1.
Drum memory
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Drum memory was a magnetic data storage device invented by Gustav Tauschek in 1932 in Austria. It was widely used in the 1950s and into the 1960s as computer memory, for many early computers, drum memory formed the main working memory of the computer. It was so common that these computers were often referred to as drum machines, some drum memories were also used as secondary storage. Drums were displaced as primary computer memory by magnetic core memory which was a balance of size, speed, cost, reliability. Similarly, drums were replaced by hard disk drives for secondary storage, the manufacture of drums ceased in the 1970s. A drum memory contained a metal cylinder, coated on the outside surface with a ferromagnetic recording material. It could be considered the precursor to the disk drive. In most designs, one or more rows of fixed read-write heads ran along the axis of the drum. The drums controller simply selected the head and waited for the data to appear under it as the drum turned. Not all drum units were designed with each track having its own head, some, such as the English Electric DEUCE drum and the Univac FASTRAND had multiple heads moving a short distance on the drum in contrast to modern HDDs, which have one head per platter surface. This method of timing-compensation, called the skip factor or interleaving, was used for years in storage memory controllers. Tauscheks original drum memory had a capacity of about 500,000 bits, the drum could be removed and connected to another output system, but this was not done often due the size and complications that could occur. One of the earliest functioning computers to employ drum memory was the Atanasoff–Berry computer, however, it employed capacitance rather than magnetism to store information. The outer surface of the drum was lined with electrical contacts leading to capacitors contained within, the first mass-produced computer, the IBM650, had about 8.5 kilobytes of drum memory. As late as 1980, PDP-11/45 machines using magnetic core main memory, Librascope LGP-30, The drum memory computer referenced in the above story, also referenced on Librascope LGP-30. Librascope RPC-4000, Another drum memory computer referenced in the above story Oral history interview with Dean Babcock
2.
Yamaha Corporation
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It is one of the constituents of Nikkei 225 and is the worlds largest piano manufacturing company. Yamaha was established in 1887 as a piano and reed organ manufacturer by Torakusu Yamaha as Nippon Gakki Company, Limited in Hamamatsu, the companys origins as a musical instrument manufacturer are still reflected today in the groups logo—a trio of interlocking tuning forks. The YA-1, of which 125 were built in the first year of production, was named in honour of the founder and it was a 125cc, single cylinder, two-stroke, street bike patterned after the German DKW RT125. In 1955, the success of the YA-1 resulted in the founding of Yamaha Motor Co. Ltd, in 1989, Yamaha shipped the worlds first CD recorder. Yamaha purchased Sequential Circuits in 1988 and it bought a majority stake of competitor Korg in 1987, which was bought out by Korg in 1993. In the late 1990s, Yamaha released a series a portable battery operated keyboards under the PSS, in 2002, Yamaha closed down its archery product business that was started in 1959. Six archers in five different Olympic Games won gold medals using their products and it acquired German audio software manufacturers Steinberg in January 2005, from Pinnacle Systems. K. Ltd, the UK piano sales & manufacturing arm was unaffected, on December 20,2007, Yamaha made an agreement with the Austrian Bank BAWAG P. S. K. Group BAWAG to purchase all the shares of Bösendorfer, intended to place in early 2008. Yamaha intends to continue manufacturing at the Bösendorfer facilities in Austria, the acquisition of Bösendorfer was announced after the NAMM Show in Los Angeles, on January 28,2008. As of February 1,2008, Bösendorfer Klavierfabrik GmbH operates as a subsidiary of Yamaha Corp, Yamaha Corporation is also widely known for their music teaching programme that began in the 1950s. Yamaha electronic have proven to be successful, popular, and respected products, for example, the Yamaha YPG-625 was given the award Keyboard of the Year and Product of the Year in 2007 from The Music and Sound Retailer magazine. Other noteworthy Yamaha electronics include the SHS-10 Keytar, a keytar which offered MIDI output features normally found on much more expensive keyboards. Other companies in the Yamaha group include, Bösendorfer Klavierfabrik GmbH, Vienna, Yamaha Motor Company Yamaha Fine Technologies Co. Ltd. Yamaha Golf Cart Company Yamaha Livingtec Corporation Yamaha Metanix Corporation Yamaha Music Communications Co. Ltd, Yamaha Pro Audio Kandō is a Japanese word used by Yamaha to describe their corporate mission. Kandō in translation describes the sensation of profound excitement and gratification derived from experiencing supreme quality, some reasonable English synonyms are emotionally touching or emotionally moving. The Yamaha Music Foundation is an established in 1966 by the authority of the Japanese Ministry of Education for the purpose of promoting music education. It continued a program of music classes begun by Yamaha Corporation in 1954, Yamaha expanded into many diverse businesses and product groups
3.
Electronic musical instrument
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An electronic musical instrument is a musical instrument that produces sound using electronics. Such an instrument sounds by outputting an electrical signal that ultimately drives a loudspeaker. An electronic instrument might include a user interface for controlling its sound, often by adjusting the pitch, frequency, all electronic musical instruments can be viewed as a subset of audio signal processing applications. Simple electronic musical instruments are called sound effects, the border between sound effects and actual musical instruments is often hazy. Electronic musical instruments are now used in most styles of music. Development of new musical instruments, controllers, and synthesizers continues to be a highly active. In the 18th-century, musicians and composers adapted a number of instruments to exploit the novelty of electricity. The former instrument consisted of an instrument of over 700 strings. The latter was an instrument with plectra activated electrically. However, neither instrument used electricity as a sound-source, the first electric synthesizer was invented in 1876 by Elisha Gray. The Musical Telegraph used steel reeds oscillated by electromagnets and transmitted over a telephone line, Gray also built a simple loudspeaker device into later models, which consisted of a diaphragm vibrating in a magnetic field. A significant invention, which later had an effect on electronic music, was the audion in 1906. This was the first thermionic valve, or vacuum tube and which led to the generation and amplification of signals, radio broadcasting. Other early synthesizers included the Telharmonium, the Theremin, Jörg Magers Spharophon and Partiturophone, Taubmanns similar Electronde, Maurice Martenots ondes Martenot, only two models of this latter were built and the only surviving example is currently stored at the Lomonosov University in Moscow. It has been used in many Russian movies—like Solaris—to produce unusual, Hugh Le Caine, John Hanert, Raymond Scott, composer Percy Grainger, and others built a variety of automated electronic-music controllers during the late 1940s and 1950s. In 1959 Daphne Oram produced a method of synthesis, her Oramics technique, driven by drawings on a 35 mm film strip. In 1897 Thaddeus Cahill patented an instrument called the Telharmonium, using tonewheels to generate musical sounds as electrical signals by additive synthesis, it was capable of producing any combination of notes and overtones, at any dynamic level. This technology was used to design the Hammond organ
4.
Drum kit
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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
5.
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
6.
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
7.
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
8.
Roland TR-808
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The Roland TR-808 Rhythm Composer, often referred to simply as the 808, is a drum machine introduced by the Roland Corporation in 1980 and discontinued in 1983. It was one of the earliest programmable drum machines, with which users could create their own rather than having to use presets. Unlike its nearest competitor, the expensive and sample-based Linn LM-1 Drum Computer. Launched at a time when music had yet to become mainstream. It was succeeded in 1984 by the TR-909, over the course of the decade, the 808 attracted a cult following among underground musicians for its affordability, ease of use, and idiosyncratic sounds, particularly its deep, booming bass drum. It became a cornerstone of the electronic, dance, and hip hop genres, popularized by early hits such as Marvin Gayes Sexual Healing and Afrika Bambaataa. At the time, drum machines were most often used to accompany home organs, Lewis was known for performances using electronic instruments he had modified himself, decades before the popularization of instrument hacking via circuit bending. He made extensive modifications to the Ace Tone drum machine, creating his own rhythms and wiring the device through his organs expression pedal to accent the percussion, unique at the time. Lewis was approached by Ace Tone president and founder Ikutaro Kakehashi, in 1972, Kakehashi formed the Roland Corporation and hired Lewis to help design drum machines. By the late 1970s, microprocessors were appearing in such as the Sequential Circuits Prophet-5 synthesizer. In 1978, Roland released the CompuRhythm CR-78, the first drum machine with which users could write, save, with its next machine, the TR-808, Roland aimed to develop a drum machine for the professional market, expecting that it would mainly be used to create demos. Though the engineers aimed to emulate real percussion, the prohibitive cost of memory drove them to design sound-generating hardware instead of using samples, Kakehashi deliberately purchased faulty transistors to create the machines distinctive sizzling sound. Roland engineer Makoto Muri credited the design of the voice circuits to Mr. Nakamura. The 808 generates 16 different sounds in imitation of acoustic percussion, bass drum, snare, toms, conga, rimshot, claves, handclap, maraca, cowbell, cymbal, and hi-hat. It is completely analog, meaning its sounds are generated via hardware rather than sampled, users can program up to 32 patterns using the step sequencer, each with a maximum of 768 measures, and place accents on individual beats, a feature introduced with the CR-78. Users can also set the tempo and time signature, including unusual signatures such as 5/4, the machine has multiple audio outputs and a DIN sync port to synchronize with other devices, considered groundbreaking at the time. The 808s sounds do not resemble real percussion, and have described as clicky and hypnotic, robotic, toy-like, spacey. Fact described them as a combination of tones and white noise
9.
Electronic dance music
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Electronic dance music is a broad range of percussive electronic music genres made largely for nightclubs, raves, and festivals. EDM is generally produced for playback by disc jockeys who create seamless selections of tracks, called a mix, EDM producers also perform their music live in a concert or festival setting in what is sometimes called a live PA. In the United Kingdom and in continental Europe, EDM is more commonly called dance music or simply dance. In the late 1980s and early 1990s, following the emergence of raving, pirate radio, at this time a perceived association between EDM and drug culture led governments at state and city level to enact laws and policies intended to halt the spread of rave culture. By the early 2010s the term dance music and the initialism EDM was being pushed by the US music industry. Early examples of dance music include the disco music of Giorgio Moroder. During the early 1980s, the popularity of disco music declined in the United States, abandoned by major US record labels. European disco continued evolving within the mainstream pop music scene. European acts Silver Convention, Love and Kisses, Munich Machine, and American acts Donna Summer, in 1977, Giorgio Moroder and Pete Bellotte produced I Feel Love for Donna Summer. It became the first well-known disco hit to have a completely synthesised backing track, other disco producers, most famously American producer Tom Moulton, grabbed ideas and techniques from dub music to provide alternatives to the four on the floor style that dominated. The sound that originated from P-Funk the electronic side of disco, dub music. Much of the music produced during this time was, like disco, at this time creative control started shifting to independent record companies, less established producers, and club DJs. Other dance styles that began to become popular during the era include dance-pop, boogie, electro, Italo disco, house. In the early 1980s, electro emerged as a fusion of funk, also called electro-boogie, but later shortened to electro, cited pioneers include Zapp, D. Train, Sinnamon. Early hip hop and rap combined with German and Japanese electropop influences such as Kraftwerk, as the electronic sound developed, instruments such as the bass guitar and drums were replaced by synthesizers and most notably by iconic drum machines, particularly the Roland TR-808. Early uses of the TR-808 include several Yellow Magic Orchestra tracks in 1980-1981, the 1982 track Planet Rock by Afrikaa Bambaataa, and the 1982 song Sexual Healing by Marvin Gaye. In 1982, producer Arthur Baker with Afrika Bambaataa released the seminal Planet Rock which was influenced by the Yellow Magic Orchestra using Kraftwerk samples, Planet Rock was followed later that year by another breakthrough electro record, Nunk by Warp 9. In 1983, Hashim created an electro funk sound which influenced Herbie Hancock, the early 1980s were electros mainstream peak
10.
Hip hop music
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It developed as part of hip hop culture, a subculture defined by four key stylistic elements, MCing/rapping, DJing/scratching with turntables, break dancing, and graffiti writing. Other elements include sampling beats or bass lines from records, while often used to refer solely to rapping, hip hop more properly denotes the practice of the entire subculture. Hip hops early evolution occurred as sampling technology and drum machines became available and affordable. Turntablist techniques such as scratching and beatmatching developed along with the breaks and Jamaican toasting, rapping developed as a vocal style in which the artist speaks or chants along rhythmically with an instrumental or synthesized beat. The Sugarhill Gangs 1979 song Rappers Delight is widely regarded to be the first hip hop record to gain popularity in the mainstream. The 1980s marked the diversification of hip hop as the genre developed more complex styles, prior to the 1980s, hip hop music was largely confined within the United States. However, during the 1980s, it began to spread to scenes in dozens of countries. New school hip hop was the wave of hip hop music, originating in 1983–84 with the early records of Run-D. M. C. The Golden age hip hop period was a period between the mid-1980s and the early 1990s. Notable artists from this era include the Juice Crew, Public Enemy, & Rakim, Boogie Down Productions and KRS-One, EPMD, Slick Rick, Beastie Boys, Kool G Rap, Big Daddy Kane, Ultramagnetic MCs, De La Soul, and A Tribe Called Quest. Gangsta rap is a subgenre of hip hop that often focuses on the violent lifestyles, in the West Coast hip hop style, G-funk dominated mainstream hip hop for several years during the 1990s. I. G. In the 1990s, hip hop began to diversify with other regional styles emerging, such as Southern rap, at the same time, hip hop continued to be assimilated into other genres of popular music, examples being Neo soul and nu metal. Hip hop became a pop music genre in the mid-1990s. The popularity of hip hop music continued through the 2000s, with hip hop influences also increasingly finding their way into mainstream pop, the United States also saw the success of regional styles such as crunk, a Southern genre that emphasized the beats and music more than the lyrics. Starting in 2005, sales of hip hop music in the United States began to severely wane, during the mid-2000s, alternative hip hop secured a place in the mainstream, due in part to the crossover success of artists such as OutKast and Kanye West. Creation of the hip hop is often credited to Keith Cowboy, rapper with Grandmaster Flash. However, Lovebug Starski, Keith Cowboy, and DJ Hollywood used the term when the music was known as disco rap. Cowboy later worked the hip hop cadence into a part of his stage performance, the first use of the term in print was in The Village Voice, by Steven Hager, later author of a 1984 history of hip hop
11.
Roland TR-909
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The Roland TR-909 Rhythm Composer is a partially analog, partially sample-based, drum machine introduced by the Japanese Roland Corporation in 1984. The brainchild of Tadao Kikumoto, the engineer behind the Roland TB-303, it features a 16-step step sequencer and it is fully programmable, and like its predecessor, the TR-808, it can store entire songs with multiple sections, as opposed to simply storing patterns. It was the first MIDI-equipped drum machine, the 909 was launched three years after its 808 forebear, changing the game slightly by offering a part-analogue, part-sample-based sound generation hybrid. As with the 808, the 909 sounded a long way from the more realistic alternatives from Linn and Oberheim that had all, more expensive, sample-based drum computers were better at faithfully reproducing real drum sounds, while the TR-909 sounded synthetic. One of the first Roland instruments to be equipped with MIDI, but, like the TR808 before it, nobody could have predicted the reverence in which the TR909 would eventually come to be held. The TR909 soundset is part of Rolands AIRA TR-8 drum machine, on September 9,2016, 30+ years after the TR909 was introduced, Roland declared the day 909 Day. The event is being celebrated by the unveiling of over 30 new instruments, unlike its purely analog ancestor, the TR-09 is powered by the same analog modeling technology that powers the AIRA TR-8. The TR-09 is part of Rolands Boutique product line, the hi-hats and cymbals are 6-bit samples, compressed and combined with a volume envelope curve to allow slight modification. Thanks to the circuitry, various aspects of the drum sound can be modified. There is also a feature called accent—a primitive means of humanizing the drumbeat, in a simplified model of a drummer and a kit, the loudness of the sound created would basically depend on the velocity at which the drummer hits a given part of the kit. A human drummer can emphasize certain notes by playing louder. Part of the charm of the TR-909 comes from its 16-step sequencer — the 16 buttons along the bottom of the interface correspond to the 16th notes of a bar in 4/4 meter. For example, punching the buttons 1,5,9 and 13 on the drum part would create a simple four to the floor beat. While the sequencer is running, a light runs from step 1 to step 16, the TR-909 has several editing modes, pattern editing where one focuses solely on the 16 steps, and track editing, which allows for chaining various patterns in a row. Because it has MIDI, its possible to control other instruments with the sequencer. D16 Drumazon - software drum machine that emulates the TR-909, reBirth RB-338 - software synthesizer that emulates the TB-303, TR-808, and TR-909. 909 - A software drum machine for the Android operating system that emulates the TR-909
12.
Techno
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Techno is a form of electronic dance music that emerged in Detroit, Michigan, in the United States during the mid-to-late 1980s. The first recorded use of the word techno in reference to a genre of music was in 1988. Many styles of techno now exist, but Detroit techno is seen as the foundation upon which a number of subgenres have been built. Added to this is the influence of futuristic and fictional themes relevant to life in American late capitalist society, pioneering producer Juan Atkins cites Tofflers phrase techno rebels as inspiring him to use the word techno to describe the musical style he helped to create. This unique blend of influences aligns techno with the referred to as afrofuturism. To producers such as Derrick May, the transference of spirit from the body to the machine is often a central preoccupation, in this manner, techno dance music defeats what Adorno saw as the alienating effect of mechanisation on the modern consciousness. Stylistically, techno is generally repetitive instrumental music, oftentimes produced for use in a continuous DJ set, the tempo tends to vary between approximately 120 to 150 beats per minute, depending on the style of techno. The creative use of production technology, such as drum machines, synthesizers. Many producers use retro electronic musical devices to create what they consider to be an authentic techno sound, drum machines from the 1980s such as Rolands TR-808 and TR-909 are highly prized, and software emulations of such retro technology are popular among techno producers. The Electrifying Mojo was the first radio DJ to play music by the Detroit techno producers Juan Atkins, Derrick May, Mojo refused to follow pre-established radio formats or playlists, and he promoted social and cultural awareness of the African American community. In exploring technos origins writer Kodwo Eshun maintains that Kraftwerk are to Techno what Muddy Waters is to the Rolling Stones, the authentic, the origin, the real. Juan Atkins has acknowledged that he had an enthusiasm for Kraftwerk and Giorgio Moroder, particularly Moroders work with Donna Summer. Atkins also mentions that around 1980 I had a tape of nothing but Kraftwerk, Telex, Devo, Giorgio Moroder and Gary Numan, and Id ride around in my car playing it. Regarding his initial impression of Kraftwerk, Atkins notes that they were clean, Derrick May identified the influence of Kraftwerk and other European synthesizer music in commenting that it was just classy and clean, and to us it was beautiful, like outer space. Living around Detroit, there was so little beauty, everything is an ugly mess in Detroit, and so we were attracted to this music. May has commented that he considered his music a direct continuation of the European synthesizer tradition and he also identified Japanese synthpop act Yellow Magic Orchestra, particularly member Ryuichi Sakamoto, and British band Ultravox, as influences, along with Kraftwerk. In 1980 or 1981 they met with Mojo and proposed that they provide mixes for his show, which they did end up doing the following year. These young promoters developed and nurtured the local music scene by both catering to the tastes of the local audience of young people and by marketing parties with new DJs
13.
House music
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House music is a genre of electronic music created by club DJs and music producers in Chicago in the early 1980s. Early house music was characterized by repetitive 4/4 beats, rhythms mainly provided by drum machines, off-beat hi-hat cymbals. While house displayed several characteristics similar to music, it was more electronic and minimalistic. House music became popular in Chicago clubs in 1984 and it was pioneered by figures such as Frankie Knuckles, Phuture, Kym Mazelle, and Mr. Fingers, and was associated with African-American and gay subcultures. House music quickly spread to other American cities such as Detroit, New York City, Baltimore, in the mid-to-late 1980s, house music became popular in Europe as well as major cities in South America, and Australia. Since the early to mid-1990s, house music has been infused in mainstream pop, in the late 1980s, many local Chicago house music artists suddenly found themselves presented with major label deals. House music proved to be a successful genre and a more mainstream pop-based variation grew increasingly popular. House music has also fused with other genres creating fusion subgenres, such as euro house, tech house, electro house. After enjoying significant success in the early to mid-90s, house music grew even larger during the wave of progressive house. The genre has remained popular and fused into other subgenres, for example, ghetto house, deep house. As of 2016, house music popular in both clubs and in the mainstream pop scene while retaining a foothold on underground scenes across the globe. The song structure of music songs typically involves an intro, a chorus, various verse sections, a midsection. Some songs do not have a verse, taking a part from the chorus. The drum beat is one of the important elements within the genre and is almost always provided by an electronic drum machine rather than by a human drummer playing drumkit. The drum beats of house are four on the floor, with bass drums played on every beat, House music is often based on bass-heavy loops or basslines produced by a synthesizer and/or from samples of disco or funk songs. The tempo of most house songs is between 118 and 135 beats per minute, soul music and disco influenced house music. These artists produced longer, more repetitive, and percussive arrangements of existing disco recordings, early house producers such as Frankie Knuckles created similar compositions from scratch, using samplers, synthesizers, sequencers, and drum machines. Rachel Cain, co-founder of an influential Trax Records, was involved in the burgeoning punk scene and cites industrial
14.
Acid house
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Acid house is a subgenre of house music developed around the mid-1980s by DJs from Chicago. The style was defined primarily by the deep basslines and squelching sounds of the Roland TB-303 electronic synthesizer-sequencer, Acid house spread to the United Kingdom and continental Europe, where it was played by DJs in the acid house and later rave scenes. By the late 1980s, acid house had moved into the British mainstream, Acid house brought house music to a worldwide audience. The influence of house can be heard on later styles of dance music including trance, breakbeat hardcore, jungle, big beat, techno. Other elements, such as strings and stabs, were usually minimal. Some acid house fans used a smiley face with a streak on it. The origin of this usage was the bloodied smiley from Watchmen on the label of Beat Dis by Bomb the Bass, there are conflicting accounts about how the term acid came to be used to describe this style of house music. One account ties it to Phutures Acid Tracks, before the song was given a title for commercial release, it was played by DJ Ron Hardy at a nightclub where psychedelic drugs were reportedly used. The clubs patrons called the song Ron Hardys Acid Track, the song was released with the title Acid Trax on Larry Shermans label Trax Records in 1987. Regardless, after the release of Phutures song, the acid house came into common parlance. Some accounts say the reference to acid may be a reference to psychedelic drugs in general, such as LSD. According to Rietveld, it was the house sensibility of Chicago, in a club like Hardys The Music Box, that afforded it its initial meaning. In her view acid connotes the fragmentation of experience and dislocation of meaning due to the effects on thought patterns which the psycho-active drug LSD or Acid can bring about. In the context of the creation of Acid Tracks it indicated a concept rather than the use of drugs in itself. One theory, holding that acid was a reference towards the use of samples in acid house music, was repeated in the press. In this theory, the term came from the slang term acid burning. In 1991, UK Libertarian advocate Paul Staines claimed that he had coined this theory to discourage the government from adopting anti-rave party legislation. Several accounts claim that Genesis P-Orridge coined the term on the 1988 Psychic TV release “Tune In. ”By other accounts, while shopping in Chicago in 1986, P-Orridge came across a bin of records marked acid, indicating a corrosive liquid, and mistook it for a reference to LSD
15.
Linn LM-1
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The Linn LM-1 Drum Computer, manufactured by Linn Electronics Inc. was the first drum machine to use digital samples of acoustic drums and was conceived and designed by Roger Linn. It was also one of the first programmable drum machines and it was introduced in early 1980 at a list price of US$4,995 and climbed to $5,500 when additional features were incorporated. The price then fell to $4,995 as cost-cutting measures were introduced, and later reduced to $3,995 before it was discontinued after the release of its successor, somewhere between 500 and 725 units were built. Roger Linn was a professional guitarist in California in 1978 when he began to develop the LM-1 as an accompaniment tool for his home studio. Having learned how to program in BASIC and assembly language, Linn set to work on a program which could play user-programmed rhythm patterns. According to Linn, the first to suggest the idea of digital samples was Steve Porcaro of Toto, Linn achieved his sounds by using a chip, built into the machine, which converted the digital samples into analog audio. His first prototype, manufactured at some time during 1979, was a box which contained the electronic components of the drum machine. In total, somewhere between 500 and 725 units were built and sold between 1980 and 1983, when the LM-1s successor, the LinnDrum, was released. The first 35 units were assembled in Linns home, before manufacturing and distribution was taken over by 360 Systems, the first 10 of these 35 units have distinctive features, as described below. The LM-1 featured twelve 8 bit 28 kHz samples, kick, snare, hi-hat, cabasa, tambourine, the LM-1s many features set it apart from other drum machines of its time, most of which could only play a limited selection of preset rhythms. One of its most prominent features was its programmability, although the Linn LM-1 was not the first programmable drum machine, it was the first to use digital samples and gained widespread popularity among professionals. The LM-1 also introduced a Shuffle feature that enabled users to program swing notes into their rhythms, with a 96 ppqn maximum resolution, the LM-1 offered six percentage levels between fully straight beats and regular swing-time feels. The LM-1 included a built-in 13-channel mixer as well as individual output jacks and this enabled Linns machine to integrate with existing recording equipment in a way that had previously not been possible for a drum machine. Unlike the later LinnDrum, the LM-1 also had individual tuning pots for each voice, unlike its younger brother, the LM-1 lacked crash and ride cymbal sounds and the drum sounds could not be triggered by MIDI or trigger inputs. Nevertheless, the LM-1s sounds are very punchy and prominent, there are notable differences between the various LM-1 revisions. The Rev.1 LM-1 is recognizable by its buttons and lack of Shuffle. The drum buttons were engraved with a symbol of the drum it represented. These buttons were later discontinued because they were too expensive to manufacture, internally it was different as well
16.
Peter Gabriel
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After leaving Genesis in 1975, Gabriel launched a solo career with Solsbury Hill as his first single. His 1986 album, So, is his release and is certified triple platinum in the UK. The albums most successful single, Sledgehammer, won a record nine MTV Awards at the 1987 MTV Video Music Awards, Gabriel has been a champion of world music for much of his career. He co-founded the WOMAD festival in 1982 and he has continued to focus on producing and promoting world music through his Real World Records label. He has also pioneered digital distribution methods for music, co-founding OD2, Gabriel has also been involved in numerous humanitarian efforts. In 1980, he released the anti-apartheid single Biko and he has participated in several human rights benefit concerts, including Amnesty Internationals Human Rights Now. Tour in 1988, and co-founded the Witness human rights organisation in 1992, Gabriel developed The Elders with Richard Branson, which was launched by Nelson Mandela in 2007. He was made a BMI Icon at the 57th annual BMI London Awards for his influence on generations of music makers, AllMusic has described Gabriel as one of rocks most ambitious, innovative musicians, as well as one of its most political. He was inducted into the Rock and Roll Hall of Fame as a member of Genesis in 2010, in March 2015 he was awarded an honorary doctorate from the University of South Australia in recognition of his achievements in music. Peter Brian Gabriel was born in Chobham, Surrey and his father, Ralph Parton Gabriel, was an electrical engineer, and his mother, Edith Irene, who was from a musical family, taught him to play the piano at an early age. His great-great-great-uncle, Sir Thomas Gabriel, 1st Baronet, served as Lord Mayor of London from 1866 to 1877, Gabriel attended Cable House, a private primary school in Woking, St. Andrews Prep School in Horsell, and Charterhouse School in Godalming from 1963. He played drums in his first rock bands, and Mike Rutherford commented in 1985 that Pete was—and still is, Gabriel founded Genesis in 1967 with fellow Charterhouse School pupils Tony Banks, Anthony Phillips, Mike Rutherford, and drummer Chris Stewart. The name of the band was suggested by fellow Charterhouse alumnus, the pop music impresario Jonathan King, Gabriel has said to be influenced by many different sources in his way of singing, such as Family lead singer Roger Chapman. In 1970, he played the flute on Cat Stevenss album, the concerts made extensive use of black light with the normal stage lighting subdued or off. Early Genesis concerts were hampered by a bad public address system made it difficult for audiences to understand what Gabriel was singing. According to Mike Rutherford, this drove Gabriel to find ways to impress his personality on the audience. In an episode of the 2007 British documentary series Seven Ages of Rock and it was the dress-wearing, fox-headed entity immortalised on the cover of Foxtrot. Hackett and the rest of the band had no inkling that Gabriel was going to do this and it was a success, encouraging Gabriel to continue wearing stage clothes while singing
17.
Fleetwood Mac
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Fleetwood Mac are a British-American rock band, formed in London in 1967. The band has more than 100 million records worldwide, making them one of the worlds best-selling bands of all time. In 1998, selected members of Fleetwood Mac were inducted into the Rock and Roll Hall of Fame, to date, the album has sold over 40 million copies worldwide, making it the eighth-highest-selling album of all time. Due to numerous changes, the only original member present in the band is drummer Mick Fleetwood. Keyboardist Christine McVie, who joined the band in 1970 while married to John McVie, has appeared on every album except the debut album and she left the band in 1998 but returned in 2014. Fleetwood Mac were formed in July 1967 in London when Peter Green left the British blues band John Mayall & the Bluesbreakers, Peter Green had replaced guitarist Eric Clapton in the Bluesbreakers, and received critical acclaim for his work on their album A Hard Road. After he had been in the Bluesbreakers for some time, Green asked if drummer Mick Fleetwood could replace Aynsley Dunbar, Green had been in two bands with Fleetwood—Peter Bs Looners and the subsequent Shotgun Express. John Mayall agreed and Fleetwood became a member of the band, the Bluesbreakers now consisted of Green, Fleetwood, John McVie and Mayall. Mayall gave Green free recording time as a gift, in which Fleetwood, McVie, the fifth song was an instrumental which Green named after the rhythm section, Fleetwood Mac. Soon after, Green contacted Fleetwood to form a new band, the pair wanted McVie on bass guitar and even named the band Fleetwood Mac as a way to entice him. However, McVie opted to keep his income with Mayall rather than take a risk with a new band. The Green, Fleetwood, Spencer, Brunning version of the band made its debut on 13 August 1967 at the Windsor Jazz, Brunning merely played at a handful of gigs with Fleetwood Mac. Within weeks of this show, John McVie agreed to join the band as permanent bassist, Fleetwood Macs first album, Fleetwood Mac, was a no-frills blues album and was released on the Blue Horizon label in February 1968. In fact there were no players on the album. The album was successful in the UK, hitting No,4, though it did not have any singles on it. The band soon released two singles Black Magic Woman and Need Your Love So Bad, the bands second album, Mr. Wonderful, was released in August 1968. Like the first it was an album, but this time they made a few changes. The album was recorded live in the studio with miked amplifiers and PA system and this method provided the ideal environment for producing this style of music, and gave it an authentically vintage sound
18.
Prince (musician)
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Prince Rogers Nelson was an American singer-songwriter, actor, multi-instrumentalist, philanthropist, dancer and record producer. He was an innovator who was known for his eclectic work, flamboyant stage presence, extravagant dress and makeup. His music integrates a variety of styles, including funk, rock, R&B, new wave, soul, psychedelia. He has sold over 100 million records worldwide, making him one of the artists of all time. He won seven Grammy Awards, an American Music Award, a Golden Globe Award, and he was inducted into the Rock and Roll Hall of Fame in 2004, his first year of eligibility. Rolling Stone ranked Prince at number 27 on its list of 100 Greatest Artists, Prince was born in Minneapolis, Minnesota, and developed an interest in music as a young child. He signed a contract with Warner Bros. at the age of 18. In 1984, he began referring to his band as the Revolution and released Purple Rain. It quickly became his most critically and commercially successful release, spending 24 consecutive weeks atop the Billboard 200, after releasing the albums Around the World in a Day and Parade, The Revolution disbanded, and Prince released the double album Sign o the Times as a solo artist. He released three solo albums before debuting the New Power Generation band in 1991. He released five records between 1994 and 1996 before signing with Arista Records in 1998, in 2000, he began referring to himself as Prince again. He released 16 albums after that, including the platinum-selling Musicology and his final album, Hit n Run Phase Two, was first released on the Tidal streaming service on December 12,2015. Prince died from an overdose at his Paisley Park recording studio and home in Chanhassen, Minnesota, on April 21,2016. Prince Rogers Nelson was born in Minneapolis, to Mattie Della and his parents were both African-American and his family ancestry is centered in Louisiana, all four of his grandparents came from that state. Princes father was a pianist and songwriter, and his mother was a jazz singer, Prince was given his fathers stage name, Prince Rogers, which his father used while performing with a jazz group called the Prince Rogers Trio. In 1991, Princes father told A Current Affair that I named my son Prince because I wanted him to do everything I wanted to do, Prince has said he was born epileptic and used to have seizures when he was young. He also said, My mother told me one day I walked in to her and said, Mom, Im not going to be sick anymore, Princes sister Tika Evene was born in 1960. Both siblings developed a keen interest in music, and this was encouraged by their father, Prince wrote his first tune, Funk Machine, on his fathers piano when he was seven
19.
Stevie Wonder
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Stevland Hardaway Morris, known by his stage name Stevie Wonder, is an American musician, singer, songwriter, record producer, and multi-instrumentalist. A child prodigy, he is considered to be one of the most critically and commercially successful musical performers of the late 20th century, Wonder signed with Motowns Tamla label at the age of 11, and he continued performing and recording for Motown into the 2010s. He has been blind since shortly after birth, Wonder is also noted for his work as an activist for political causes, including his 1980 campaign to make Martin Luther King Jr. s birthday a holiday in the United States. In 2009, Wonder was named a United Nations Messenger of Peace, in 2013, Billboard magazine released a list of the Billboard Hot 100 All-Time Top Artists to celebrate the US singles charts 55th anniversary, with Wonder at number six. Stevie Wonder was born in Saginaw, Michigan, in 1950, the third of six children of Calvin Judkins and Lula Mae Hardaway, when Wonder was four, his mother left his father and moved to Detroit with her children. She changed her back to Lula Hardaway and later changed her sons surname to Morris. Wonder has retained Morris as his legal surname and he began playing instruments at an early age, including piano, harmonica and drums. He formed a partnership with a friend, calling themselves Stevie and John, they played on street corners. Before signing, producer Clarence Paul gave him the name Little Stevie Wonder, because of Wonders age, the label drew up a rolling five-year contract in which royalties would be held in trust until Wonder was 21. He and his mother would be paid a stipend to cover their expenses, Wonder received $2.50 a week. Wonder was put in the care of producer and songwriter Clarence Paul, tribute to Uncle Ray was recorded first, when Wonder was still 11 years old. Mainly covers of Ray Charless songs, it included a Wonder and Paul composition, the Jazz Soul of Little Stevie was recorded next, an instrumental album consisting mainly of Pauls compositions, two of which, Wondering and Session Number 112, were co-written with Wonder. At the end of 1962, when Wonder was 12 years old, he joined the Motortown Revue, at the Regal Theater, Chicago, his 20-minute performance was recorded and released in May 1963 as the album Recorded Live, The 12 Year Old Genius. A single, Fingertips, from the album was released in May. The song, featuring a confident and enthusiastic Wonder returning for a spontaneous encore that catches out the replacement bass player, was a No.1 hit on the Billboard Hot 100 when Wonder was aged 13, making him the youngest artist ever to top the chart. The single was simultaneously No.1 on the R&B chart and his next few recordings, however, were not successful, his voice was changing as he got older, and some Motown executives were considering cancelling his recording contract. During 1964, Wonder appeared in two films as himself, Muscle Beach Party and Bikini Beach, but these were not successful either, sylvia Moy persuaded label owner Berry Gordy to give Wonder another chance. He also began to work in the Motown songwriting department, composing songs both for himself and his mates, including The Tears of a Clown, a No.1 hit for Smokey Robinson
20.
Rhythmicon
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The Rhythmicon—also known as the Polyrhythmophone—was the worlds first electronic drum machine. In 1930, the avant-garde American composer and musical theorist Henry Cowell collaborated with Russian inventor Léon Theremin in designing and building the remarkably innovative Rhythmicon. Cowell wanted an instrument with which to play compositions involving multiple rhythmic patterns impossible for one person to perform simultaneously on acoustic keyboard or percussion instruments, using the devices keyboard, each of the sixteen rhythms can be produced individually or in any combination. A seventeenth key permits optional syncopation, Nicolas Slonimsky described its capabilities in 1933, The rhythmicon can play triplets against quintuplets, or any other combination up to 16 notes in a group. With the corresponding frequence of vibrations, sounded on the fifth harmonic, nonuplets on the ninth harmonic, and so forth. A complete chord of sixteen notes presents sixteen rhythmical figures in sixteen harmonics within the range of four octaves, all sixteen notes coincide, with the beginning of each period, thus producing a synthetic harmonic series of tones. Cowell had planned to exhibit the rhythmicon in Europe, composer Charles Ives, Cowells close friend, commissioned Theremin to build a second model of the Rhythmicon for use by Cowell and his associate, conductor Nicolas Slonimsky. The Rhythmicon was publicly premiered January 19,1932 by Cowell and fellow music educator, Schillinger had known Theremin since the early 1920s and had a lifelong interest in technology and music. The radically new instrument attracted considerable attention, and Cowell wrote a number of compositions for it, including Rhythmicana,1931, Slonimsky said that Cowells special piece Rhythmicana was completed too late to be used at the Paris concerts. On May 15,1932, a New Music Society concert in San Francisco included – along with the premiere of Xanadu, according to some sources, the concert premiered Cowells Rhythmicana, in four movements with orchestra, and Music for Violin and Rhythmicon. According to several others, the Rhythmicana concerto was not performed publicly until 1971, before long the shine wore off. In 1988, Slonimsky wrote, Like many a futuristic contraption and it was not until forty years later that an electronic instrument with similar specifications was constructed at Stanford University. It could do everything that Cowell and Theremin had wanted it to do and more and it sounded sterile, antiseptic, lifeless — like a robot with a synthetic voice. Cowell soon left the Rhythmicon behind to pursue other interests and it was all, one of the original instruments built by Theremin wound up at Stanford University, the other stayed with Slonimsky, from whom it later passed to Schillinger and then the Smithsonian Institution. This latter instrument is operational, its sound has been described as percussive, Theremin later built a third, more compact model after his return to the Soviet Union toward the end of the 1930s. This version of the instrument is operational and now resides at the Theremin Center in Moscow, more recently, composer Nick Didkovsky designed and programmed a virtual Rhythmicon using Java Music Specification Language and JSyn. Léon Theremin#Some of Theremins inventions Polyrhythm Hicks, Michael, urbana and Chicago, University of Illinois Press. The Music of Henry Cowell, A Descriptive Catalogue, brooklyn College Institute for Studies in American Music
21.
Joseph Schillinger
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Joseph Moiseyevich Schillinger was a composer, music theorist, and composition teacher who originated the Schillinger System of Musical Composition. He was born in Kharkiv, in the Kharkov Governorate of the Russian Empire, Schillinger came from this background, dedicated to creating truly professional musicians, having been a student of the St Petersburg Imperial Conservatory of Music. George Gershwin spent four years studying with Schillinger, during this period, he composed Porgy and Bess and consulted Schillinger on matters concerning the opera, particularly its orchestration. There has been disagreement about the nature of Schillingers influence on Gershwin. A third account of Gershwins musical relationship with his teacher was written by Gershwins close friend Vernon Duke, also a Schillinger student, Some of Gershwins notebooks from his studies with Joseph Schillinger can be found at the Library of Congress. In the field of music, Schillinger collaborated with Léon Theremin, the inventor of an early electronic musical instrument. Schillinger wrote his First Airphonic Suite for Léon Theremin, who played the instrument at the premiere in 1929 with the Cleveland Orchestra and his mathematical principles were applied to various fields other than music. For example, Schillinger collaborated with the film maker Mary Ellen Bute, Schillinger House opened in 1945 and later became the Berklee College of Music where the System survived in the curriculum until the 1960s. There has been debate surrounding how many teachers were certified by Schillinger himself, the numbers cited range from seven to twelve certified teachers. Yet, to date, only seven certified teachers of the Schillinger System have been substantiated, two certified teachers were Asher Zlotnik of Baltimore, Maryland, a student and personal friend of Lyle Dowling and Edwin Gerschefski. Schillinger System of musical composition Anderson, Ruth, jeremy, Keys to the Schillinger System, course B, Basic principles and foundations. “Joseph Schillinger, Music Science Promethean” American Music 21/1, 45-73, a Dictionary of American Composers, Garland,1984. Great Jews in Music, J. D. Publishers,1986, the New Grove Dictionary of American Music. Schillinger. J, The Schillinger System of Musical Composition, Rose Books 2005, ISBN 1-59386-028-5 Sitsky, Music of the repressed Russian avant-garde, 1900–1929, Greenwood Press,1994. A Brief Note on the Schillinger System, “The Schillinger Case, Fallacy of the Mechanistic Approach. ”“The Schillinger Case, Charting the Musical Range, ” Modern Music 23/3, 226-8 Cowell, Henry. “Joseph Schillinger as Composer, ” Music News 39/3, 5-6 Duke, “Gershwin, Schillinger, Dukelsky, Some Reminiscences, ” Musical Quarterly 33/1, 102-115 Human, Alfred. Schillinger Challenges Genius, Musical Digest 29/8, 12-14,16, “Schillinger’s Influence on Film Music, ” Music News 39/3, 39-40. “Schillinger of Russia and the World, ” Music News 39/3, New York, Greenberg,1949 Solomon, Seymour
22.
Henry Cowell
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Henry Dixon Cowell was an American composer, music theorist, pianist, teacher, publisher, and impresario. His experiments begun three decades ago in rhythm, in harmony, and in instrumental sonorities were considered then by many to be wild, today they are the Bible of the young and still, to the conservatives, advanced. No other composer of our time has produced a body of works so radical and so normal, so penetrating, add to this massive production his long and influential career as a pedagogue, and Henry Cowells achievement becomes impressive indeed. There is no other quite like it, to be both fecund and right is given to few. After his parents divorce in 1903, he was raised by his mother, Clarissa Dixon, author of the early feminist novel Janet and his father, with whom he maintained contact, introduced him to the Irish music that would be a touchstone for Cowell throughout his career. While receiving no formal education, he began to compose in his mid-teens. By the summer of 1914, Cowell was writing truly individualistic works and that fall, the largely self-taught Cowell was admitted to the University of California, Berkeley, as a protégé of Charles Seeger. There he studied harmony and other subjects under Seeger and Edward Griffith Stricklen, after two years at Berkeley, Cowell pursued further studies in New York where he encountered Leo Ornstein, the radically futurist composer-pianist. Still a teenager, Cowell wrote the piano piece Dynamic Motion and it requires the performer to use both forearms to play massive secundal chords and calls for keys to be held down without sounding to extend and intensify its dissonant cluster overtones. In later years, Cowell would claim that the piece had been composed around 1912 and it was on one of these tours that in 1923, his friend Richard Buhlig introduced Cowell to young pianist Grete Sultan in Berlin. They worked closely together—an aspect vital to Grete Sultans personal and artistic development, Cowell later made such an impression with his tone cluster technique that Béla Bartók requested his permission to adopt it. Cowells endeavors with string piano techniques were the inspiration for John Cages development of the prepared piano. Even the canon in the first movement of the Romantic has different note-lengths for each voice, in 1919, Cowell had begun writing New Musical Resources, which would finally be published after extensive revision in 1930. Focusing on the variety of rhythmic and harmonic concepts he used in his compositions. Conlon Nancarrow, for instance, would refer to it later as having the most influence of anything Ive ever read in music. Cowell wrote several compositions for the instrument, including an orchestrated concerto. Soon, however, the Rhythmicon would be forgotten, remaining so until the 1960s. A prolific composer of songs, Cowell returned in 1930–31 to Aeolian Harp, adapting it as the accompaniment to a setting of a poem by his father
23.
Rhythmic unit
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Rhythm generally means a movement marked by the regulated succession of strong and weak elements, or of opposite or different conditions. In the performance arts, rhythm is the timing of events on a scale, of musical sounds and silences that occur over time, of the steps of a dance, or the meter of spoken language. In some performing arts, such as hip hop music, the delivery of the lyrics is one of the most important elements of the style. Rhythm may also refer to visual presentation, as timed movement through space, in recent years, rhythm and meter have become an important area of research among music scholars. Recent work in these areas includes books by Maury Yeston, Fred Lerdahl and Ray Jackendoff, Jonathan Kramer, Christopher Hasty, Godfried Toussaint, William Rothstein, and Joel Lester. In Thinking and Destiny, Harold W. Percival defined rhythm as the character and meaning of thought expressed through the measure or movement in sound or form, or by written signs or words. In his television series How Music Works, Howard Goodall presents theories that human rhythm recalls the regularity with which we walk, other research suggests that it does not relate to the heartbeat directly, but rather the speed of emotional affect, which also influences heartbeat. Yet other researchers suggest that certain features of human music are widespread. The perception and abstraction of rhythmic measure is the foundation of human instinctive musical participation, Joseph Jordania recently suggested that the sense of rhythm was developed in the early stages of hominid evolution by the forces of natural selection. Plenty of animals walk rhythmically and hear the sounds of the heartbeat in the womb, some types of parrots can know rhythm. There is not a report of an animal being trained to tap, peck. For this reason, the fast-transient sounds of percussion instruments lend themselves to the definition of rhythm, Musical cultures that rely upon such instruments may develop multi-layered polyrhythm and simultaneous rhythms in more than one time signature, called polymeter. Such are the cross-rhythms of Sub-Saharan Africa and the interlocking kotekan rhythms of the gamelan, for information on rhythm in Indian music see Tala. For other Asian approaches to rhythm see Rhythm in Persian music, Rhythm in Arabian music and Usul—Rhythm in Turkish music and this consists of a series of identical yet distinct periodic short-duration stimuli perceived as points in time. It is currently most often designated as a crotchet or quarter note in western notation, faster levels are division levels, and slower levels are multiple levels. Rhythms of recurrence arise from the interaction of two levels of motion, the faster providing the pulse and the slower organizing the beats into repetitive groups. Once a metric hierarchy has been established, we, as listeners, a durational pattern that synchronises with a pulse or pulses on the underlying metric level may be called a rhythmic unit. A rhythmic gesture is any pattern that, in contrast to the rhythmic unit
24.
Harmonic series (music)
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A harmonic series is the sequence of sounds where the base frequency of each sound is an integer multiple of the lowest base frequency. Pitched musical instruments are based on an approximate harmonic oscillator such as a string or a column of air. At these resonant frequencies, waves travel in both directions along the string or air column, reinforcing and canceling each other to form standing waves, interaction with the surrounding air causes audible sound waves, which travel away from the instrument. Because of the spacing of the resonances, these frequencies are mostly limited to integer multiples, or harmonics, of the lowest frequency. The musical timbre of a tone from such an instrument is determined by the relative strengths of each harmonic. A complex tone can be described as a combination of many simple periodic waves or partials, each with its own frequency of vibration, amplitude, a partial is any of the sine waves of which a complex tone is composed. A harmonic is any member of the series, an ideal set of frequencies that are positive integer multiples of a common fundamental frequency. The fundamental is also considered a harmonic because it is 1 times itself, a harmonic partial is any real partial component of a complex tone that matches an ideal harmonic. An inharmonic partial is any partial that does not match an ideal harmonic, Inharmonicity is a measure of the deviation of a partial from the closest ideal harmonic, typically measured in cents for each partial. Unpitched, or indefinite-pitched instruments, such as cymbals, gongs, or tam-tams make sounds that are rich in inharmonic partials, an overtone is any partial except the lowest partial. The term overtone does not imply harmonicity or inharmonicity and has no special meaning other than to exclude the fundamental. It is the relative strengths of the different overtones that gives an instrument its particular timbre, some electronic instruments, such as synthesizers, can play a pure frequency with no overtones. Synthesizers can also combine pure frequencies into more complex tones, such as to other instruments. Certain flutes and ocarinas are very nearly without overtones, in most pitched musical instruments, the fundamental is accompanied by other, higher-frequency harmonics. Thus shorter-wavelength, higher-frequency waves occur with varying prominence and give each instrument its characteristic tone quality, the fact that a string is fixed at each end means that the longest allowed wavelength on the string is twice the length of the string. Other allowed wavelengths are 1/2, 1/3, 1/4, 1/5, 1/6, theoretically, these shorter wavelengths correspond to vibrations at frequencies that are 2,3,4,5,6, etc. times the fundamental frequency. Physical characteristics of the vibrating medium and/or the resonator it vibrates against often alter these frequencies, the harmonic series is an arithmetic series. In terms of frequency, the difference between consecutive harmonics is therefore constant and equal to the fundamental, but because human ears respond to sound nonlinearly, higher harmonics are perceived as closer together than lower ones
25.
Pitch (music)
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Pitch can be determined only in sounds that have a frequency that is clear and stable enough to distinguish from noise. Pitch is a major attribute of musical tones, along with duration, loudness. Pitch may be quantified as a frequency, but pitch is not a purely objective physical property, Pitch is an auditory sensation in which a listener assigns musical tones to relative positions on a musical scale based primarily on their perception of the frequency of vibration. Pitch is closely related to frequency, but the two are not equivalent, frequency is an objective, scientific attribute that can be measured. Pitch is each persons subjective perception of a wave, which cannot be directly measured. However, this not necessarily mean that most people wont agree on which notes are higher and lower. Sound waves themselves do not have pitch, but their oscillations can be measured to obtain a frequency and it takes a sentient mind to map the internal quality of pitch. However, pitches are usually associated with, and thus quantified as frequencies in cycles per second, or hertz, by comparing sounds with pure tones, Complex and aperiodic sound waves can often be assigned a pitch by this method. According to the American National Standards Institute, pitch is the attribute of sound according to which sounds can be ordered on a scale from low to high. That is, high pitch means very rapid oscillation, and low pitch corresponds to slower oscillation, despite that, the idiom relating vertical height to sound pitch is shared by most languages. At least in English, it is just one of many deep conceptual metaphors that involve up/down, the exact etymological history of the musical sense of high and low pitch is still unclear. There is evidence that humans do actually perceive that the source of a sound is slightly higher or lower in vertical space when the frequency is increased or reduced. The pitch of tones can be ambiguous, meaning that two or more different pitches can be perceived, depending upon the observer. In a situation like this, the percept at 200 Hz is commonly referred to as the missing fundamental, Pitch depends to a lesser degree on the sound pressure level of the tone, especially at frequencies below 1,000 Hz and above 2,000 Hz. The pitch of lower tones gets lower as sound pressure increases, for instance, a tone of 200 Hz that is very loud seems one semitone lower in pitch than if it is just barely audible. Above 2,000 Hz, the pitch gets higher as the sound gets louder, theories of pitch perception try to explain how the physical sound and specific physiology of the auditory system work together to yield the experience of pitch. In general, pitch perception theories can be divided into place coding, place theory holds that the perception of pitch is determined by the place of maximum excitation on the basilar membrane. However, a purely place-based theory cannot account for the accuracy of pitch perception in the low, temporal theories offer an alternative that appeals to the temporal structure of action potentials, mostly the phase-locking and mode-locking of action potentials to frequencies in a stimulus
26.
Bossa nova
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Bossa nova is a genre of Brazilian music, which developed and was popularized in the 1950s and 1960s and is today one of the best-known Brazilian music genres abroad. The phrase bossa nova means literally new trend, a lyrical fusion of samba and jazz, bossa nova acquired a large following in the 1960s, initially among young musicians and college students. In Brazil, the word bossa is a slang for something that is done with particular charm. As early as 1932, Noel Rosa used the word in a samba, O samba, the exact origin of the term bossa nova remained unclear for many decades, according to some authors. Within the artistic culture of the late 1950s in Rio de Janeiro. In his book Bossa Nova, Brazilian author Ruy Castro asserts that bossa was already in use in the 1950s by musicians as a word to characterize someones knack for playing or singing idiosyncratically. Castro claims that the term bossa nova might have first been used in public for a given in 1957 by the Grupo Universitário Hebraico do Brasil. The authorship of the bossa nova is attributed to the then-young journalist Moyses Fuks. That group consisted of Sylvia Telles, Carlos Lyra, Nara Leão, Luizinho Eça, Roberto Menescal, mr. Fukss description, fully supported by most of the bossa nova members, simply read HOJE. SYLVIA TELLES E UM GRUPO BOSSA NOVA, since Sylvia Telles was the most famous musician in the group at that time, in 1959, Nara Leão also participated in more than one embryonic display of bossa nova. These include the 1st Festival de Samba Session, conducted by the student union of Pontifícia Universidade Católica and this session was chaired by Carlos Diegues, latter a prominent Cinema Novo film director, a law student whom Leão ultimately married. Bossa nova is most commonly performed on the classical guitar. Its purest form could be considered unaccompanied guitar with vocals, as created, pioneered, even in larger, jazz-like arrangements for groups, there is almost always a guitar that plays the underlying rhythm. Gilberto basically took one of the several rhythmic layers from an ensemble, specifically the tamborim. As in samba, the plays a ostinato figure on the downbeat of beat one, the ah of beat one. The clave pattern sounds very similar to the two-three or three-two son clave of Cuban styles such as mambo but is dissimilar in that the two side of the clave is pushed by an eighth note. Also important in the section for bossa nova is the cabasa. These parts are easily adaptable to the set, which makes bossa nova a rather popular Brazilian style for drummers
27.
Tape loop
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In music, tape loops are loops of magnetic tape used to create repetitive, rhythmic musical patterns or dense layers of sound when played on a tape recorder. Popular music authors of 1960s and 1970s, particularly in psychedelic, progressive and ambient genres, in the 1980s, analog audio and tape loops with it gave way to digital audio and application of computers to generate and process sound. Stockhausen also used the technique for live performance in Solo, the length of the loop controls the length of the repeated sound, and combines with the desired content of the composer to create a single tape loop. On a standard reel-to-reel, one loop is, at most, some composers were satisfied with this approach, but there were other methods to allow for longer loops. By using this or other methods, some composers could create very long loops which allowed for lengthier fragments of sound. When recording his landmark 1978 ambient album Music for Airports, Brian Eno reported that for a song, One of the tape loops was seventy-nine feet long. The longest tape loop ever created was made by Barry Anderson for performances of Stockhausens Solo, in the late 1940s, Pierre Schaeffer used special phonograph discs with a sillon fermé to repeat segments of sounds in his musique concrète studio in Paris. Several different configurations of tape loops were employed in the years of the WDR Studio in Cologne. One such arrangement was used to build up multilayered textures by sequentially recording sounds with the erase head disconnected or with an arrangement of the heads. Gottfried Michael Koenig applied this method in 1954, in his Klangfiguren I, in Canada, Hugh Le Caine produced a particularly clear and memorable example of musique concrète in 1955 titled Dripsody. It was built from the sound of a drop of water, using a variable-speed tape recorder, tape loops. Pioneer of minimalism Terry Riley began employing tape loops at the end of the 1950s, with assistance of Richard Maxfield and Ramon Sender, Riley combined tape loops with echoplex devices, producing an acid trip piece Mescalin Mix, made from sound samples from his earlier works. Steve Reich also used tape loops to compose, using a technique which he called phasing and he would put two tape loops together at slightly different speeds, so they would start playing simultaneously and then drift apart. Pieces created by this method are Its Gonna Rain and Come Out, in Violin Phase he combined the tape loop with an instrumental score. Later on, Gavin Bryars explored a concept in composition 1,2, 1-2-3-4. In the 1960s and 1970s, use of loops made a breakthrough in popular music. Revolution 9 was a more experimental venture, consisting almost entirely of tape loops fading in. Introduction of new technologies, such as music sequencers and synthesizers in the 1970s, followed by digital sequencers in 1977
28.
Wurlitzer
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The Rudolph Wurlitzer Company, usually referred to as simply Wurlitzer, is an American company started in Cincinnati, Ohio in 1853 by German immigrant Rudolph Wurlitzer. In 1880 the company began manufacturing pianos, over time, Wurlitzer acquired a number of other companies which made a variety of loosely related products including kitchen appliances, carnival rides, player piano rolls, and radios. Wurlitzer also operated a chain of stores where the companys products were sold. Wurlitzers jukebox operations were sold and moved to Germany in 1973, the Wurlitzer piano and organ brands and U. S. manufacturing facilities were acquired by the Baldwin Piano & Organ Co. in 1988 and most piano manufacturing was moved overseas. The Baldwin Co. including its Wurlitzer assets, was acquired by the Gibson Guitar Corporation in about 1996. Baldwin ceased making Wurlitzer-brand pianos in 2009, Vending machines are still manufactured in Germany using the Wurlitzer name under Gibson ownership. The company ceased manufacturing jukeboxes in 2013, but still sells replacement parts, Wurlitzers rare and historic stringed instrument department was independently directed by Rudolph Wurlitzers grandson, Rembert Wurlitzer, from 1948 until his death in 1963. Remberts shop on 42d Street in New York City was an international center for rare. Wurlitzer was founded in Cincinnati in 1853 by German Franz Rudolph Wurlitzer from Schöneck and it was directed successively by his sons Howard, Rudolph, and Farny. In 1880 Wurlitzer started manufacturing its own pianos which the company sold through its retail outlets in Chicago, in 1896 Wurlitzer manufactured its first coin-operated pianos. In the late 1800s, fairs were very popular and, as crowds grew and mechanical rides began to appear, Eugene DeKleist of North Tonawanda, NY was an early builder of such organs for use in carousels. Wurlitzer bought into DeKleists North Tonawanda Barrel Organ Factory in 1897, eventually Wurlitzer bought out the entire operation and moved all Wurlitzer manufacturing operations from Ohio to New York. In 1909 the company began making innovative harps that were far more durable than European prototypes, the Mighty Wurlitzer theatre organ was introduced in late 1910 and became Wurlitzers most famous product. Wurlitzer theatre organs are installed all over the world in a variety of theatres, museums, churches, Wurlitzer also took over production of Lyric brand radios from the All American Mohawk Radio Company in Chicago. Lyric radios were a very high-end console radio which retailed for as much as $425 in 1929, in addition to business acquisitions, Wurlitzer also entered into several joint ventures with James Armitage, George Herschell, and other businessmen from the area. Amusement rides, particularly carousels, were assembled at the facility. Starting in about 1933, the Wurlitzer name gradually became more and more associated with jukeboxes than with actual musical instruments. In 1942, organ production at the North Tonawanda factory ceased, after the war, normal production efforts resumed but with more focus on radios, jukeboxes, and small electronic organs for private homes
29.
Music box
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A music box or musical box is an automatic 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 original snuff boxes were tiny containers which could fit into a waistcoat pocket. The music boxes could have any size from that of a hat box to a piece of furniture. They were usually powered by clockwork and originally produced by artisan watchmakers, for most of the 19th century, the bulk of music box production was concentrated in Switzerland, building upon a strong watchmaking tradition. The first music box factory was opened there in 1815 by Jérémie Recordon, there were also a few manufacturers in Bohemia and Germany. By the end of the 19th century, some of the European makers had opened factories in the United States, the cylinders were normally made of metal and powered by a spring. In some of the models, the cylinders could be removed to change melodies, thanks to an invention by Paillard in 1862. In some exceptional models, there were four springs, to provide continuous play for up to three hours, the very first boxes at the end of the 18th century made use of metal disks. The switchover to cylinders seems to have been complete after the Napoleonic wars, in the last decades of the 19th century, however, mass-produced models such as the Polyphon and others all made use of interchangeable metal disks instead of cylinders. The cylinder-based machines rapidly became a minority, instead, the cylinder worked by actuating bellows and levers which fed and opened pneumatic valves which activated a modified wind instrument or plucked the chords on a modified string instrument. Some devices could do both at the time and were often combinations of player pianos and music boxes, such as the Orchestrion. There were many variations of large machines, usually built for the affluent of the pre-phonograph 19th century. Some were called the Symphonium, others were called the Concert Regina Music Box machine, both variations were as tall as a grandfather clock and both used interchangeable large disks to play different sets of tunes. Both were spring-wound and driven and both had a bell-like sound, the machines were often made in England, Italy, and the US, with additional disks made in Switzerland, Austria, and Prussia. Early juke-box pay versions of them existed in places also. Marshs free Museum and curio shop in Long Beach, Washington has several still-working versions of them on public display, the Musical Museum, Brentford, London has a number of machines. The Morris Museum in Morristown, NJ, USA has a notable collection, in addition to video and audio footage of each piece, the actual instruments are demonstrated for the public daily on a rotational basis
30.
Raymond Scott
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Raymond Scott was an American composer, band leader, pianist, engineer, recording studio maverick, and electronic instrument inventor. Looney Tunes and Merrie Melodies animated shorts, Scotts melodies may also be heard in contemporary shows like Ren and Stimpy, The Simpsons, Duckman, Animaniacs, The Oblongs, and Batfink. The only music Scott actually composed to accompany animation were three 20-second electronic commercial jingles for County Fair Bread in 1962, Scott was born in Brooklyn, New York to Russian Jewish immigrants, Joseph and Sarah Warnow. His older brother, Mark Warnow, a conductor, violinist, a 1931 graduate of the Juilliard School of Music, where he studied piano, theory and composition, Scott, under his birth name, began his professional career as a pianist for the CBS Radio house band. His older brother Mark conducted the orchestra, Harry reportedly adopted the pseudonym Raymond Scott to spare his brother charges of nepotism when the orchestra began performing the pianists idiosyncratic compositions. In 1935 he married Pearl Zimney, in late 1936, Scott recruited a band from among his CBS colleagues, calling it the Raymond Scott Quintette. It was a group, but the puckish Scott thought Quintette sounded crisper. The original sidemen were Pete Pumiglio, Bunny Berigan, Louis Shoobe, Dave Harris and they made their first recordings in New York on February 20,1937, for the Master Records label, owned by music publisher/impresario Irving Mills. The Quintette represented Scotts attempt to revitalize Swing music through tight, busy arrangements and reduced reliance on improvisation. He called this musical style descriptive jazz, and gave his works unusual titles like New Years Eve in a Haunted House, Dinner Music for a Pack of Hungry Cannibals, while popular with the public, jazz critics disdained it as novelty music. Scott believed strongly in composing and playing by ear and he composed not on paper, but on his band — by humming phrases to his sidemen, or by demonstrating riffs and rhythms on the keyboard and instructing players to interpret his cues. It was all done by ear, with no written scores, Scott, who was also a savvy sound engineer, recorded the bands rehearsals on discs and used the recordings as references to develop his compositions. He reworked, resequenced, or deleted passages, or added themes from other discs to construct finished works. Although Scott rigidly controlled the bands repertoire and style, he took piano solos, preferring to direct the band from the keyboard and leaving solos. He also had a penchant for adapting classical motifs in his compositions, the public, who bought his records by the millions, seemed indifferent to any controversy. One of Scotts best-known compositions is The Toy Trumpet, a cheerful pop confection that is recognizable to many people who cannot name the title or composer. In the 1938 film Rebecca of Sunnybrook Farm, Shirley Temple sings a version of the song with lyrics, trumpeter Al Hirts 1964 rendition with Arthur Fiedler and The Boston Pops has become a standard. Another oft-recorded Scott classic, In An Eighteenth-Century Drawing Room, is a pop adaptation of the theme from Mozarts Piano Sonata in C, K.545
31.
Soothing Sounds for Baby
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Soothing Sounds for Baby is a three-volume set of ambient electronic music by American composer, musician, and inventor Raymond Scott. The music gets more complex with each volume, Scott created much of the music on the albums with instruments he created, such as the Electronium and the Clavivox. Particularly on Soothing Sounds for Baby, Scott proved to be one of the first composers to merge the Brave New World of electronic sounds with a pop sensibility. Basta Music of Holland reissued the albums as 3 individual CDs, Soothing Sounds for Baby at raymondscott. com archive
32.
Seeburg Corporation
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Seeburg was an American design and manufacturing company of automated musical equipment, such as orchestrions, jukeboxes, and vending equipment. The company went out of business in 1980, automated musical equipment, such as coin-operated phonographs and orchestrions, were manufactured under the J. P. Seeburg and Company name for most of its early years. Until 1956, the company was family-owned, the company was founded by Justus P. Sjöberg from Gothenburg, Sweden. He moved to the United States after graduating from Chalmers University of Technology, in the late 1940s, Seeburg manufactured its popular and distinctive trashcan-shaped series of jukeboxes. When they began to make jukeboxes, the 78 rpm record was standard and this changed with the Seeburg model M100A, which could play 50 records front and back for a total of 100 selections, an immense variety at the time. In 1950, Seeburg introduced the first commercial jukebox designed to play the then-new 45 rpm records and they later increased the number of records from 50 to 80, then 100 per machine. The classic M100C is featured early in the opening of the Happy Days TV series, the Seeburg Select-O-Matic record mechanism stores the records in a linear horizontal rack and plays them vertically clamped between two rotating cylinders. The selected record is pushed forward from behind, then clamped in the rotating cylinders, the tone arm is likewise oriented vertically and has a stylus on each side. The stylus is selected depending on which side of the record is being played, the earliest 45 RPM mechanism, the Select-O-Matic 100, held 50 records or 100 songs. Later models held 80 or 10045 RPM records, in machines manufactured during the 1950s, the entire mechanism was visible to the user. Later machines concealed the actual player in favor of musical graphics and lights, Seeburg also manufactured background music players, such as the Seeburg 1000, which used special 9-inch, 16⅔ rpm records. During the 1960s, Seeburg bought many other companies, including Williams, in 1965, the Seeburg Corporation announced that it was establishing a new music performance rights organisation to compete with ASCAP, BMI, and SESAC. The society was called Coin-Operated Phonograph Performance Society, the plan was for Seeburg to make recordings solely for play in jukeboxes. During the 1970s Seeburg was faced with debt and a market for their music products. The corporation headed into bankruptcy in 1979 and was broken up by 1980 and their jukebox production was re-organized into the Seeburg Phonograph Division, which the court closed in September,1979. The remaining production assets were acquired by Stern Electronics, who began producing Stern/Seeburg jukeboxes and this only lasted a few years, as Stern/Seeburg also was forced to close. The parts department stock was purchased by Los Angeles-based Jukeboxes Unlimited in September 1980, a few other attempts were made to use the Seeburg name, but all failed. A final effort was made to revive the company in March 1984 and this effort was called The Seeburg Phonograph Company and was composed of some of the original Seeburg employees
33.
Gulbransen (musical instrument manufacturer)
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Gulbransen Company was a musical instrument manufacturer of player pianos and home organs in the United States. It was originally established in 1904 by Axel Gulbransen as Gulbransen Piano Company, in the history of musical instruments, Gulbransen is notable for several innovations. In its early years, Gulbransen made the first upright piano with a piano mechanism in the same case. In the 1920s, thousands of pianos were manufactured by the firm under the Gulbransen. Also in the 1960s, Gulbransen released one of the earliest transistorized rhythm machines Seeburg/Gulbransen Select-A-Rhythm, note that Seeburg invented a fully transistorized rhythm machine in 1964, which was patented in 1967. On the other hand, the owner of Gulbransen has changed several times since the 1950s, around 1950, it was sold to CBS, then in 1964, merged with Seeburg Corporation, and production was once ceased in 1969. In 1985, Mission Bay Investments acquired the brand and produced Elka organs under the Gulbransen name, in 2002 or 2003, QRS Music Technologies acquired the brand and pianos were made by Samick. Electronic organ Drum machine Seeburg Corporation www. qrsmusic. com — Gulbransen history at QRS Music Technologies, Inc
34.
Transistor
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A transistor is a semiconductor device used to amplify or switch electronic signals and electrical power. It is composed of semiconductor material usually with at least three terminals for connection to an external circuit, a voltage or current applied to one pair of the transistors terminals controls the current through another pair of terminals. Because the controlled power can be higher than the controlling power, today, some transistors are packaged individually, but many more are found embedded in integrated circuits. The transistor is the building block of modern electronic devices. Julius Edgar Lilienfeld patented a field-effect transistor in 1926 but it was not possible to construct a working device at that time. The first practically implemented device was a point-contact transistor invented in 1947 by American physicists John Bardeen, Walter Brattain, the transistor revolutionized the field of electronics, and paved the way for smaller and cheaper radios, calculators, and computers, among other things. The transistor is on the list of IEEE milestones in electronics, and Bardeen, Brattain, the thermionic triode, a vacuum tube invented in 1907, enabled amplified radio technology and long-distance telephony. The triode, however, was a device that consumed a substantial amount of power. Physicist Julius Edgar Lilienfeld filed a patent for a transistor in Canada in 1925. Lilienfeld also filed patents in the United States in 1926 and 1928. However, Lilienfeld did not publish any research articles about his devices nor did his patents cite any examples of a working prototype. In 1934, German inventor Oskar Heil patented a device in Europe. Solid State Physics Group leader William Shockley saw the potential in this, the term transistor was coined by John R. Pierce as a contraction of the term transresistance. Instead, what Bardeen, Brattain, and Shockley invented in 1947 was the first point-contact transistor, Mataré had previous experience in developing crystal rectifiers from silicon and germanium in the German radar effort during World War II. Using this knowledge, he began researching the phenomenon of interference in 1947, realizing that Bell Labs scientists had already invented the transistor before them, the company rushed to get its transistron into production for amplified use in Frances telephone network. The first bipolar junction transistors were invented by Bell labs William Shockley, on April 12,1950, Bell Labs chemists Gordon Teal and Morgan Sparks had successfully produced a working bipolar NPN junction amplifying germanium transistor. Bell Labs had made this new sandwich transistor discovery announcement, in a release on July 4,1951. The first high-frequency transistor was the surface-barrier germanium transistor developed by Philco in 1953 and these were made by etching depressions into an N-type germanium base from both sides with jets of Indium sulfate until it was a few ten-thousandths of an inch thick
35.
Vacuum tube
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In electronics, a vacuum tube, an electron tube, or just a tube, or valve, is a device that controls electric current between electrodes in an evacuated container. Vacuum tubes mostly rely on thermionic emission of electrons from a hot filament or a cathode heated by the filament and this type is called a thermionic tube or thermionic valve. A phototube, however, achieves electron emission through the photoelectric effect, the simplest vacuum tube, the diode, contains only a heater, a heated electron-emitting cathode, and a plate. Current can only flow in one direction through the device between the two electrodes, as electrons emitted by the travel through the tube and are collected by the anode. Adding one or more control grids within the tube allows the current between the cathode and anode to be controlled by the voltage on the grid or grids, Tubes with grids can be used for many purposes, including amplification, rectification, switching, oscillation, and display. In the 1940s the invention of devices made it possible to produce solid-state devices, which are smaller, more efficient, more reliable, more durable. Hence, from the mid-1950s solid-state devices such as transistors gradually replaced tubes, the cathode-ray tube remained the basis for televisions and video monitors until superseded in the 21st century. However, there are still a few applications for which tubes are preferred to semiconductors, for example, the used in microwave ovens. One classification of vacuum tubes is by the number of active electrodes, a device with two active elements is a diode, usually used for rectification. Devices with three elements are used for amplification and switching. Additional electrodes create tetrodes, pentodes, and so forth, which have additional functions made possible by the additional controllable electrodes. X-ray tubes are vacuum tubes. Phototubes and photomultipliers rely on electron flow through a vacuum, though in those cases electron emission from the cathode depends on energy from photons rather than thermionic emission, since these sorts of vacuum tubes have functions other than electronic amplification and rectification they are described in their own articles. A vacuum tube consists of two or more electrodes in a vacuum inside an airtight enclosure, most tubes have glass envelopes, though ceramic and metal envelopes have been used. The electrodes are attached to leads which pass through the envelope via an airtight seal, Tubes were a frequent cause of failure in electronic equipment, and consumers were expected to be able to replace tubes themselves. In addition to the terminals, some tubes had an electrode terminating at a top cap. The principal reason for doing this was to avoid leakage resistance through the tube base, the bases were commonly made with phenolic insulation which performs poorly as an insulator in humid conditions. There was even a design that had two top cap connections
36.
Fender Musical Instruments Corporation
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Fender Musical Instruments Corporation, commonly referred to simply as Fender, is an American manufacturer of stringed instruments and amplifiers. It is known for its electric guitars and bass guitars, such as the Stratocaster, Telecaster, Precision Bass. Its headquarters are in Scottsdale, Arizona, the company, previously named the Fender Electric Instrument Manufacturing Company, was founded in Fullerton, California, by Clarence Leonidas Leo Fender in 1946. The company is a privately held corporation with Andy Mooney serving as the Chief Executive Officer, the company filed for an initial public offering in March 2012, but this was withdrawn five months later. In addition to its Scottsdale headquarters, Fender has manufacturing facilities in Corona, California and Ensenada, Baja California. The company also makes and / or distributes acoustic guitars, electric basses, mandolins, banjos, and electric violins, as well as amplifiers, bass amplifiers. Other Fender brands include Squier, Jackson, Charvel, EVH guitars and amplifiers in collaboration with Eddie Van Halen, in 1950, Fender introduced the first mass-produced solid-body Spanish-style electric guitar, the Telecaster. Following its success, Fender created the first mass-produced electric bass, in 1954, Fender unveiled the Stratocaster guitar. With the Telecaster and Precision Bass on the market for some time, the Strats comfortable contoured edges and in-built vibrato system led to its soaring popularity. The solid wood bodies of Fenders instruments allowed for minimal feedback with high-gain amplification, the Fender guitars were popular with musicians in a variety of genres and are now revered for their build quality and tonal excellence. The company began as Fenders Radio Service in late 1938 in Fullerton and it got its name from the surname of its founder Leo Fender. All designs were based on research developed and released to the domain by Western Electric in the 1930s. The business also sidelined in carrying records for sale and the in rental of company-designed PA systems, Leo became intrigued by design flaws in contemporary musical instrument amplifiers and began building amplifiers based on his own designs or modifications to designs. Production began in 1945 with Hawaiian lap steel guitars and amplifiers sold as sets, by the end of the year Fender became convinced that manufacturing was more profitable than repair and he decided to concentrate on that business instead. Kauffman remained, however, unconvinced and he and Fender amicably parted ways by early 1946, at that point Leo renamed the company the Fender Electric Instrument Company. The service shop remained open until 1951, although Leo Fender did not personally supervise it after 1947, a custom lap steel guitar made in 1946 for his friend Noel Boggs was probably the very first product of the new company, already sporting the familiar Big F logo. In the late 1940s, Leo Fender began to experiment with more conventional guitar designs, as early as 1949, the familiar shape of the Telecaster can be made out in some of Fenders prototypes. Early Telecasters were plagued with issues, Leo Fender boasted the strength of the Telecasters one-piece pine neck while early adopters lamented its tendency to bow in humid weather
37.
Guitar amplifier
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The input of modern guitar amplifiers is a 1/4 jack, which is fed a signal from an electro-magnetic pickup or a piezoelectric pickup using a patch cord, or a wireless transmitter. For electric guitar players, their choice of guitar amp and the settings they use on the amplifier are a key part of their signature tone or sound, some guitar players are longtime users of a specific amp brand or model. Many electric guitar players use external effects pedals to alter the sound of their tone before the signal reaches the guitar amp, such as the wah wah pedal and this article focuses on electric guitar amps. For information on amps for guitar, a lower-pitched, similar instrument. More expensive amplifiers typically have controls for other frequency ranges. Some guitar amplifiers have a graphic equalizer, which uses vertical fader controls which can control many frequency bands, the first amplifier stage is a preamplifier stage, which amplifies the guitar signal to a level that can drive the power stage. The power amplifier or output stage produces a current signal to drive a loudspeaker to produce sound that the guitarist. Amplifiers may use vacuum tubes, solid-state devices, or both, a wide range of speaker configurations are available in guitar cabinets, ranging from cabinets with a single speaker or multiple speakers. Guitar amplifiers have a range in price and quality. Music equipment companies import small, low-powered practice amplifiers for students, other companies produce expensive custom-made amplifiers for professional musicians, which can cost thousands of dollars. Most combo amplifiers have a handle, and many combo amplifiers. Control knobs are typically mounted on the front of the cabinet or chassis, though in some cases, the most basic amps only have a few knobs, which typically control volume, bass and treble. More expensive amps may have a number of knobs that control pre-amp volume, distortion or overdrive, volume, bass, mid and treble, some older amps have a knob that controls a vibrato effect. The 1/4 input jack is typically mounted on the front of the amplifier, in the simplest, least expensive amplifiers, this 1/4 jack is the only jack on the amplifier. Some amps have a 1/4 jack for connecting a pedal to turn the amps onboard overdrive and reverb on, the cone speaker, widely used in 2000s-era amp cabinets, was not offered for sale until 1925. The first amplifiers and speakers could only be powered with large batteries, when engineers developed the first AC mains-powered amplifiers, they were soon used to make musical instruments louder. Engineers invented the first loud, powerful amplifier and speaker systems for public address systems and these large PA systems and movie theatre sound systems were very large and very expensive, and so they could not be used by most touring musicians. During the late 1920s to mid-1930s, small portable PA systems, in 1928, the Stromberg-Voisinet firm was the first company to sell an electric stringed instrument and amplifier package
38.
Diode
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In electronics, a diode is a two-terminal electronic component that conducts primarily in one direction, it has low resistance to the current in one direction, and high resistance in the other. A semiconductor diode, the most common today, is a crystalline piece of semiconductor material with a p–n junction connected to two electrical terminals. A vacuum tube diode has two electrodes, a plate and a heated cathode, semiconductor diodes were the first semiconductor electronic devices. The discovery of crystals rectifying abilities was made by German physicist Ferdinand Braun in 1874, the first semiconductor diodes, called cats whisker diodes, developed around 1906, were made of mineral crystals such as galena. Today, most diodes are made of silicon, but other such as selenium and germanium are sometimes used. The most common function of a diode is to allow a current to pass in one direction. Thus, the diode can be viewed as a version of a check valve. However, diodes can have complicated behavior than this simple on–off action. Semiconductor diodes begin conducting electricity only if a threshold voltage or cut-in voltage is present in the forward direction. The voltage drop across a forward-biased diode varies only a little with the current, and is a function of temperature, a semiconductor diodes current–voltage characteristic can be tailored by selecting the semiconductor materials and the doping impurities introduced into the materials during manufacture. These techniques are used to create special-purpose diodes that perform different functions. Tunnel, Gunn and IMPATT diodes exhibit negative resistance, which is useful in microwave, Diodes, both vacuum and semiconductor, can be used as shot-noise generators. Thermionic diodes and solid state diodes were developed separately, at approximately the time, in the early 1900s. Until the 1950s vacuum tube diodes were used frequently in radios because the early point-contact type semiconductor diodes were less stable. In 1873, Frederick Guthrie discovered the principle of operation of thermionic diodes. Guthrie discovered that a positively charged electroscope could be discharged by bringing a piece of white-hot metal close to it. The same did not apply to a negatively charged electroscope, indicating that the current flow was possible in one direction. Thomas Edison independently rediscovered the principle on February 13,1880, at the time, Edison was investigating why the filaments of his carbon-filament light bulbs nearly always burned out at the positive-connected end
39.
Korg
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Korg Inc. is a Japanese multinational corporation that manufactures electronic musical instruments, audio processors and guitar pedals, recording equipment, and electronic tuners. Under the Vox brand name, they also manufacture guitar amplifiers, Korg was founded in 1962 in Japan by Tsutomu Katoh and Tadashi Osanai as Keio Gijutsu Kenkyujo Ltd. It later became Keio Electronic Laboratories because its fledgling offices were located near the Keio train line in Tokyo and Keio can be formed by combining the first letters of Katoh, before founding the company, Katoh ran a nightclub. Osanai, a Tokyo University graduate and noted accordionist, regularly performed at Katohs club accompanied by a Wurlitzer Sideman rhythm machine, unsatisfied with the rhythm machine, Osanai convinced Katoh to finance his efforts to build a better one. The companys first product, released in 1963, was an electro-mechanical rhythm device called the Disc Rotary Electric Auto Rhythm machine Donca matic DA-20, the name Donca was an onomatopoeic reference to the sound the rhythm machine made. Buoyed by the success of the DA-20, Keio released a version of the Rhythm machine. In 1967, Katoh was approached by Fumio Mieda, an engineer who wanted to build keyboards, impressed with Miedas enthusiasm, Katoh asked him to build a prototype and 18 months later Mieda returned with a programmable organ. Keio sold the organ under the name KORG, created by using the first letter of each founders name plus RG from their planned emphasis on products targeted for the organ market, keios first synthesizer, the miniKORG, was thus released in 1973. During the 1970s, Korgs synthesizer line was divided into instruments for the hobbyist, in the early 80s, Korg branched out into the digital piano category. Korg is credited with a number of innovations and landmark products, the key transpose function was Katohs idea after a singer at his club needed her accompaniment played in a lower key, which the accompanist wasnt accomplished enough to do. Korg was the first company to feature effects on a synthesizer, the M1 workstation, released in 1988, sold over 250,000 units, making it the bestselling synthesizer ever at that time. In 1989, Korg recruited the team from Sequential Circuits just as they were relieved of their duties by then-Sequential owner Yamaha. Yamaha Corporation has always been a partner of Korg, supplying them with circuitry. In 1987, shortly before the release of the M1 Music Workstation, the takeover of the company was amicable, with Katoh drawing up the terms, and the two companies continued to independently develop their product lines and compete in the marketplace. After 5 very successful years, Katoh had enough money to rebuy most of the Yamaha share back in 1993, Korg has since diversified into digital effects, tuners, recording equipment, electronic hand percussion, and software instruments. In 1992, Korg acquired Vox, then primarily a manufacturer of guitar amplifiers, Korg was also the exclusive distributor of Marshall Amplification product in the United States for decades, with this distribution arrangement ending in 2010. Tsutomo Katoh died of cancer on March 15,2011, category, Korg synthesizers Electronic tuner Korg Museum. Audio interview with Mitch Colby - EVP / CMO of Korg USA Korg - Review NAMM Oral History Interview Tsutomu Katoh discusses his favorite of his many musical products, the tuner
40.
Nippon Columbia
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Nippon Columbia Co. Ltd. often pronounced Korombia, TYO,6791, is a Japanese record label founded in 1910 as Nipponophone Co. Ltd. It affiliated itself with the Columbia Graphophone Company of the United Kingdom, the company changed its name to Nippon Columbia Co. Ltd. in 1946. It used the Nippon Columbia name until October 1,2002, on October 1,2010, the company returned to its current name. Outside Japan, the company operates as the Savoy Label Group which releases recordings on the SLG, Savoy Jazz and it also manufactured electronic products under the Denon brand name until 2001. was a part, which operated in Japan as Toshiba-EMI. The label is notable, however, for continuing to use the historical Magic Notes logo, Japanese Peoples Honour Award-winning singer Hibari Misora belonged to the label. This label is known for dropping Ayumi Hamasaki, the best-selling solo artist in Japanese Oricon history. It happened after her first single Nothing from Nothing and album of the same name flopped and she subsequently met her current producer, Max Matsuura, who is now President of Avex. In 2007, Ritter hired Ejovi Nuwere into CME, and together they began building a Japanese-based, competition-oriented promotional platform for new artists called Otorevo, the premise of the project was to prove a more cost- and time-efficient model for discovering viable artists to join the label. Despite the measurable successes of Otorevo, the CME board of directors voted to terminate all R&D projects in March 2008. A number of talented artist were discovered on the OtoRevo platform, two artist received debuts but all were released after the shut down of the R&D division, the most well-known is the group CREAM who were originally named IYSE. They are currently one of the top selling new artist in Japan with more than 3M channel views on YouTube, major investors include Faith K. K. Daiichi Kosho Company, Japan Securities Finance Co. Ltd. Sumitomo Trust and Banking, Nomura Securities, Rakuten Securities and Fukoku Mutual Life Insurance Company, list of record labels Official website Official Centennial Website Nippon Columbias channel on YouTube
41.
Ace Tone
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Ace Electronic Industries Inc. or Ace Tone was a manufacturer of musical instruments, including electronic organs and analogue drum machines, and effects pedals. Founded in 1960 by Ikutaro Kakehashi with an investment by Sakata Shokai, Ace Tone can be considered an incarnation of the Roland Corporation. Ace Tone began manufacturing amplifiers in 1963, canary S-2 — Vacuum tube clavioline, exhibited on 1964 Summer NAMM, but not released. X-3/X-3W — although model name evokes Hammond X series, it was shipped under Ace Tone brand, Ace 3000 has built-in cassette recorder on the lower right. National SX-601 Hammond VS-300 Cadette — although early Cadettes was built in Japan by Yamaha/Nippon Gakki, later models in the United Kingdom was built by Ace Tone/Nihon Hammond. Hammond F1000 /2000 /3000 — these models built in England in the 1970s, were variations of Ace 1000 /2000 /3000 designed & built in Japan, Ace Tone model also shipped from Hammond. Ace Tone FR-2L ⇒ Hammond Auto Ace Tone FR-3 ⇒ Hammond Rhythm 2 Hammond shipped far improved model based on Rolands improved model, Ace Tone FR-7L ⇒ Roland Rhythm 77 ⇒ Hammond Auto-Vari 64 Hammond models manufactured by Nihon Hammond. In the 1970s, possibly several models were distributed under Multivox brand by Sorkin Music. On the other hand, late-1970s models such as Multivox FR-3 seem to share similarities with Korg Minipops. Multivox models Also shipped from Multivox In the mid-1970s, “ACE TONE” brand was taken over by Sakata/Nihon Hammond, Sakata/Nihhon Hammond models Also shipped from Sakata/Nihhon Hammond. In 1972, Kakehashi left Ace Electronics and established Roland Corporation, Ace Tone Professional Amplifiers Catalog 1971. Ace Tone Guitar Amplifiers Catalog 1976, for example, production years of early product/prototype, and the later mass-production models are mysteriously confused. Archived from the original on 2008-06-30, — List of products and some corporate history. — Profiles of organs and corporate history, harmony Central, Ace Tone, Reviews — Reviews of Ace Tone products. Orgel Wiki, Ace Tone — more pictures of organ models, vintageSynth. hu, Ace — more pictures of products. Ace-tone lh-100 stereo phasor - LH-100 Stereo Phasor photo and audio examples, effectsdatabase. com, Ace Tone WM-1 Wah Master. The Dave Howard Singers PAGE - A band that popularized the sound of the Acetone Top 5, the Dave Howard Singers Wikipedia PAGE
42.
University of Tokyo
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The University of Tokyo, abbreviated as Todai, is a research university located in Bunkyo, Tokyo, Japan. The university has 10 faculties with a total of around 30,000 students,2,100 of whom are foreign and its five campuses are in Hongō, Komaba, Kashiwa, Shirokane and Nakano. It is the first of Japans National Seven Universities, the university was chartered by the Meiji government in 1877 under its current name by amalgamating older government schools for medicine and Western learning. It was renamed the Imperial University in 1886, and then Tokyo Imperial University in 1897 when the Imperial University system was created, in September 1923, an earthquake and the following fires destroyed about 700,000 volumes of the Imperial University Library. The books lost included the Hoshino Library, a collection of about 10,000 books, the books were the former possessions of Hoshino Hisashi before becoming part of the library of the university and were mainly about Chinese philosophy and history. In 1947, after Japans defeat in World War II, it re-assumed its original name, although the university was founded during the Meiji period, it has earlier roots in the Astronomy Agency, Shoheizaka Study Office, and the Western Books Translation Agency. These institutions were government offices established by the 徳川幕府 Tokugawa shogunate, kikuchi Dairoku, an important figure in Japanese education, served as president of Tokyo Imperial University. For the 1964 Summer Olympics, the university hosted the running portion of the pentathlon event. On 20 January 2012, Todai announced that it would shift the beginning of its academic year from April to September to align its calendar with the international standard, the shift would be phased in over five years. But this unilateral announcement by the president was received badly and the university abandoned the plans, according to the Japan Times, the university had 1,282 professors in February 2012. In 2014, the School of Science at the University of Tokyo introduced an undergraduate transfer program called Global Science Course. Academic Ranking of World Universities ranked the University of Tokyo 1st in Asia, Times Higher Education World University Rankings ranked the University of Tokyo 27th in the world in 2013 and 1st in the Asia University ranking in 2013. In 2015, Times Higher Education World University Rankings ranked the institution 23rd in the world and it ranks 12th in the world according to the Times Higher Education World Reputation Rankings 2016. QS World University Rankings in 2011 ranked the University of Tokyo 25th in the world, in the 2011 QS Asian University Rankings, which employs a different methodology, the University of Tokyo came 4th. Currently, University of Tokyo holds ranks 9th & 11th respectively for Natural Sciences & Engineering, Times Higher Education World Reputation Rankings ranked the University of Tokyo 12th in the world also 1st in Asia in 2016. Global University Ranking ranked the University of Tokyo 3rd in the world, Human Resources & Labor Review, a human competitiveness index & analysis published in Chasecareer Network, ranked the university 21st internationally and 1st in Asia in 2010. Mines ParisTech, Professional Ranking World Universities ranked the University of Tokyo 2nd in the world on the basis of the number of alumni listed among CEOs in the 500 largest worldwide companies, nature Publishing Index ranked the University of Tokyo 5th in the world in 2011. The main Hongo campus occupies the estate of the Maeda family
43.
Electone
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Electone is the trademark used for electronic organs produced by Yamaha. With the exception of the top end models, most Electones are based on the design on the spinet electronic organ. Current models are completely digital and contain a variety of sounds, effects, after Hammond pioneered the electronic organ in the 1930s, other manufacturers began to market their own versions of the instrument. The Yamaha Electone series debuted in 1959 with the D-1, a home instrument, by 1980, with the market waning sharply, and some manufacturers ceasing production, the Electone line embraced digital technology. This allowed Electone’s survival as the traditional home electronic organ market dried up, Electones were to be found not only in homes, especially in Japan and elsewhere in the East Asia, but also in bands and other solo and group public performances. Yamaha began exporting Electones to the United States, starting with the D-2B in 1967,1968 — EX-21 prototype Different from prior Electones, it was expressly designed for stage performances. 1970 — EX-42 This became Yamahas first commercially available stage model Electone and it was also the first to use integrated circuits, although it was still based on analogue technology. 1974 — Designing of Electones around synthesisers, instead of organs 1974 — CSY-1 Based on the SY-1 synthesizer,1975 — GX-1 The first polyphonic synthesizer in Electone form, bridging the gap between synthesizer and organ. It utilised velocity-sensitive keyboards and the keyboard was even after-touch sensitive. Some notable users of the GX-1 include Richard D. James, Stevie Wonder, Keith Emerson, John Paul Jones of Led Zeppelin,1977 — E-70 One of the first home based organs to feature Yamahas PASS in a console cabinet. 1983 to 1986 — FC/FE/FS/FX series Featured FM tone generators and the FX series featured the companys first digitally sampled sounds for the onboard percussion/rhythm units. The F series Electones were the first to allow users to digitally save registrations via pistons and then save them to RAM packs or a disk drive unit. 1987 — HS/HX series Electones became more digital here and it used more integrated circuit technology to make components smaller, and hence allowed for a sleeker design. The HX/HS series was the first to use AWM sampling technology for both voices and rhythms, and also featured 16-operator FM voices, AWM Voice expansion is also possible via sound packs. The EL series introduced new synthesisers, filtering, and expression technologies that made instrument voices on the Electone even more realistic, Voice technology continued to be based on AWM and FM technologies. 1996 — AR series The AR100, and its model the AR80, were designed for the US and European market. Using purely AWM voices, the most distinctive feature of the series is its 384 preset registrations, a huge increase compared to only 5 presets on the EL series. 1998 — EL900 Visually similar to the EL90 model from 1991, but with more voices, rhythms and effects and these voices, or preset sounds, do not use sampling technology but is instead based on modeling
44.
Univox
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Univox also distributed the guitars by Matsumoku, effects units by Shin-Ei Companion, and synthesizers by Crumar and Korg. In 1985, Unicord Corporation was purchased by Korg, and Univox brand was discontinued due to a fire at the Matsumoku factory in 1987, in the early 1960s the Unicord Corporation, a manufacturer of electric transformers, purchased the Amplifier Corporation of America of Westbury, New York. They began marketing a line of amplifiers under the name of Univox, the company was purchased by Gulf+Western in 1967. Guitar making operations moved to Japan in 1975 where they continued making guitars until 1982, production under the Univox name was halted after a fire at the Matsumoku factory. After this time instruments were made in Korea under the name Westbury, the Unicord Corporation was purchased by Korg in 1985, effectively ending the line for good. Univox was best known for making copies of instruments from better-known companies such as Mosrite, Fender, Gibson, Rickenbacker, Ampeg/Dan Armstrong, Epiphone and others. The Univox Hi-Flier was based on the distinctive Mosrite reverse swept shape, it was popularized in the early 1990s by Kurt Cobain, however, Univox used time-proven electronic circuits and quality components. To avoid this market perception, Unicord developed the Stage brand, Unicord was also the U. S. distributor for both Marshall amplifiers and Korg synthesizers. Per Rick Reinckens, who worked as a test technician at Unicord including testing Marshall amps coming in from England for sale in the United States, however, per Frank Kozinski, those could barely reach the rated output wattage. So Unicord would replace the tubes with KT-88 tubes before shipping them to U. S. vendors, Kozinski also told Reinckens that Unicord had started out as a manufacturer of electrical transformers. When the original Marshalls came to the U. S. Unicords engineers were concerned that the output transformers could not reliably handle the full output. Unicord redesigned the output transformers and told Marshall to use the Unicord design in all units shipped to the U. S. Marshall did adopt the Unicord design for all their tube amps. When the first production came into Unicord from Marshall, Frank told Reinckens he was the one who had come up with that design. A number of tube and solid state amplifiers were produced by Univox over the years and these ranged from small practice combo amps to powerful heads with separate cabinets. Some models had built-in spring reverb and tremolo effects, in 1971 Univox introduced the B Group amplifiers, covered in two-toned blue or gray Tolex with distinctive ovalesque cosmetics. These amps were used by The Jeff Beck Group and Led Zeppelin, around 1967, Unicord merged with Merson, an importer of various headstock-brand guitars such as Tempo, Giannini and Hagström. This new company was called Merson Musical Products, A Division of Unicord Incorporated, around 1968 they started producing the Univox guitars. In 1975 Unicord and Merson split, however, Unicord continued to make Univox guitars until around 1978, even adding some newer models
45.
Roland Corporation
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The Roland Corporation is a Japanese manufacturer of electronic musical instruments, electronic equipment and software. It was founded by Ikutaro Kakehashi in Osaka on April 18,1972, in 2005, Rolands headquarters relocated to Hamamatsu in Shizuoka Prefecture. Today it has factories in Italy, Taiwan, Japan, as of March 31,2010, it employed 2,699 employees. It has existed in different forms since 1960, making it relatively old among still-operating manufacturers of musical electronics, known for hundreds of popular synthesizers, drum machines, and other instruments, Roland has been one of the top names in professional music equipment since the late 1970s. In 2014, Roland Corporation was subject to a management buyout by Rolands CEO Junichi Miki, Kakehashi founded Ace Electronic Industries in 1960, a manufacturer of numerous combo organs, guitar amplifiers, and effects pedals. He was also contracted by Hammond to produce machines for the companys line of home organs. In 1973, Kakehashi cut ties with companies to found Roland. As with many Japanese start-ups of the period, the name Roland was selected for export purposes as Kakehashi was interested in a name that was easy to pronounce for his worldwide target markets. Rumour has long circulated that he named his company after the French epic poem La Chanson de Roland, in reality, the name Roland was found in a telephone directory. Kakehashi opted for it as he was satisfied with the simple two-syllable word, the letter R was chosen because it was not used by many other music equipment companies, and would therefore stand out in trade show directories and industry listings. Kakehashi did not learn of The Song Of Roland until later, Roland markets products under a number of brand names, each of which are used on products geared toward a different niche. The Roland brand is used on a range of products including synthesizers, digital pianos, electronic drum systems, dance/DJ gear, guitar synthesizers, amplifiers. BOSS is a used for products geared toward guitar players and is used for guitar pedals, effects units, rhythm and accompaniment machines. Edirol was a line of professional video-editing and video-presentation systems, as well as digital audio recorders. Edirol also had Desktop Media products, more production-oriented, and included computer audio interfaces, mixers, Roland Systems Group is a line of professional commercial audio and video products. Rodgers was founded in 1958 as a company and survives today as a subsidiary of Roland, still manufacturing high-quality electric, electronic. Cakewalk music software company is a partner of Roland’s. In January 2008, Roland announced the purchase of controlling interest in the company, in 2013, ownership of Cakewalk passed from Roland to Gibson Guitar Corporation
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