1.
Ticker symbol
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A ticker symbol or stock symbol is an abbreviation used to uniquely identify publicly traded shares of a particular stock on a particular stock market. A stock symbol may consist of letters, numbers or a combination of both, ticker symbol refers to the symbols that were printed on the ticker tape of a ticker tape machine. Stock symbols are unique identifiers assigned to each security traded on a particular market, for example, AAPL is for Apple Inc. OODH is for Orion DHC, Inc. and HD is for Home Depot, a stock symbol can consist of letters, numbers, or a combination of both, and is a way to uniquely identify that stock. The symbols were kept as short as possible to reduce the number of characters that had to be printed on the ticker tape, the allocation of symbols and formatting convention is specific to each stock exchange. In the US, for example, stock tickers are typically between 1 and 4 letters and represent the name where possible. In Europe, most exchanges use three-letter codes, for example Dutch consumer goods company Unilever traded on the Amsterdam Euronext exchange has the symbol UNA, while in Asia, numbers are often used as stock tickers to avoid issues for international investors when using non-Latin scripts. For example, the bank HSBCs stock traded on the Hong Kong Stock Exchange has the ticker symbol 0005, symbols sometimes change to reflect mergers. Prior to the 1999 merger with Mobil Oil, Exxon used a spelling of the company XON as its ticker symbol. The symbol of the firm after the merger was XOM, symbols are sometimes reused, in the US the single-letter symbols are particularly sought after as vanity symbols. For example, since Mar 2008 Visa Inc. has used the symbol V that had previously used by Vivendi which had delisted. To fully qualify a stock, both the ticker and the exchange or country of listing needs to be known, on many systems both must be specified to uniquely identify the security. This is often done by appending the location or exchange code to the ticker, although stock tickers identify a security, they are exchange dependent, generally limited to stocks and can change. These limitations have led to the development of other codes in financial markets to identify securities for settlement purposes, the most prevalent of these is the International Securities Identifying Number. An ISIN uniquely identifies a security and its structure is defined in ISO6166, Securities for which ISINs are issued include bonds, commercial paper, stocks, and warrants. The ISIN identifies the security, not the exchange on which it trades, for instance, Daimler AG stock trades on twenty-two different stock exchanges worldwide, and is priced in five different currencies, it has the same ISIN on each, though not the same ticker symbol. ISIN cannot specify a particular trade in this case, and another identifier, following the introduction of the Sequence trading platform in 1996, EPICs were renamed Tradable Instrument Display Mnemonics, but they are still widely referred to as EPICs. Stocks can also be identified using their SEDOL number or their ISIN, in the United States, modern letter-only ticker symbols were developed by Standard & Poors to bring a national standard to investing
2.
Tokyo Stock Exchange
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The Tokyo Stock Exchange, which is called Tōshō or TSE/TYO for short, is a stock exchange located in Tokyo, Japan. It is the fourth largest stock exchange in the world by market capitalization of its listed companies. It had 2,292 listed companies with a market capitalization of US$4.09 trillion as of April 2015. In July 2012 a planned merger with the Osaka Securities Exchange was approved by the Japan Fair Trade Commission, the resulting entity, the Japan Exchange Group, was launched on January 1,2013. The TSE is incorporated as a kabushiki gaisha with nine directors, four auditors and its headquarters are located at 2-1 Nihonbashi-Kabutochō, Chūō, Tokyo, or Kabuto-chō, which is the largest financial district in Japan. Its operating hours are from 8,00 to 11,30 a. m. from April 24,2006, the afternoon trading session started at its usual time of 12,30 p. m. Stocks listed on the TSE are separated into the First Section for large companies, the Second Section for mid-sized companies, as of October 31,2010, there are 1,675 First Section companies,437 Second Section companies and 182 Mothers companies. Ninety-four domestic and 10 foreign securities companies participate in TSE trading, see, Members of the Tokyo Stock Exchange Other TSE-related institutions include, The exchanges press club, called the Kabuto Club, which meets on the third floor of the TSE building. Most Kabuto Club members are affiliated with the Nihon Keizai Shimbun, Kyodo News, Jiji Press, or business television broadcasters such as Bloomberg LP, the Kabuto Club is generally busiest during April and May, when public companies release their annual accounts. On 15 June 2007, the TSE paid $303 million to acquire a 4. 99% stake in Singapore Exchange Ltd. The Tokyo Stock Exchange was established on May 15,1878, as the Tokyo Kabushiki Torihikijo under the direction of then-Finance Minister Okuma Shigenobu, trading began on June 1,1878. In 1943, the exchange was combined with ten other stock exchanges in major Japanese cities to form a single Japanese Stock Exchange, the combined exchange was shut down and reorganized shortly after the bombing of Nagasaki. The Tokyo Stock Exchange reopened under its current Japanese name on May 16,1949, a new facility, called TSE Arrows, opened on May 9,2000. In 2010, the TSE launched its Arrowhead trading facility, in 2001, the TSE restructured itself as a stock company, before this time, it was structured as an incorporated association with its members as shareholders. The interruption in trading was the worst in the history of the exchange, trading was suspended for four-and-a-half hours. Mizuho failed to catch the error, the Tokyo Stock Exchange initially blocked attempts to cancel the order, on 11 December, the TSE acknowledged that its system was at fault in the Mizuho trade. On 21 December, Takuo Tsurushima, chief executive of the TSE, and two other senior executives resigned over the Mizuho affair. On January 17,2006, the Nikkei 225 fell 2. 8%, its fastest drop in nine months, the Tokyo Stock Exchange closed early on January 18 due to the trade volume threatening to exceed the exchanges computer systems capacity of 4.5 million trades per day
3.
Osaka
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Osaka is a designated city in the Kansai region of Japan. Historically a merchant city, Osaka has also known as the nations kitchen. Some of the earliest signs of habitation in the Osaka area at the Morinomiya ruins comprise shell mounds, sea oysters. It is believed that what is today the Uehonmachi area consisted of a land with an inland sea in the east. During the Yayoi period, permanent habitation on the plains grew as rice farming became popular, by the Kofun period, Osaka developed into a hub port connecting the region to the western part of Japan. The large numbers of increasingly larger tomb mounds found in the plains of Osaka are seen as evidence of political-power concentration, in 645, Emperor Kōtoku built his Naniwa Nagara-Toyosaki Palace in what is now Osaka, making it the capital of Japan. The city now known as Osaka was at this time referred to as Naniwa, although the capital was moved to Asuka in 655, Naniwa remained a vital connection, by land and sea, between Yamato, Korea, and China. Naniwa was declared the capital again in 744 by order of Emperor Shōmu, and remained so until 745, in 1496, Jōdo Shinshū Buddhists established their headquarters in the heavily fortified Ishiyama Hongan-ji, located directly on the site of the old Naniwa Imperial Palace. Oda Nobunaga began a siege campaign on the temple in 1570 which ultimately resulted in the surrender of the monks. Toyotomi Hideyoshi constructed Osaka Castle in its place in 1583, Osaka was long considered Japans primary economic center, with a large percentage of the population belonging to the merchant class. Over the course of the Edo period, Osaka grew into one of Japans major cities and returned to its ancient role as a lively and its popular culture was closely related to ukiyo-e depictions of life in Edo. By 1780 Osaka had cultivated a vibrant arts culture, as typified by its famous Kabuki, in 1837 Ōshio Heihachirō, a low-ranking samurai, led a peasant insurrection in response to the citys unwillingness to support the many poor and suffering families in the area. Approximately one-quarter of the city was razed before shogunal officials put down the rebellion, Osaka was opened to foreign trade by the government of the Bakufu at the same time as Hyōgo on 1 January 1868, just before the advent of the Boshin War and the Meiji Restoration. Osaka residents were stereotyped in Edo literature from at least the 18th century, jippenisha Ikku in 1802 depicted Osakans as stingy almost beyond belief. Edo writers aspired to samurai culture, and saw themselves as poor but generous, chaste, Edo writers by contrast saw zeeroku as obsequious apprentices, stingy, greedy, gluttonous, and lewd. The modern municipality was established in 1889 by government ordinance, with an area of 15 square kilometres, overlapping todays Chūō. Later, the city went through three major expansions to reach its current size of 223 square kilometres, Osaka was the industrial center most clearly defined in the development of capitalism in Japan. It became known as the Manchester of the Orient, the rapid industrialization attracted many Korean immigrants, who set up a life apart for themselves
4.
Hamamatsu
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Hamamatsu is a city located in western Shizuoka Prefecture, Japan. As of September 1,2015, the city had an population of 789,407, making it the prefectures largest city. The total area was 1,558.06 km2 and it became a city designated by government ordinance on April 1,2007. Hamamatsu is 260 kilometres southwest of Tokyo, Hamamatsu consists of a flat plain and the Mikatahara Plateau in the south, and a mountainous area in the north. It is roughly bordered by Lake Hamana to the west, the Tenryū River to the east, in the Nara period, it became the capital of Tōtōmi Province. During the Sengoku period, Hamamatsu Castle was the home of future Shogun Tokugawa Ieyasu, Hamamatsu flourished during the Edo period under a succession of daimyō rulers as a castle town, and as a post town on the Tōkaidō. After the Meiji Restoration, Hamamatsu became a short-lived prefecture from 1871 to 1876, Hamamatsu Station opened on the Tōkaidō Main Line in 1889. The same year, in a reform of Japan, Hamamatsu became a town. April 1,1991, The first Hamamatsu International Piano Competition was held, may 1,1994, Act City Hamamatsu opened. October 1,1995, Hamamatsu Museum of Musical Instruments opened, April 1,1996, Hamamatsu is designated a core city by the central government. June 1,1996, Hamamatsu City Fruit Park opened, january 1,1997, Started separated collection of garbage in residential areas. April 1,1997, Hamamatsu is designated as an Omnibus Town, April 1,1998, Act City Musical School opened. April 3,2000, Shizuoka University of Art and Culture opened, July 1,2001, The citys 90th anniversary is commemorated August 1,2002, Launched the conference on Pan-Hamanako Designated City Simulation. April 1,2003, Shizuoka New Kawafuji National High School Competition was held, june 1,2003, Launched Tenryūgawa-Hamanako Region Merger Conference. April 8 – October 11,2004, Pacific Flora 2004 was held at Hamanako Garden Park, inasa District and Iwata District were both dissolved as a result of this merger. Therefore, there are no more left in Shizuoka Prefecture. April 1,2007, Hamamatsu became a city designated by government ordinance by the central government. The climate in southern Hamamatsu is mild with little snowfall in the winter, however, it is windy in winter because of the dry monsoon called Enshū no Karakaze, the climate in northern Hamamatsu is much harsher because of foehn winds
5.
Shizuoka Prefecture
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Shizuoka Prefecture is a prefecture of Japan located in the Chūbu region of Honshu. The capital is the city of Shizuoka, while Hamamatsu is the largest city by population, Shizuoka Prefecture was formed from the former Tōtōmi, Suruga and Izu provinces. The area was the home of the first Tokugawa Shogun, Tokugawa Ieyasu held the region until he conquered the lands of the Hōjō clan in the Kantō region and placed land under the stewardship of Oda Nobunaga. After becoming shogun, Tokugawa took the back for his family. With the creation of Shizuoka han in 1868, it again became the residence of the Tokugawa family. Shizuoka Prefecture is an elongated region following the coast of the Pacific Ocean at the Suruga Bay, in the west, the prefecture extends deep into the Japan Alps. In the east, it becomes a narrower coast bounded in the north by Mount Fuji, until it comes to the Izu Peninsula, throughout history, a disastrous earthquake called the Tokai earthquake has hit Shizuoka every 100 to 150 years. On Tuesday, March 15,2011, Shizuoka Prefecture was hit with a magnitude 6.2 earthquake approximately 42 km NNE of Shizuoka City, ISBN 978-0-674-01753-5, OCLC58053128 Official Shizuoka Prefecture website Official Shizuoka Guide
6.
Electronic musical instrument
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An electronic musical instrument is a musical instrument that produces sound using electronics. Such an instrument sounds by outputting an electrical signal that ultimately drives a loudspeaker. An electronic instrument might include a user interface for controlling its sound, often by adjusting the pitch, frequency, all electronic musical instruments can be viewed as a subset of audio signal processing applications. Simple electronic musical instruments are called sound effects, the border between sound effects and actual musical instruments is often hazy. Electronic musical instruments are now used in most styles of music. Development of new musical instruments, controllers, and synthesizers continues to be a highly active. In the 18th-century, musicians and composers adapted a number of instruments to exploit the novelty of electricity. The former instrument consisted of an instrument of over 700 strings. The latter was an instrument with plectra activated electrically. However, neither instrument used electricity as a sound-source, the first electric synthesizer was invented in 1876 by Elisha Gray. The Musical Telegraph used steel reeds oscillated by electromagnets and transmitted over a telephone line, Gray also built a simple loudspeaker device into later models, which consisted of a diaphragm vibrating in a magnetic field. A significant invention, which later had an effect on electronic music, was the audion in 1906. This was the first thermionic valve, or vacuum tube and which led to the generation and amplification of signals, radio broadcasting. Other early synthesizers included the Telharmonium, the Theremin, Jörg Magers Spharophon and Partiturophone, Taubmanns similar Electronde, Maurice Martenots ondes Martenot, only two models of this latter were built and the only surviving example is currently stored at the Lomonosov University in Moscow. It has been used in many Russian movies—like Solaris—to produce unusual, Hugh Le Caine, John Hanert, Raymond Scott, composer Percy Grainger, and others built a variety of automated electronic-music controllers during the late 1940s and 1950s. In 1959 Daphne Oram produced a method of synthesis, her Oramics technique, driven by drawings on a 35 mm film strip. In 1897 Thaddeus Cahill patented an instrument called the Telharmonium, using tonewheels to generate musical sounds as electrical signals by additive synthesis, it was capable of producing any combination of notes and overtones, at any dynamic level. This technology was used to design the Hammond organ
7.
Software
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Computer software, or simply software, is that part of a computer system that consists of data or computer instructions, in contrast to the physical hardware from which the system is built. In computer science and software engineering, computer software is all information processed by computer systems, programs, computer software includes computer programs, libraries and related non-executable data, such as online documentation or digital media. Computer hardware and software require each other and neither can be used on its own. At the lowest level, executable code consists of machine language instructions specific to an individual processor—typically a central processing unit, a machine language consists of groups of binary values signifying processor instructions that change the state of the computer from its preceding state. For example, an instruction may change the value stored in a storage location in the computer—an effect that is not directly observable to the user. An instruction may also cause something to appear on a display of the computer system—a state change which should be visible to the user. The processor carries out the instructions in the order they are provided, unless it is instructed to jump to a different instruction, the majority of software is written in high-level programming languages that are easier and more efficient for programmers, meaning closer to a natural language. High-level languages are translated into machine language using a compiler or an interpreter or a combination of the two, an outline for what would have been the first piece of software was written by Ada Lovelace in the 19th century, for the planned Analytical Engine. However, neither the Analytical Engine nor any software for it were ever created, the first theory about software—prior to creation of computers as we know them today—was proposed by Alan Turing in his 1935 essay Computable numbers with an application to the Entscheidungsproblem. This eventually led to the creation of the academic fields of computer science and software engineering. Computer science is more theoretical, whereas software engineering focuses on practical concerns. However, prior to 1946, software as we now understand it—programs stored in the memory of stored-program digital computers—did not yet exist, the first electronic computing devices were instead rewired in order to reprogram them. On virtually all platforms, software can be grouped into a few broad categories. There are many different types of software, because the range of tasks that can be performed with a modern computer is so large—see list of software. System software includes, Operating systems, which are collections of software that manage resources and provides common services for other software that runs on top of them. Supervisory programs, boot loaders, shells and window systems are parts of operating systems. In practice, an operating system bundled with additional software so that a user can potentially do some work with a computer that only has an operating system. Device drivers, which operate or control a particular type of device that is attached to a computer, utilities, which are computer programs designed to assist users in the maintenance and care of their computers
8.
Japan
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Japan is a sovereign island nation in Eastern Asia. Located in the Pacific Ocean, it lies off the eastern coast of the Asia Mainland and stretches from the Sea of Okhotsk in the north to the East China Sea, the kanji that make up Japans name mean sun origin. 日 can be read as ni and means sun while 本 can be read as hon, or pon, Japan is often referred to by the famous epithet Land of the Rising Sun in reference to its Japanese name. Japan is an archipelago consisting of about 6,852 islands. The four largest are Honshu, Hokkaido, Kyushu and Shikoku, the country is divided into 47 prefectures in eight regions. Hokkaido being the northernmost prefecture and Okinawa being the southernmost one, the population of 127 million is the worlds tenth largest. Japanese people make up 98. 5% of Japans total population, approximately 9.1 million people live in the city of Tokyo, the capital of Japan. Archaeological research indicates that Japan was inhabited as early as the Upper Paleolithic period, the first written mention of Japan is in Chinese history texts from the 1st century AD. Influence from other regions, mainly China, followed by periods of isolation, from the 12th century until 1868, Japan was ruled by successive feudal military shoguns who ruled in the name of the Emperor. Japan entered into a period of isolation in the early 17th century. The Second Sino-Japanese War of 1937 expanded into part of World War II in 1941, which came to an end in 1945 following the bombings of Hiroshima and Nagasaki. Japan is a member of the UN, the OECD, the G7, the G8, the country has the worlds third-largest economy by nominal GDP and the worlds fourth-largest economy by purchasing power parity. It is also the worlds fourth-largest exporter and fourth-largest importer, although Japan has officially renounced its right to declare war, it maintains a modern military with the worlds eighth-largest military budget, used for self-defense and peacekeeping roles. Japan is a country with a very high standard of living. Its population enjoys the highest life expectancy and the third lowest infant mortality rate in the world, in ancient China, Japan was called Wo 倭. It was mentioned in the third century Chinese historical text Records of the Three Kingdoms in the section for the Wei kingdom, Wa became disliked because it has the connotation of the character 矮, meaning dwarf. The 倭 kanji has been replaced with the homophone Wa, meaning harmony, the Japanese word for Japan is 日本, which is pronounced Nippon or Nihon and literally means the origin of the sun. The earliest record of the name Nihon appears in the Chinese historical records of the Tang dynasty, at the start of the seventh century, a delegation from Japan introduced their country as Nihon
9.
Roland Juno-106
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The Roland Juno-106 is an analog polyphonic synthesizer released by Roland Corporation in February 1984. It features digitally controlled oscillators for tuning stability and digital envelope generation along with analog filters, the Roland Juno-106 is relatively simple in terms of its synthesis architecture. The central tone-generating component of the instrument is a set of 6 digitally controlled oscillators capable of producing sawtooth, the instruments VCA can be switched between simple note gating or envelope-controlled loudness with a switch. The same envelope can also modulate the filters cutoff frequency, in normal or inverted polarity, the filter cutoff can also track the keyboard to allow high harmonics to be heard on higher-pitched notes. The Juno-106 features an analog stereo chorus effect, which is a fairly distinctive aspect of the instruments sound. The Juno-106s chorus is based on a set of bucket brigade delay lines similar to other Roland products of the time including guitar pedals. The Juno-106 also contains 128 internal memory slots for patch storage as well as surprisingly complete MIDI implementation - a rarity for any synthesizers of the time, furthermore, this synthesizer features polyphonic portamento, also rather rare for a 1984 analog instrument. The Juno-106 was the third in the Juno series of analog synthesizers, the Juno-106 also featured MIDI connectivity, rather than the proprietary Roland Digital Control Bus found on the Juno-60, along with much higher patch storage. Roland also produced a Juno-106 variant with built-in speakers and a slightly redesigned enclosure, in Japan, this version was called the Juno-106S, and elsewhere in the world it was called the HS-60. The Juno-106 was one of the last vintage synthesizers to feature all of its controls as buttons, the Juno-106 also featured DCOs with an analog signal path including VCFs. This allowed for perfectly tuned pitch with the warmth of analogue waveshaping and filters and it is because of this balance of analogue and digital that there really is no other synth quite like the Juno-106 and it is still a staple in many studios today. The Juno-106 and its predecessors are traded among synthesizer aficionados with relative frequency, thus, they are more easily obtainable than a number of other synthesizers with similar features and traits. Junos are considered to be very, instantly, musical sounding instruments with a sweet spot. Overall, these combine to make one of the most desirable vintage analog synths on the second hand market and many users appreciate them for their ease of use. A common problem nowadays are dead voice chips, in one or more of the 6 available notes fail and sound silent, quiet. The Juno-106 contains a hybrid integrated circuit for each of its six voices. Over time, these ICs tend to become intermittent or fail outright, because they are no longer manufactured, third-party substitutes have become available. In recent years, some people have successfully repaired these hybrid ICs by removing the coating of resin that is sometimes implicated in their failure
10.
Roland TB-303
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The TB-303 played an important role in the development of house music, influencing Chicago house and forming the basis for acid house. It is also used in related dance genres such as acid techno. The TB-303 was originally marketed to guitarists for bass accompaniment while practicing alone, production lasted approximately 18 months, resulting in only 10,000 units. It was not until the mid- to late-1980s that DJs and electronic musicians in Chicago found a use for the machine in the context of the newly developing house music genre. The TB-303 has an audio oscillator, which may be configured to produce either a sawtooth wave or a square wave. The square wave is derived from the sawtooth waveform using a simple and this produces a sound that is subtly different from the square waveform created by the dedicated hardware found in most analog synthesizers. It also includes an envelope generator, with a decay control only. A lowpass filter is included, with -24dB per octave attenuation, and controls for cutoff frequency, resonance. It is a misconception that the filter is a 3 pole 18 dB per octave design when in fact it is 4-pole 24 dB per octave. The TB-303 sequencer has some features that contribute to its characteristic sound. During the programming of a sequence, the user can determine whether a note should be accented, and whether it should employ portamento, a smooth transition to the following note. The portamento circuitry employs a fixed time, meaning that whatever the interval between notes, the time taken to reach the correct pitch is always the same. The accent circuitry, as well as increasing the amplitude of a note, also emphasizes the EG filters cutoff and resonance, resulting in a distinctive, the instrument also features a simple step-time method for entering note data into the 16-step programmable sequencer. This was notoriously difficult to use, and would result in entering a different sequence than the one that had been intended. Some users also take advantage of a low voltage failure mode, rip It Up by Scottish post-punk band Orange Juice, which reached #8 in the UK singles chart in February 1983, was the first UK hit to feature the synthesiser. In the late 1980s and early 1990s, as new Acid styles emerged, examples of this technique include Phutures 1987 Acid Tracks, Hardfloors 1992 EP Acperience and Interlect 3000s 1993 EP Volcano. Jesse Saunders also utilized the TB-303 with a Roland TR-808 drum machine, in other instances the TB-303 was extremely distorted and processed, such as Josh Winks 1995 hit Higher State of Consciousness. The acid sound is produced by playing a repeating note pattern on the TB-303, while altering the filters cutoff frequency, resonance
11.
Roland TR-808
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The Roland TR-808 Rhythm Composer, often referred to simply as the 808, is a drum machine introduced by the Roland Corporation in 1980 and discontinued in 1983. It was one of the earliest programmable drum machines, with which users could create their own rather than having to use presets. Unlike its nearest competitor, the expensive and sample-based Linn LM-1 Drum Computer. Launched at a time when music had yet to become mainstream. It was succeeded in 1984 by the TR-909, over the course of the decade, the 808 attracted a cult following among underground musicians for its affordability, ease of use, and idiosyncratic sounds, particularly its deep, booming bass drum. It became a cornerstone of the electronic, dance, and hip hop genres, popularized by early hits such as Marvin Gayes Sexual Healing and Afrika Bambaataa. At the time, drum machines were most often used to accompany home organs, Lewis was known for performances using electronic instruments he had modified himself, decades before the popularization of instrument hacking via circuit bending. He made extensive modifications to the Ace Tone drum machine, creating his own rhythms and wiring the device through his organs expression pedal to accent the percussion, unique at the time. Lewis was approached by Ace Tone president and founder Ikutaro Kakehashi, in 1972, Kakehashi formed the Roland Corporation and hired Lewis to help design drum machines. By the late 1970s, microprocessors were appearing in such as the Sequential Circuits Prophet-5 synthesizer. In 1978, Roland released the CompuRhythm CR-78, the first drum machine with which users could write, save, with its next machine, the TR-808, Roland aimed to develop a drum machine for the professional market, expecting that it would mainly be used to create demos. Though the engineers aimed to emulate real percussion, the prohibitive cost of memory drove them to design sound-generating hardware instead of using samples, Kakehashi deliberately purchased faulty transistors to create the machines distinctive sizzling sound. Roland engineer Makoto Muri credited the design of the voice circuits to Mr. Nakamura. The 808 generates 16 different sounds in imitation of acoustic percussion, bass drum, snare, toms, conga, rimshot, claves, handclap, maraca, cowbell, cymbal, and hi-hat. It is completely analog, meaning its sounds are generated via hardware rather than sampled, users can program up to 32 patterns using the step sequencer, each with a maximum of 768 measures, and place accents on individual beats, a feature introduced with the CR-78. Users can also set the tempo and time signature, including unusual signatures such as 5/4, the machine has multiple audio outputs and a DIN sync port to synchronize with other devices, considered groundbreaking at the time. The 808s sounds do not resemble real percussion, and have described as clicky and hypnotic, robotic, toy-like, spacey. Fact described them as a combination of tones and white noise
12.
Roland TR-909
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The Roland TR-909 Rhythm Composer is a partially analog, partially sample-based, drum machine introduced by the Japanese Roland Corporation in 1984. The brainchild of Tadao Kikumoto, the engineer behind the Roland TB-303, it features a 16-step step sequencer and it is fully programmable, and like its predecessor, the TR-808, it can store entire songs with multiple sections, as opposed to simply storing patterns. It was the first MIDI-equipped drum machine, the 909 was launched three years after its 808 forebear, changing the game slightly by offering a part-analogue, part-sample-based sound generation hybrid. As with the 808, the 909 sounded a long way from the more realistic alternatives from Linn and Oberheim that had all, more expensive, sample-based drum computers were better at faithfully reproducing real drum sounds, while the TR-909 sounded synthetic. One of the first Roland instruments to be equipped with MIDI, but, like the TR808 before it, nobody could have predicted the reverence in which the TR909 would eventually come to be held. The TR909 soundset is part of Rolands AIRA TR-8 drum machine, on September 9,2016, 30+ years after the TR909 was introduced, Roland declared the day 909 Day. The event is being celebrated by the unveiling of over 30 new instruments, unlike its purely analog ancestor, the TR-09 is powered by the same analog modeling technology that powers the AIRA TR-8. The TR-09 is part of Rolands Boutique product line, the hi-hats and cymbals are 6-bit samples, compressed and combined with a volume envelope curve to allow slight modification. Thanks to the circuitry, various aspects of the drum sound can be modified. There is also a feature called accent—a primitive means of humanizing the drumbeat, in a simplified model of a drummer and a kit, the loudness of the sound created would basically depend on the velocity at which the drummer hits a given part of the kit. A human drummer can emphasize certain notes by playing louder. Part of the charm of the TR-909 comes from its 16-step sequencer — the 16 buttons along the bottom of the interface correspond to the 16th notes of a bar in 4/4 meter. For example, punching the buttons 1,5,9 and 13 on the drum part would create a simple four to the floor beat. While the sequencer is running, a light runs from step 1 to step 16, the TR-909 has several editing modes, pattern editing where one focuses solely on the 16 steps, and track editing, which allows for chaining various patterns in a row. Because it has MIDI, its possible to control other instruments with the sequencer. D16 Drumazon - software drum machine that emulates the TR-909, reBirth RB-338 - software synthesizer that emulates the TB-303, TR-808, and TR-909. 909 - A software drum machine for the Android operating system that emulates the TR-909
13.
Ace Tone
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Ace Electronic Industries Inc. or Ace Tone was a manufacturer of musical instruments, including electronic organs and analogue drum machines, and effects pedals. Founded in 1960 by Ikutaro Kakehashi with an investment by Sakata Shokai, Ace Tone can be considered an incarnation of the Roland Corporation. Ace Tone began manufacturing amplifiers in 1963, canary S-2 — Vacuum tube clavioline, exhibited on 1964 Summer NAMM, but not released. X-3/X-3W — although model name evokes Hammond X series, it was shipped under Ace Tone brand, Ace 3000 has built-in cassette recorder on the lower right. National SX-601 Hammond VS-300 Cadette — although early Cadettes was built in Japan by Yamaha/Nippon Gakki, later models in the United Kingdom was built by Ace Tone/Nihon Hammond. Hammond F1000 /2000 /3000 — these models built in England in the 1970s, were variations of Ace 1000 /2000 /3000 designed & built in Japan, Ace Tone model also shipped from Hammond. Ace Tone FR-2L ⇒ Hammond Auto Ace Tone FR-3 ⇒ Hammond Rhythm 2 Hammond shipped far improved model based on Rolands improved model, Ace Tone FR-7L ⇒ Roland Rhythm 77 ⇒ Hammond Auto-Vari 64 Hammond models manufactured by Nihon Hammond. In the 1970s, possibly several models were distributed under Multivox brand by Sorkin Music. On the other hand, late-1970s models such as Multivox FR-3 seem to share similarities with Korg Minipops. Multivox models Also shipped from Multivox In the mid-1970s, “ACE TONE” brand was taken over by Sakata/Nihon Hammond, Sakata/Nihhon Hammond models Also shipped from Sakata/Nihhon Hammond. In 1972, Kakehashi left Ace Electronics and established Roland Corporation, Ace Tone Professional Amplifiers Catalog 1971. Ace Tone Guitar Amplifiers Catalog 1976, for example, production years of early product/prototype, and the later mass-production models are mysteriously confused. Archived from the original on 2008-06-30, — List of products and some corporate history. — Profiles of organs and corporate history, harmony Central, Ace Tone, Reviews — Reviews of Ace Tone products. Orgel Wiki, Ace Tone — more pictures of organ models, vintageSynth. hu, Ace — more pictures of products. Ace-tone lh-100 stereo phasor - LH-100 Stereo Phasor photo and audio examples, effectsdatabase. com, Ace Tone WM-1 Wah Master. The Dave Howard Singers PAGE - A band that popularized the sound of the Acetone Top 5, the Dave Howard Singers Wikipedia PAGE
14.
Combo organ
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This type of organ predated, and contributed largely to, the development of modern synthesizers. The combo organ concept, at least in the context of mass-production, is thought to have arisen from popular demand and they were the brainchild of necessity for portable organs of simple design, mainly for use in these small groups. Combo organs ended up having an impact on the music scene of the mid- and late 1960s, particularly on rock. A combo organ is a portable organ, usually transistorized. A combo organ is supported on a removable or folding stand or legs. Combo organs were best known for their bright, reedy sound, their portability, surprising versatility, most such instruments have no built-in amplification. A typical combo organ has one manual, covering four or five octaves, a number of different pitches and tone-colours were featured, often using rocker-switches, tabs or drawbars to function as stops to select them. Although the sounds may bear such names as flute, string or horn, some instruments allow the keyboard to be split, the lowest octave or two producing a pedal-like bass tone. Most combo organs offer vibrato as an effect, a few feature more unusual effects such as repeat percussion. A volume pedal is used to vary the volume while playing. Less frequently an optional set of bass pedals could be attached, soundwise, combo organs are very similar to each other, although there are definite discernible tonal characteristics that differ between models that might be considered default for each model. To collectors, players and enthusiasts, the aesthetic is often as important as the sound. Originally, the instruments were available in bright and unusual colors with showy chrome legs, multi-colored stop-tabs. Towards the mid-1970s, combo organs began to take on a more muted appearance, with woodgrain or black covering and conventional keyboard colors. Many combo organs were produced in countries as Italy or Japan. Organs that are intended to emulate the sound and characteristics of a Hammond organ are not generally regarded as combo organs, see clonewheel organ. Although the instrument fell from favor during the 1970s there was a resurgence about 1977 when new wave artists such as Blondie, Elvis Costello, Talking Heads, more recently, vintage combo organs have been used by The Horrors, Stereolab, Pulp, Kaiser Chiefs and Arctic Monkeys. Combo Organ Heaven Extensive site about numerous combo organ manufacturers and models Combo Organ Nation Forum for combo organ owners
15.
Electric guitar
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The vibrations of the strings are sensed by a pickup, of which the most common type is the magnetic pickup, which uses the principle of direct electromagnetic induction. The signal generated by a guitar is too weak to drive a loudspeaker, so it is plugged into a guitar amplifier before being sent to a loudspeaker. The output of a guitar is an electric signal. Invented in 1931, the electric guitar was adopted by jazz guitarists. Early proponents of the guitar on record included Les Paul, Lonnie Johnson, Sister Rosetta Tharpe, T-Bone Walker. During the 1950s and 1960s, the guitar became the most important instrument in pop music. It has evolved into an instrument that is capable of a multitude of sounds and styles in genres ranging from pop and rock to country music, blues and jazz. It served as a component in the development of electric blues, rock and roll, rock music, heavy metal music. Electric guitar design and construction vary greatly in the shape of the body and the configuration of the neck, bridge, Guitars may have a fixed bridge or a spring-loaded hinged bridge that lets players bend the pitch of notes or chords up or down or perform vibrato effects. The sound of a guitar can be modified by new playing techniques such as string bending, tapping, hammering on, using audio feedback, in a small group, such as a power trio, one guitarist switches between both roles. In larger rock and metal bands, there is often a rhythm guitarist, many experiments at electrically amplifying the vibrations of a string instrument were made dating back to the early part of the 20th century. Patents from the 1910s show telephone transmitters were adapted and placed inside violins, hobbyists in the 1920s used carbon button microphones attached to the bridge, however, these detected vibration from the bridge on top of the instrument, resulting in a weak signal. With numerous people experimenting with electrical instruments in the 1920s and early 1930s, Electric guitars were originally designed by acoustic guitar makers and instrument manufacturers. Some of the earliest electric guitars adapted hollow-bodied acoustic instruments and used tungsten pickups, the first electrically amplified guitar was designed in 1931 by George Beauchamp, the general manager of the National Guitar Corporation, with Paul Barth, who was vice president. The maple body prototype for the one-piece cast aluminum frying pan was built by Harry Watson, commercial production began in late summer of 1932 by the Ro-Pat-In Corporation, in Los Angeles, a partnership of Beauchamp, Adolph Rickenbacker, and Paul Barth. In 1934, the company was renamed the Rickenbacker Electro Stringed Instrument Company, in that year Beauchamp applied for a United States patent for an Electrical Stringed Musical Instrument and the patent was issued in 1937. The Electro-Spanish Ken Roberts provided players a full 25 scale, with 17 frets free of the fretboard and it is estimated that fewer than 50 Electro-Spanish Ken Roberts were constructed between 1933 and 1937, fewer than 10 are known to survive today. The need for the guitar became apparent during the big band era as orchestras increased in size, particularly when acoustic guitars had to compete with large
16.
Guitar amplifier
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The input of modern guitar amplifiers is a 1/4 jack, which is fed a signal from an electro-magnetic pickup or a piezoelectric pickup using a patch cord, or a wireless transmitter. For electric guitar players, their choice of guitar amp and the settings they use on the amplifier are a key part of their signature tone or sound, some guitar players are longtime users of a specific amp brand or model. Many electric guitar players use external effects pedals to alter the sound of their tone before the signal reaches the guitar amp, such as the wah wah pedal and this article focuses on electric guitar amps. For information on amps for guitar, a lower-pitched, similar instrument. More expensive amplifiers typically have controls for other frequency ranges. Some guitar amplifiers have a graphic equalizer, which uses vertical fader controls which can control many frequency bands, the first amplifier stage is a preamplifier stage, which amplifies the guitar signal to a level that can drive the power stage. The power amplifier or output stage produces a current signal to drive a loudspeaker to produce sound that the guitarist. Amplifiers may use vacuum tubes, solid-state devices, or both, a wide range of speaker configurations are available in guitar cabinets, ranging from cabinets with a single speaker or multiple speakers. Guitar amplifiers have a range in price and quality. Music equipment companies import small, low-powered practice amplifiers for students, other companies produce expensive custom-made amplifiers for professional musicians, which can cost thousands of dollars. Most combo amplifiers have a handle, and many combo amplifiers. Control knobs are typically mounted on the front of the cabinet or chassis, though in some cases, the most basic amps only have a few knobs, which typically control volume, bass and treble. More expensive amps may have a number of knobs that control pre-amp volume, distortion or overdrive, volume, bass, mid and treble, some older amps have a knob that controls a vibrato effect. The 1/4 input jack is typically mounted on the front of the amplifier, in the simplest, least expensive amplifiers, this 1/4 jack is the only jack on the amplifier. Some amps have a 1/4 jack for connecting a pedal to turn the amps onboard overdrive and reverb on, the cone speaker, widely used in 2000s-era amp cabinets, was not offered for sale until 1925. The first amplifiers and speakers could only be powered with large batteries, when engineers developed the first AC mains-powered amplifiers, they were soon used to make musical instruments louder. Engineers invented the first loud, powerful amplifier and speaker systems for public address systems and these large PA systems and movie theatre sound systems were very large and very expensive, and so they could not be used by most touring musicians. During the late 1920s to mid-1930s, small portable PA systems, in 1928, the Stromberg-Voisinet firm was the first company to sell an electric stringed instrument and amplifier package
17.
Effects unit
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An effects unit or pedal is an electronic or digital device that alters how a musical instrument or other audio source sounds. In the 2010s, most effects use solid state electronics and/or computer chips, some vintage effects units from the 1930s to the 1970s and modern reissues of these effects use mechanical components as well or vacuum tubes. Musicians, audio engineers and record producers use effects units during live performances or in the studio, typically with electric guitar, electronic keyboard, while guitar effects are most frequently used with electric or electronic instruments, effects can also be used with acoustic instruments, drums and vocals. Rackmounted or audio console-integrated reverb effects are used with vocals in live sound and sound recording. Examples of common units include wah-wah pedals, fuzzboxes and reverb units. A stompbox or pedal is a metal or plastic box placed on the floor in front of the musician and connected to the instrument. Pedals are usually the least expensive format, a rackmount device mounts on a standard 19-inch equipment rack and usually contains several types of effects. Rackmount effects typically have buttons and/or knobs on the face of the chassis for controlling the effects, an effects unit is also called an effect box, effects device, effects processor or simply effects. In audio engineer parlance, a signal without effects is dry, the abbreviation F/X or FX is sometimes used. A pedal-style unit may be called a box, stompbox. When a musician has multiple effects in a rack mounted road case, Effects units are available in a variety of formats or form factors. Stompboxes are usually the smallest, least expensive, and most rugged effects units, rackmount devices are generally more expensive and offer a wider range of functions. An effects unit can consist of analog or digital circuitry or a combination of the two, during a live performance, the effect is plugged into the electrical signal path of the instrument. In the studio, the instrument or other sound-sources auxiliary output is patched into the effect, form factors are part of a studio or musicians outboard gear. Stompboxes are small plastic or metal chassis which usually lie on the floor or in a pedalboard to be operated by the users feet, pedals are often rectangle-shaped, but there are a range of other shapes. Typical simple stompboxes have a single footswitch, one to three potentiometers for controlling the effect, and a single LED that indicates if the effect is on, depending on the type of pedal, the potentiometers may control different parameters of the effect. For a chorus effect, for example, the knobs may control the depth, some pedals have two knobs stacked on top of each other, enabling the unit to provide two knobs per single knob space. An effects chain or signal chain is formed by connecting two or more stompboxes, effect chains are typically created between the guitar and the amp or between the preamplifier and the power amp
18.
Hammond organ
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The Hammond organ is an electric organ, invented by Laurens Hammond and John M. Hanert and first manufactured in 1935. Various models have been produced, most of use sliding drawbars to create a variety of sounds. Around two million Hammond organs have been manufactured, the organ is commonly used with, and associated with, the Leslie speaker. The organ was originally marketed and sold by the Hammond Organ Company to churches as a lower-cost alternative to the pipe organ. It quickly became popular with jazz musicians in organ trios. Organ trios were hired by jazz club owners, who found that organ trios were a cheaper alternative to hiring a big band. The Hammond Organ Company struggled financially during the 1970s as they abandoned tonewheel organs and these instruments were not as popular with musicians as the tonewheels had been, and the company went out of business in 1985. The Hammond name was purchased by the Suzuki Musical Instrument Corporation and this culminated in the production of the New B-3 in 2002, which provided an accurate recreation of the original B-3 organ using modern digital technology. Hammond-Suzuki continues to manufacture a variety of organs for both players and churches. Other companies, such as Korg, Roland and Clavia, have achieved success in providing emulations of the original tonewheel organs. The sound of a tonewheel Hammond can also be emulated using software such as Native Instruments B4. A number of distinctive Hammond organ features are not usually found on other keyboards like the piano or synthesizer, Some are similar to a pipe organ, but others are unique to the instrument. Most Hammond organs have two 61-note keyboards called manuals, as with pipe organ keyboards, the two manuals are arrayed on two levels close to each other. There is no difference in volume regardless of how heavily or lightly the key is pressed, the keys on each manual have a lightweight action, which allows players to perform rapid passages more easily than on a piano. In contrast to piano and pipe organ keys, Hammond keys have a flat-front profile, Early Hammond console models had sharp edges, but starting with the B-2 these were rounded, as they were cheaper to manufacture. The M series of spinets also had waterfall keys, but later models had diving board style keys which resembled those found on a church organ. Modern Hammond-Suzuki models use waterfall keys, Hammond console organs come with a wooden pedalboard played with the feet, for bass notes. Most console Hammond pedalboards have 25 notes, with the note a low C
19.
Drum machine
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A drum machine is an electronic musical instrument designed to imitate the sound of drums, cymbals, other percussion instruments, and often basslines. Drum machines are most commonly associated with electronic music such as house music. They are usually used when session drummers are not available or if the production cannot afford the cost of a drummer. Also, many modern drum machines can also produce sounds, as well as allowing the user to compose unique drum beats. In the 2010s, most modern machines are sequencers with a sample playback or synthesizer component that specializes in the reproduction of drum timbres. The invention could produce sixteen different rhythms, each associated with a pitch, either individually or in any combination, including en masse. Received with considerable interest when it was introduced in 1932. The next generation of rhythm machines played only pre-programmed rhythms such as mambo, tango, Chamberlin Rhythmate In 1957 Californian Harry Chamberlin constructed a tape loop-based drum machine called the Chamberlin Rhythmate. It had 14 tape loops with a head that allowed playback of different tracks on each piece of tape. It contained a volume and a control and also had a separate amplifier with bass, treble, and volume controls. The tape loops were of real acoustic jazz drum kits playing different style beats, with additions to tracks such as bongos, clave, castanets. First commercial product – Wurlitzer Side Man In 1959 Wurlitzer released a drum machine called the Side Man. The Side Man was intended as an accompaniment for the Wurlitzer organ range. The Side Man offered a choice of 12 electronically generated, predefined rhythm patterns with variable tempos, the sound source was a series of vacuum tubes which created 10 preset electronic drum sounds. Combinations of these different sets of rhythms and drum sounds created popular rhythmic patterns of the day, e. g. waltzes and these combinations were selected by a rotary knob on the top of the Side Man box. The tempo of the patterns was controlled by a slider that increased the speed of rotation of the wiper arm, the Side Man had a panel of 10 buttons for manually triggering drum sounds, and a remote player to control the machine while playing from an organ keyboard. The Side Man was housed in a cabinet that contained the sound-generating circuitry. Raymond Scott In 1960, Raymond Scott constructed the Rhythm Synthesizer and, in 1963, scotts machines were used for recording his album Soothing Sounds for Baby series
20.
The Song of Roland
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The Song of Roland is an epic poem based on the Battle of Roncevaux in 778, during the reign of Charlemagne. It is the oldest surviving work of French literature and exists in various manuscript versions. The date of composition is put in the period between 1040 and 1115, a version beginning around 1040 with additions and alterations made up until about 1115. The final text has about 4,000 lines of poetry, set in the Carolingian era, it was written much later. There are nine extant manuscripts of the Song of Roland in Old French, the oldest of these manuscripts is held at the Bodleian Library at Oxford. This copy dates between 1129 and 1165 and was written in Anglo-Norman, scholars estimate that the poem was written, possibly by a poet named Turold, between approximately 1040 and 1115, and most of the alterations were performed by about 1098. Some favor an earlier dating, because it allows one to say that the poem was inspired by the Castilian campaigns of the 1030s, and that the poem went on to be a major influence in the First Crusade. Those who prefer a later dating do so on grounds of what they interpret as brief references made in the poem to events of the First Crusade. In the poem, the term doltre mer or loltremarin comes up three times in reference to named Muslims who came from oltre mer to fight in Spain and France. Oltre mer, modern French Outremer, literally oversea, beyond sea, other side of the sea, is a native French term from the classical Latin roots ultra = beyond, the name was commonly used by the Crusaders for Palestine. The bulk of the poem is adjudged to date from before the Crusades, early editors of the Song of Roland, informed in part by patriotic desires to produce a distinctly French epic, could thus overstate the textual cohesiveness of the Roland tradition. This point is clearly expressed by Andrew Taylor, who notes, he Roland song was, if not invented, Charlemagnes army is fighting the Muslims in Spain. They have been there for seven years, and the last city standing is Saragossa, threatened by the might of Charlemagnes army of Franks, Marsile seeks advice and his wise man, Blancandrin, councils him to conciliate the Emperor, offering to surrender and giving hostages. Accordingly, Marsile sends out messengers to Charlemagne, promising treasure, Charlemagne and his men, tired of fighting, accept his peace offer and select a messenger to Marsiles court. Protagonist Roland, Charlemagnes nephew, nominates his stepfather Ganelon as messenger, as Ganelon predicted, Roland leads the rear guard, with the wise and moderate Oliver and the fierce Archbishop Turpin. The Muslims ambush them at Roncesvalles and the Christians are overwhelmed, Oliver pleads with Roland to blow his horn to call for help, but Roland tells him that blowing his horn in the middle of the battle would be an act of cowardice. If Roland continues to refuse, Oliver wont let Roland see his sister again whom Roland loves the most. However, Archbishop Turpin intervenes and tells them that the battle will be fatal for all of them, the emperor hears the call on their way to France
21.
Guitar synthesizer
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A guitar synthesizer is any one of a number of musical instrument systems that allow a guitar player to play synthesizer sound. Other notable manufacturers include New England Digital, Terratec/Axon, Starr Labs, Ibanez, Casio, Holt Electro Acoustic Research, Zeta Systems, both types have advantages and disadvantages. Note that although the term MIDI guitar is used as a synonym, MIDI is not the indispensable feature of guitar-synthesizers. For example, recently, software guitar-synthesizers featuring polyphonic audio recognition without any special pickups have appeared, see MIDI Guitar and Offbeat Guitarist. This data can be stored or input directly to a synthesizer that generates corresponding notes that can be audible when played through an amplifier and speaker. These components may be integrated into the instrument body or modularized in different ways, the hexaphonic pickup may be a separate component added to the guitar, or it may be built-in. Earlier guitar-synths required the musician to use a guitar with an integrated hexaphonic pickup. Later, Roland developed its GK line of pickups, that could be mounted onto any guitar for use in a guitar-synth system, based on GK interface, also Roland V-Guitar modeling guitar technology. Several guitar manufacturers, such as Godin, offer guitar models with an integrated RMC hexaphonic pickup, the RMC pickup system uses a piezo-crystal pickup device built into the saddles of the guitar bridge. This piezo-pickup conducts the vibrations of the strings as a signal that can be converted into a hexaphonic synth signal. This setup can be found in the xtSA and the LGX models, note that, although GK hardware is built into the Fender VG Stratocaster, no GK interface is provided. Fender also offered a short-lived American-Series version in the mid-1990s, usually, a cable connects the hexaphonic pickup to the converter. This allows the guitarist to be unencumbered by an on-board converter, however, several Casio models in the PG and MG product lines integrated the guitar, the hex pickup, and the converter as a single unit. Casio remains the manufacturer to try this approach. The advantage of this arrangement is that a MIDI cable can be plugged directly into the guitar, in addition to these configurations, the converter may also be combined with a synthesizer. The earliest models were combination converter/synthesizers, and this type is still produced, by the 2000s, however, all converter/synthesizers were MIDI-compatible, so any synthesizer with MIDI-input capability can be used. Stand-alone converter units also drive synthesizers via MIDI, among the advantages of synth guitars are that the musician can play either the guitar or the synthesizer alone, or blend the timbres of the both together in any ratio. Many models can be used with almost any guitar, with the addition of a hexaphonic pickup, while this type is also somewhat prone to note-tracking glitches, the problem can be overcome by adjusting the sensitivity controls of the pickup or converter — and by playing more precisely
22.
Boss Corporation
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Boss is a manufacturer of effects pedals for electric guitar and bass guitar. It is a division of the Roland Corporation, a Japanese manufacturer that specializes in musical equipment, in more recent times, Boss expanded their product line by including Digital Studios, rhythm machines and other electronic music equipment. The earliest Boss product was called B-100 The Boss, released in 1974 and this came with a clip-on pre-amp and a pickup to amplify acoustic guitars. At this point the Boss company had not been formed and it was technically a Beckmen Musical Instruments product. The first proper Boss foot pedal effect, the CE-1 Chorus Ensemble, was released June,1976 and it was a fairly large, AC-powered unit. Other foot pedals of that year are the GE-10, the BF-1, the Boss DS-1 was released the next year, in 1978. Their first compact chorus pedal came in 1979, and their first flanger pedal in 1980, in 1983 Boss released the DD-2 Digital Delay, the first mass-produced digital delay in a compact pedal format. The Metal Zone was released in 1991, in 1992 Boss released nine new pedals, including the Turbo Distortion. The Heavy Metal distortion pedal was a part of the guitar sound of many styles of heavy metal music ever since. The pedals all share the same footprint, for compatibility with pedal boards, Boss introduced COSM, Rolands proprietary version of digital modeling technology, into their AC-3 Acoustic Simulator pedal in 2006. Boss has since released several pedals using COSM, including the FBM-159 Fender Bassman pedal and FDR-165 Fender Deluxe Reverb pedal, all Boss compact pedals use a buffered bypass type of silent foot switching utilizing Field Effect Transistors to avoid clicks and pops. While not true bypass, the bypass has the advantage of preventing signal loss due to long runs of cable, while keeping original guitar tone intact. Boss compact pedals were originally produced in Japan, until circa 1990 when production moved to Taiwan, earlier units came with a metal screw securing the battery compartment, later models retained the metal screw, adding a plastic knob for tool-less battery removal. The labels on the bottom of the come in several different colours including black, silver, green, pink. Apart from this the design has remained unchanged for over 25 years. The DS-1 Distortion, however, is an exception, the design has changed twice throughout its lifetime. The first time was around 1994 when the Toshiba TA7136AP op-amp was replaced with the Rohm BA728N, in 2000 the op-amp was again changed. This time it was replaced with the Mitsubishi M5223AL, the latest op-amp change occurred in 2007, when new DS-1 pedals began shipping with the NJM3404AL op-amp
23.
Digital audio
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Digital audio is technology that can be used to record, store, generate, manipulate, and reproduce sound using audio signals that have been encoded in digital form. A microphone converts sound to an electrical signal, then an analog-to-digital converter —typically using pulse-code modulation—converts the analog signal into a digital signal. This digital signal can then be recorded, edited and modified using digital audio tools, digital audio systems may include compression, storage, processing and transmission components. Conversion to a digital format allows convenient manipulation, storage, transmission, modern online music distribution depends on digital recording and data compression. The availability of music as data files, rather than as objects, has significantly reduced the costs of distribution. Before digital audio, the music industry distributed and sold music by selling copies in the form of records. With digital audio and online distribution systems such as iTunes, companies sell digital files to consumers. This digital audio/Internet distribution model is less expensive than producing physical copies of recordings, packaging them. An analog audio system captures sounds, and converts their physical waveforms into electrical representations of those waveforms by use of a transducer, the sounds are then stored, as on tape, or transmitted. The process is reversed for playback, the signal is amplified. Analog audio retains its fundamental wave-like characteristics throughout its storage, transformation, duplication, analog audio signals are susceptible to noise and distortion, due to the innate characteristics of electronic circuits and associated devices. Disturbances in a system do not result in error unless the disturbance is so large as to result in a symbol being misinterpreted as another symbol or disturb the sequence of symbols. A digital audio signal may be encoded for correction of any errors that occur in the storage or transmission of the signal. This technique, known as channel coding, is essential for broadcast or recorded digital systems to maintain bit accuracy, the discrete time and level of the binary signal allow a decoder to recreate the analog signal upon replay. Eight to Fourteen Bit Modulation is a code used in the audio Compact Disc. A digital audio system starts with an ADC that converts a signal to a digital signal. The ADC runs at a sampling rate and converts at a known bit resolution. CD audio, for example, has a rate of 44.1 kHz
24.
Cakewalk (company)
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Cakewalk, Inc. is a music production software company. Based in Boston, Massachusetts, the company is best known product is their professional-level digital audio workstation software, SONAR integrates multi-track recording and editing of digital audio and MIDI. The company also offers a range of music software products, including Pyro Audio Creator—a digital music management program. Greg Hendershott founded the company in 1987 as Twelve Tone Systems, the firm soon found that most customers referred to it by the name of its initial product, a MIDI music sequencer that Hendershott had named Cakewalk. To avoid confusion, the company operated for years as Twelve Tone Systems. In September 2008, the officially changed the corporate name to Cakewalk. Previous to this, in January 2008, the logo on the products had changed to Cakewalk by Roland to reflect Roland Corporations purchase of a majority interest in the company. The SONAR digital audio workstation provides users the ability to create projects in which they edit digital audio tracks, MIDI tracks, SONAR displays a range of project information—including audio waveforms, musical scores, editing consoles, event lists. The operator can mix midi output and audio tracks down into a stereo. WAV file format, the company released the original MIDI music sequencer product, Cakewalk, for MS-DOS. In 1991, they released a version for Windows 3.0, the company renamed the sequencer Cakewalk Pro at some point, and then Cakewalk Pro Audio when they added support for digitized audio. In 2009, Cakewalk announced a new line, SONAR V-Studio 700. These became the flagship products in Cakewalks new line of hardware and software music production products, the next generation V-Studio line of products is modeled on Rolands hardware Cakewalks SONAR Producer. Effective 1 July 2012, Greg Hendershott resigned as CEO, after 25 years with the company, michael Hoover, previously Executive Vice President of Products, became President, effective 1 July 2012. On December 6th,2013, Roland sold all their shares of Cakewalk to Gibson Brands, Cakewalk will continue to operate in Boston, developing products for the Cakewalk brand along with joint products with TASCAM. In November 2016, Audizer. com, an audio service platform and Gibson Brands partner. Audizer supported and contributed to SONARs social and sharing environment from 2014-2016 while promoting Cakewalk products through Gibson Brands distributor StepTimeWare, audizers suggestions were subsequently implemented during these years into future SONAR releases and contributed to the development of Cakewalks community platform The Bakery
25.
Rodgers Instruments
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Rodgers Instruments Corporation is an American manufacturer of classical and church organs. Rodgers was the manufacturer of solid state oscillator-based organs, completing their first instrument in 1958. Rodgers manufacturing facility and world headquarters is located in Hillsboro, Oregon, all Rodgers organs are built in the Oregon factory. Roland Classic organs, as of 2014, are built in the Oregon factory, on January 4,2016, Roland Corporation agreed to the Dutch Vandeweerd family’s acquisition of the American company Rodgers Instruments, effective January 15,2016. The Vandeweerd family already owned three other brands, Johannus, Makin and Copeman Hart. Rodgers success was due to their early innovations with solid state analog tone generation technology. Despite the fact that such as Allen switched to digitally synthesized tone generation as early as 1971. Rodgers introduced its first digital organ on November 20,1990, Rodgers PDI organs use Roland DSPs and digitally sampled organ pipes for tone generation. In 2014, Rodgers new Infinity II models introduced Bluetooth wireless controls, although known primarily for its electronic organs, Rodgers has built many pipe organs and pipe/electronic combination organs. Many Rodgers organs support the playing of actual pipe ranks in addition to their normal and it included a tuning control so the pipes and electronics could stay in tune with each other. The largest full pipe organ produced by the company was the Second Baptist Church Houston and it was dedicated on August 23,1987 and featured concerts on August 23 and 24th by organist Frederick Swann. In addition, it was the organ of the 1988 Houston National Convention of the American Guild of Organists where it was played by organist Diane Bish. In 1985 CBS, divested itself of Rodgers, along with Steinway and Gemeinhardt, since May 1,1988, Roland Corporation has been parent company of Rodgers, and Rodgers is a subsidiary of it until 2015. In addition to its own Rodgers organs, Rodgers produces Atelier home organs and Roland Classic C-330, and now, Vandeweerd has been parent company of Rodgers since January 4,2016. On October 1,1974, Rodgers’ five manual Carnegie Hall organ, designed by Virgil Fox, debuted in a sold-out Fox concert. The organ and Fox were praised by Time, United Press International, Ron Eyer in the New York Daily News, New York Post and by noted critic Harold Schonberg in The New York Times. Carnegie Hall’s International Organ Series for the Inaugural 1974-1975 Season included Fox, Pierre Cochereau, Claire Coci, Fernando Germani, Herman Berlinski, George Thalben-Ball and Richard Morris. This was the world’s first five manual and most powerful electronic organ at the time and was listed as such for a number of years in the Guinness Book of World Records
26.
Gibson
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Gibson Brands, Inc. is an American manufacturer of guitars and other instruments, now based in Nashville, Tennessee. The company was known as Gibson Guitar Corp. and renamed Gibson Brands. Orville Gibson founded the company in 1902 as The Gibson Mandolin-Guitar Mfg. Co. Ltd. in Kalamazoo, Gibson invented archtop guitars by constructing the same type of carved, arched tops used on violins. By the 1930s, the company was also making flattop acoustic guitars, as well as one of the first commercially available hollow-body electric guitars, Gibson sells guitars under a variety of brand names and builds one of the worlds most iconic guitars, the Gibson Les Paul. Many Gibson instruments are highly collectible, Gibson was at the forefront of innovation in acoustic guitars, especially in the big band era of the 1930s, the Gibson Super 400 was widely imitated. In 1952, Gibson introduced its first solid-body electric guitar, the Les Paul which became its most popular guitar to date— designed by Ted McCarty, Gibson was owned by the Norlin corporation from 1969 to 1986. In 1986, the company was acquired by its present owners, Gibson is a privately held corporation owned by its chief executive officer Henry Juszkiewicz and its president David H. Berryman. Orville Gibson patented a single-piece mandolin design in 1898 that was more durable than other mandolins, Orville Gibson began to sell his instruments in 1894 out of a one-room workshop in Kalamazoo Michigan. In 1902 Gibson Mandolin-Guitar Mfg. Co, Ltd. was incorporated to market the instruments, initially, the company produced only Orville Gibsons original designs. Orville died in 1918 of endocarditis, the following year the company hired designer Lloyd Loar to create newer instruments. Loar designed the flagship L-5 archtop guitar and the Gibson F5 mandolin that was introduced in 1922, in 1936 Gibson introduced their first Electric Spanish model, the ES-150 followed by other electric instruments like steel guitars, banjos and mandolins. During World War II, instrument manufacturing at Gibson slowed due to shortages of wood and metal, between 1942-1945, Gibson employed women to manufacture guitars. Women produced nearly 25,000 guitars during World War II yet Gibson denied ever building instruments over this period, Gibson folklore has also claimed its guitars were made by seasoned craftsmen who were too old for war. In 1944 Gibson was purchased by Chicago Musical Instruments, the ES-175 was introduced in 1949. Gibson hired Ted McCarty in 1948, who became President in 1950, the Les Paul was offered in Custom, Standard, Special, and Junior models. In the mid-50s, the Thinline series was produced, which included a line of thinner guitars like the Byrdland, the first Byrdlands were slim, custom built, L-5 models for guitarists Billy Byrd and Hank Garland. Later, a neck was added. Other models such as the ES-350T and the ES-225T were introduced as less costly alternatives, in 1958, Gibson introduced the ES-335T model
27.
Rhodes piano
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The Rhodes piano is an electric piano invented by Harold Rhodes, which became particularly popular throughout the 1970s. The instrument evolved from Rhodes attempt to manufacture pianos to teach recovering soldiers during World War II under a strict budget, Fender started marketing the Piano Bass, a cut-down version of the piano, but the full-size instrument did not appear until after the sale to CBS in 1965. CBS oversaw mass production of the Rhodes piano in the 1970s, and it was used extensively through the decade, particularly in jazz, pop, the company was eventually sold to Roland, who manufactured digital versions of the Rhodes without authorization or approval from its inventor. In the 1990s, the instrument enjoyed a resurgence in popularity, although Harold Rhodes died in 2000, the instrument has since been reissued, and his teaching methods are still receiving active use. The Rhodes piano features a keyboard with a layout to a traditional acoustic piano. The touch and action of the keyboard is designed to be as close to a piano as possible, pressing a key results in a hammer striking a thin metal rod called a tine, connected to a larger tone bar. The whole tone generator assembly acts as a fork, the tone bar reinforcing and extending the vibrations of the tine. A pickup sits opposite the tine, picking up its vibrations, the Suitcase model Rhodes includes a built-in power amplifier and a tremolo feature that bounces the output signal from the piano in stereo across two speakers. This feature is mistakenly labeled vibrato on some models to be consistent with the labelling on Fender amplifiers, although the Rhodes has the same mechanical operation as a piano, its sound is very different. The sound produced by the tines has a mellow timbre. Putting the two close together gives a bell sound. The instruments sound has been compared with the Wurlitzer electric piano, which uses a similar technology. The Rhodes has a sustain, while the Wurlitzer produces significant harmonics when the keys are played hard. Rhodes started teaching piano when he was 19 and he dropped out of studying at the University of Southern California in 1929 to support his family through the Great Depression by full-time teaching. As a teacher, he designed a method that combined classical and jazz music, which became popular across the United States, Rhodes continued to teach the piano through his lifetime, and the piano method continues to be taught today by a team led by Joseph Brandsetter. By 1942, Rhodes was working for the Army Air Corps and he was unable to supply enough acoustic pianos, so decided to develop a miniature electric model that could be made from surplus army parts. Rhodes won a award for his piano design and subsequently put the model into production for piano teachers during the 1950s. These were retrospectively known as the Pre-Piano, in 1959, Rhodes entered a joint venture with Leo Fender to manufacture the instruments
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Harold Rhodes (inventor)
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Harold Burroughs Rhodes was the inventor of the Army Air Corps Piano, the Pre-piano and the Rhodes piano. Rhodes started his career by running piano schools around the United States, Mr. Rhodes was born in the San Fernando Valley and became interested in music and architecture. He received a scholarship to study architecture at the University of Southern California but in 1929, as the Depression began, he dropped out to support his family. He began teaching piano when he was 19, and developed his own method that was designed to bridge classical piano instruction, with its reliance on written music, the Rhodes Method was picked up across the United States. During World War II he joined the Army Air Corps, where he gave lessons to fellow servicemen, after the war, he founded the Rhodes Piano Corporation, which built what he called the Pre-Piano in 1946. Leo Fender, the electric guitar pioneer, bought Mr. Rhodess company in 1959 and began manufacturing the Piano Bass, a keyboard instrument with the bottom 32 notes of a piano. The Doors keyboardist, Ray Manzarek, was one of the most prominent musicians to use the Piano Bass, CBS bought Fenders instrument company in 1965. Working for CBS, Mr. Rhodes introduced the 73-note Fender Rhodes Suitcase Piano, in 1970, the company started making the Stage Piano, without the speakers, which could be transported more easily and plugged in to amplifiers or sound systems. Full, 88-key models were also made, soon, the Fender Rhodes tones were heard everywhere. The Rhodes company was sold in 1983 to William Schultz, formerly with Fender Rhodes, and Mr. Schultz then sold the Rhodes name to the Roland Corporation, Mr. Rhodes was not informed, Mrs. Rhodes said. Under the Rhodes name, Roland made keyboards that included a version of the Rhodes piano sound. He wouldnt have one in the house, said Mrs. Rhodes, in 1997, Roland returned the rights to the Rhodes name to Harold Rhodes after Joe Brandstetter, a music-store owner, paid Roland $10,000, according to Rhodess wife, Margit. Rhodes continued to promulgate the Rhodes Method of teaching piano, and in 1991 made a video version financed by Brandstetter, who started a chain of Rhodes Method piano studios. Mr. Rhodes suffered a stroke in 1996, and his health eventually led him to reside in a nursing home. He was survived by Margit Rhodes, their children, nine grandchildren. The trademark is currently under dispute in Los Angeles, claimed by the Rhodes family. Since 1997, there have been consistent rumors that a new Rhodes electric piano, returning to the original approach, will be made. It is our intention to manufacture a piano, said Harold Rhodes, Jr. Meanwhile, Rhodes instruments from the 1970s, Rhodes Music Foundation A Memorial to Harold Rhodes A biography of Harold Rhodes History of the Rhodes Electric Piano Harold Rhodes, 1910-2000 Rhodes piano official website
29.
Wah-wah pedal
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The pedal sweeps the peak response of a frequency filter up and down in frequency to create the sound, a spectral glide, also known as the wah effect. The wah-wah effect originated in the 1920s, with trumpet or trombone players finding they could produce an expressive crying tone by moving a mute in and this was later simulated with electronic circuitry for the electric guitar when the wah-wah pedal was invented. It is controlled by movement of the foot on a rocking pedal connected to a potentiometer. Wah-wah effects are used when a guitarist is soloing, or creating a wacka-wacka funk-styled rhythm for rhythm guitar playing, an envelope filter or envelope follower is often referred to as an auto-wah. The first wah pedal was created by Bradley J. Plunkett at Warwick Electronics Inc. /Thomas Organ Company in November 1966 and this pedal is the original prototype made from a transistorized MRB potentiometer bread-boarded circuit and the housing of a Vox Continental Organ volume pedal. The concept, however, was not new, country guitar virtuoso Chet Atkins had used a similar, self-designed device on his late 1950s recordings of Hot Toddy and Slinkey. A DeArmond Tone and Volume pedal was used in the early 1960s by Big Jim Sullivan, notably in some Krew Cats instrumental tracks, the creation of the modern wah pedal was actually an accident which stemmed from the redesign of the Vox Super Beatle guitar amplifier in 1966. In addition to distributing the British-made Vox amplifiers, the Thomas Organ Company also designed and manufactured much of the Vox equipment sold in the US, the US-made Vox product line development was headed by musician and bandleader Bill Page. Plunkett had lifted and bread-boarded a transistorized tone-circuit from the Thomas Organ to duplicate the Jennings 3-position circuit, after adjusting and testing the amplifier with an electronic oscillator and oscilloscope, Plunkett connected the output to the speaker and tested the circuit audibly. At that point, several engineers and technical consultants, including Bill Page and Del Casher, Page insisted on testing this bread-boarded circuit while he played his saxophone through an amplifier. After the installation, Page began playing his saxophone through the pedal and had asked Joe Banaron, CEO of Warwick Electronics Inc. /Thomas Organ Company, to listen to the effect. Banaron, being a fan of the big band style of music, was interested in marketing the wah pedal for wind instruments as suggested by Page rather than for the guitar as suggested by Casher. After the initial invention of the wah pedal, the pedal was then modified by Casher. The un-modified version of the Vox wah pedal was released to the public in February 1967 with an image of Clyde McCoy on the bottom of the pedal. Warwick Electronics Inc. assigned Lester L. Kushner, an engineer with the Thomas Organ Company, the patent application was submitted on February 24,1967 which included technical diagrams of the pedal being connected to a four-stringed guitar. Warwick Electronics Inc. was granted US patent 3530224 on September 22,1970, early versions of the Clyde McCoy featured an image of McCoy on the bottom panel, which soon gave way to only his signature. Thomas Organ then wanted the effect branded as their own for the American market, Jen, who had been responsible for the manufacture of Thomas Organ and Vox wah pedals, also made rebranded pedals for companies such as Fender and Gretsch and under their own Jen brand. When Thomas Organ moved production completely to Sepulveda, California and Chicago, some of the most famous electric guitarists of the day were keen to adopt the wah-wah pedal soon after its release
30.
Distortion (music)
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Distortion and overdrive are forms of audio signal processing used to alter the sound of amplified electric musical instruments, usually by increasing their gain. Distortion is most commonly used with the guitar, but may also be used with other electric instruments. Guitarists playing electric blues originally obtained an overdriven sound by turning up their vacuum tube-powered guitar amplifiers to high volumes, the terms distortion and overdrive are often used interchangeably, where a distinction is made, distortion is used to denote a more extreme version of the effect than overdrive. Fuzz is a used to describe a particular form of distortion originally created by guitarists using faulty equipment. Distortion, overdrive, and fuzz can be produced by effects pedals, rackmounts, pre-amplifiers, power amplifiers, speakers and by digital amplifier modeling devices and these effects are used with electric guitars, electric basses, electronic keyboards, and more rarely as a special effect with vocals. The first guitar amplifiers were relatively low-fidelity, and would often produce distortion when their volume was increased beyond their design limit or if they sustained minor damage. Around 1945, Western-swing guitarist Junior Barnard began experimenting with a rudimentary humbucker pick-up, in early rock music, Goree Carters Rock Awhile featured an over-driven electric guitar style similar to that of Chuck Berry several years later, as well as Joe Hill Louis Boogie in the Park. In the early 1950s, pioneering rock guitarist Willie Johnson of Howlin Wolf′s band began deliberately increasing gain beyond its intended levels to produce distorted sounds. Guitar Slim also experimented with distorted overtones, which can be heard in his hit electric blues song The Things That I Used to Do, Chuck Berrys 1955 classic Maybellene features a guitar solo with warm overtones created by his small valve amplifier. Rock guitarists began intentionally doctoring amplifiers and speakers in order to emulate this form of distortion, according to other sources Burlisons amp had a partially broken loudspeaker cone. In the late 1950s, Guitarist Link Wray began intentionally manipulating his amplifiers vacuum tubes to create a noisy and dirty sound for his solos after a similarly accidental discovery. Wray also poked holes in his speaker cones with pencils to further distort his tone, used electronic echo chambers, the recent powerful and fat Gibson humbucker pickups, the resultant sound can be heard on his highly influential 1958 instrumental, Rumble and Rawhide. In 1961, Grady Martin scored a hit with a fuzzy tone caused by a faulty preamplifier that distorted his guitar playing on the Marty Robbins song Dont Worry, later that year Martin recorded an instrumental tune under his own name, using the same faulty preamp. The song, on the Decca label, was called The Fuzz, Martin is generally credited as the discoverer of the fuzz effect. Rhodes offered The Ventures a fuzzbox he had made, which used to record 2000 Pound Bee in 1962. The best-known early commercial distortion circuit was the Maestro FZ-1 Fuzz-Tone, manufactured by Gibson, in May 1965 Keith Richards used a Gibson Maestro FZ-1 Fuzz-Tone to record Satisfaction. The songs success boosted sales of the device, and all available stock sold out by the end of 1965. In music the different forms of linear distortion have specific names describing them, in the context of music, the most common source of distortion is clipping in amplifier circuits and is most commonly known as overdrive
31.
Phaser (effect)
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A phaser is an electronic sound processor used to filter a signal by creating a series of peaks and troughs in the frequency spectrum. The position of the peaks and troughs of the waveform being affected is typically modulated so that they vary over time, for this purpose, phasers usually include a low-frequency oscillator. The electronic phasing effect is created by splitting an audio signal into two paths, one path treats the signal with an all-pass filter, which preserves the amplitude of the original signal and alters the phase. The amount of change in phase depends on the frequency, when signals from the two paths are mixed, the frequencies that are out of phase will cancel each other out, creating the phasers characteristic notches. Changing the mix ratio changes the depth of the notches, the deepest notches occur when the mix ratio is 50%, the definition of phaser typically excludes such devices where the all-pass section is a delay line, such a device is called a flanger. Using a delay line creates a series of equally spaced notches. It is possible to cascade a delay line with another type of all-pass filter and this combines the unlimited number of notches from the flanger with the uneven spacing of the phaser. Traditional electronic phasers use a series of variable all-pass phase-shift networks which alter the phases of the different frequency components in the signal and these networks pass all frequencies at equal volume, introducing only phase change to the signal. Human ears are not very responsive to phase differences, but this creates audible interferences when mixed back with the dry signal, creating notches. The simplified structure of a phaser is shown below, The number of all-pass filters varies with different models. Digital phasers may offer up to 32 or even more and this determines the number of notches/peaks in the sound, affecting the general sound character. A phaser with n stages generally has n/2 notches in the spectrum, additionally, the output can be fed back to the input for a more intense effect, creating a resonant effect by emphasizing frequencies between notches. This involves feeding the output of the all-pass filter chain back to the input, as shown here, note that the peaks between the notches are sharper when theres feedback, giving a distinct sound. A stereo phaser is usually two identical phasers modulated by a signal, the output of the oscillators for the left. Most modern phasers are a part of a signal processor. Phasers are mostly found as plugins for sound editing software, as a part of a monolithic rackmount sound effect unit, phasing is a popular effect for electric guitar. The term was used to refer to the original tape flanging effect heard on many psychedelic records of the late 1960s. By the early 1970s, phasing was available as a portable guitar effect, in the late 1970s, Brian May used large amounts of phasing, in such songs as Sheer Heart Attack
32.
Envelope detector
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An envelope detector is an electronic circuit that takes a high-frequency signal as input and provides an output which is the envelope of the original signal. The capacitor in the stores up charge on the rising edge. The diode in series rectifies the incoming signal, allowing current flow only when the input terminal is at a higher potential than the negative input terminal. Most practical envelope detectors use either half-wave or full-wave rectification of the signal to convert the AC audio input into a pulsed DC signal, filtering is then used to smooth the final result. This filtering is rarely perfect and some ripple is likely to remain on the envelope follower output, more filtering gives a smoother result, but decreases the responsiveness, thus, real-world designs must be optimized for the application. Any AM or FM signal x can be written in the form x = R cos In the case of AM, φ is constant. In AM, the carrier frequency ω is also constant, thus, all the information in the AM signal is in R. R is called the envelope of the signal. Hence an AM signal is given by the function x = cos with m representing the original audio frequency message, C the carrier amplitude, so, if the envelope of the AM signal can be extracted, the original message can be recovered. In the case of FM, the signal x has a constant envelope R = R. However, many FM receivers measure the envelope anyway for received signal strength indication, the simplest form of envelope detector is the diode detector which is shown above. A diode detector is simply a diode between the input and output of a circuit, connected to a resistor and capacitor in parallel from the output of the circuit to the ground. If the resistor and capacitor are correctly chosen, the output of this circuit should approximate a voltage-shifted version of the original signal, a simple filter can then be applied to filter out the DC component. An envelope detector can also be constructed to use a precision rectifier feeding into a low-pass filter, the envelope detector has several drawbacks, The input to the detector must be band-pass filtered around the desired signal, or else the detector will simultaneously demodulate several signals. An envelope detector can be used to demodulate a previously modulated signal by removing all high frequency components of the signal, the capacitor and resistor form a low-pass filter to filter out the carrier frequency. Such a device is used to demodulate AM radio signals because the envelope of the modulated signal is equivalent to the baseband signal. An envelope detector is sometimes referred to as a follower in musical environments. It is still used to detect the amplitude variations of a signal to produce a control signal that resembles those variations. However, in case the input signal is made up of audible frequencies
33.
Roland RE-201
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The Roland RE-201, commonly known as the Space Echo, is an audio analog delay effects unit produced by the Roland Corporation. Produced from 1974 to 1990, the unit was used and continues to be preferred over digital delay units by a number of guitarists. A tape echo device records incoming audio to a loop of magnetic tape, the first commercial echo unit was the EchoSonic which had its own amplification and a delicate tape mechanism that required frequent attention. The design was perfected in the Echoplex with adjustable echo delay. It provided a reliable and much smaller, portable package that could be used with any amplifier, in 1973, then operating under the Roland brand, Kakehashi introduced the Roland Echo Chamber RE-100 and RE-200, the latter with an added spring reverb. Kakehashis breakthrough development came in 1974 with the RE-101 and RE-201 Space Echo units, which used the standard 1/4 tape of the open-reel variety and it uses no reels of any kind, the tape is transported via a capstan drive. The tape loop is contained in a loose, constantly moving jumble in the chamber under a plastic panel which protects the tape. The design resulted in levels of noise, wow, and flutter. Replacement tapes were sold as well, named RT-1L and it is also capable of producing a large variety of its own sound effects, even without an input signal. In 2010 Rolands guitar effects company, Boss Corporation, introduced a digital modeling pedal of the space echo, the Roland RE-100 Echo Chamber was one of the earliest models of tape delay that Roland produced being released in 1973. Roland had previously been releasing tape delays under the name Ace Tone, the Roland RE-100 was released alongside the Roland RE-200 which had the added addition of a spring reverb. The RE-100 was similar in styling to the later Roland tape delay units, the front panel had a mode selector dial with six different delay settings. For repeat sounds settings 1-3 were used and for more of a swelling sound settings 4-6 could be selected, there were controls for intensity which when turned clockwise would increase the number of echoes. The repeat rate control was used for adjusting the repeat times of the echoes, controls were also available for the echo volume, this would decide how much effected signal would be heard along with the original signal. There were two controls for the tone of the signal, these were simple bass and treble controls. The difference that these units had from later models was the standby switch. This switch controlled the tape movement, when the lever was pushed upwards the tape began moving to activate the echo sound. When the echo was not needed the switch was pushed downwards, the idea of the switch was to assure longer lives of the tape heads
34.
Delay (audio effect)
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Delay is an audio effect and an effects unit which records an input signal to an audio storage medium, and then plays it back after a period of time. The delayed signal may either be played multiple times, or played back into the recording again. Delay effects range from an echo effect to a pronounced blending of previous sounds with new sounds. The first delay effects were achieved using tape loops improvised on reel-to-reel magnetic recording systems, by shortening or lengthening the loop of tape and adjusting the read and write heads, the nature of the delayed echo could be controlled. Audio engineers working in music quickly adapted similar techniques, to augment their use of plate reverb. In the late 1940s and early 1950s, several sound engineers began making devices for use in recording studios, guitarist and instrument designer Les Paul was an early pioneer in delay devices. A landmark device was the EchoSonic made by American Ray Butts and it is a portable guitar amplifier with a built-in tape echo, which became used widely in country music and especially in rock and roll. Tape echoes became commercially available in the 1950s, an echo machine is the early name for a sound processing device used with electronic instruments to repeat the sound and produce a simulated echo. The device was popular with guitarists and was used by Brian May, Jimmy Page, One example is the Echoplex which used a tape loop. The length of delay was adjusted by changing the distance between the record and playback heads. Another example is the Roland Space Echo with a record and multiple tape heads. The time between echo repeats was adjusted by varying the tape speed, the length or intensity of the echo effect was adjusted by changing the amount of echo signal was fed back into the pre-echo signal. Different effects could be created by combining the different playback heads, some models also included a spring reverb. Before the invention of audio technology, music employing a delayed echo had to be recorded in a naturally reverberant space, often an inconvenience for musicians. The presence of multiple taps made it possible to have delays at varying rhythmic intervals, many delay processors based on analog tape recording, such as Ray Butts EchoSonic, Mike Battles Echoplex, or the Roland Space Echo, used magnetic tape as their recording and playback medium. Electric motors guided a tape loop through a device with a variety of mechanisms allowing modification of the effects parameters, in the Space Echo, all of the heads are fixed, but the speed of the tape could be adjusted, changing the delay time. Thin magnetic tape was not entirely suited for operation, however. Several designs were made, the 1959 Ecco-Fonic had a spinning head, many were temperamental, such as the Vox Echomatic
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Analog synthesizer
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An analog synthesizer is a synthesizer that uses analog circuits and analog signals to generate sound electronically. The earliest analog synthesizers in the 1920s and 1930s, such as the Trautonium, were built with a variety of vacuum-tube, after the 1960s, analog synthesizers were built using operational amplifier integrated circuits, and used potentiometers to adjust the sound parameters. Analog synthesizers also use low-pass filters and high-pass filters to modify the sound, the earliest synthesizers used a variety of thermionic-valve and electro-mechanical technologies. Another notable early instrument is the Hammond Novachord, first produced in 1938, early analog synthesizers used technology from electronic analog computers and laboratory test equipment. Synthesizer modules in early synthesizers included voltage-controlled oscillators, voltage-controlled filters. Additionally, they used envelope generators, low-frequency oscillators, and ring modulators, some synthesizers also had effects devices, such as reverb units, or tools such as sequencers or sound mixers. Because many of these modules took input sound signals and processed them, famous modular synthesizer manufacturers included Buchla & Associates, Moog Music, ARP Instruments, Inc. and Electronic Music Studios. Moog established standards recognized worldwide for control interfacing on analog synthesizers, using a logarithmic 1-volt-per-octave pitch control and these control signals were routed using the same types of connectors and cables that were used for routing the synthesized sound signals. A specialized form of analog synthesizer is the analog vocoder, based on equipment developed for speech synthesis, vocoders are often used to make a sound that resembles a musical instrument talking or singing. Patch cords were expensive, could be damaged by use, and made complex patches difficult, thus, later analog synthesizers used the same building blocks, but integrated them into single units, eliminating patch cords in favour of integrated signal routing systems. The most popular of these was the Minimoog, though less flexible than a modular design, normalization made the instrument more portable and easier to use. This first pre-patched synthesizer, the Minimoog, became highly popular, the Minimoog also influenced the design of nearly all subsequent synthesizers, with integrated keyboard, pitch wheel and modulation wheel, and a VCO->VCF->VCA signal flow. In the 1970s, miniaturized solid-state components let manufacturers produce self-contained, portable instruments, Electronic synthesizers quickly become a standard part of the popular-music repertoire. The first movie to use music made with a synthesizer was the James Bond film On Her Majestys Secret Service in 1969, after the release of the film, composers produced a large number of movie soundtracks that featured synthesizers. Notable makers of analog synthesizers included Moog, ARP, Roland, Korg. Because of the complexity of generating even a single note using analog synthesis, polyphonic analog synthesizers featured limited polyphony, typically supporting four voices. Oberheim was a manufacturer of analog polyphonic synthesizers. The Polymoog was an attempt to create a polyphonic analog synthesizer
36.
Roland SH-3A
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The SH-3A is a monophonic analog synthesizer that was manufactured by Roland from 1974 to 1981. It is unique in that it is capable of both synthesis and additive synthesis. Two LFOs and a unique sample-and-hold section provided capabilities not found in competing self-contained synthesizers of the time, the SH-3A was Rolands first non-preset based synth. It was unique for its time in that it offered mixable waveforms at different footages, the predecessor, the Roland SH-1000 could also do this but didnt offer as much control as on the SH-3A. The rhythmic pulsing in the Blondie song Heart of Glass is an example of its sound, contrary to common belief, the initial version SH-3 did not infringe on the transistor ladder-filter patent of Robert Moog. It used a diode filter like the EMS VCS3, the SH-3A does use a transistor ladder-filter and as a result can generate Moog-like sounds. Blondie Chris Carter Covenant The Human League Radio Massacre International Vangelis Vintage Synths Different Roland synthesizer filters Demo of SH-3A on YouTube
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Roland SH-1000
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The Roland SH-1000, introduced in 1973, was the first compact synthesizer produced in Japan, and the first synthesizer produced by Roland. It produced electronic sounds that many musicians sought after whilst being easier to obtain. The synthesizer has 10 simple preset voices combined with a manually editable section which can be manually tweaked around to new interesting sounds. No user program memory is available and its effects include white noise generator, portamento, octave transposition, two low frequency oscillators and a random note generator. Even with an oscillator, it sounds like there are several thanks to the 8 sub-osc keys
38.
ARP Pro Soloist
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The ARP Pro Soloist was one of the first commercially successful preset electronic music synthesizers. Introduced by ARP Instruments, Inc. in 1972, it replaced the similar ARP Soloist in the lineup of portable performance instruments. In contrast to the modular design of the 2500, the Soloist had no patch panels or cables. A set of toggle switches allowed the performer to choose one of 18 preset monophonic patches that were not modifiable. This lack of programmability was compensated by giving the control over the voice expression, adding growl, wow, brilliance, portamento, pitch bend. A pressure-sensitive keyboard allowed players to use aftertouch to control all of these effects, while moderately successful in its niche, the Soloist was not regarded as a serious synthesizer by most professional musicians. The limited set of voices, combined with tuning stability problems, nevertheless, it found a place on recordings by such artists as Quincy Jones and Steely Dan. Shortly after, a producer joined in with alcohol and they burned the ARP into a pile of melted plastic. In 1972, ARP introduced the Pro Soloist, a revised and enhanced version of the Soloist, expanding the number of preset patches to 30, and incorporating digital electronics for preset memory and keyboard control, it was much more reliable than the Soloist. A novel digitized tone generator eliminated tuning problems suffered by the Soloist, the voice selection tabs were now above the keyboard, instead of below as on the original Soloist. It was also used by Funk keyboardist like Junie Morrison on the Ohio Players song Funky Worm, around the same time, the company released its ARP Odyssey synthesizer, a powerful duophonic instrument, as the flagship of its performance line. The Pro Soloist offered an alternative which appealed to professionals as well as home users. It would remain in production until the demise in 1981. The Pro Soloist is monophonic and features a multiple-trigger, last note priority, the case is sheet metal with wooden side panels, and a fiberboard or Masonite bottom cover. The Pro Soloist was significant in using digital read-only memory chips to all of its internal signal paths. The Voice selection switches deliver unique digital codes to set the ROMs digital outputs, the expression controls, including aftertouch, remain under analog control. There are four slider pots to the left of the keyboard to control volume, touch sensitivity, brilliance, the Pro Soloist features a single oscillator, which generates simultaneously available pulse and sawtooth waveforms. The sawtooth wave is not an oscillator circuit, but instead is derived from the sum of 5 pulse waves
39.
Leslie speaker
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The Leslie speaker is a combined amplifier and two-way loudspeaker that projects the signal from an electric or electronic instrument, while modifying the sound by rotating the loudspeakers. It is most commonly associated with the Hammond organ, though it was used for the guitar. A typical Leslie speaker contains an amplifier, and a treble, a musician controls the Leslie speaker by either an external switch or pedal that alternates between a slow and fast speed setting, known as chorale and tremolo. The speaker is named after its inventor, Donald Leslie, Leslie began working in the late 1930s to get a speaker for a Hammond organ that had a closer emulation of a pipe or theatre organ, and discovered that rotating sound gave the best effect. Hammond was not interested in marketing or selling the speakers, so Leslie sold them himself as an add-on, Leslie made the first speaker in 1941. The sound of the organ being played through his speakers received national radio exposure across the US and it soon became an essential tool for most jazz organists. In 1965, Leslie sold his business to CBS who, in 1980, Suzuki Musical Instrument Corporation subsequently acquired the Hammond and Leslie brands. Because the Leslie is a sound device in its own right. Many musicians have used the Univox Uni-Vibe, the Neo Ventilator, or Hammond-Suzukis own simulator in a box, Leslie worked as a radio service engineer at Barker Brothers Department Store in Los Angeles, which sold and repaired Hammond organs. He bought one in 1937, hoping it would be a substitute for a pipe organ. He was disappointed, however, with the sound in his home compared to the large showroom where he heard it. Consequently, he attempted to design a speaker to overcome this and he initially tried making a cabinet similar to Hammonds, but soon concluded that pipe organs produced a spacially varied sound because of the different location of each pipe. He set out to emulate this by making a moving speaker and he tried various combinations of speakers and speeds, and discovered that a single one running at whats now known as the tremolo speed worked best. After further experimentation, he decided that splitting the signal into a drum and horn helped accentuate bass. By 1940, Leslie decided his prototype was ready to market, laurens Hammond, however, was not impressed with Leslies attempt to better his own organ design, and declined to market it. The company even changed the interface on their organs to make them Leslie-proof. Leslie began manufacturing the speaker in 1941—initially under a variety of names, including Vibratone, Brittain Speakers, Hollywood Speakers and he returned to the name Leslie Vibratone in 1947. To counteract Hammonds slogan Musics Most Glorious Voice, Leslie added a similar slogan and he eventually owned nearly 50 patents on the speaker
40.
Roland System 100
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The Roland System 100 was an analog semi-modular synthesizer manufactured by Japans Roland Corporation, released in 1975 and manufactured until 1979. It consisted of the products, Synthesizer 101 A monophonic synthesizer with built-in keyboard, oscillator, filter. Expander 102 The same synthesizer again, without the keyboard, to be stood up behind the 101, in addition, a ring modulator and sample and hold are included. Mixer 103 A four-channel stereo mixer with built-in spring reverb, stereo panning, sequencer 104 A two-channel, 12-step sequencer to automate playing looped bars of notes. Monitor speaker 109 A pair of 16cm speakers, pCS-10 20cm, 40cm, 60cm, 80cm and 1m patch cables. Each unit was powered, so complex patches wouldnt cause either oscillator to droop in pitch. Uniquely for the time, the System 100 didnt lock in the oscillators to fixed footages or pitches and it uses the 1V/oct standard, so can be used with a MIDI-to-CV converter. Generally, however, it is a robust and reliable system, the SH-5 and SH-7 are similar in styling, but both have fixed signal paths, as opposed to the semi-modular System 100. The system was used by Mute Records label head Daniel Miller, who helped produce Depeche Modes A Broken Frame. Specifically, the albums Reproduction and Travelogue used a large System 100 multitracked to provide all the arrangements, including drums. Vince Clarke is also a user, it can be heard on many of Erasures albums including the all analog works post-1991, the K2 Plan used it extensively in a similar vein, multitracked and with the sequencer providing odd syncopations and effects. Joy Electrics The White Songbook album was created by using a System 100 exclusively
41.
Roland Jazz Chorus
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Roland Jazz Chorus is the name given to a series of solid-state instrument amplifiers produced by the Roland Corporation in Japan since 1975. Its name comes from its built-in analog chorus effect and it also found favour amongst funk players in America. It also became popular to use for clean tones in heavy metal, with the most famous users being James Hetfield and Kirk Hammett from Metallica. The Jazz Chorus is one of the most famous and successful combo amplifiers from its period and its earliest users included Albert King, Andy Summers, Robert Smith, Billy Duffy and Pat Metheny. Summers use of the amp in turn inspired, for instance, Jeff Buckley, ex-Supertramp keyboardist Roger Hodgson ran his Wurlitzer electric piano through the amp on several songs on their album Breakfast in America, including The Logical Song and Goodbye Stranger. Paul Simon can be seen playing through a Jc-120 on the concert in Central Park, most models have controls based on the JC-120s standard setup. There are two channels, one clean, the other with effects, the built-in effects include stereo chorus, vibrato, reverb, and distortion. The amplifier features high and low inputs, a switch as well as a three band equalizer and volume for each channel
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