1.
Manufacturing
–
Manufacturing is the value added to production of merchandise for use or sale using labour and machines, tools, chemical and biological processing, or formulation. Manufacturing engineering or manufacturing process are the steps through which raw materials are transformed into a final product, the manufacturing process begins with the product design, and materials specification from which the product is made. These materials are modified through manufacturing processes to become the required part. Manufacturing takes turns under all types of economic systems, in a free market economy, manufacturing is usually directed toward the mass production of products for sale to consumers at a profit. In a collectivist economy, manufacturing is more directed by the state to supply a centrally planned economy. In mixed market economies, manufacturing occurs under some degree of government regulation, modern manufacturing includes all intermediate processes required the production and integration of a products components. Some industries, such as semiconductor and steel manufacturers use the term fabrication instead, the manufacturing sector is closely connected with engineering and industrial design. Examples of major manufacturers in North America include General Motors Corporation, General Electric, Procter & Gamble, General Dynamics, Boeing, Pfizer, examples in Europe include Volkswagen Group, Siemens, and Michelin. Examples in Asia include Sony, Huawei, Lenovo, Toyota, Samsung, in its earliest form, manufacturing was usually carried out by a single skilled artisan with assistants. In much of the world, the guild system protected the privileges. Before the Industrial Revolution, most manufacturing occurred in rural areas, entrepreneurs organized a number of manufacturing households into a single enterprise through the putting-out system. Toll manufacturing is an arrangement whereby a first firm with specialized equipment processes raw materials or semi-finished goods for a second firm, manufacturing provides important material support for national infrastructure and for national defense. On the other hand, most manufacturing may involve significant social and environmental costs, the clean-up costs of hazardous waste, for example, may outweigh the benefits of a product that creates it. Hazardous materials may expose workers to health risks and these costs are now well known and there is effort to address them by improving efficiency, reducing waste, using industrial symbiosis, and eliminating harmful chemicals. The negative costs of manufacturing can also be addressed legally, developed countries regulate manufacturing activity with labor laws and environmental laws. Across the globe, manufacturers can be subject to regulations and pollution taxes to offset the costs of manufacturing activities. Labor unions and craft guilds have played a role in the negotiation of worker rights. Environment laws and labor protections that are available in developed nations may not be available in the third world, tort law and product liability impose additional costs on manufacturing
Manufacturing
–
Textile factory (
Germany, circa 1975).
Manufacturing
Manufacturing
–
Assembly of Section 41 of a
Boeing 787 Dreamliner
Manufacturing
–
A female industrial
worker amidst heavy steel semi-products (KINEX BEARINGS,
Bytča,
Slovakia, c. 1995–2000)
2.
Moog Music
–
Moog Music is an American company based in Asheville, North Carolina which manufactures electronic musical instruments. The current Moog Music is the company to trade under that name. Based in Trumansburg, New York, Robert Moogs original company was founded as R. A, Moog Co. in 1953, manufacturing theremin kits and, later, modular synthesizer systems. This company would eventually become Moog Music in 1972, and through Bob Moogs collaboration with people like Herbert Deutsch, in November 1971, the company moved to Williamsville, New York. An old factory at the end of Academy Street was purchased. The company was renamed Moog Musonics, then Moog Music, in 1976 the company moved to much better facility on Walden Avenue in Cheektowaga. After becoming Moog Music, the company went through changes of ownership. Norlin produced a number of synthesizers under the Moog name in the late 1970s, poor management and marketing led to Bob Moogs departure from his own company in 1977. Moog Music was forced into bankruptcy in 1986, the company liquidated and officially ceased operation in 1993. Robert Moog re-entered the music industry after leaving Moog Music in 1977, Big Briar expanded its range to produce a variety of analog-electronic musical instruments, mainly effects pedals called moogerfoogers. In 1999, Big Briar partnered with Bomb Factory to co-develop software modeled plug-ins for Pro Tools TDM based on the moogerfooger effect pedal lines, Robert Moog worked closely with Bomb Factory to ensure the product would remain true to the classic Moog sound. Another company, Moog CE, was selling modules for the original 1970s systems and it was also in 2002 that Moog Music hired Michael Adams as Vice President in charge of business operations. After the companys name change, Moog released the Piano-Bar, a Don Buchla -designed device which converted the physical movement of the keys on a piano into MIDI information. The Voyager name was selected through a contest where keyboardists could submit their own ideas of potential names for the new Minimoog and it wasnt until later that Bob Moog regained the trademark rights to Moog and Minimoog in the UK. In 2006 Moog Music introduced a new 37 note,2 oscillator analog synthesizer and it would be the final Moog synthesizer to be designed by Moog himself. Upon its release, it was considered to be the heir to the Minimoog legacy. Robert Moog died in August 2005 due to complications arising from brain cancer, Michael Adams continued managing the company as its President. Hungarian band The Moog requested permission from Moog Music to use the name and this was granted on the condition that the band precede the name with The
Moog Music
–
Exterior of Moog Music building in Asheville, NC
Moog Music
–
newly assembled Sub Phatty instruments undergoing testing at the Asheville, NC factory
3.
Polyphony and monophony in instruments
–
Polyphony is a property of musical instruments that means that they can play multiple notes simultaneously. Instruments featuring polyphony are said to be polyphonic, instruments that are not capable of polyphony are monophonic or paraphonic. A monophonic synthesizer or monosynth is a synthesizer that produces one note at a time. Well-known monosynths include the Minimoog, the Roland TB-303, and the Korg Prophecy, duophonic synthesizers, such as the ARP Odyssey and Formanta Polivoks built in the 1970s and 1980s respectively, have a capability to independently play two pitches at a time. These synthesizers have at least two oscillators that are controllable, and a duophonic keyboard that can generate two control voltage signals for the lowest- and highest-note. When two or more keys are pressed simultaneously, the lowest- and highest-note will be heard, when only one key is pressed, both oscillators are assigned to one note, possibly with a more complex sound. The earliest polyphonic synthesizers were built in the late-1930s, but the concept did not become popular until the mid-1970s, harald Bodes Warbo Formant Orguel, developed in 1937, was an archetype of a voice allocation polyphonic synthesizer. Novachord by Hammond Organ Company, released in 1939, is a product of frequency divider organs. It uses octave divider technology to generate polyphony, and about 1,000 Novachords were manufactured until 1942, using an octave divider a synthesizer needs only 12 oscillators - one for each note in the musical scale. The additional notes are generated by dividing down the outputs of these oscillators, to produce a note one octave lower, the frequency of the oscillator is divided by two. Polyphony is achieved so long as one of each note in the scale is played simultaneously. One notable early polyphonic synthesizer was the Sequential Circuits Prophet 5, six-voice polyphony was standard by the middle 1980s. With the advent of synthesizers, 16-voice polyphony became standard by the late 1980s. 64-voice polyphony was common by the middle 1990s and 128-note polyphony arrived shortly after, there are several reasons for providing such large numbers of simultaneous notes, Even with only ten fingers, it is possible to play more than ten notes at once. Notes may continue to sound even after a key is released, the synthesizers resources may still be in use to produce the sound of the previously struck notes tapering off, especially when a sustain pedal is used. A sound may be generated by more than one oscillator or sound-source to allow more complicated sounds to be produced, a synthesizer with 16 oscillators may be capable of 16-note polyphony only when simple, single-oscillator sounds are produced. If a particular patch requires four oscillators, then the synthesizer is only capable of four-note polyphony, synthesizers may be configured to produce multiple timbres, particularly necessary when sounds are layered or sequenced. Multitimbral instruments are always polyphonic but polyphonic instruments are not necessarily multitimbral, some multitimbral instruments have a feature which allows the user to specify the amount of polyphony reserved or allowed for each timbre
Polyphony and monophony in instruments
–
Moog Minimoog
Polyphony and monophony in instruments
–
ARP Odyssey
Polyphony and monophony in instruments
–
Hammond
Novachord (1939) A forefather of octave divider synth and electronic organs.
Polyphony and monophony in instruments
4.
Monophonic (synthesizers)
–
Polyphony is a property of musical instruments that means that they can play multiple notes simultaneously. Instruments featuring polyphony are said to be polyphonic, instruments that are not capable of polyphony are monophonic or paraphonic. A monophonic synthesizer or monosynth is a synthesizer that produces one note at a time. Well-known monosynths include the Minimoog, the Roland TB-303, and the Korg Prophecy, duophonic synthesizers, such as the ARP Odyssey and Formanta Polivoks built in the 1970s and 1980s respectively, have a capability to independently play two pitches at a time. These synthesizers have at least two oscillators that are controllable, and a duophonic keyboard that can generate two control voltage signals for the lowest- and highest-note. When two or more keys are pressed simultaneously, the lowest- and highest-note will be heard, when only one key is pressed, both oscillators are assigned to one note, possibly with a more complex sound. The earliest polyphonic synthesizers were built in the late-1930s, but the concept did not become popular until the mid-1970s, harald Bodes Warbo Formant Orguel, developed in 1937, was an archetype of a voice allocation polyphonic synthesizer. Novachord by Hammond Organ Company, released in 1939, is a product of frequency divider organs. It uses octave divider technology to generate polyphony, and about 1,000 Novachords were manufactured until 1942, using an octave divider a synthesizer needs only 12 oscillators - one for each note in the musical scale. The additional notes are generated by dividing down the outputs of these oscillators, to produce a note one octave lower, the frequency of the oscillator is divided by two. Polyphony is achieved so long as one of each note in the scale is played simultaneously. One notable early polyphonic synthesizer was the Sequential Circuits Prophet 5, six-voice polyphony was standard by the middle 1980s. With the advent of synthesizers, 16-voice polyphony became standard by the late 1980s. 64-voice polyphony was common by the middle 1990s and 128-note polyphony arrived shortly after, there are several reasons for providing such large numbers of simultaneous notes, Even with only ten fingers, it is possible to play more than ten notes at once. Notes may continue to sound even after a key is released, the synthesizers resources may still be in use to produce the sound of the previously struck notes tapering off, especially when a sustain pedal is used. A sound may be generated by more than one oscillator or sound-source to allow more complicated sounds to be produced, a synthesizer with 16 oscillators may be capable of 16-note polyphony only when simple, single-oscillator sounds are produced. If a particular patch requires four oscillators, then the synthesizer is only capable of four-note polyphony, synthesizers may be configured to produce multiple timbres, particularly necessary when sounds are layered or sequenced. Multitimbral instruments are always polyphonic but polyphonic instruments are not necessarily multitimbral, some multitimbral instruments have a feature which allows the user to specify the amount of polyphony reserved or allowed for each timbre
Monophonic (synthesizers)
–
Moog Minimoog
Monophonic (synthesizers)
–
ARP Odyssey
Monophonic (synthesizers)
–
Hammond
Novachord (1939) A forefather of octave divider synth and electronic organs.
Monophonic (synthesizers)
5.
Timbre
–
The physical characteristics of sound that determine the perception of timbre include spectrum and envelope. Singers and instrumental musicians can change the timbre of the music they are singing/playing by using different singing or playing techniques, for example, a violinist can use different bowing styles or play on different parts of the string to obtain different timbres. On electric guitar and electric piano, performers can change the timbre using effects units, in simple terms, timbre is what makes a particular musical sound have a different sound from another, even when they have the same pitch and loudness. For instance, it is the difference in sound between a guitar and a playing the same note at the same volume. Experienced musicians are able to distinguish between different instruments of the type based on their varied timbres, even if those instruments are playing notes at the same pitch. Tone quality and tone color are synonyms for timbre, as well as the attributed to a single instrument. However, the texture can also refer to the type of music, such as multiple. The sound of an instrument may be described with words such as bright, dark, warm, harsh. There are also colors of noise, such as pink and white, in visual representations of sound, timbre corresponds to the shape of the image. The Acoustical Society of America Acoustical Terminology definition 12, Timbre has been called. the psychoacousticians multidimensional waste-basket category for everything that cannot be labeled pitch or loudness. Many commentators have attempted to decompose timbre into component attributes, the richness of a sound or note a musical instrument produces is sometimes described in terms of a sum of a number of distinct frequencies. The lowest frequency is called the frequency, and the pitch it produces is used to name the note. The dominant frequency is the frequency that is most heard, for example, the dominant frequency for the transverse flute is double the fundamental frequency. Other significant frequencies are called overtones of the frequency, which may include harmonics. Harmonics are whole number multiples of the frequency, such as ×2, ×3, ×4. There are also sometimes subharmonics at whole number divisions of the fundamental frequency, most instruments produce harmonic sounds, but many instruments produce partials and inharmonic tones, such as cymbals and other indefinite-pitched instruments. When the tuning note in an orchestra or concert band is played, each instrument in the orchestra or concert band produces a different combination of these frequencies, as well as harmonics and overtones. The sound waves of the different frequencies overlap and combine, the timbre of a sound is also greatly affected by the following aspects of its envelope, attack time and characteristics, decay, sustain, release and transients
Timbre
–
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6.
Electronic oscillator
–
An electronic oscillator is an electronic circuit that produces a periodic, oscillating electronic signal, often a sine wave or a square wave. Oscillators convert direct current from a supply to an alternating current signal. They are widely used in electronic devices. Oscillators are often characterized by the frequency of their output signal and this term is typically used in the field of audio synthesizers, to distinguish it from an audio frequency oscillator. An audio oscillator produces frequencies in the range, about 16 Hz to 20 kHz. An RF oscillator produces signals in the frequency range of about 100 kHz to 100 GHz. Oscillators designed to produce a high-power AC output from a DC supply are usually called inverters, there are two main types of electronic oscillator, the linear or harmonic oscillator and the nonlinear or relaxation oscillator. The harmonic, or linear, oscillator produces a sinusoidal output, when the power supply to the amplifier is first switched on, electronic noise in the circuit provides a non-zero signal to get oscillations started. The noise travels around the loop and is amplified and filtered until very quickly it converges on a wave at a single frequency. RC oscillators are used to generate lower frequencies, for example in the audio range. Common types of RC oscillator circuits are the phase shift oscillator, in an LC oscillator circuit, the filter is a tuned circuit consisting of an inductor and capacitor connected together. Charge flows back and forth between the plates through the inductor, so the tuned circuit can store electrical energy oscillating at its resonant frequency. There are small losses in the circuit, but the amplifier compensates for those losses and supplies the power for the output signal. Typical LC oscillator circuits are the Hartley, Colpitts and Clapp circuits, in a crystal oscillator circuit the filter is a piezoelectric crystal. The crystal mechanically vibrates as a resonator, and its frequency of vibration determines the oscillation frequency, crystals have very high Q-factor and also better temperature stability than tuned circuits, so crystal oscillators have much better frequency stability than LC or RC oscillators. Crystal oscillators are the most common type of linear oscillator, used to stabilize the frequency of most radio transmitters, crystal oscillators often use the same circuits as LC oscillators, with the crystal replacing the tuned circuit, the Pierce oscillator circuit is also commonly used. Quartz crystals are generally limited to frequencies of 30 MHz or below, other types of resonator, dielectric resonators and surface acoustic wave devices, are used to control higher frequency oscillators, up into the microwave range. For example, SAW oscillators are used to generate the signal in cell phones
Electronic oscillator
–
1 MHz electronic oscillator circuit which uses the resonant properties of an internal quartz crystal to control the frequency. Provides the
clock signal for digital devices such as computers.
Electronic oscillator
–
A popular
op-amp relaxation oscillator.
Electronic oscillator
–
(left) Typical block diagram of a negative resistance oscillator. In some types the negative resistance device is connected in parallel with the resonant circuit. (right) A negative resistance microwave oscillator consisting of a
Gunn diode in a
cavity resonator. The negative resistance of the diode excites microwave oscillations in the cavity, which radiate out the aperture into a
waveguide.
Electronic oscillator
–
A 120 MHz oscillator from 1938 using a parallel rod
transmission line resonator (
Lecher line). Transmission lines are widely used for UHF oscillators.
7.
Voltage-controlled oscillator
–
A voltage-controlled oscillator or VCO is an electronic oscillator whose oscillation frequency is controlled by a voltage input. The applied input voltage determines the oscillation frequency. Consequently, modulating signals applied to control input may cause frequency modulation or phase modulation, a VCO may also be part of a phase-locked loop. VCOs can be categorized into two groups based on the type of waveform produced. Linear or harmonic oscillators generate a sinusoidal waveform, harmonic oscillators in electronics usually consist of a resonator with an amplifier that replaces the resonator losses and isolates the resonator from the output. Some examples of harmonic oscillators are LC-tank oscillators and crystal oscillators, in a voltage-controlled oscillator, a voltage input controls the resonant frequency. A varactor diodes capacitance is controlled by the voltage across the diode, consequently, a varactor can be used to change the capacitance of an LC tank. A varactor can also change the resonant frequency of a crystal resonator, relaxation oscillators can generate a sawtooth or triangular waveform. They are commonly used in integrated circuits. They can provide a range of operational frequencies with a minimal number of external components. Relaxation oscillator VCOs can have three topologies, 1) grounded-capacitor VCOs, 2) emitter-coupled VCOs, and 3) delay-based ring VCOs, the first two of these types operate similarly. The time spent in each depends on the rate of charge or discharge of a capacitor. The delay-based ring VCO operates somewhat differently however, for this type, the gain stages are connected in a ring. The output frequency is then a function of the delay in each stage, harmonic oscillator VCOs have these advantages over relaxation oscillators, Frequency stability with respect to temperature, noise, and power supply is much better for harmonic oscillator VCOs. They have good accuracy for frequency control since the frequency is controlled by a crystal or tank circuit, a disadvantage of harmonic oscillator VCOs is that they cannot be easily implemented in monolithic ICs. Relaxation oscillator VCOs are better suited for this technology, relaxation VCOs are also tunable over a wider range of frequencies. A voltage-controlled capacitor is one method of making an LC oscillator vary its frequency in response to a control voltage, any reverse-biased semiconductor diode displays a measure of voltage-dependent capacitance and can be used to change the frequency of an oscillator by varying a control voltage applied to the diode. Special-purpose variable capacitance varactor diodes are available with well-characterized wide-ranging values of capacitance, such devices are very convenient in the manufacture of voltage-controlled oscillators
Voltage-controlled oscillator
–
Voltage-controlled oscillator schematic - audio
8.
White noise
–
In signal processing, white noise is a random signal having equal intensity at different frequencies, giving it a constant power spectral density. The term is used, with this or similar meanings, in scientific and technical disciplines, including physics, acoustic engineering, telecommunications, statistical forecasting. White noise refers to a model for signals and signal sources. Depending on the context, one may require that the samples be independent and have identical probability distribution. In particular, if each sample has a distribution with zero mean. The samples of a noise signal may be sequential in time. The concept can be defined also for signals spread over more complicated domains, an infinite-bandwidth white noise signal is a purely theoretical construction. The bandwidth of noise is limited in practice by the mechanism of noise generation, by the transmission medium. Thus, a signal is considered white noise if it is observed to have a flat spectrum over the range of frequencies that is relevant to the context. For an audio signal, for example, the relevant range is the band of sound frequencies. Such a signal is heard as a sound, resembling the /sh/ sound in ash. In music and acoustics, the white noise may be used for any signal that has a similar hissing sound. White noise draws its name from white light, although light that appears white generally does not have a spectral power density over the visible band. The term white noise is used in the context of phylogenetically based statistical methods to refer to a lack of phylogenetic pattern in comparative data. It is sometimes used in non technical contexts, in the sense of random talk without meaningful contents. Being uncorrelated in time does not restrict the values a signal can take, any distribution of values is possible. Even a binary signal which can take on the values 1 or –1 will be white if the sequence is statistically uncorrelated. Noise having a distribution, such as a normal distribution
White noise
–
Spectrogram of
pink noise (left) and white noise (right), shown with linear frequency axis (vertical).
White noise
–
Plot of a Gaussian white noise signal.
9.
Pink noise
–
Pink noise or 1⁄f noise is a signal or process with a frequency spectrum such that the power spectral density is inversely proportional to the frequency of the signal. In pink noise, each carries a equal amount of noise energy. The name arises from the appearance of visible light with this power spectrum. These pink-like noises occur widely in nature and are a source of considerable interest in many fields, the distinction between the noises with α near 1 and those with a broad range of α approximately corresponds to a much more basic distinction. The former generally come from systems in quasi-equilibrium, as discussed below. The latter generally correspond to a range of non-equilibrium driven dynamical systems. The term flicker noise is used to refer to pink noise. There is equal energy in all octaves of frequency, in terms of power at a constant bandwidth, pink noise falls off at 3 dB per octave. At high enough frequencies pink noise is never dominant, however, humans still differentiate between white noise and pink noise with ease. Systems that do not have a response can be equalized by creating an inverse filter using a graphic equalizer. Because pink noise has a tendency to occur in physical systems. Pink noise can be processed, filtered, and/or effects can be added to produce desired sounds, various crest factors of pink noise can be used in simulations of various levels of dynamic range compression in music signals. On some digital pink-noise generators the crest factor can be specified, the power spectrum of pink noise is 1/f only for one-dimensional signals. For two-dimensional signals the power spectrum is reciprocal to f 2 In general, in an n-dimensional system, for higher-dimensional signals it is still true that each octave carries an equal amount of noise power. The frequency spectrum of two-dimensional signals, for instance, is also two-dimensional, in the past quarter century, pink noise has been discovered in the statistical fluctuations of an extraordinarily diverse number of physical and biological systems. Examples of its occurrence include fluctuations in tide and river heights, quasar light emissions, heart beat, firings of single neurons, an accessible introduction to the significance of pink noise is one given by Martin Gardner in his Scientific American column Mathematical Games. In this column, Gardner asked for the sense in which music imitates nature, sounds in nature are not musical in that they tend to be either too repetitive or too chaotic. The answer to question was given in a statistical sense by Voss and Clarke
Pink noise
–
Pink noise (left) and
white noise (right) on an
FFT spectrogram with linear frequency vertical axis.
Pink noise
–
Spectrum of a pink noise approximation on a log-log plot. Power density falls off at 10 dB/decade of frequency.
10.
Low-frequency oscillation
–
Low-frequency oscillation is an electronic signal which is usually below 20 Hz and creates a rhythmic pulse or sweep. This pulse or sweep is often used to modulate synthesizers, delay lines, audio effects such as vibrato, tremolo and phasing are examples. The abbreviation LFO is also often used to refer to low-frequency oscillators themselves. Low-frequency oscillation as a concept was first introduced in the modular synths of the 1960s and 70s, often the LFO effect was accidental, so there were myriad configurations that could be patched by the synth operator. LFOs have since appeared in form on almost every synthesizer. More recently other electronic instruments, such as samplers and software synthesizers, have included LFOs to increase their sound alteration capabilities. The primary oscillator circuits of a synthesizer are used to create the audio signals, a LFO is a secondary oscillator that operates at a significantly lower frequency, typically below 20 Hz. This lower frequency or control signal is used to modulate another components value, like a standard oscillator, this usually takes the form of a periodic waveform, such as a sine, sawtooth, triangle or square wave. Also like an oscillator, LFOs can incorporate any number of waveform types, including user-defined wavetables, rectified waves. Using a low-frequency oscillation signal as a means of modulating another signal introduces complexities into the resulting sound, the specifics vary greatly depending on the type of modulation, the relative frequencies of the LFO signal and the signal being modulated, et cetera. An LFO can be routed to control, for example, the frequency of the oscillator, its phase, stereo panning, filter frequency. When routed to control pitch, an LFO creates vibrato, when an LFO modulates amplitude, it creates tremolo. Electronic musicians use LFO for a variety of applications and they may be used to add simple vibrato or tremolo to a melody, or for more complex applications such as triggering gate envelopes, or controlling the rate of arpeggiation. Differences between LFO rates also account for a number of commonly heard effects in modern music, a very low rate can be used to modulate a filters cutoff frequency, thereby providing the characteristic gradual sensation of the sound becoming clearer or closer to the listener. Alternatively, a high rate can be used for bizarre rippling sound effects, due to the popularization of these genres, the LFO wobble is now being found in other forms of electronic dance music such as house music. The British electronic music group LFO take their name directly from the low-frequency oscillator
Low-frequency oscillation
–
LFO section of a modern synthesizer
11.
Synthesizer
–
A synthesizer is an electronic musical instrument that generates electric signals that are converted to sound through instrument amplifiers and loudspeakers or headphones. Synthesizers may either imitate instruments like piano, Hammond organ, flute, vocals, natural sounds like ocean waves, etc. or generate new electronic timbres. Synthesizers without built-in controllers are called sound modules, and are controlled via USB, MIDI or CV/gate using a controller device. Synthesizers use various methods to generate electronic signals, synthesizers were first used in pop music in the 1960s. In the 1970s, synths were used in disco, especially in the late 1970s, in the 1980s, the invention of the relatively inexpensive, mass market Yamaha DX7 synth made synthesizers widely available. 1980s pop and dance music often made use of synthesizers. In the 2010s, synthesizers are used in genres of pop, rock. Contemporary classical music composers from the 20th and 21st century write compositions for synthesizer, the beginnings of the synthesizer are difficult to trace, as it is difficult to draw a distinction between synthesizers and some early electric or electronic musical instruments. One of the earliest electric musical instruments, the telegraph, was invented in 1876 by American electrical engineer Elisha Gray. He accidentally discovered the sound generation from a self-vibrating electromechanical circuit and this musical telegraph used steel reeds with oscillations created by electromagnets transmitted over a telegraph line. Gray also built a simple loudspeaker device into later models, consisting of a diaphragm in a magnetic field. This instrument was a remote electromechanical musical instrument that used telegraphy, though it lacked an arbitrary sound-synthesis function, some have erroneously called it the first synthesizer. In 1897, Thaddeus Cahill invented the Teleharmonium, which used dynamos, and was capable of additive synthesis like the Hammond organ, however, Cahills business was unsuccessful for various reasons, and similar but more compact instruments were subsequently developed, such as electronic and tonewheel organs. In 1906, American engineer, Lee De Forest ushered in the electronics age and he invented the first amplifying vacuum tube, called the Audion tube. This led to new entertainment technologies, including radio and sound films, ondes Martenot and Trautonium were continuously developed for several decades, finally developing qualities similar to later synthesizers. In the 1920s, Arseny Avraamov developed various systems of graphic sonic art, in 1938, USSR engineer Yevgeny Murzin designed a compositional tool called ANS, one of the earliest real-time additive synthesizers using optoelectronics. The earliest polyphonic synthesizers were developed in Germany and the United States, during the three years that Hammond manufactured this model,1,069 units were shipped, but production was discontinued at the start of World War II. Both instruments were the forerunners of the electronic organs and polyphonic synthesizers
Synthesizer
–
Early
Minimoog by R.A. Moog Inc. (ca. 1970)
Synthesizer
–
Wolfgang von Kempelen's Speaking Machine in 1769–1791 (replica in 2007–2009)
Synthesizer
–
Rudolph Koenig 's sound synthesizer in 1865: consists of
tuning forks,
electromagnets, and
Helmholtz resonators.
Synthesizer
–
The
Teleharmonium console (1897) and
Hammond organ (1934).
12.
Analog synthesizer
–
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
Analog synthesizer
–
Trautonium, 1928
Analog synthesizer
–
The Buchla Music Easel included a number of fader-style controls, switches, patch cord-connected modules, and a keyboard.
Analog synthesizer
–
The
ARP 2500.
Analog synthesizer
–
The
Minimoog was one of the most popular synthesizers ever built
13.
Audio filter
–
An audio filter is a frequency dependent amplifier circuit, working in the audio frequency range,0 Hz to beyond 20 kHz. Audio filters can amplify, pass or attenuate some frequency ranges, common types include low-pass filters, which pass through frequencies below their cutoff frequencies, and progressively attenuates frequencies above the cutoff frequency. Low-pass filters are used in audio crossovers to remove content from signals being sent to a low-frequency subwoofer system. A high-pass filter does the opposite, passing high frequencies above the cutoff frequency, a high-pass filter can be used in an audio crossover to remove low-frequency content from a signal being sent to a tweeter. A bandpass filter passes frequencies between its two frequencies, while attenuating those outside the range. A band-reject filter, attenuates frequencies between its two frequencies, while passing those outside the reject range. An all-pass filter passes all frequencies, but affects the phase of any given sinusoidal component, in more complex cases, an audio filter can provide a feedback loop, which introduces resonance alongside attenuation. Audio filters can also be designed to gain as well as attenuation. In other applications, such as with synthesizers or sound effects, audio filters can be implemented in analog circuitry as analog filters or in DSP code or computer software as digital filters. Generically, the term audio filter can be applied to anything which changes the timbre. Electrical resonance Electronic filter Equalization Feedback Linear filter Oscillation Self-resonant frequency
Audio filter
–
Digital domain parametric equalisation
14.
Lowpass filter
–
A low-pass filter is a filter that passes signals with a frequency lower than a certain cutoff frequency and attenuates signals with frequencies higher than the cutoff frequency. The exact frequency response of the filter depends on the filter design, the filter is sometimes called a high-cut filter, or treble cut filter in audio applications. A low-pass filter is the complement of a high-pass filter, Low-pass filters provide a smoother form of a signal, removing the short-term fluctuations, and leaving the longer-term trend. Filter designers will often use the form as a prototype filter. That is, a filter with unity bandwidth and impedance, the desired filter is obtained from the prototype by scaling for the desired bandwidth and impedance and transforming into the desired bandform. Examples of low-pass filters occur in acoustics, optics and electronics, a stiff physical barrier tends to reflect higher sound frequencies, and so acts as a low-pass filter for transmitting sound. When music is playing in another room, the low notes are easily heard, an optical filter with the same function can correctly be called a low-pass filter, but conventionally is called a longpass filter, to avoid confusion. For current signals, a circuit, using a resistor and capacitor in parallel. Electronic low-pass filters are used on inputs to subwoofers and other types of loudspeakers, radio transmitters use low-pass filters to block harmonic emissions that might interfere with other communications. The tone knob on many electric guitars is a filter used to reduce the amount of treble in the sound. An integrator is another time constant low-pass filter, telephone lines fitted with DSL splitters use low-pass and high-pass filters to separate DSL and POTS signals sharing the same pair of wires. Low-pass filters also play a significant role in the sculpting of sound created by analogue, the transition region present in practical filters does not exist in an ideal filter. The filter would therefore need to have infinite delay, or knowledge of the future and past. It is effectively realizable for pre-recorded digital signals by assuming extensions of zero into the past and future, or more typically by making the signal repetitive and this delay is manifested as phase shift. Greater accuracy in approximation requires a longer delay, an ideal low-pass filter results in ringing artifacts via the Gibbs phenomenon. These can be reduced or worsened by choice of windowing function, for example, simple truncation causes severe ringing artifacts, in signal reconstruction, and to reduce these artifacts one uses window functions which drop off more smoothly at the edges. The Whittaker–Shannon interpolation formula describes how to use a perfect low-pass filter to reconstruct a signal from a sampled digital signal. Real digital-to-analog converters use real filter approximations, there are many different types of filter circuits, with different responses to changing frequency
Lowpass filter
–
The
sinc function, the
impulse response of an ideal low-pass filter.
15.
Attenuator (electronics)
–
An attenuator is an electronic device that reduces the power of a signal without appreciably distorting its waveform. An attenuator is effectively the opposite of an amplifier, though the two work by different methods, while an amplifier provides gain, an attenuator provides loss, or gain less than 1. Attenuators are usually passive devices made from simple voltage divider networks, switching between different resistances forms adjustable stepped attenuators and continuously adjustable ones using potentiometers. For higher frequencies precisely matched low VSWR resistance networks are used, fixed attenuators in circuits are used to lower voltage, dissipate power, and to improve impedance matching. Attenuators are also used to match impedance by lowering apparent SWR, basic circuits used in attenuators are pi pads and T pads. These may be required to be balanced or unbalanced depending on whether the line geometry with which they are to be used is balanced or unbalanced. For instance, attenuators used with coaxial lines would be the form while attenuators for use with twisted pair are required to be the balanced form. Four fundamental attenuator circuit diagrams are given in the figures on the left, since an attenuator circuit consists solely of passive resistor elements, it is linear and reciprocal. Key specifications for attenuators are, Attenuation expressed in decibels of relative power, a 3 dB pad reduces power to one half,6 dB to one fourth,10 dB to one tenth,20 dB to one hundredth,30 dB to one thousandth and so on. For voltage you double the dBs so for example 6 dB is half in voltage, nominal impedance, for example 50 ohm Frequency bandwidth, for example DC-18 GHz Power dissipation depends on mass and surface area of resistance material as well as possible additional cooling fins. Above SHF special waveguide structure is required, important characteristics are, accuracy, low SWR, flat frequency-response and repeatability. The size and shape of the attenuator depends on its ability to dissipate power, RF attenuators are used as loads for and as known attenuation and protective dissipation of power in measuring RF signals. Power attenuator Guitar amplifier This section concerns pi-pads, T-pads and L-pads made entirely from resistors, all impedance, currents, voltages and two-port parameters will be assumed to be purely real. For practical applications, this assumption is often close enough, the pad is designed for a particular load impedance, ZLoad, and a particular source impedance, Zs. The impedance seen looking into the port will be ZS if the output port is terminated by ZLoad. The impedance seen looking into the port will be ZLoad if the input port is terminated by ZS. The attenuator two-port is generally bidirectional, however, in this section it will be treated as though it were one way. In general, either of the two figures above applies, but the figure on the left will be assumed most of the time
Attenuator (electronics)
–
A 30 dB 5W RF-attenuator, DC-18GHz, with N-type
coaxial connectors
Attenuator (electronics)
–
Coaxial Dynamics 100 Watt power attenuator
Attenuator (electronics)
–
π-type unbalanced attenuator circuit
Attenuator (electronics)
–
π-type balanced attenuator circuit
16.
Sound effect
–
In motion picture and television production, a sound effect is a sound recorded and presented to make a specific storytelling or creative point without the use of dialogue or music. The term often refers to a process applied to a recording, in professional motion picture and television production, dialogue, music, and sound effects recordings are treated as separate elements. Dialogue and music recordings are never referred to as sound effects, even though the processes applied to such as reverberation or flanging effects, the term sound effect ranges back to the early days of radio. In its Year Book 1931 the BBC published an article about The Use of Sound Effects. It considers sounds effect deeply linked with broadcasting and states, It would be a mistake to think of them as anologous to punctuation marks. They should never be inserted into an already existing. The author of a broadcast play or broadcast construction ought to have used Sound Effects as bricks with which to build, treating them as of value with speech. If it fails to do so its presence could not be justified, the sound of people talking in the background is also considered a BG, but only if the speaker is unintelligible and the language is unrecognizable. These background noises are also called ambience or atmos, Foley sound effects are sounds that synchronize on screen, and require the expertise of a foley artist to record properly. Footsteps, the movement of hand props, and the rustling of cloth are common foley units, design sound effects are sounds that do not normally occur in nature, or are impossible to record in nature. These sounds are used to suggest futuristic technology in a fiction film. Each of these sound effect categories is specialized, with sound editors known as specialists in an area of sound effects, Foley is another method of adding sound effects. With this technique the action onscreen is essentially recreated to try to match it as closely as possible, if done correctly it is very hard for audiences to tell what sounds were added and what sounds were originally recorded. In the early days of film and radio, foley artists would add sounds in realtime or pre-recorded sound effects would be played back from analogue discs in realtime. Today, with effects held in digital format, it is easy to any required sequence to be played in any desired timeline. In the days of silent film, sound effects were added by the operator of an organ or photoplayer. Theater organ sound effects are usually electric or electro-pneumatic, and activated by a button pressed with the hand or foot, photoplayer operators activate sound effects either by flipping switches on the machine or pulling cow-tail pull-strings, which hang above. Sounds like bells and drums are made mechanically, sirens and horns electronically, due to its smaller size, a photoplayer usually has less special effects than a theater organ, or less complex ones
Sound effect
–
Various acoustic devices in a Greek radio studio
Sound effect
–
A live rooster in the
Yle recording studio in 1930s Finland
Sound effect
–
A man recording the sound of a
saw in the 1930s
17.
Frequency modulation
–
In telecommunications and signal processing, frequency modulation is the encoding of information in a carrier wave by varying the instantaneous frequency of the wave. This contrasts with amplitude modulation, in which the amplitude of the wave varies. This modulation technique is known as frequency-shift keying, FSK is widely used in modems and fax modems, and can also be used to send Morse code. Frequency modulation is used for FM radio broadcasting. For this reason, most music is broadcast over FM radio, frequency modulation has a close relationship with phase modulation, phase modulation is often used as an intermediate step to achieve frequency modulation. Mathematically both of these are considered a case of quadrature amplitude modulation. While most of the energy of the signal is contained within fc ± fΔ, the frequency spectrum of an actual FM signal has components extending infinitely, although their amplitude decreases and higher-order components are often neglected in practical design problems. Mathematically, a baseband modulated signal may be approximated by a continuous wave signal with a frequency fm. This method is also named as Single-tone Modulation. As in other systems, the modulation index indicates by how much the modulated variable varies around its unmodulated level. e. The maximum deviation of the frequency from the carrier frequency. For a sine wave modulation, the index is seen to be the ratio of the peak frequency deviation of the carrier wave to the frequency of the modulating sine wave. If h ≪1, the modulation is called narrowband FM, sometimes modulation index h<0.3 rad is considered as Narrowband FM otherwise Wideband FM. In the case of digital modulation, the carrier f c is never transmitted, rather, one of two frequencies is transmitted, either f c + Δ f or f c − Δ f, depending on the binary state 0 or 1 of the modulation signal. If h ≫1, the modulation is called wideband FM, if the frequency deviation is held constant and the modulation frequency increased, the spacing between spectra increases. The carrier and sideband amplitudes are illustrated for different modulation indices of FM signals, for particular values of the modulation index, the carrier amplitude becomes zero and all the signal power is in the sidebands. Since the sidebands are on sides of the carrier, their count is doubled, and then multiplied by the modulating frequency to find the bandwidth. For example,3 kHz deviation modulated by a 2.2 kHz audio tone produces an index of 1.36. Suppose that we limit ourselves to only those sidebands that have an amplitude of at least 0.01
Frequency modulation
–
FM has better noise (
RFI) rejection than AM, as shown in this dramatic New York publicity demonstration by
General Electric in 1940. The radio has both AM and FM receivers. With a million volt arc as a source of interference behind it, the AM receiver produced only a roar of static, while the FM receiver clearly reproduced a music program from Armstrong's experimental FM transmitter W2XMN in New Jersey.
Frequency modulation
–
A signal may be carried by an
AM or FM radio wave.
Frequency modulation
–
An American FM radio transmitter in Buffalo, NY at WEDG
18.
Musical keyboard
–
A musical keyboard is the set of adjacent depressible levers or keys on a musical instrument. Depressing a key on the causes the instrument to produce sounds, either by mechanically striking a string or tine, plucking a string, causing air to flow through a pipe. On electric and electronic keyboards, depressing a key connects a circuit, since the most commonly encountered keyboard instrument is the piano, the keyboard layout is often referred to as the piano keyboard. The twelve notes of the Western musical scale are laid out with the lowest note on the left, because these keys were traditionally covered in ivory they are often called the white notes or white keys. The keys for the remaining five notes—which are not part of the C major scale— are raised, because these keys receive less wear, they are often made of black colored wood and called the black notes or black keys. The pattern repeats at the interval of an octave, the arrangement of longer keys for C major with intervening, shorter keys for the intermediate semitones dates to the 15th century. The break was between middle C and C-sharp, or outside of Iberia between B and C, broken keyboards reappeared in 1842 with the harmonium, the split occurring at E4/F4. The reverse-colored keys on Hammond organs such as the B3, C3, the chromatic compass of keyboard instruments has tended to increase. Harpsichords often extended over five octaves in the 18th century, while most pianos manufactured since about 1870 have 88 keys, some modern pianos have even more notes. While modern synthesizer keyboards commonly have either 61,76 or 88 keys, organs normally have 61 keys per manual, though some spinet models have 44 or 49. An organ pedalboard is a keyboard with long pedals that are played by the organists feet, pedalboards vary in size from 12 to 32 notes. In a typical layout, black note keys have uniform width. In the larger gaps between the keys, the width of the natural notes C, D and E differ slightly from the width of keys F, G, A and B. This allows close to uniform spacing of 12 keys per octave while maintaining uniformity of seven natural keys per octave, over the last three hundred years, the octave span distance found on historical keyboard instruments has ranged from as little as 125 mm to as much as 170 mm. Several reduced-size standards have been proposed and marketed, a 15/16 size and the 7/8 DS Standard keyboard developed by Christopher Donison in the 1970s and developed and marketed by Steinbuhler & Company. There have been variations in the design of the keyboard to address technical and musical issues, thus, an octave would have eight white keys and only four black keys. During the sixteenth century, when instruments were tuned in meantone temperament, some harpsichords were constructed with the G♯. The broken octave, a variation of the short octave
Musical keyboard
–
The musical keyboard of a
Steinway concert grand piano
Musical keyboard
–
A typical piano keyboard
Musical keyboard
–
Keyboard of a Letter-Printing Telegraph Set built by
Siemens & Halske in Saint Petersburg, Russia, ca. 1900
Musical keyboard
–
Frequencies of the audible range on a twelve and eight equal tempered scale
19.
Portamento
–
In music, portamento is a pitch sliding from one note to another. It is also applied to one type of glissando as well as to the function of synthesizers. In the first example, Rodolfos first aria in La Sonnambula, the second example, Judits first line in Duke Bluebeards Castle, employs an inclining, wavy line between the fourth and fifth notes to indicate a steady rise in pitch. Portamento may, of course, also be used for descending intervals, in the performance of Italian bel canto music, the concept of the musical slur and that of the true portamento have not always been held to mean the same thing. This is explained simply by Nicola Vaccai in his Practical Method of Italian Singing, originally published 1832, whose opinion in the matter holds some authority. In the sense described by Vaccai, the portamento is not a slur but an ornamental accentuation of the legato linking two distinct notes, without any slide or glide through the intervening notes. He adds, In phrases requiring much grace and expression, it produces a good effect. However Manuel García, a pedagogue of immense renown, in his New Compendious Treatise of the Art of Singing, Part 1, Chapter VII, On Vocalization or Agility. Writing of the means by which the voice is conducted from one note to another, to slur is to conduct the voice from one note to another through all the intermediate sounds. This dragging of the notes will assist in equalizing the registers, timbres and he warned that learners should not acquire the bad habit of attacking a note with a slur, a prevailing fault in bad singers. As with the sounds, the air must be subjected to a regular and continuous pressure. It reflected not merely a distinction of terminology but divergent understandings of an aspect of singing technique. This is not valid criticism of a performer when portamento is explicitly specified in the score or is otherwise appropriate, however, when there is no such specification, the singer is expected to be able to move crisply from note to note without any slurring or scooping. Glissando List of ornaments Nonchord tone#Portamento Pitch wheel Portato, also rarely called portamento, the Craft of Modal Counterpoint, A Practical Approach, second edition. Ecole de García, Traité Complet de lArt du Chant par Manuel García fils, mainz and Paris, Schott 1840,1847. Garcías New Treatise on the Art of Singing, a Compendious Method of Instruction, with Examples and Exercises for the Cultivation of the Voice, OCLC224044902 Read at Archive. org Gauldin, Robert. A Practical Approach to Sixteenth-Century Counterpoint, englewood Cliffs, New Jersey, Prentice Hall. OCLC59143146 Harris, Ellen T. Portamento, the New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell
Portamento
–
This article is about the musical term. For the album, see
Portamento (album).
20.
Modulation
–
Most radio systems in the 20th century used frequency modulation or amplitude modulation to make the carrier carry the radio broadcast. Modulation of a sine waveform transforms a narrow frequency range baseband message signal into a passband signal, a modulator is a device that performs modulation. A demodulator is a device that performs demodulation, the inverse of modulation, a modem can perform both operations. The aim of digital modulation is to transfer a digital bit stream over an analog bandpass channel, in music synthesizers, modulation may be used to synthesise waveforms with an extensive overtone spectrum using a small number of oscillators. In this case the carrier frequency is typically in the order or much lower than the modulating waveform. In analog modulation, the modulation is applied continuously in response to the information signal. Where an AM carrier also carries a variable phase f. TM is f In digital modulation, a carrier signal is modulated by a discrete signal. Digital modulation methods can be considered as digital-to-analog conversion, and the corresponding demodulation or detection as analog-to-digital conversion, the changes in the carrier signal are chosen from a finite number of M alternative symbols. A simple example, A telephone line is designed for transferring audible sounds, for example tones, computers may however communicate over a telephone line by means of modems, which are representing the digital bits by tones, called symbols. If there are four symbols, the first symbol may represent the bit sequence 00, the second 01, the third 10. If the modem plays a melody consisting of 1000 tones per second, since each tone represents a message consisting of two digital bits in this example, the bit rate is twice the symbol rate, i. e.2000 bits per second. This is similar to the used by dialup modems as opposed to DSL modems. According to one definition of digital signal, the signal is a digital signal. According to another definition, the modulation is a form of digital-to-analog conversion, most textbooks would consider digital modulation schemes as a form of digital transmission, synonymous to data transmission, very few would consider it as analog transmission. The most fundamental digital modulation techniques are based on keying, PSK, FSK, a finite number of frequencies are used. ASK, a number of amplitudes are used. QAM, a number of at least two phases and at least two amplitudes are used
Modulation
–
Schematic of 4 baud (8 bit/s) data link containing arbitrarily chosen values.
Modulation
–
A low-frequency message signal (top) may be carried by an AM or FM radio wave.
21.
Robert Moog
–
Robert Arthur Bob Moog, founder of Moog Music, was an American engineer and pioneer of electronic music, best known as the inventor of the Moog synthesizer. During his lifetime, Moog founded two companies for manufacturing electronic musical instruments, a native of New York City, Moog attended the Bronx High School of Science in New York, graduating in 1952. For his undergraduate education, Moog completed a 3-2 engineering program, earning a B. S. in physics from Queens College, from the Columbia University School of Engineering and Applied Science in 1957. He received his Ph. D. in engineering physics from Cornell University in 1965, in 1953 at age 19, Moog founded his first company, R. A. Moog Co. to manufacture theremin kits, during the 1950s, composer and electronic music pioneer Raymond Scott approached Moog, asking him to design circuits for him. Moog later acknowledged Scott as an important influence, later, in the 1960s, the company was employed to build modular synthesizers based on Moogs designs. In 1972 Moog changed the name to Moog Music. Throughout the 1970s, Moog Music went through changes of ownership. Poor management and marketing led to Moogs departure from his own company in 1977, in 1978 after leaving his namesake firm, Moog started making electronic musical instruments again with a new company, Big Briar. Their first specialty was theremins, but by 1999 the company expanded to produce a line of effects pedals called moogerfoogers. In 1999, Moog partnered with Bomb Factory to co-develop the first digital effects based on Moog technology in the form of plugins for Pro Tools software, despite Moog Musics closing in 1993, Moog did not have the rights to market products using his own name throughout the 1990s. Big Briar acquired the rights to use the Moog Music name in 2002 after a battle with Don Martin who had previously bought the rights to the name Moog Music. At the same time, Moog designed a new version of the Minimoog called the Minimoog Voyager, the Voyager includes nearly all of the features of the original Model D in addition to numerous modern features. The Moog synthesizer was one of the first widely used musical instruments. Early developmental work on the components of the synthesizer occurred at the Columbia-Princeton Electronic Music Center, while there, Moog developed the voltage controlled oscillators, ADSR envelope generators, and other synthesizer modules with composer Herbert Deutsch. Moog created the first voltage-controlled subtractive synthesizer to utilize a keyboard as a controller, in 1966, Moog filed a patent application for his unique low-pass filter U. S. Patent 3,475,623, issued in October,1969 and he is a listed inventor on ten US patents. Moog had his theremin company manufacture and market his synthesizers, unlike the few other 1960s synthesizer manufacturers, Moog shipped a piano-style keyboard as the standard user interface
Robert Moog
–
Robert Moog
22.
Minimoog Voyager
–
The Minimoog Voyager or Voyager is a monophonic analog synthesizer, designed by Robert Moog and released in 2002 by Moog Music. The Voyager was modeled after the classic Minimoog synthesizer that was popular in the 1970s, like the original Minimoog, the Voyager has six sound sources. Five of these pass to a mixer with independent level controls, the mixed output of the sources is then passed through the voltage-controlled filter and a voltage-controlled amplifier, each of which has its own ADSR envelope generator. The voltage-controlled filter can itself be made to oscillate, thus comprising the Voyagers sixth sound source, unlike the original Minimoog, the Voyagers modulation busses can be set to affect almost any parameter of the sound, not just the filters. Although the synthesizer features MIDI control and advanced patch storage, all paths in the Voyager are analog. The three oscillators are designed for high tuning stability, as the original Minimoog oscillators tended to shift out of tune while playing. With the Voyager, certain parameters that were fixed on the original Minimoog can be programmed to suit the players preference and this includes selection between low-note, high-note or last-note priority. Also, the generators can be set to re-trigger with each pressed note or they can be set not to re-trigger until all notes are lifted. In November 2001, Moog Music announced that they planned to release a version of the Minimoog. The new synthesizer promised to have features, yet continue to be authentic to the original sound quality. The company offered a new synthesizer to the customer who could come up with a name for the project, early in 2002, they announced that the synthesizer would be named the Minimoog Voyager. Late in the summer of 2002, Moog Music began shipping the new Voyagers, occasionally a new system software release is made available, which can be downloaded from Moog Musics website and sent to the Voyager via MIDI. Recent software versions allow complex internal patching of control voltages, a very powerful, also available is the VX-351 Voyager Expander, an external box that is wired to the Voyager featuring 25 control-voltage outputs for physical CV patching. Recent versions of the Voyager software expand the original 128-patch memory to 896 patches by implementing seven selectable banks, A to G, the current model has most of the patches pre-programmed in groups corresponding to earlier software releases. In September 2015, Moog Music announced that after 13 years of production and over 14,000 units sold, however, the XL version of the Voyager remains in production. The first 600 units could be preordered at the price of US$3495, the standard edition continues to sell for US$2995. Apart from the signature and price, the models are identical, wood finish on the models is offered in walnut, cherry or maple. For 2004, Moog Music released a limited 50th Anniversary Edition Voyager, the wood cabinet was painted black and the control panel was backlit using electroluminescent technology
Minimoog Voyager
Minimoog Voyager
–
Moog Voyager Rack Mount Edition (2005, left half)
Minimoog Voyager
–
Minimoog Voyager Select Series (released in 2006)
Minimoog Voyager
–
Minimoog Voyager Old School (2008)
23.
Moogfest
–
Moogfest is an annual, multi-day music, art and technology festival. Moog spoke at the event in 2004, past performers who have played at the festival include Kraftwerk, Devo and Brian Eno. It is held in May, on the closest weekend to Moog’s birthday, on July 14,2015, it was announced that Moogfest 2016 would be held in Durham, North Carolina on May 19–22, taking place in downtown Durham and spread out across multiple venues. During the final day of Moogfest 2016, it was announced that in 2017 the festival would take place in Durham. Moogfest is the event that honors the remarkable vision of Robert Moog and his amazing musical inventions that changed the course of music. Today, Moogfest is a multi-day, multi-venue event held in Durham, Moogfest hosts artists and audiences from throughout the world in different venues across Durhams downtown. The festival also offers interactive experiences, visual art exhibitions, installations, film screenings, panel discussions, question and answer sessions, and workshops. Keith Emerson first discovered the Moog when he heard Switched-On Bach, Robert Moog replied that there was no chance because the machine was too fragile and required extensive training to operate properly, but Emerson finally convinced Moog and the Minimoog was released. Keith Emerson was the first musician to tour with a Minimoog during Emerson, in 1974 the German electronic group Kraftwerk further popularized the sound of the synthesizer with their landmark album Autobahn, which used several types of synthesizer including a Minimoog. Italian producer and composer Giorgio Moroder helped to shape the development of disco music, the Minimoog was highly popular in the 1970s and 1980s, and has been used by many artists. This event, somehow, came just four years before the first Moogfest was held in New York City, the first event, presented by Clinic Crafters Workshop and Sam Ash, entitled Mannys Music Presents MoogFest. A Free Moog Clinic Featuring Keith Emerson and Bob Moog, was held at Mannys Music store on May 17,2004, the first Moogfest was held at B. B. King Blues Club & Grill in Times Square on Tuesday, May 18. Randy Fuchs, the artist relations director for Moog, contacted Keith Emerson, Rick Wakeman, Jordan Rudess, Bernie Worrell and other well-known Moog users, the Moogfest 2005 at B. B. Carlini continued to cultivate Moogfest as a tribute to Bob Moog. He said that y vision was to work with musicians who defined the instrument and had a tight relationship with Bob. I wanted to keep it pure, part of the event was filmed and then released in DVD format by MVD on June 2007. Keith Emerson and Jan Hammer were the recipients of the first ever Bob Moog Legacy Award, mike Adams, president of Moog Music announced the inception of the award and called on the stage Roger ODonnell and Jordan Rudess to present them. On the evening of Thursday 20 September 2007, Moogfest, in conjunction with the Bob Moog Foundation, the Moogfest 2007, once again at B. B. Thereminist Shueh-li Ong with Xenovibes, reportedly the only thereminist who has performed at a Moogfest so far, opened. Herbert Deutsch and Gershon Kingsley were the recipients of the Bob Moog Legacy Award for their unique and this was the last time that B. B. King held the festival
Moogfest
–
MoogFest 2011 Logo Monument
Moogfest
–
Mark Mothersbaugh and Gerald Casale accept Moog Innovator Award
Moogfest
–
Jonsi performing at Moogfest 2010
Moogfest
–
Brian Eno at MoogFest 2011
24.
Rock music
–
It has its roots in 1940s and 1950s rock and roll, itself heavily influenced by blues, rhythm and blues and country music. Rock music also drew strongly on a number of genres such as electric blues and folk. Musically, rock has centered on the guitar, usually as part of a rock group with electric bass guitar. Typically, rock is song-based music usually with a 4/4 time signature using a verse-chorus form, like pop music, lyrics often stress romantic love but also address a wide variety of other themes that are frequently social or political in emphasis. Punk was an influence into the 1980s on the subsequent development of subgenres, including new wave, post-punk. From the 1990s alternative rock began to rock music and break through into the mainstream in the form of grunge, Britpop. Similarly, 1970s punk culture spawned the visually distinctive goth and emo subcultures and this trio of instruments has often been complemented by the inclusion of other instruments, particularly keyboards such as the piano, Hammond organ and synthesizers. The basic rock instrumentation was adapted from the blues band instrumentation. A group of musicians performing rock music is termed a rock band or rock group, Rock music is traditionally built on a foundation of simple unsyncopated rhythms in a 4/4 meter, with a repetitive snare drum back beat on beats two and four. Melodies are often derived from older musical modes, including the Dorian and Mixolydian, harmonies range from the common triad to parallel fourths and fifths and dissonant harmonic progressions. Critics have stressed the eclecticism and stylistic diversity of rock, because of its complex history and tendency to borrow from other musical and cultural forms, it has been argued that it is impossible to bind rock music to a rigidly delineated musical definition. These themes were inherited from a variety of sources, including the Tin Pan Alley pop tradition, folk music and rhythm, as a result, it has been seen as articulating the concerns of this group in both style and lyrics. Christgau, writing in 1972, said in spite of some exceptions, rock and roll usually implies an identification of male sexuality, according to Simon Frith rock was something more than pop, something more than rock and roll. Rock musicians combined an emphasis on skill and technique with the concept of art as artistic expression, original. The foundations of music are in rock and roll, which originated in the United States during the late 1940s and early 1950s. Its immediate origins lay in a melding of various musical genres of the time, including rhythm and blues and gospel music, with country. In 1951, Cleveland, Ohio disc jockey Alan Freed began playing rhythm and blues music for a multi-racial audience, debate surrounds which record should be considered the first rock and roll record. Other artists with rock and roll hits included Chuck Berry, Bo Diddley, Fats Domino, Little Richard, Jerry Lee Lewis
Rock music
–
Red Hot Chili Peppers in 2006, showing a quartet lineup for a rock band (from left to right: bassist, lead vocalist, drummer, and guitarist).
Rock music
–
Elvis Presley in a promotion shot for
Jailhouse Rock in 1957
Rock music
–
Chubby Checker in 2005
Rock music
–
The Beach Boys performing in 1964
25.
Pop music
–
Pop music is a genre of popular music that originated in its modern form in the United States and United Kingdom during the mid 1950s. The terms popular music and pop music are used interchangeably, although the former describes all music that is popular. Pop and rock were synonymous terms until the late 1960s, when they were used in opposition from each other. Although pop music is seen as just the singles charts, it is not the sum of all chart music. Pop music is eclectic, and often borrows elements from other such as urban, dance, rock, Latin. Identifying factors include generally short to medium-length songs written in a format, as well as the common use of repeated choruses, melodic tunes. David Hatch and Stephen Millward define pop music as a body of music which is distinguishable from popular, jazz, according to Pete Seeger, pop music is professional music which draws upon both folk music and fine arts music. Although pop music is seen as just the singles charts, it is not the sum of all chart music, the music charts contain songs from a variety of sources, including classical, jazz, rock, and novelty songs. Pop music, as a genre, is seen as existing and developing separately, pop music continuously evolves along with the terms definition. The term pop song was first recorded as being used in 1926, Hatch and Millward indicate that many events in the history of recording in the 1920s can be seen as the birth of the modern pop music industry, including in country, blues and hillbilly music. The Oxford Dictionary of Music states that while pops earlier meaning meant concerts appealing to a wide audience. Since the late 1950s, however, pop has had the meaning of non-classical mus, usually in the form of songs, performed by such artists as the Beatles. Grove Music Online also states that, in the early 1960s pop music competed terminologically with beat music, while in the USA its coverage overlapped with that of rock and roll. From about 1967, the term was used in opposition to the term rock music. Whereas rock aspired to authenticity and an expansion of the possibilities of music, pop was more commercial, ephemeral. It is not driven by any significant ambition except profit and commercial reward, and, in musical terms, it is essentially conservative. It is, provided from on high rather than being made from below, pop is not a do-it-yourself music but is professionally produced and packaged. The beat and the melodies tend to be simple, with limited harmonic accompaniment, the lyrics of modern pop songs typically focus on simple themes – often love and romantic relationships – although there are notable exceptions
Pop music
–
The Oxford Dictionary of Music states that the term "pop" refers to music performed by such artists as
the Rolling Stones (pictured here in a 2006 performance)
Pop music
–
According to several sources,
MTV helped give rise to
pop stars such as
Michael Jackson and
Madonna; and Jackson and Madonna helped make MTV.
Pop music
26.
Modular synthesizer
–
The modular synthesizer is a type of synthesizer, which exists in both physical and virtual forms, consisting of separate specialized modules. The specialization is usually in the module being designed to allow the modification or processing of one parameter of a signal, such as the frequency, spectrum, or amplitude. The modules are not hardwired together but are connected together with patch cords, the voltages from the modules may function as signals, control voltages, or logic conditions. There are two kinds of modules, source and processor. The basic modular functions are, signal, control, logic/timing, there exist many different types of modules. There are basic modules, and compound modules, a compound module being a single module made up of several basic modules internally wired together, examples of compound modules include the envelope follower, sequencer, and vocoder. Modules with the basic functions may have different inputs, outputs and controls. In its basic form these may be simple waveforms, however these can be changed through such controls as sync, frequency modulation. Noise source - A source that outputs a random voltage, common types of noise offered by modular synthesizers include white, pink, and low frequency noise. LFO - A Low Frequency Oscillator may or may not be voltage-controlled and it may be operated with a period anywhere from a fortieth of a second to several minutes. It is generally used as a voltage for another module. The rectangular wave can be used as a logic / timing / trigger function, EG - An envelope generator is a transient voltage source. A trigger in the presence of a gate, applied to an Envelope Generator produces a single, often configured as ADSR it provides a transient voltage that rises and falls. It can be triggered by a keyboard or by another module in the system produces a rapidly rising trigger in the presence of a gate. Simpler EGs or more complex are sometimes available, Sequencer, also sometimes called and Analog Step Sequencer, is a family of compound module types which may be a source or a processor, see also below. As a source, depending upon the configuration, it may produce a sequence of voltages, the sequencer may also output a trigger, and/or gate, at each step. Sequencers are stepped by a trigger being applied to the trigger input, designs may allow for stepping forwards or backwards, oscillating patterns, random order, or only using a limited number of stages. An example of a sequencer and controller with this level of complexity is the Doepfer A-154
Modular synthesizer
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A Moog 55 (c. 1972 to c. 1981)
Modular synthesizer
–
A Doepfer A-100 (1995 to present)
Modular synthesizer
–
Latest Fénix
Modular synthesizer
–
Representation of synthesizer functions.
27.
Voltage-controlled filter
–
A voltage-controlled filter is a processor, a filter whose operating characteristics can be controlled by means of a control voltage applied to control inputs. It can be considered to be a frequency-dependent amplifier, although popularly known for their use in analog music synthesizers, in general, they have other applications in military and industrial electronics. A VCF allows its cutoff frequency and Q factor, to be varied, the signal outputs may include a lowpass response, a highpass response, a bandpass response. The filter may offer a variable slope which determines the rate of attenuation outside the bandpass and this is also varied by the Q. In modular analog synthesizers, filters receive signal input from sources, including oscillators and noise. By varying the frequency, the instrument passes or attenuates partials. In some popular music styles, filter sweeps have become a common effect. These sweeps are created by varying the frequency of the VCF. Historically, VCFs have included variable feedback which creates a response peak at the cutoff frequency and this peak can be quite prominent, and when the filters frequency is swept by a control, partials present in the input signal resonate. Some filters are designed to provide feedback to go into oscillation. ARP Instruments made a multifunction voltage-controlled filter module capable of operation at a Q greater than 100. Q was voltage-controllable, in part by a panel-mounted control and its internal circuit was a classic analog computer state variable loop, which provided outputs in quadrature. A VCF is an example of an active filter, however, if its control voltage is kept constant. Electronic filter Non-linear filter Self oscillation Subtractive synthesis Voltage-controlled amplifier Voltage-controlled oscillator Schematics and PCBs for building your own VCF
Voltage-controlled filter
–
Depiction of cutoff frequency of a low-pass filter, showing Butterworth response
28.
Triangle wave
–
A triangle wave is a non-sinusoidal waveform named for its triangular shape. It is a periodic, piecewise linear, continuous real function, like a square wave, the triangle wave contains only odd harmonics, demonstrating odd symmetry. However, the higher harmonics roll off much faster than in a square wave
Triangle wave
–
A bandlimited triangle wave pictured in the time domain (top) and frequency domain (bottom). The fundamental is at 220 Hz (A3).
29.
Sawtooth wave
–
The sawtooth wave is a kind of non-sinusoidal waveform. It is so named based on its resemblance to the teeth of a saw with a zero rake angle. The convention is that a sawtooth wave ramps upward and then sharply drops, however, in a reverse sawtooth wave, the wave ramps downward and then sharply rises. It can also be considered the case of an asymmetric triangle wave. The piecewise linear function x = t − ⌊ t ⌋ = t − floor or x = t based on the function of time t is an example of a sawtooth wave with period 1. A more general form, in the range −1 to 1, a sawtooth can be constructed using additive synthesis. The infinite Fourier series x r e v e r s e s a w t o o t h =2 A π ∑ k =1 ∞ k sin k converges to a sawtooth wave. A conventional sawtooth can be constructed using x s a w t o o t h = A2 − A π ∑ k =1 ∞ k sin k where A is amplitude. Note, cot y = -tan x In digital synthesis, these series are only summed over k such that the highest harmonic and this summation can generally be more efficiently calculated with a fast Fourier transform. An audio demonstration of a sawtooth played at 440 Hz and 880 Hz and 1760 Hz is available below, both bandlimited and aliased tones are presented. Sawtooth waves are known for their use in music, the sawtooth and square waves are among the most common waveforms used to create sounds with subtractive analog and virtual analog music synthesizers. The sawtooth wave is the form of the vertical and horizontal deflection signals used to generate a raster on CRT-based television or monitor screens, oscilloscopes also use a sawtooth wave for their horizontal deflection, though they typically use electrostatic deflection. On the waves ramp, the field produced by the deflection yoke drags the electron beam across the face of the CRT. On the waves cliff, the magnetic field collapses, causing the electron beam to return to its resting position as quickly as possible. Frequency is 15.734 kHz on NTSC,15.625 kHz for PAL, the vertical deflection system operates the same way as the horizontal, though at a much lower frequency. The ramp portion of the wave must appear as a straight line, if otherwise, it indicates that the voltage isnt increasing linearly, and therefore that the magnetic field produced by the deflection yoke is not linear. As a result, the beam will accelerate during the non-linear portions. This would result in a television image squished in the direction of the non-linearity, extreme cases will show marked brightness increases, since the electron beam spends more time on that side of the picture
Sawtooth wave
–
A bandlimited sawtooth wave pictured in the time domain (top) and frequency domain (bottom). The fundamental is at 220 Hz (A3).
30.
Square wave
–
A square wave is a non-sinusoidal periodic waveform, in which the amplitude alternates at a steady frequency between fixed minimum and maximum values, with the same duration at minimum and maximum. The transition between minimum to maximum is instantaneous for a square wave, this is not realizable in physical systems. Square waves are encountered in electronics and signal processing. Its stochastic counterpart is a two-state trajectory, a similar but not necessarily symmetric wave, with arbitrary durations at minimum and maximum, is called a pulse wave. The ratio of the period to the total period of any rectangular wave is called the duty cycle. A true square wave has a 50% duty cycle and this is the basis of pulse width modulation. Square waves are encountered in digital switching circuits and are naturally generated by binary logic devices. They are used as timing references or clock signals, because their fast transitions are suitable for triggering synchronous logic circuits at precisely determined intervals, to avoid this problem in very sensitive circuits such as precision analog-to-digital converters, sine waves are used instead of square waves as timing references. In musical terms, they are described as sounding hollow. Additionally, the effect used on electric guitars clips the outermost regions of the waveform. Simple two-level Rademacher functions are square waves, any periodic function can substitute the sinusoid in this definition. Note, y = atan sin x + acot sin x A square wave can be expressed as the case of an infinite series of sinusoidal waves. The ideal square wave contains only components of odd-integer harmonic frequencies, Sawtooth waves and real-world signals contain all integer harmonics. A curiosity of the convergence of the Fourier series representation of the wave is the Gibbs phenomenon. Ringing artifacts in non-ideal square waves can be shown to be related to this phenomenon, the Gibbs phenomenon can be prevented by the use of σ-approximation, which uses the Lanczos sigma factors to help the sequence converge more smoothly. An ideal mathematical square wave changes between the high and the low state instantaneously, and without under- or over-shooting and this is impossible to achieve in physical systems, as it would require infinite bandwidth. Square waves in physical systems have only finite bandwidth and often exhibit ringing effects similar to those of the Gibbs phenomenon or ripple effects similar to those of the σ-approximation. For a reasonable approximation to the shape, at least the fundamental and third harmonic need to be present
Square wave
–
(odd) harmonics of a square wave with 1000 Hz
Square wave
–
Sine, square,
triangle, and
sawtooth waveforms
31.
Pulse wave
–
A pulse wave or pulse train is a kind of non-sinusoidal waveform that is similar to a square wave, but does not have the symmetrical shape associated with a perfect square wave. It is a common to synthesizer programming, and is a typical waveform available on many synthesizers. The exact shape of the wave is determined by the duty cycle of the oscillator, in many synthesizers, the duty cycle can be modulated for a more dynamic timbre. The pulse wave is known as the rectangular wave, the periodic version of the rectangular function. The phase can be offset to match the accompanying graph by replacing t with t - τ/2, a pulse wave can be created by subtracting a sawtooth wave from a phase-shifted version of itself. If the sawtooth waves are bandlimited, the pulse wave is bandlimited. Another way to one is with a single ramp wave and a comparator, with the ramp wave on one input. The result will be a precisely controlled pulse width, but it not be bandlimited. Sampling function Pulse-width modulation Sine wave Triangle wave Square wave
Pulse wave
–
The shape of the pulse wave is defined by its duty cycle D, which is the ratio between the pulse duration () and the period (T)
32.
Low-frequency oscillator
–
Low-frequency oscillation is an electronic signal which is usually below 20 Hz and creates a rhythmic pulse or sweep. This pulse or sweep is often used to modulate synthesizers, delay lines, audio effects such as vibrato, tremolo and phasing are examples. The abbreviation LFO is also often used to refer to low-frequency oscillators themselves. Low-frequency oscillation as a concept was first introduced in the modular synths of the 1960s and 70s, often the LFO effect was accidental, so there were myriad configurations that could be patched by the synth operator. LFOs have since appeared in form on almost every synthesizer. More recently other electronic instruments, such as samplers and software synthesizers, have included LFOs to increase their sound alteration capabilities. The primary oscillator circuits of a synthesizer are used to create the audio signals, a LFO is a secondary oscillator that operates at a significantly lower frequency, typically below 20 Hz. This lower frequency or control signal is used to modulate another components value, like a standard oscillator, this usually takes the form of a periodic waveform, such as a sine, sawtooth, triangle or square wave. Also like an oscillator, LFOs can incorporate any number of waveform types, including user-defined wavetables, rectified waves. Using a low-frequency oscillation signal as a means of modulating another signal introduces complexities into the resulting sound, the specifics vary greatly depending on the type of modulation, the relative frequencies of the LFO signal and the signal being modulated, et cetera. An LFO can be routed to control, for example, the frequency of the oscillator, its phase, stereo panning, filter frequency. When routed to control pitch, an LFO creates vibrato, when an LFO modulates amplitude, it creates tremolo. Electronic musicians use LFO for a variety of applications and they may be used to add simple vibrato or tremolo to a melody, or for more complex applications such as triggering gate envelopes, or controlling the rate of arpeggiation. Differences between LFO rates also account for a number of commonly heard effects in modern music, a very low rate can be used to modulate a filters cutoff frequency, thereby providing the characteristic gradual sensation of the sound becoming clearer or closer to the listener. Alternatively, a high rate can be used for bizarre rippling sound effects, due to the popularization of these genres, the LFO wobble is now being found in other forms of electronic dance music such as house music. The British electronic music group LFO take their name directly from the low-frequency oscillator
Low-frequency oscillator
–
LFO section of a modern synthesizer
33.
Deadband
–
A deadband is an interval of a signal domain or band where no action occurs. Deadband regions can be used in voltage regulators and other controllers to prevent oscillation or repeated activation-deactivation cycles, gear teeth with slop exhibit deadband. There is no drive from the input to the shaft in either direction while the teeth are not meshed. Leadscrews generally also have backlash and hence a deadband, which must be taken into account when making position adjustments, if mechanical backlash eliminators are not available, the control can compensate for backlash by adding the deadband value to the position vector whenever direction is reversed. With hysteresis there is no dead zone, and so the output is always in one direction or another, devices with hysteresis have memory, in that previous system states dictate future states. Examples of devices with hysteresis are single-mode thermostats and smoke alarms, there is no temperature at which the house is not being heated or allowed to cool. A thermostat which sets a single temperature and automatically controls both heating and cooling systems without a mode change exhibits a range around the target temperature. The low end of the deadband is just above the temperature where the system turns on. The high end of the deadband is just below the temperature where the system starts. A smoke detector is also an example of hysteresis, not deadband, the hysteresis here is x minus y. Process Control Instrumentation Technology, Prentice Hall Dead Band Plus Hysteresis Estimation with ValveLink Diagnostics, department of Chemical and Process Engineering, University of Strathclyde
Deadband
–
Deadband is the period of dead-state of a system.
34.
Jazz
–
Jazz is a music genre that originated amongst African Americans in New Orleans, United States, in the late 19th and early 20th centuries, and developed from roots in Blues and Ragtime. Since the 1920s jazz age, jazz has become recognized as a form of musical expression. Jazz is characterized by swing and blue notes, call and response vocals, polyrhythms, Jazz has roots in West African cultural and musical expression, and in African-American music traditions including blues and ragtime, as well as European military band music. Although the foundation of jazz is deeply rooted within the Black experience of the United States, different cultures have contributed their own experience, intellectuals around the world have hailed jazz as one of Americas original art forms. As jazz spread around the world, it drew on different national, regional, and local musical cultures, New Orleans jazz began in the early 1910s, combining earlier brass-band marches, French quadrilles, biguine, ragtime and blues with collective polyphonic improvisation. In the 1930s, heavily arranged dance-oriented swing big bands, Kansas City jazz, bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging musicians music which was played at faster tempos and used more chord-based improvisation. Cool jazz developed in the end of the 1940s, introducing calmer, smoother sounds and long, modal jazz developed in the late 1950s, using the mode, or musical scale, as the basis of musical structure and improvisation. Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock rhythms, electric instruments. In the early 1980s, a form of jazz fusion called smooth jazz became successful. Other styles and genres abound in the 2000s, such as Latin, the question of the origin of the word jazz has resulted in considerable research, and its history is well documented. It is believed to be related to jasm, a term dating back to 1860 meaning pep. The use of the word in a context was documented as early as 1915 in the Chicago Daily Tribune. Its first documented use in a context in New Orleans was in a November 14,1916 Times-Picayune article about jas bands. In an interview with NPR, musician Eubie Blake offered his recollections of the slang connotations of the term, saying, When Broadway picked it up. That was dirty, and if you knew what it was, the American Dialect Society named it the Word of the Twentieth Century. Jazz has proved to be difficult to define, since it encompasses such a wide range of music spanning a period of over 100 years. Attempts have been made to define jazz from the perspective of other musical traditions, in the opinion of Robert Christgau, most of us would say that inventing meaning while letting loose is the essence and promise of jazz. As Duke Ellington, one of jazzs most famous figures, said, although jazz is considered highly difficult to define, at least in part because it contains so many varied subgenres, improvisation is consistently regarded as being one of its key elements
Jazz
–
Louis Armstrong (1901–1971) is considered one of the pivotal musicians in jazz for his contributions as a trumpet player, composer and singer.
Jazz
–
Double bassist
Reggie Workman, saxophone player
Pharoah Sanders, and drummer
Idris Muhammad performing in 1978
Jazz
–
Albert Gleizes, 1915, Composition pour Jazz, gouache on cardboard, mounted on Masonite, 73 x 73 cm,
Solomon R. Guggenheim Museum, New York
Jazz
–
In the late 18th-century painting
The Old Plantation, African-Americans dance to banjo and percussion.
35.
Composer
–
A composer is a person who creates or writes music, which can be vocal music, instrumental music or music which combines both instruments and voices. The core meaning of the term refers to individuals who have contributed to the tradition of Western classical music through creation of works expressed in written musical notation, many composers are also skilled performers, either as singers, instrumentalists, and/or conductors. Examples of composers who are well known for their ability as performers include J. S. Bach, Mozart. In many popular genres, such as rock and country. For a singer or instrumental performer, the process of deciding how to perform music that has previously composed and notated is termed interpretation. Different performers interpretations of the work of music can vary widely, in terms of the tempos that are chosen. Composers and songwriters who present their own music are interpreting, just as much as those who perform the music of others, although a musical composition often has a single author, this is not always the case. A piece of music can also be composed with words, images, or, in the 20th and 21st century, a culture eventually developed whereby faithfulness to the composers written intention came to be highly valued. This musical culture is almost certainly related to the esteem in which the leading classical composers are often held by performers. The movement might be considered a way of creating greater faithfulness to the original in works composed at a time that expected performers to improvise. In Classical music, the composer typically orchestrates her own compositions, in some cases, a pop songwriter may not use notation at all, and instead compose the song in her mind and then play or record it from memory. In jazz and popular music, notable recordings by influential performers are given the weight that written scores play in classical music. The level of distinction between composers and other musicians varies, which issues such as copyright and the deference given to individual interpretations of a particular piece of music. In the development of European classical music, the function of composing music initially did not have greater importance than that of performing it. The preservation of individual compositions did not receive attention and musicians generally had no qualms about modifying compositions for performance. In as much as the role of the composer in western art music has seen continued solidification, for instance, in certain contexts the line between composer and performer, sound designer, arranger, producer, and other roles, can be quite blurred. The term composer is often used to refer to composers of music, such as those found in classical, jazz or other forms of art. In popular and folk music, the composer is usually called a songwriter and this is distinct from a 19th-century conception of instrumental composition, where the work was represented solely by a musical score to be interpreted by performers
Composer
–
French composer
Louis-Nicolas Clérambault composing at the keyboard
36.
Sun Ra
–
Sun Ra was an American jazz composer, bandleader, piano and synthesizer player, poet and philosopher known for his experimental music, cosmic philosophy, prolific output, and theatrical performances. For much of his career, Ra led The Arkestra, an ensemble with an ever-changing name, born and raised in Alabama, Blount would eventually become involved in the 1940s Chicago jazz scene. From the mid-1950s until his death, Ra led the musical collective The Arkestra and its performances often included dancers and musicians dressed in elaborate, futuristic costumes inspired by ancient Egyptian attire and the space age. He is now considered an innovator, among his distinctions are his pioneering work in free improvisation and modal jazz. Following Sun Ras death in 1993, the Arkestra continues to perform and he was born Herman Blount on May 22,1914, in Birmingham, Alabama, as discovered by his biographer, John F. Szwed, and published in his 1998 book. He was named after the popular stage magician Black Herman. He was nicknamed Sonny from his childhood, had a sister and half-brother. For decades, very little was known about Sun Ras early life, as a self-invented person, he routinely gave evasive, contradictory or seemingly nonsensical answers to personal questions, and denied his birth name. He speculated, only half in jest, that he was related to Elijah Poole, later famous as Elijah Muhammed. His birthday for years remained unknown, as he claimed it for years ranging from 1910 to 1918, only a few years before his death, the date of Sun Ras birth was still a mystery. Jim Macnies notes for Blue Delight said that Sun Ra was believed to be about 75 years old, but Szwed was able to uncover a wealth of information about his early life and confirmed a birth date of May 22,1914. As a child, Herman was a skilled pianist, by the age of 11 or 12, he was composing and sight reading music. Birmingham was an important stop for touring musicians and he saw famous musicians such as Fletcher Henderson, Duke Ellington, and Fats Waller, along with others who were quite talented but never made the big time. Sun Ra once said, The world let down a lot of good musicians, by his mid-teens, Blount was performing semi-professionally as a solo pianist, or as a member of various ad hoc jazz and R&B groups. Though deeply religious, his family was not formally associated with any Christian church or sect, Blount had few or no close friends in high school but was remembered as kind-natured and quiet, an honor roll student, and a voracious reader. He took advantage of the Black Masonic Lodge as one of the few places in Birmingham where African Americans had unlimited access to books and its collection on Freemasonry and other esoteric concepts made a strong impression on him. By his teens, Blount suffered from cryptorchidism and it left him with a nearly constant discomfort that sometimes flared into severe pain. Szwed suggests that Blount felt shame about it and the condition contributed to his isolation, in 1934 Blount was offered his first full-time musical job by Ethel Harper—his biology teacher from the high school, who had organized a band to pursue a career as a singer
Sun Ra
–
Sun Ra at the
New England Conservatory of Music, February 27, 1992
37.
Keith Emerson
–
Keith Noel Emerson was an English musician and composer. He played keyboards in a number of bands before he found his first commercial success with the Nice, formerly P. P. Arnolds backing band and he became internationally famous for his work with the Nice, which included writing rock arrangements of classical music. After leaving the Nice in 1970, he was a member of Emerson, Lake & Palmer. Emerson, Lake & Palmer were commercially successful through much of the 1970s, becoming one of the best-known progressive rock groups of the era. Following ELPs break-up at the end of the 1970s, Emerson pursued a career, composed several film soundtracks. In the early 1990s, Emerson rejoined ELP, which reunited for two albums and several tours before breaking up again in the late 1990s. Emerson also reunited the Nice in 2002 for a tour, during the 2000s, Emerson resumed his solo career, including touring with his own Keith Emerson Band and collaborating with several orchestras. In 2010 he reunited with ELP bandmate Greg Lake for a duo tour, Emersons last album, The Three Fates Project, was released in 2012. Emerson reportedly suffered from depression, and in his later years developed nerve damage that hampered his playing, making him anxious about upcoming performances and he committed suicide on 11 March 2016 at his home in Santa Monica, California. AllMusic describes Emerson as perhaps the greatest, most technically accomplished keyboardist in rock history, Emerson was born on 2 November 1944 in Todmorden, Yorkshire, his family having been evacuated there from southern England during the Second World War. He grew up in Goring-by-Sea, a resort near Worthing in West Sussex. His parents were musicians and arranged for him to take piano lessons starting at the age of 8. His father, Noel, played the piano, and thought that Emerson would benefit most from being versatile, however, he never received any formal musical training, and described his piano teachers as being local little old ladies. He learned western classical music, which inspired his own style, combining it with jazz. Although Emerson did not own a record player, he enjoyed listening to music on the radio, particularly Floyd Cramers 1961 slip note-style On the Rebound and he used jazz sheet music from Dave Brubeck and George Shearing and learned about jazz piano from books. He also listened to boogie-woogie, and to country-style pianists including Joe Mr Piano Henderson, Russ Conway, Emerson later described himself, I was a very serious child. I used to walk around with Beethoven sonatas under my arm, however, I was very good at avoiding being beaten up by the bullies. That was because I could also play Jerry Lee Lewis and Little Richard songs, so, they thought I was kind of cool and left me alone
Keith Emerson
–
Keith Emerson performing in St. Petersburg, Russia, September 2008
Keith Emerson
–
Emerson performing in concert with
Emerson, Lake & Palmer in 1977
Keith Emerson
–
Emerson with the
Moog.
Keith Emerson
–
Emerson, photographed in the mid-1980s.
38.
Pictures at an Exhibition
–
Pictures at an Exhibition is a suite of ten pieces composed for the piano by Russian composer Modest Mussorgsky in 1874. The suite is Mussorgskys most famous composition and has become a showpiece for virtuoso pianists. It has become known through various orchestrations and arrangements produced by other musicians and composers. It was probably in 1868 that Mussorgsky first met artist, architect, both men were devoted to the cause of an intrinsically Russian art and quickly became friends. They likely met in the home of the influential critic Vladimir Stasov, according to Stasovs testimony, in 1868, Hartmann gave Mussorgsky two of the pictures later featured in Pictures at an Exhibition. In 1870, Mussorgsky dedicated the song of the cycle The Nursery to Hartmann. Stasov remarked that Hartmann loved Mussorgskys compositions, and particularly liked the Scene by the Fountain in his opera Boris Godunov. Mussorgsky abandoned the scene in his original 1869 version, but at the requests of Stasov and Hartmann, the years 1873–74 are associated with the staging of Boris Godunov, the zenith of Mussorgskys career as a composer—at least from the standpoint of public acclaim. The composers triumph was overshadowed, however, by the critical drubbing he received in the press, other circumstances conspired to dampen Mussorgskys spirits. Golenishchev-Kutuzov wrote, banner was held by Mussorgsky alone, all the members had left it. Hartmanns sudden death on 4 August 1873 from an aneurysm shook Mussorgsky along with others in Russias art world, the loss of the artist, aged only 39, plunged the composer into deep despair. Stasov helped organize an exhibition of over 400 Hartmann works in the Imperial Academy of Arts in Saint Petersburg in February. Mussorgsky lent to the exhibition the two pictures Hartmann had given him, and viewed the show in person, I am writing the 4th No. —the transitions are good. I want to more quickly and steadily. My physiognomy can be seen in the interludes, so far I think its well turned. The music depicts his tour of the exhibition, with each of the ten numbers of the serving as a musical illustration of an individual work by Hartmann. Five days after finishing the composition, he wrote on the page of the manuscript a tribute to Vladimir Stasov. One month later, he added an indication that he intended to have it published, in music for these illustrations, as Mussorgsky called them, he represented, children, Baba Yaga in her wooden house on chicken legs, catacombs, gates, and even rattling carts
Pictures at an Exhibition
–
Mussorgsky in 1874
Pictures at an Exhibition
–
Mussorgsky's letter to Stasov, 12 June 1874, written while composing Pictures
Pictures at an Exhibition
–
Viktor Hartmann (1834–1873)
Pictures at an Exhibition
–
Cover of first edition of Pictures
39.
Keyboardist
–
A keyboardist is a musician who plays keyboard instruments. Until the early 1960s musicians who played keyboards were generally classified as either pianists or organists, since the mid-1960s, a plethora of new musical instruments with keyboards have come into common usage, requiring a more general term for a person who plays them. A complete list can be found at List of keyboardists, the use of electronic keyboards grew in popularity throughout the 1960s, with many bands using the Hammond organ, Mellotron, and electric pianos such as the Fender Rhodes. The Doors became the first group to use the Moog synthesizer on a pop record on 1967s Strange Days. Other bands, including The Moody Blues, The Rolling Stones, in 1966, Billy Ritchie became the first keyboard player to take a lead role in a rock band, replacing guitar, and thereby preparing the ground for others such as Keith Emerson and Rick Wakeman. In the late 1960s, a pioneer of electronic music Jean Michel Jarre started to experiment with synthesizers. Some of the first bands that used this set up were Kraftwerk, Suicide, the pop-blues-rock band Fleetwood Mac was also known for synthesizer-infused hits during this period. Pianist Organist List of Hammond organ players List of harpsichordists Classical pianists Young, concerns celebrated keyboard players and the various such instruments used over the centuries. SBN 200-71497-X Keyboard magazine Keyboard Player magazine Harmony Central resource for keyboard/synth players Vintage Synth Explorer
Keyboardist
–
Access Virus TI Polar Keyboard
40.
Rick Wakeman
–
Richard Christopher Rick Wakeman is an English keyboardist, songwriter, television and radio presenter, and author. He is best known for being in the rock band Yes across five tenures between 1971 and 2004 and for his solo albums released in the 1970s. Born and raised in West London, Wakeman intended to be a concert pianist and his early sessions included playing on Space Oddity, among others, for David Bowie and songs by Juniors Eyes, T. Rex, Elton John, and Cat Stevens. He formed his band, The English Rock Ensemble, in 1974. He hosted the television show Gastank, and produced the first of many New-age, in 1988, he co-formed Anderson Bruford Wakeman Howe which led to his third Yes stint until 1992. He returned twice more between 1995 and 2004, during which he completed several solo projects and tours, including venturing into Christian music. Wakeman continues to perform concerts worldwide in various capacities, Wakemans discography includes over 90 solo albums that range from several musical styles. Wakeman has written three books, an autobiography and two memoirs, Wakeman will be inducted into the Rock and Roll Hall of Fame as a member of Yes in 2017. Wakeman was born on 18 May 1949 in the west London suburb of Perivale, the only child of Cyril Frank Wakeman and Mildred Helen Wakeman, the three lived in Wood End Gardens in nearby Northolt. Cyril played the piano in a band while he was in the army and worked at a building suppliers. Mildred worked at a removal firm, in 1954, Wakeman began at Wood End Infants School in Greenford followed by Drayton Manor Park Grammar School in Hanwell, in 1959. The family spent their holidays in Exmouth. When Wakeman turned seven, his father paid for weekly piano lessons with Dorothy Symes which lasted for eleven years, in 1960, Symes entered Wakeman in his first music competition and he went on to win many awards, certificates, and cups in contests held around London. Wakeman then took up the clarinet at age twelve and in his years, attended church and learned the church organ, became a Sunday school teacher. Wakeman described himself at school as a horror, I worked hard in the first year, then eased up. In 1963, at fourteen, Wakeman joined the Atlantic Blues, two years later, Wakeman passed his O Levels in English, maths, art and music, and went on to study music, art, and British constitution at A-level. In 1966, he joined the Concordes, later known as the Concorde Quartet, playing dance and pop songs at events with his cousin Alan on saxophone. Wakeman used the money earned from their gigs to buy a Pianet, the band were unpaid after Wakeman lost control of his car and drove across the headmasters rose garden at the front of the school, thereby forfeiting their performance fee to pay for the damage
Rick Wakeman
–
Rick Wakeman in 2012.
Rick Wakeman
–
After one year of study at the
Royal College of Music, Wakeman left the school to work as a session musician.
Rick Wakeman
–
Wakeman first break as a session musician came in 1969 when he played "
Space Oddity " by
David Bowie.
Rick Wakeman
–
Wakeman performing at the
Royal Albert Hall in aid of the Performing Right Society for Music Members' Benevolent Fund in 2009.
41.
Up to eleven
–
The primary implication of the reference is one in which things that are essentially the same are seen as differentiated due to the users misunderstanding of the underlying operating principles. A secondary reference may be anything being exploited to its utmost limits, similarly, the expression turning it up to eleven refers to the act of taking something to an extreme. In 2002 the phrase entered the Shorter Oxford English Dictionary with the definition up to maximum volume, the phrase was coined in a scene from the 1984 mockumentary/rockumentary This Is Spinal Tap by the character Nigel Tufnel, played by Christopher Guest. In this scene Nigel gives the director, Marty DiBergi, played by Rob Reiner. Believing that this increases the highest volume of the amp, he explains Its one louder. When Marty asks why the ten setting is not simply set to be louder, the use of 11 as a maximum predates This Is Spinal Tap by almost forty years. In 1947 the Baldwin Locomotive Works and the Chesapeake and Ohio Railway introduced the Chesapeake, the locomotives throttle included eleven settings, ranging from one to eleven. The locomotives cruising speed was 70 miles per hour, at point the throttle was on seven. Gibson Les Paul guitars with low impedance pickups were outfitted with special controls designed by Les Paul himself, controls included a Decade Switch which actually went up to 11. As a consequence of the film, real bands and musicians started buying equipment whose knobs went up to 11, or even higher, with Eddie Van Halen reputedly being the first to do so. Marshall, the company that provided amplifiers for the film that the knobs were applied to. The QSC3500 and 3800 amplifiers made for the pro sound company Sound Image in the 1990s went to 11, the tachometer on a Singer Vehicle Design modified Porsche 911 goes up to 11, representing 11,000 RPM. On its primary page for This Is Spinal Tap, the IMDb displays the user rating for the out of 11 stars instead of the standard scale of one to ten. However, only 10 rating stars are shown on the page. Other IMDb pages display the rating out of 10, in the Doctor Who episode “The Lazarus Experiment”, the Doctor turns the amplifier of the pipe organ in the Southwark Cathedral to eleven to beat Lazarus. As if nature took everything we know about magnetars and turned it up to 11. ”In the video game culture, also, in GTA San Andreas, the DJ of the radio station K-DST can be heard saying, Turn it up to 11. Swedish rock band Gain Eleven, winners of Emergenza rock festival 2016, was named as a reference to This Is Spinal Tap, tennessee power pop band Superdrags fourth album Last Call For Vitriol begins with the song Baby Goes to Eleven. Loudest band in the world Loudness war Red line, a limit past which safety can no longer be guaranteed
Up to eleven
–
The volume knobs of Tufnel's Marshall amplifier went up to eleven
Up to eleven
–
C&O's #500 began going up to 11 in 1947.
42.
Post-disco
–
Post-disco is a term to describe an aftermath in popular music history c. Developed from the rhythm and blues sound as perfected by Parliament-Funkadelic, the side of disco, dub music techniques. Post-disco was typified by New York City music groups like D Train and Unlimited Touch who followed a more urban approach while others, like Material and ESG, a more experimental one. Post-disco was, like disco, singles-driven market controlled mostly by independent record companies that generated a cross-over chart success all through the early-to-mid 1980s, most creative control was in the hands of record producers and club DJs which was a trend that outlived the dance-pop era. Drum machines, synthesizers, sequencers were either partly or entirely dominant in a composition or mixed up with various acoustic instruments, depending on the artist. The main force in post-disco was mainly the 12 single format, the music that mostly catered to dance and urban audiences later managed to influence more popular and mainstream acts like Madonna, New Order or Pet Shop Boys. The music tended to be technology-centric, keyboard-laden, melodic, with funk-oriented bass lines, synth riffs, dub music aesthetics, and background jazzy or blues-y piano layers. For strings and brass sections, synthesizer sounds were preferred to the orchestration heard on many disco tracks. Soulful female vocals, however, remained an essence of post-disco. Bridging the so-called death of disco and the birth of house, all this early-to-mid-80s music lacks a name beyond drably functional and neutral terms like dance or club music. ”– Simon Reynolds, SPIN magazine The term post-disco was used as early as 1984 by Cadence Magazine when defining post-disco soul as disco without the loud bass-drum thump. AllMusic states that the term denotes a genre in the era between the indistinct end of disco music and the equally indistinct emergence of house music. Since disco music had been on the way of progression, it split itself into subscenes and styles like Hi-NRG, freestyle, Italo disco. The last one is associated with post-disco more than any other offshoots of post-disco. On the West Coast, especially in California, a different approach lead to a different sound, other examples of early American artists drawing from post-disco are Rick James, Change and Teena Marie. Disco in Europe remained relatively untouched by the events in the U. S. Ms 1979 Pop Muzik was a example of this. This section summary shows commercially successful records from the post-disco movement, during the late 1990s and throughout the 2000s, electronic and, especially, house musicians were influenced by post-disco. Some of these musicians are, Daft Punk, a French house music group, adopted elements of post-disco, disco, another artist, Les Rythmes Digitales, released a post-disco/electro-influenced album, Darkdancer. Canadian music group Chromeo debuted in 2004 with the album Shes in Control, similar Los Angeles-based musician Dâm-Funk recorded Toeachizown, a boogie- and electro-influenced album released in 2009
Post-disco
–
Synthesizers played a crucial part in the development of post-disco.
Post-disco
–
Disco music backlash had started around 1977.
Post-disco
–
Michael Jackson and
Madonna are the most successful artists of post-disco.
Post-disco
43.
Whitney Houston
–
Whitney Elizabeth Houston was an American singer, actress, producer, and model. In 2009, Guinness World Records cited her as the most awarded female act of all time, Houston is one of pop musics best-selling music artists of all-time, with an estimated 170–200 million records sold worldwide. She released seven albums and two soundtrack albums, all of which have diamond, multi-platinum, platinum or gold certification. Houston is the only artist to chart seven consecutive No.1 Billboard Hot 100 hits and she is the second artist behind Elton John and the only woman to have two number-one Billboard 200 Album awards on the Billboard magazine year-end charts. Houstons debut album, Whitney Houston, became the debut album by a woman in history. Rolling Stone named it the best album of 1986, and ranked it at number 254 on the magazines list of the 500 Greatest Albums of All Time. Her second studio album, Whitney, became the first album by a woman to debut at number one on the Billboard 200 albums chart, Houstons first acting role was as the star of the feature film The Bodyguard. The films original soundtrack won the 1994 Grammy Award for Album of the Year and its lead single, I Will Always Love You, won the Grammy Award for Record of the Year and became the best-selling single by a woman in music history. With the album, Houston became the first act to sell more than a million copies of an album within a week period under Nielsen SoundScan system. The album makes her the top female act in the top 10 list of the albums of all time. Houston continued to star in movies and contribute to their soundtracks, including the films Waiting to Exhale, the Preachers Wife soundtrack became the best-selling gospel album in history. On February 11,2012, Houston was found dead in her guest room at the Beverly Hilton, in Beverly Hills, the official coroners report showed that she had accidentally drowned in the bathtub, with heart disease and cocaine use listed as contributing factors. News of her death coincided with the 2012 Grammy Awards and featured prominently in American, Whitney Houston was born on August 9,1963 in what was then a middle-income neighborhood in Newark, New Jersey. She was the daughter of Army serviceman and entertainment executive John Russell Houston, Jr. and her elder brother Michael is a singer, and her elder half-brother is former basketball player Gary Garland. Her parents were both African American, through her mother, Houston was a first cousin of singers Dionne Warwick and Dee Dee Warwick. Her godmother was Darlene Love and her aunt was Aretha Franklin. Houston was raised a Baptist, but was exposed to the Pentecostal church. After the 1967 Newark riots, the moved to a middle-class area in East Orange, New Jersey
Whitney Houston
–
Houston performing at
Welcome Home Heroes with Whitney Houston in 1991
Whitney Houston
–
New Hope Baptist Church
Whitney Houston
–
Houston performing "
Saving All My Love for You " on the Welcome Home Heroes concert in 1991
Whitney Houston
–
Houston performing "
My Love Is Your Love " with her daughter
Bobbi Kristina Brown on
Good Morning America, September 1, 2009
44.
Kraftwerk
–
Kraftwerk is a German electronic music band formed by Ralf Hütter and Florian Schneider in 1969 in Düsseldorf. In the 1970s, they were among the first successful pop acts to popularize electronic music and are considered to be innovators and pioneers of the genre. The band was fronted by both Hütter and Schneider until Schneiders departure in 2008, following the releases of Computer World and Electric Café, member Wolfgang Flür left the group in 1987. They released their final album Tour de France Soundtracks in 2003, founding member Schneider departed in 2008. According to The Observer, no other band since the Beatles has given so much to pop culture, in January 2014, the Recording Academy honored Kraftwerk with a Grammy Lifetime Achievement Award. As of 2016, the members of Kraftwerk continue to tour. The duo had performed together as part of a quintet known as Organisation. This ensemble released one album, Tone Float, issued on RCA Records in the UK, Hütter, who left the band for eight months, played synthesizer and keyboards. Their first three albums were free-form experimental rock without the pop hooks or the more disciplined song structure of later work, post-production modifications to these recordings were used to distort the sound of the instruments, particularly audio-tape manipulation and multiple dubbings of one instrument on the same track. Live performances from 1972 to 1973 were made as a duo, using a simple beat-box-type electronic drum machine and these shows were mainly in Germany, with occasional shows in France. Later in 1973, Wolfgang Flür joined the group for rehearsals, with Ralf und Florian, released in 1973, Kraftwerk began to move closer to its now classic sound, relying more heavily on synthesizers and drum machines. Although almost entirely instrumental, the album marks Kraftwerks first use of the vocoder, Kraftwerks futuristic and robotic sound was influenced by the adrenalized insurgency of Detroit artists of the late 60s such as MC5 and the Stooges. The input, expertise, and influence of producer and engineer Konrad Conny Plank was highly significant in the years of Kraftwerk. Plank also worked many of the other leading German electronic acts of that time, including members of Can. As a result of his work with Kraftwerk, Planks studio near Cologne became one of the most sought-after studios in the late 1970s, Plank coproduced the first four Kraftwerk albums. The release of Autobahn in 1974 saw Kraftwerk moving away from the sound of its first three albums, Hütter and Schneider had invested in newer technology such as the Minimoog and the EMS Synthi AKS, helping give Kraftwerk a newer, disciplined sound. Autobahn would also be the last album that Conny Plank would engineer, at this time the painter and graphic artist Emil Schult became a regular collaborator, designing artwork, cowriting lyrics, and accompanying the group on tour. The year 1975 saw a point in Kraftwerks live shows
Kraftwerk
–
Kraftwerk performing in
Kiev in 2008
Kraftwerk
–
Concert in
Zürich, 1976
Kraftwerk
–
In
Stockholm, February 2004
Kraftwerk
–
Hütter and Schmitz performing at the
2009 Bestival, Isle of Wight
45.
Autobahn (album)
–
Autobahn is the fourth studio album by German electronic band Kraftwerk, released in November 1974. This commercial success came after the band had released three experimental and purely instrumental albums, Autobahn is not a completely electronic album, as violin, flute, piano and guitar are used along with synthesizers. The title track features both untreated and vocoded vocals, the tracks are purely instrumental. Kraftwerk used a Minimoog, an ARP Odyssey, an EMS Synthi AKS and various devices of their own design and implementation and it describes the A555 from Köln to Bonn—the first Autobahn ever. It was built under the mayor Konrad Adenauer in 1929 to 1932 without any intersections, klaus Röder was not a member of the band for very long, and had left before the recording sessions were completed. Konrad Plank had reputedly played a role in developing the Kraftwerk sound. Planks contribution to the sound was evident when comparing the album version of Kometenmelodie with the demo-quality single Kohoutek-Kometenmelodie, Flür had played with the band since late in 1973, first appearing with them on a Berlin TV performance to promote their Ralf und Florian album. On that show, he debuted the band’s custom-built electronic percussion pads, on 6 February 2013 the group played the entire album at the first of their eight-night retrospectives at the Tate Modern in London. The album was included in the book 1001 Albums You Must Hear Before You Die, a quadraphonic mix was released on Q8 eight-track cartridge, possibly without the bands knowledge. The front cover of the original German album was painted by Emil Schult, a collaborator of Ralf and Florian. The version released in the UK on the Vertigo label in 1974 had a differently designed cover, the rear cover of the original LP showed Hütter, Schneider, Röder and Emil Schult seated as if in the back of a car. Wolfgang Flür’s head was added to the photo when it was decided that he would stay as a permanent member of the band. However, for the 2009 remaster booklet this image has been replaced by the version originally photographed, all lyrics written by Ralf Hütter and Florian Schneider except Autobahn, lyrics by Hütter, Schneider and Emil Schult, all music composed by Hütter and Schneider. Original album credits Ralf Hütter – vocals, electronics, Konrad Conny Plank – sound engineer. Barbara Niemöller – Back cover photo, Florian Schneider – voice, vocoder, electronics, synthesizer, flute, electronic drums. Wolfgang Flür – electronic drums Kometenmelodie 1–2, klaus Röder – electric violin Mitternacht
Autobahn (album)
–
Autobahn
Autobahn (album)
46.
The Man-Machine
–
The Man-Machine is the seventh studio album by German electronic music band Kraftwerk, released in May 1978. It includes the singles The Model and The Robots, the first German pressing was on red vinyl. Upon its release, the NME stated, The Man-Machine stands as one of the pinnacles of 1970s rock music, the Man-Machine was certified gold by the British Phonographic Industry on 15 February 1982, denoting shipments in excess of 100,000 copies. The Man-Machine is the first Kraftwerk album to have Karl Bartos co-credited as a composer along with Ralf Hütter, Emil Schult co-wrote the lyrics for The Model. Critic Andy Gill also praised the complexity of construction, saying theres a lot more than electronic percussion in there, all lyrics written by Ralf Hütter except The Model, lyrics by Hütter and Emil Schult. Writing, performance and production credits are adapted from the liner notes
The Man-Machine
–
The Man-Machine
47.
Computer World
–
Computer World is the eighth studio album by German electronic music band Kraftwerk, released on May 10th,1981. The album peaked at fifteen on the UK Albums Chart. It was certified silver by the British Phonographic Industry on 12 February 1982 for shipments in excess of 60,000 copies, the album deals with the themes of the rise of computers within society. A fifth version, in Italian, was lip-synched to on Italian television in 1981, the compositions are credited to Ralf Hütter, Florian Schneider, and Karl Bartos. As was the case with the two albums, Computer World was released in both German- and English-language editions. The title of the track, Its More Fun to Compute, is in English in all releases. Which could be seen on old pinball machines, there are also some minor differences in the mixes used on English- and German-language releases. Computer World was listed by Pitchfork Media as the forty-fourth best album of the 1980s. Pitchfork Media also listed the track Computer Love as the 53rd best song of the 1980s. Slant Magazine placed the album at number twenty-five on its list of The 100 Best Albums of the 1980s, rolling Stone named it the tenth greatest EDM album of all time in 2012. The track Computer Love was released as a 7-inch single in the UK, in July 1981, backed with The Model, the single reached number 36 in the charts. In December 1981 the two songs were reissued as a double A-side 12-inch single, and reached number one on the UK Singles Chart in February 1982, computerwelt was remixed in 1982 as a dance version with additional bass and percussion sounds. It was released in January 1982 as a vinyl single only in Germany. The original track was nominated for a Grammy Award for Best Rock Instrumental Performance in 1982, Computer World was also chosen by the BBC for use in the titles of their UK computer literacy project, The Computer Programme. The cover is probably a stylized Hazeltine 1500 which was just a cursor-addressable ASCII terminal, in two photos, the mannequin representing Karl Bartos is seen playing a Stylophone, an instrument which featured on the track Pocket Calculator. Kraftwerks production methods are credited with influencing those of hip hop music. The motorik beat itself is not a prominent influence on hip hop, and was not originated by Kraftwerk
Computer World
–
Computer World
48.
Digital synthesizers
–
A digital synthesizer is a synthesizer that uses digital signal processing techniques to make musical sounds. This in contrast to older analog synthesizers, which produce music using analog electronics, and samplers, some digital synthesizers emulate analog synthesizers others include sampling capability in addition to digital synthesis. The very earliest digital synthesis experiments were made with general-purpose computers, in 1975, the Japanese company Yamaha licensed the algorithms for frequency modulation synthesis from John Chowning, who had experimented with it at Stanford University since 1971. Early commercial digital synthesizers used simple hard-wired digital circuitry to implement techniques such as additive synthesis and FM synthesis, other techniques, such as wavetable synthesis and physical modeling, only became possible with the advent of high-speed microprocessor and digital signal processing technology. Two of the earliest commercial digital synthesizers were the Fairlight CMI, introduced in 1979, the Fairlight CMI was the first sampling synthesizer, while the Synclavier was originally an FM synthesizer, not adding sampling synthesis until the 1980s. The Fairlight CMI and the Synclavier were both expensive systems, retailing for more than $20,000, in the early 1980s, in 1980, Yamaha eventually released the first FM digital synthesizer, the Yamaha GS-1, but at an expensive retail price of $16,000. The cost of digital synthesizers soon began falling rapidly in the early 1980s, e-mu Systems introduced the Emulator sampling synthesizer in 1982 at a retail price of $7,900. Although not as flexible or powerful as either the Fairlight CMI or the Synclavier, its lower cost, introduced in 1983, the Yamaha DX7 was the breakthrough digital synthesizer to have a major impact, both innovative and affordable, and thus spelling the decline of analog synthesizers. It used FM synthesis and, although it was incapable of the synthesis of the Fairlight CMI, its price was around $2,000. The DX-7 was also known for its key scaling method to avoid distortion and it became indispensable to many music artists of the 1980s, and would become one of the best-selling synthesizers of all time. In 1987, Roland released its own influential synthesizer of the time and this popular synth broke new ground in affordably combining short samples and digital oscillators, as well as the innovation of built-in digital effects. Roland called this Linear Arithmetic synthesis and this instrument is responsible for some of the very recognisable preset synthesizer sounds of the late 1980s, such as the Pizzagogo sound used on Enyas Orinoco Flow. It gradually became feasible to include high quality samples of existing instruments as opposed to synthesizing them, in 1988, Korg introduced the last of the hugely popular trio of digital synthesizers of the 1980s after the DX7 and D50, the M1. This heralded both the increasing popularisation of digital sample-based synthesis, and the rise of workstation synthesizers, after this time, many popular modern digital synthesizers have been described as not being full synthesizers in the most precise sense, as they play back samples stored in their memory. However, they still include options to shape the sounds through use of envelopes, LFOs, filters, the Yamaha Motif and Roland Fantom series of keyboards are typical examples of this type, described as ROMplers, at the same time, they are also examples of workstation synthesizers. With the addition of sophisticated sequencers on board, now added to effects and other features. These always include a multi-track sequencer, and can record and playback samples. As there was still interest in synthesizers, and with the increase of computing power, over the 1990s another type of synthesizer arose
Digital synthesizers
–
Jordan Rudess performing with a digital synth
Digital synthesizers
–
Fairlight CMI series II – exhibited at
NAMM Show
Digital synthesizers
–
The Yamaha DX7 signalled the rise of digital synthesizers
Digital synthesizers
–
The Clavia Nord Lead is a popular virtual analog synth
49.
Sampler (musical instrument)
–
The samples are loaded or recorded by the user or by a manufacturer. These sounds are played back by means of the sampler program itself. Because these samples are stored in digital memory, the information can be quickly accessed. A single sample may often be pitch-shifted to different pitches to produce musical scales, often samplers offer filters, effects units, modulation via low frequency oscillation and other synthesizer-like processes that allow the original sound to be modified in many different ways. Most samplers have polyphonic capabilities – they are able to more than one note at the same time. Many are also multitimbral – they can play back different sounds simultaneously, prior to computer memory-based samplers, musicians used tape replay keyboards, which store recordings on analog tape. When a key is pressed the tape head contacts the moving tape, to change sounds a new set of tapes had to be installed in the instrument. The emergence of the sampler made sampling far more practical. Bruce Haack built a digital sampler which he demonstrated on Mister Rogers Neighborhood in 1967, the home made synthesizer device included a built-in sampler which recorded, stored, played back and looped sounds controlled by switches, light sensors and human skin contact. EMS Musys system, developed by Peter Grogono, David Cockerell, the system ran on two mini-computers, Digital Equipment PDP-8s. These had 12,000 bytes of memory, backed up by a hard drive of 32k. EMS equipment was used to control the worlds first digital studio, the E-mu SP-1200 percussion sampler progressed Hip-Hop away from the drum machine sound upon its release in August 1987, ushering in the sample-based sound of the late 1980s and early 1990s. Akai pioneered many processing techniques, such as crossfade looping and time stretch to shorten or lengthen samples without affecting pitch, during the 1980s, hybrid synthesizers began to utilize short samples along with digital synthesis to create more realistic imitations of instruments than had previously been possible. Examples are the Korg M1, Roland U-110, Yamahas SY series, samplers, together with traditional Foley artists, are the mainstay of modern sound effects production. Using digital techniques various effects can be pitch-shifted and otherwise altered in ways that would have required many hours when done with tape, usually a sampler is controlled by an attached music keyboard or other external MIDI controller or source. Each note-message received by the sampler accesses a particular sample, often multiple samples are arranged across the keyboard, each assigned to a note or group of notes. Keyboard tracking allows samples to be shifted in pitch by an appropriate amount, each group of notes to which a single sample has been assigned is often called a keyzone, and the resultant set of zones is called a keymap. For example, in Fig 1, a keymap has been created four different samples
Sampler (musical instrument)
–
An AKAI MPC2000 sampling sequencer (1997)
Sampler (musical instrument)
–
Licht-Ton Orgel (1936), an earlier sampling organ utilizing analog
optical disc
Sampler (musical instrument)
–
Mellotron
Sampler (musical instrument)
–
EMS Synthi-100 as a part of EMS Musys
50.
Electronic music
–
In general, a distinction can be made between sound produced using electromechanical means and that produced using electronic technology. Examples of electromechanical sound producing devices include the telharmonium, Hammond organ, purely electronic sound production can be achieved using devices such as the theremin, sound synthesizer, and computer. During the 1920s and 1930s, electronic instruments were introduced and the first compositions for instruments were composed. Musique concrète, created in Paris in 1948, was based on editing together recorded fragments of natural and industrial sounds, Music produced solely from electronic generators was first produced in Germany in 1953. Electronic music was created in Japan and the United States beginning in the 1950s. An important new development was the advent of computers for the purpose of composing music, algorithmic composition was first demonstrated in Australia in 1951. In America and Europe, live electronics were pioneered in the early 1960s, during the 1970s to early 1980s, the monophonic Minimoog became once the most widely used synthesizer at that time in both popular and electronic art music. In the 1980s, electronic music became dominant in popular music, with a greater reliance on synthesizers, and the adoption of programmable drum machines. Electronically produced music became prevalent in the domain by the 1990s. Contemporary electronic music includes many varieties and ranges from art music to popular forms such as electronic dance music. Today, pop music is most recognizable in its 4/4 form. At the turn of the 20th century, experimentation with emerging electronics led to the first electronic musical instruments and these initial inventions were not sold, but were instead used in demonstrations and public performances. The audiences were presented with reproductions of existing music instead of new compositions for the instruments, while some were considered novelties and produced simple tones, the Telharmonium accurately synthesized the sound of orchestral instruments. It achieved viable public interest and made progress into streaming music through telephone networks. Critics of musical conventions at the time saw promise in these developments, ferruccio Busoni encouraged the composition of microtonal music allowed for by electronic instruments. He predicted the use of machines in future music, writing the influential Sketch of a New Esthetic of Music, futurists such as Francesco Balilla Pratella and Luigi Russolo began composing music with acoustic noise to evoke the sound of machinery. They predicted expansions in timbre allowed for by electronics in the influential manifesto The Art of Noises, developments of the vacuum tube led to electronic instruments that were smaller, amplified, and more practical for performance. In particular, the theremin, ondes Martenot and trautonium were commercially produced by the early 1930s, from the late 1920s, the increased practicality of electronic instruments influenced composers such as Joseph Schillinger to adopt them
Electronic music
–
Telharmonium,
Thaddeus Cahill, 1897
Electronic music
–
Halim El-Dabh at a
Cleveland festival in 2009
Electronic music
–
Karlheinz Stockhausen in the Electronic Music Studio of WDR, Cologne, in 1991
Electronic music
–
Israeli composer
Josef Tal at the Electronic Music Studio in Jerusalem (c. 1965). On the right,
Hugh Le Caine 's sound
synthesizer the Special Purpose Tape Recorder.
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