruǎn and dà ruǎn for creating basslines
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Sampling (music)
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In music, sampling is the act of taking a portion, or sample, of one sound recording and reusing it as an instrument or a sound recording in a different song or piece. Sampling was originally developed by experimental musicians working with musique concrète and electroacoustic music, by the late 1960s, the use of tape loop sampling influenced the development of minimalist music and the production of psychedelic rock and jazz fusion. Hip hop music was the first popular music based on the art of sampling – being born from 1970s DJs who experimented with manipulating vinyl on two turntables and an audio mixer. Historically, sampling was most often done with a sampler — a specialized piece of hardware — but today, however, vinyl emulation software may also be used, and turntablists continue to sample using traditional methods. Often samples consist of one part of a song, such as a rhythm break, for instance, hip hop music developed from DJs looping the breaks from songs to enable continuous dancing. Samples can also consist of words and phrases, including those in non-musical media such as movies, TV shows. Sampling does not necessarily mean using pre-existing recordings, a number of composers and musicians have constructed pieces or songs by sampling field recordings they made themselves, and others have sampled their own original recordings. The use of sampling is controversial legally and musically, in the 1970s, when hip hop was confined to local dance parties, it was unnecessary to obtain copyright clearance in order to sample recorded music at these parties. Aside from legal issues, sampling has been championed and criticized. Hip-hop DJs today take different approaches to sampling, with critical of its obvious use. Some critics, particularly those with a rockist outlook, have expressed the belief all sampling is lacking in creativity, while others say sampling has been innovative and revolutionary. Those whose own work has been sampled have also voiced a variety of opinions about the practice. Once recorded, samples can be edited, played back, or looped, types of samples include, The drums and percussion parts of many modern recordings are really a variety of short samples of beats strung together. Many libraries of such beats exist and are licensed so that the user incorporating the samples can distribute their recording without paying royalties, such libraries can be loaded into samplers. Though percussion is an application of looping, many kinds of samples can be looped. A piece of music may have an ostinato which is created by sampling a phrase played on any kind of instrument, there is software which specializes in creating loops. Whereas loops are usually a phrase played on a musical instrument, Music workstations and samplers use samples of musical instruments as the basis of their own sounds, and are capable of playing a sample back at any pitch. Many modern synthesizers and drum machines also use samples as the basis of their sounds, most such samples are created in professional recording studios using world-class instruments played by accomplished musicians
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Akai
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Akai is a consumer electronics brand, now headquartered in Singapore. At its peak in the late 1990s, Akai Holdings employed 100,000 workers and had sales of HK$40 billion. In addition to development of musical instruments, the Akai brand name is also used to rebadge electronics manufactured by other companies. Akai means red in Japanese, hence the color, earlier also accompanied by a red dot. Akai was founded by Masukichi Akai and his son, Saburo Akai as Akai Electric Company Ltd. a Japanese manufacturer in 1929 or 1946. At its peak in the late 1990s, Akai Holdings employed 100,000 workers and had sales of HK$40 billion. It emerged that ownership of Akai Holdings had somehow passed in 1999 to Grande Holdings, the liquidators claimed that Ting had stolen over US$800m from the company with the assistance of accountants Ernst & Young who had tampered with audit documents going back to 1994. Ting was imprisoned for false accounting in 2005, and E&Y paid $200m to settle the case out of court in September 2009. In a separate lawsuit, a former E&Y partner, Christopher Ho, Akais products included reel-to-reel audiotape recorders, tuners, audio cassette decks, amplifiers, microphones, receivers, turntables, video recorders and loudspeakers. Many Akai products were sold under the name Roberts in the US, as well as A&D in Japan, Tensai, Akai manufactured and badged most of its imported hi-fi products with the Tensai brand (named after the Swiss audio and electronics distributor Tensai International. Tensai International was Akais exclusive distributor for the Swiss and Western European markets until 1988, Akai limited its consumer hi-fi product line in the United States and Europe towards the end of the 20th century. Akai produced consumer video cassette recorders during the 1980s, the Akai VS-2 was the first VCR with an on-screen display, originally named the Interactive Monitor System. Within a few years, all competing manufacturers had adopted on-screen display technology in their own products, in 1984, a new division of the company was formed to focus on the manufacture and sale of electronic instruments, and was called Akai Professional. The first product released by the new subsidiary was MG1212, a 12 channel,12 track recorder in 1984 and this innovative device used a special VHS-like cartridge, and was good for 10 minutes of continuous 12 track recording or 20 minutes at half speed. One track was dedicated to recording absolute time, and another one for synchronization such as SMPTE or MTC. Each channel strip included dbx type-1 noise reduction and semi-parametric equalizers, the unit also had innovations like an electronic 2 bus system, a 12 stereo channel patch bay and auto punch in and out, among others. The unique transport design and noise reduction gave these units a recording quality rivaling that of more expensive 16 track machines using 1 tape, the MG-1212 was later replaced by the MG-1214, which improved the transport mechanism and overall performance. Other early products included the Akai AX80 8-voice analog synthesizer in 1984, followed by AX60, the AX-60 also had the ability to interface with Akais early samplers through a serial cable, using 12-bit samples as an additional oscillator
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Novation Digital Music Systems
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Novation Digital Music Systems Ltd. is a British musical equipment manufacturer, founded in 1992 by Ian Jannaway and Mark Thompson as Novation Electronic Music Systems. At present, Novation products are manufactured in China. It was based on a called the MidiCon, which was never released and was the first hardware controller the company made. The MM10 combined with the QY10 arguably constituted the first completely portable modern music workstation, in 1993 the company released the Novation Bass Station, today regarded as a classic synthesiser. Novations first technical director was Chris Huggett, who designed the Wasp and OSCar synthesisers and he has been a consultant to the company ever since and has been involved in the design of many of the companys products. Supernova and its successor, SuperNova II, have used by a wide range of artists including Orbital, ATB, The Faint, Sin, Jean Michel Jarre. This was followed by MIDI controllers featuring no keyboard at all, Automap has continued to be developed to the present day and is available in a number of formats including an iOS app. In August 2004, Novation was acquired by Focusrite Ltd. Launchpad was one of the first grid-based performance controllers and this area expanded over the subsequent period to become a significant aspect of the electronic music hardware market. There are currently 3 variations of the product, the Launchpad, Launchpad Pro, the product has been discontinued since. Novation synthesisers have been used by a range of acts including drum and bass/Rock group Pendulum, French composer Jean Michel Jarre, Steve Hillier of Dubstar. In the track Triumph by the rap group Wu-Tang Clan, Novation is referenced by Wu-Tang member RZA and this section lists past and present key Novation products in chronological order with brief descriptions. See also 21 Years of inNovation Novation official web site article, MM10 was a battery-powered portable keyboard system for the Yamaha QY10 music workstation. BassStation Rack included dual ADSR envelope shapers, 12/24db per octave filter, oscillator sync, and LFO, DCOs and built-in MIDI/Control Voltage converter. Users include William Ørbit, Biosphere, Massive Attack, Orbital, Apollo 440, Nine Inch Nails, Radiohead, Jimi Tenor, Laurent Garnier, ATB, Sneaker Pimps, Out of Logic and Underworld. Supernova Polyphonic synth providing a complete multi-effects processor for each of its eight audio output parts —, Supernova originally featured 16-note polyphony, later expanded to 20 with a new operating system, and three DCOs with ASM to recreate the classic analogue synth sound. Two powerful LFOs and two ring modulators completed the sound capabilities and the Supernova specification was rounded out with eight analogue outputs. Supernova and its successor, Supernova II, have used by Orbital, ATB, The Faint, Sin, Jean-Michel Jarre. Nova essentially repackaged the Supernova into a desktop performance module based around the same synthesiser engine, Supernova II was available in 24,36 and 48-voice models with additional 12 or 24-voice expansion boards
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Ableton Push
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Ableton was founded in 1999 by Gerhard Behles, Robert Henke of Monolake, and Bernd Roggendorf. Behles remains the chief officer of Ableton. Abletons office is located in the Mitte district of Berlin, Germany with an office in Pasadena. In March 2007, Ableton announced it was beginning a collaboration with Cycling 74 and this collaboration is not directly based on Live or Max/MSP, but rather combines the two companies strengths in a new product. In January 2009 the Ableton/Cycling 74 product Max for Live was announced, Max for Live makes it possible to create Max/MSP patches directly inside of Live. The patches act like other plug-ins in Live do, supporting preset saving, automation, Ableton Live is currently in its ninth version. There are three versions of the software available for purchase, Live 9 Standard, Live 9 Suite, Ableton Live is designed to be used with a wide range of USB and MIDI controllers, as well as instruments and virtual instruments. The company constructed the Push controller for Live 9 in cooperation with Akai Professional, Ableton holds many music production sessions and seminars to learn to use their software, and licenses certified Ableton trainers. The author, Dennis DeSantis, works as Head of Documentation at Ableton and was formerly a designer for Native Instruments. Ableton Live Ableton Operator Digital audio workstation Category, Ableton Live users The MusicRadar Team, the 19 best DAW software apps in the world today. Ableton Push, New Hardware Controller for Live Ableton Homepage
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Sampler (musical instrument)
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The samples are loaded or recorded by the user or by a manufacturer. These sounds are played back by means of the sampler program itself. Because these samples are stored in digital memory, the information can be quickly accessed. A single sample may often be pitch-shifted to different pitches to produce musical scales, often samplers offer filters, effects units, modulation via low frequency oscillation and other synthesizer-like processes that allow the original sound to be modified in many different ways. Most samplers have polyphonic capabilities – they are able to more than one note at the same time. Many are also multitimbral – they can play back different sounds simultaneously, prior to computer memory-based samplers, musicians used tape replay keyboards, which store recordings on analog tape. When a key is pressed the tape head contacts the moving tape, to change sounds a new set of tapes had to be installed in the instrument. The emergence of the sampler made sampling far more practical. Bruce Haack built a digital sampler which he demonstrated on Mister Rogers Neighborhood in 1967, the home made synthesizer device included a built-in sampler which recorded, stored, played back and looped sounds controlled by switches, light sensors and human skin contact. EMS Musys system, developed by Peter Grogono, David Cockerell, the system ran on two mini-computers, Digital Equipment PDP-8s. These had 12,000 bytes of memory, backed up by a hard drive of 32k. EMS equipment was used to control the worlds first digital studio, the E-mu SP-1200 percussion sampler progressed Hip-Hop away from the drum machine sound upon its release in August 1987, ushering in the sample-based sound of the late 1980s and early 1990s. Akai pioneered many processing techniques, such as crossfade looping and time stretch to shorten or lengthen samples without affecting pitch, during the 1980s, hybrid synthesizers began to utilize short samples along with digital synthesis to create more realistic imitations of instruments than had previously been possible. Examples are the Korg M1, Roland U-110, Yamahas SY series, samplers, together with traditional Foley artists, are the mainstay of modern sound effects production. Using digital techniques various effects can be pitch-shifted and otherwise altered in ways that would have required many hours when done with tape, usually a sampler is controlled by an attached music keyboard or other external MIDI controller or source. Each note-message received by the sampler accesses a particular sample, often multiple samples are arranged across the keyboard, each assigned to a note or group of notes. Keyboard tracking allows samples to be shifted in pitch by an appropriate amount, each group of notes to which a single sample has been assigned is often called a keyzone, and the resultant set of zones is called a keymap. For example, in Fig 1, a keymap has been created four different samples
34.
Ableton Operator
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Operator is a software synthesizer developed by Ableton. Initially released in 2005, Operator runs within Ableton Live on Windows, lite and Standard edition users are able to purchase and use Operator within Ableton Live for a $99 USD price tag. Operator is usable only within Ableton Live, and is not available as a standalone program. Operator is a synthesizer that combines frequency modulation with subtractive and additive synthesis. Operator utilizes oscillators with the ability to change waveforms and modulate each other’s frequencies and these features include, Four oscillators whose signals can be output directly or used to mix with other signals. This is determined through Operator’s eleven built in algorithms that determine the way signals interact with each other, a fifth oscillator which can be used for ‘’’‘LFO Modulation’’’’. The LFO modulates the frequencies of other oscillators, and is able to switched on and off for each individual oscillator, as well as being able to be turned off completely. The intensity of the modulation and frequency of the LFO are able to be edited, along with the waveforms, which include, classic waveform choices, sample & hold, and noise. Seven envelopes to edit different parameters including, one for each oscillator, the filter, the pitch, oscillators envelopes feature ADSR control, additionally the filter and pitch envelopes feature adjustable slopes. Multiple filters to modify the sounds created by the oscillators, allowing for subtractive synthesis, Operator offers fourteen different filter types including, lowpass, bandpass, highpass, and notch. These filters are offered in multiple forms and in 12db and 24db modes, a number of global controls including, volume controls, panning, voicing, as well as MIDI mapping. After the release of Live 8, Ableton revamped Operator to include new features while keeping the UI the same and these features include, User Drawn Wave Forms, Users are able to edit preset waves forms or draw their own by adjusting the oscillator’s harmonic frequency. New modulation options, Improved envelopes, The LFO and Pitch envelopes can modulate any available destinations, the Algorithm selector can be modulated and MIDI mapped. Additional filter types, The ladder and SVF filter options which allow for self oscillation at high resonances, the filter includes an integrated wave shaper. Alongside these changes, adjustable slopes were added to the filters, with its inclusion in the Suite version of Ableton Live, Operator is aimed at both amateurs and professionals alike. Within Ableton Live, there are included to learn Operator’s functions. Operator also includes various presets for users to edit to their liking, allowing for sounds to be created without a knowledge of synthesis, Users are able to pose questions on Ableton’s official forum in regards to Operator. Ableton’s official website also features their Live manual for references, including Operator’s section, other resources also available for users to learn how to utilize Operator can be found through various tutorials created by amateur and professional users
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Frequency modulation synthesis
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The frequency of an oscillator is altered or distorted, in accordance with the amplitude of a modulating signal. FM synthesis can create both harmonic and inharmonic sounds, for synthesizing harmonic sounds, the modulating signal must have a harmonic relationship to the original carrier signal. As the amount of frequency modulation increases, the sound grows progressively more complex, through the use of modulators with frequencies that are non-integer multiples of the carrier signal, atonal and tonal bell-like and percussive sounds can easily be created. FM synthesis using analog oscillators may result in pitch instability, however, FM synthesis can also be implemented digitally, the latter proving to be more reliable and is currently seen as standard practice. Digital FM synthesis was the basis of several musical instruments beginning as early as 1977. The Synclavier I, manufactured by New England Digital Corporation beginning in 1977, Yamahas groundbreaking DX7 brought FM to the forefront of synthesis in the mid-1980s. The technique of the implementation of frequency modulation, which was developed by John Chowning at Stanford University in 1967-68, was patented in 1975. It was initially designed for radios to transmit voice by modulating one waveforms frequency with anothers and this is why FM radio is called FM. As noted earlier, FM synthesis was the basis of some of the generations of digital synthesizers, most notably those from New England Digital Corporation. Yamahas popular DX7 synthesizer was ubiquitous throughout the 1980s, several other models by Yamaha provided variations and evolutions of FM synthesis during that decade. Yamaha had patented its hardware implementation of FM in the 1980s, allowing it, casio developed a related form of synthesis called phase distortion synthesis, used in its CZ range of synthesizers. It had a sound quality to the DX series. Don Buchla implemented FM on his instruments in the mid-1960s, prior to Yamahas patent. His 158,258 and 259 dual oscillator modules had a specific FM control voltage input, and these early applications used analog oscillators, and this capability was also followed by other modular synthesizers and portable synthesizers including Minimoog and ARP Odyssey. With the expiration of the Stanford University FM patent in 1995, the FM synthesis patent brought Stanford $20 million before it expired, making it the second most lucrative licensing agreement in Stanfords history. However, well-developed FM synthesis options are a feature of Nord Lead synths manufactured by Clavia, the Alesis Fusion range, the Korg Oasys and Kronos, various other synthesizers offer limited FM abilities to supplement their main engines. Most recently, in 2016, Korg released the Korg Volca FM, additive synthesis Chiptune Digital synthesizer Electronic music Sound card Sound chip Video game music Chowning, J. The Synthesis of Complex Audio Spectra by Means of Frequency Modulation, journal of the Audio Engineering Society
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Electric piano
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An electric piano is an electric musical instrument which produces sounds when a performer presses the keys of the piano-style musical keyboard. Unlike a synthesizer, the piano is not an electronic instrument. Instead, it is an electro-mechanical instrument, some early electric pianos used lengths of wire to produce the tone, like a traditional piano. Smaller electric pianos used short slivers of steel to produce the tone, the earliest electric pianos were invented in the late 1920s, the 1929 Neo-Bechstein electric grand piano was among the first. Probably the earliest stringless model was Lloyd Loars Vivi-Tone Clavier, a few other noteworthy producers of electric pianos include Baldwin Piano and Organ Company and the Wurlitzer Company. Early electric piano recordings include Duke Ellingtons in 1955 and Sun Ras India as well as tracks from the 1956 sessions included on his second album Super Sonic Jazz. Another factor driving their development and acceptance was the electrification of popular music. Musicians adopted a number of types of electric pianos for rock. This encouraged their manufacturers to modify them for use and then develop models primarily intended for stage use. However, some performers still perform and record with vintage electric pianos, in 2009, Fender Rhodes produced a new line of electro-mechanical pianos, known as the Rhodes Mark 7 followed by an offering from Vintage Vibe. The Neo-Bechstein electric piano was built in 1929, the Vierlang-Forster electric piano was introduced in 1937. The RCA Storytone electric piano was built in 1939 in a joint venture between Story & Clark and RCA, the case was designed by John Vassos, the American industrial designer. It debuted at the 1939 Worlds Fair, the piano has normal strings and hammer action but no soundboard. The sound is amplified through electromagnetic pickups, circuitry and a speaker system, many types were initially designed as a less-expensive alternative to an acoustic piano for home or school use. Some electric pianos were designed with multiple keyboards for use in school or college piano labs, electric piano is a heterogeneous category encompassing several different instruments which vary in their sound-producing mechanisms and consequent timbral characters. Yamaha, Baldwin, Helpinstill and Kawais electric pianos are actual grand or upright pianos with strings, the Helpinstill models have a traditional soundboard, the others have none, and are more akin to a solid-body electric guitar. On Yamaha, Baldwin and Kawais pianos, the vibration of the strings is converted to a signal by piezoelectric pickups under the bridge. Helpinstills instruments use a set of electromagnetic pickups attached to the instruments frame, all these instruments have a tonal character similar to that of an acoustic piano
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Percussion instrument
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A percussion instrument is a musical instrument that is sounded by being struck or scraped by a beater, struck, scraped or rubbed by hand, or struck against another similar instrument. The percussion family is believed to include the oldest musical instruments, the percussion section of an orchestra most commonly contains instruments such as timpani, snare drum, bass drum, cymbals, triangle and tambourine. However, the section can also contain non-percussive instruments, such as whistles and sirens, percussive techniques can also be applied to the human body, as in body percussion. On the other hand, keyboard instruments, such as the celesta, are not normally part of the percussion section, Percussion instruments may play not only rhythm, but also melody and harmony. Percussion is commonly referred to as the backbone or the heartbeat of an ensemble, often working in close collaboration with bass instruments. In jazz and other popular ensembles, the pianist, bassist, drummer. Most classical pieces written for full orchestra since the time of Haydn and Mozart are orchestrated to place emphasis on the strings, woodwinds, however, often at least one pair of timpani is included, though they rarely play continuously. Rather, they serve to provide additional accents when needed, in the 18th and 19th centuries, other percussion instruments have been used, again generally sparingly. The use of percussion instruments became more frequent in the 20th century classical music, in almost every style of music, percussion plays a pivotal role. In classic jazz, one almost immediately thinks of the rhythm of the hi-hats or the ride cymbal when the word swing is spoken. Because of the diversity of instruments, it is not uncommon to find large musical ensembles composed entirely of percussion. Rhythm, melody, and harmony are all represented in these ensembles, music for pitched percussion instruments can be notated on a staff with the same treble and bass clefs used by many non-percussive instruments. Music for percussive instruments without a pitch can be notated with a specialist rhythm or percussion-clef. The word percussion has evolved from Latin terms, percussio, as a noun in contemporary English it is described in Wiktionary as the collision of two bodies to produce a sound. Hornbostel–Sachs has no high-level section for percussion, Most percussion instruments are classified as idiophones and membranophones.1 Concussion idiophones or clappers, played in pairs and beaten against each other, such as zills and clapsticks. 111.2 Percussion idiophones, includes many percussion instruments played with the hand or by a mallet, such as the hang, gongs and the xylophone. 21 Struck drums, includes most types of drum, such as the timpani, snare drum, (Included in most drum sets or 412. Stringed instruments played with such as the hammered dulcimer
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Analog synthesizer
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An analog synthesizer is a synthesizer that uses analog circuits and analog signals to generate sound electronically. The earliest analog synthesizers in the 1920s and 1930s, such as the Trautonium, were built with a variety of vacuum-tube, after the 1960s, analog synthesizers were built using operational amplifier integrated circuits, and used potentiometers to adjust the sound parameters. Analog synthesizers also use low-pass filters and high-pass filters to modify the sound, the earliest synthesizers used a variety of thermionic-valve and electro-mechanical technologies. Another notable early instrument is the Hammond Novachord, first produced in 1938, early analog synthesizers used technology from electronic analog computers and laboratory test equipment. Synthesizer modules in early synthesizers included voltage-controlled oscillators, voltage-controlled filters. Additionally, they used envelope generators, low-frequency oscillators, and ring modulators, some synthesizers also had effects devices, such as reverb units, or tools such as sequencers or sound mixers. Because many of these modules took input sound signals and processed them, famous modular synthesizer manufacturers included Buchla & Associates, Moog Music, ARP Instruments, Inc. and Electronic Music Studios. Moog established standards recognized worldwide for control interfacing on analog synthesizers, using a logarithmic 1-volt-per-octave pitch control and these control signals were routed using the same types of connectors and cables that were used for routing the synthesized sound signals. A specialized form of analog synthesizer is the analog vocoder, based on equipment developed for speech synthesis, vocoders are often used to make a sound that resembles a musical instrument talking or singing. Patch cords were expensive, could be damaged by use, and made complex patches difficult, thus, later analog synthesizers used the same building blocks, but integrated them into single units, eliminating patch cords in favour of integrated signal routing systems. The most popular of these was the Minimoog, though less flexible than a modular design, normalization made the instrument more portable and easier to use. This first pre-patched synthesizer, the Minimoog, became highly popular, the Minimoog also influenced the design of nearly all subsequent synthesizers, with integrated keyboard, pitch wheel and modulation wheel, and a VCO->VCF->VCA signal flow. In the 1970s, miniaturized solid-state components let manufacturers produce self-contained, portable instruments, Electronic synthesizers quickly become a standard part of the popular-music repertoire. The first movie to use music made with a synthesizer was the James Bond film On Her Majestys Secret Service in 1969, after the release of the film, composers produced a large number of movie soundtracks that featured synthesizers. Notable makers of analog synthesizers included Moog, ARP, Roland, Korg. Because of the complexity of generating even a single note using analog synthesis, polyphonic analog synthesizers featured limited polyphony, typically supporting four voices. Oberheim was a manufacturer of analog polyphonic synthesizers. The Polymoog was an attempt to create a polyphonic analog synthesizer
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Drum machine
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A drum machine is an electronic musical instrument designed to imitate the sound of drums, cymbals, other percussion instruments, and often basslines. Drum machines are most commonly associated with electronic music such as house music. They are usually used when session drummers are not available or if the production cannot afford the cost of a drummer. Also, many modern drum machines can also produce sounds, as well as allowing the user to compose unique drum beats. In the 2010s, most modern machines are sequencers with a sample playback or synthesizer component that specializes in the reproduction of drum timbres. The invention could produce sixteen different rhythms, each associated with a pitch, either individually or in any combination, including en masse. Received with considerable interest when it was introduced in 1932. The next generation of rhythm machines played only pre-programmed rhythms such as mambo, tango, Chamberlin Rhythmate In 1957 Californian Harry Chamberlin constructed a tape loop-based drum machine called the Chamberlin Rhythmate. It had 14 tape loops with a head that allowed playback of different tracks on each piece of tape. It contained a volume and a control and also had a separate amplifier with bass, treble, and volume controls. The tape loops were of real acoustic jazz drum kits playing different style beats, with additions to tracks such as bongos, clave, castanets. First commercial product – Wurlitzer Side Man In 1959 Wurlitzer released a drum machine called the Side Man. The Side Man was intended as an accompaniment for the Wurlitzer organ range. The Side Man offered a choice of 12 electronically generated, predefined rhythm patterns with variable tempos, the sound source was a series of vacuum tubes which created 10 preset electronic drum sounds. Combinations of these different sets of rhythms and drum sounds created popular rhythmic patterns of the day, e. g. waltzes and these combinations were selected by a rotary knob on the top of the Side Man box. The tempo of the patterns was controlled by a slider that increased the speed of rotation of the wiper arm, the Side Man had a panel of 10 buttons for manually triggering drum sounds, and a remote player to control the machine while playing from an organ keyboard. The Side Man was housed in a cabinet that contained the sound-generating circuitry. Raymond Scott In 1960, Raymond Scott constructed the Rhythm Synthesizer and, in 1963, scotts machines were used for recording his album Soothing Sounds for Baby series
40.
Drum kits
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A drum kit consists of a mix of drums and idiophones most significantly cymbals but also including the woodblock and cowbell. In the 2000s, some also include electronic instruments and both hybrid and entirely electronic kits are used. If some or all of them are replaced by electronic drums, the drum kit is usually played while seated on a drum stool or throne. The drum kit differs from instruments that can be used to produce pitched melodies or chords, even though drums are often placed musically alongside others that do, such as the piano or guitar. The drum kit is part of the rhythm section used in many types of popular and traditional music styles ranging from rock and pop to blues. Other standard instruments used in the section include the electric bass, electric guitar. Many drummers extend their kits from this pattern, adding more drums, more cymbals. Some performers, such as some rockabilly drummers, use small kits that omit elements from the basic setup, some drum kit players may have other roles in the band, such as providing backup vocals, or less commonly, lead vocals. Thus, in an early 1800s orchestra piece, if the called for bass drum, triangle and cymbals. In the 1840s, percussionists began to experiment with foot pedals as a way to them to play more than one instrument. In the 1860s, percussionists started combining multiple drums into a set, the bass drum, snare drum, cymbals, and other percussion instruments were all played using hand-held drum sticks. Double-drumming was developed to one person to play the bass and snare with sticks. With this approach, the drum was usually played on beats one. This resulted in a swing and dance feel. The drum set was referred to as a trap set. By the 1870s, drummers were using an overhang pedal, most drummers in the 1870s preferred to do double drumming without any pedal to play multiple drums, rather than use an overhang pedal. Companies patented their pedal systems such as Dee Dee Chandler of New Orleans 1904–05, liberating the hands for the first time, this evolution saw the bass drum played with the foot of a standing percussionist. The bass drum became the central piece around which every other percussion instrument would later revolve and it was the golden age of drum building for many famous drum companies, with Ludwig introducing
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Latin percussion
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Unable to buy congas, bongos and similar instruments of the quality he saw other performers using, he manufactured his own. After much trial and error he produced acceptable results, and found a market for such instruments. As the company expanded, it added imported lines to its catalog, LP pioneered the use of many ethnic-based instruments for wider musical uses, and continues to be a leading innovator in this area. Some of their discontinued china cymbals are now sought after. There is little to no information on the models that were produced by them, in 2002 LP was purchased by Kaman Music Corporation and operates as its independent subsidiary within Kamans music distribution segment. World music LP home page About LP Martin Cohen Interview NAMM Oral History Library
42.
Sound effect
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In motion picture and television production, a sound effect is a sound recorded and presented to make a specific storytelling or creative point without the use of dialogue or music. The term often refers to a process applied to a recording, in professional motion picture and television production, dialogue, music, and sound effects recordings are treated as separate elements. Dialogue and music recordings are never referred to as sound effects, even though the processes applied to such as reverberation or flanging effects, the term sound effect ranges back to the early days of radio. In its Year Book 1931 the BBC published an article about The Use of Sound Effects. It considers sounds effect deeply linked with broadcasting and states, It would be a mistake to think of them as anologous to punctuation marks. They should never be inserted into an already existing. The author of a broadcast play or broadcast construction ought to have used Sound Effects as bricks with which to build, treating them as of value with speech. If it fails to do so its presence could not be justified, the sound of people talking in the background is also considered a BG, but only if the speaker is unintelligible and the language is unrecognizable. These background noises are also called ambience or atmos, Foley sound effects are sounds that synchronize on screen, and require the expertise of a foley artist to record properly. Footsteps, the movement of hand props, and the rustling of cloth are common foley units, design sound effects are sounds that do not normally occur in nature, or are impossible to record in nature. These sounds are used to suggest futuristic technology in a fiction film. Each of these sound effect categories is specialized, with sound editors known as specialists in an area of sound effects, Foley is another method of adding sound effects. With this technique the action onscreen is essentially recreated to try to match it as closely as possible, if done correctly it is very hard for audiences to tell what sounds were added and what sounds were originally recorded. In the early days of film and radio, foley artists would add sounds in realtime or pre-recorded sound effects would be played back from analogue discs in realtime. Today, with effects held in digital format, it is easy to any required sequence to be played in any desired timeline. In the days of silent film, sound effects were added by the operator of an organ or photoplayer. Theater organ sound effects are usually electric or electro-pneumatic, and activated by a button pressed with the hand or foot, photoplayer operators activate sound effects either by flipping switches on the machine or pulling cow-tail pull-strings, which hang above. Sounds like bells and drums are made mechanically, sirens and horns electronically, due to its smaller size, a photoplayer usually has less special effects than a theater organ, or less complex ones
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