1.
Thaddeus Cahill
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Thaddeus Cahill was a prominent inventor of the early 20th century. He is widely credited with the invention of the first electromechanical musical instrument and he studied the physics of music at Oberlin Conservatory in Oberlin, Ohio. After working as a clerk for Congress in Washington D. C. to pay for his college studies and he became convinced that music could be made with electricity. He showed his first teleharmonium to Lord Kelvin in 1902 and that year he established a laboratory at Holyoke, where he was joined by his brother, Arthur T. Cahill. Cahill had tremendous ambitions for his invention, he wanted music to be broadcast into hotels, restaurants, theaters. At a starting weight of 7 tons and a tag of $200,000. His idea proved to be fruitful, nearly a century later, the Telharmonium, Electricitys Alliance with Music. The American monthly review of reviews, reynold Weidenaar, Magic Music from the Telharmonium, The Scarecrow Press Inc. Electronic Music Interfaces Thaddeus Cahills Telharmonium
2.
Electric organ
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An electronic organ is an electronic keyboard instrument which was derived from the harmonium, pipe organ and theatre organ. Originally, it was designed to imitate the sound of pipe organs, theatre organs, band sounds, or orchestral sounds. In a fashion not totally unlike that of organs, reed organs generated sound by forcing air over a set of reeds by means of a bellows. While reed organs had limited tonal quality, they were small, inexpensive, self-powered, the reed organ was thus able to bring an organlike sound to venues that were incapable of housing or affording pipe organs. This concept was to play an important role in the development of the electric organ, pipe organ In the 1930s, several manufacturers developed electronic organs designed to imitate the function and sound of pipe organs. At the time, some thought that emulation of the pipe organ was the most promising route to take in the development of an electronic organ. Various types of organs have been brought to market over the years. Electricity arrived on the scene in the first decades of the 20th century. Electrically powered reed organs appeared during the first decades of electricity, cahills techniques were later used by Laurens Hammond in his organ design, and the 200-ton Telharmonium served as the worlds first demonstration of electrically produced music on a grand scale. Meanwhile, some experimentation with producing sound by electric impulses was taking place. Built in Belleville, Ontario, the Robb Wave Organ predates its much more successful competitor Hammond by patent and manufacture, the first widespread success in this field was a product of the Hammond Corporation in 1934. The Hammond organ quickly became the successor of the reed organ, from the start, electronic organs operated on a radically different principle from all previous organs. The organ was electrically powered, replacing the reed organs twin bellows pedals with a swell pedal more like that of a pipe organ. Instead of having to pump at a constant rate, as had been the case with the reed organ, from the beginning, the electronic organ had a second manual, also rare among reed organs. The most revolutionary difference in the Hammond, however, was its number of tonewheel settings. By using the drawbars, the organist could combine a variety of tones and harmonics in varying proportions. In all, the Hammond was capable of producing more than 250 million tones, the classic Hammond sound benefitted from the use of free-standing loudspeakers called tone cabinets that produced a higher-quality sound than small built-in speakers. The sound was further enhanced by rotating speaker units, usually manufactured by Leslie
3.
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
4.
Tonewheel
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A tonewheel or tone wheel is a simple electromechanical apparatus for generating electric musical notes in electromechanical organ instruments such as the Hammond Organ. It was invented around 1910 by Rudolph Goldschmidt and was first used in pre vacuum tube radio receivers as a beat frequency oscillator to make continuous wave radiotelegraphy signals audible, the tonewheel assembly consists of a synchronous AC motor and an associated gearbox that drives a series of rotating disks. Each disk has a number of smooth bumps at the rim. As the bump moves past, this effect is reduced again, the magnetic field weakens slightly. Thus, the frequency of the current in the coil depends on the speed of rotation of the disk, a single fundamental frequency can thus be combined with one or more harmonics to produce complex sounds. Tonewheels were first developed for and used in the Telharmonium circa 1896, tonewheel leakage occurs in the Hammond organ and in similar situations, where the large number of tonewheels causes pickups to overhear tonewheels other than their own. This causes the organ to add chromatics to played notes, in some kinds of music this is undesirable, but in others it has become an important part of the Hammond sound. On some digital simulations of Hammond organs tonewheel leakage is a user-set parameter, the tonewheel was invented in 1910 by Rudolph Goldschmidt as a beat frequency oscillator in early radio receivers to make continuous wave radiotelegraphy signals audible. Alexanderson alternator The history of tonewheel
5.
Additive synthesis
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Additive synthesis is a sound synthesis technique that creates timbre by adding sine waves together. The timbre of instruments can be considered in the light of Fourier theory to consist of multiple harmonic or inharmonic partials or overtones. Each partial is a wave of different frequency and amplitude that swells. Additive synthesis most directly generates sound by adding the output of multiple sine wave generators, alternative implementations may use pre-computed wavetables or the inverse Fast Fourier transform. These sinusoids are called harmonics, overtones, or generally, partials, in general, a Fourier series contains an infinite number of sinusoidal components, with no upper limit to the frequency of the sinusoidal functions and includes a DC component. Frequencies outside of the audible range can be omitted in additive synthesis. As a result, only a number of sinusoidal terms with frequencies that lie within the audible range are modeled in additive synthesis. A waveform or function is said to be periodic if y = y for all t, the bandwidth of r k should be significantly less than f 0. Additive synthesis can also produce sounds in which the individual overtones need not have frequencies that are integer multiples of some common fundamental frequency. While many conventional musical instruments have harmonic partials, some have inharmonic partials, inharmonic additive synthesis can be described as y = ∑ k =1 K r k cos , where f k is the constant frequency of k th partial. In the general case, the frequency of a sinusoid is the derivative of the argument of the sine or cosine function. If this frequency is represented in hertz, rather than in angular frequency form and this is the case whether the partial is harmonic or inharmonic and whether its frequency is constant or time-varying. For example, F. Richard Moore listed additive synthesis as one of the four categories of sound synthesis alongside subtractive synthesis, nonlinear synthesis. In this broad sense, pipe organs, which also have pipes producing non-sinusoidal waveforms, summation of principal components and Walsh functions have also been classified as additive synthesis. Modern-day implementations of additive synthesis are mainly digital, Additive synthesis can be implemented using a bank of sinusoidal oscillators, one for each partial. Group additive synthesis is a method to group partials into harmonic groups, an inverse Fast Fourier transform can be used to efficiently synthesize frequencies that evenly divide the transform period or frame. It is possible to analyze the components of a recorded sound giving a sum of sinusoids representation. This representation can be re-synthesized using additive synthesis, one method of decomposing a sound into time varying sinusoidal partials is short-time Fourier transform -based McAulay-Quatieri Analysis
6.
New York City
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The City of New York, often called New York City or simply New York, is the most populous city in the United States. With an estimated 2015 population of 8,550,405 distributed over an area of about 302.6 square miles. Located at the tip of the state of New York. Home to the headquarters of the United Nations, New York is an important center for international diplomacy and has described as the cultural and financial capital of the world. Situated on one of the worlds largest natural harbors, New York City consists of five boroughs, the five boroughs – Brooklyn, Queens, Manhattan, The Bronx, and Staten Island – were consolidated into a single city in 1898. In 2013, the MSA produced a gross metropolitan product of nearly US$1.39 trillion, in 2012, the CSA generated a GMP of over US$1.55 trillion. NYCs MSA and CSA GDP are higher than all but 11 and 12 countries, New York City traces its origin to its 1624 founding in Lower Manhattan as a trading post by colonists of the Dutch Republic and was named New Amsterdam in 1626. The city and its surroundings came under English control in 1664 and were renamed New York after King Charles II of England granted the lands to his brother, New York served as the capital of the United States from 1785 until 1790. It has been the countrys largest city since 1790, the Statue of Liberty greeted millions of immigrants as they came to the Americas by ship in the late 19th and early 20th centuries and is a symbol of the United States and its democracy. In the 21st century, New York has emerged as a node of creativity and entrepreneurship, social tolerance. Several sources have ranked New York the most photographed city in the world, the names of many of the citys bridges, tapered skyscrapers, and parks are known around the world. Manhattans real estate market is among the most expensive in the world, Manhattans Chinatown incorporates the highest concentration of Chinese people in the Western Hemisphere, with multiple signature Chinatowns developing across the city. Providing continuous 24/7 service, the New York City Subway is one of the most extensive metro systems worldwide, with 472 stations in operation. Over 120 colleges and universities are located in New York City, including Columbia University, New York University, and Rockefeller University, during the Wisconsinan glaciation, the New York City region was situated at the edge of a large ice sheet over 1,000 feet in depth. The ice sheet scraped away large amounts of soil, leaving the bedrock that serves as the foundation for much of New York City today. Later on, movement of the ice sheet would contribute to the separation of what are now Long Island and Staten Island. The first documented visit by a European was in 1524 by Giovanni da Verrazzano, a Florentine explorer in the service of the French crown and he claimed the area for France and named it Nouvelle Angoulême. Heavy ice kept him from further exploration, and he returned to Spain in August and he proceeded to sail up what the Dutch would name the North River, named first by Hudson as the Mauritius after Maurice, Prince of Orange
7.
Electronics
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Electronics is the science of controlling electrical energy electrically, in which the electrons have a fundamental role. Commonly, electronic devices contain circuitry consisting primarily or exclusively of active semiconductors supplemented with passive elements, the science of electronics is also considered to be a branch of physics and electrical engineering. The ability of electronic devices to act as switches makes digital information processing possible, until 1950 this field was called radio technology because its principal application was the design and theory of radio transmitters, receivers, and vacuum tubes. Today, most electronic devices use semiconductor components to perform electron control and this article focuses on engineering aspects of electronics. Components are generally intended to be connected together, usually by being soldered to a circuit board. Components may be packaged singly, or in more complex groups as integrated circuits, some common electronic components are capacitors, inductors, resistors, diodes, transistors, etc. Components are often categorized as active or passive, vacuum tubes were among the earliest electronic components. They were almost solely responsible for the revolution of the first half of the Twentieth Century. They took electronics from parlor tricks and gave us radio, television, phonographs, radar, long distance telephony and they played a leading role in the field of microwave and high power transmission as well as television receivers until the middle of the 1980s. Since that time, solid state devices have all but completely taken over, vacuum tubes are still used in some specialist applications such as high power RF amplifiers, cathode ray tubes, specialist audio equipment, guitar amplifiers and some microwave devices. The 608 contained more than 3,000 germanium transistors, thomas J. Watson Jr. ordered all future IBM products to use transistors in their design. From that time on transistors were almost exclusively used for computer logic, circuits and components can be divided into two groups, analog and digital. A particular device may consist of circuitry that has one or the other or a mix of the two types, most analog electronic appliances, such as radio receivers, are constructed from combinations of a few types of basic circuits. Analog circuits use a range of voltage or current as opposed to discrete levels as in digital circuits. The number of different analog circuits so far devised is huge, especially because a circuit can be defined as anything from a single component, analog circuits are sometimes called linear circuits although many non-linear effects are used in analog circuits such as mixers, modulators, etc. Good examples of analog circuits include vacuum tube and transistor amplifiers, one rarely finds modern circuits that are entirely analog. These days analog circuitry may use digital or even microprocessor techniques to improve performance and this type of circuit is usually called mixed signal rather than analog or digital. Sometimes it may be difficult to differentiate between analog and digital circuits as they have elements of both linear and non-linear operation, an example is the comparator which takes in a continuous range of voltage but only outputs one of two levels as in a digital circuit
8.
Loudspeaker
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A loudspeaker is an electroacoustic transducer, which converts an electrical audio signal into a corresponding sound. The most widely used type of speaker in the 2010s is the speaker, invented in 1925 by Edward W. Kellogg. The dynamic speaker operates on the basic principle as a dynamic microphone. Besides this most common method, there are several technologies that can be used to convert an electrical signal into sound. The sound source must be amplified or strengthened with a power amplifier before the signal is sent to the speaker. Speakers are typically housed in an enclosure or speaker cabinet which is often a rectangular or square box made of wood or sometimes plastic. The enclosures materials and design play an important role in the quality of the sound, where high fidelity reproduction of sound is required, multiple loudspeaker transducers are often mounted in the same enclosure, each reproducing a part of the audible frequency range. In this case the individual speakers are referred to as drivers, drivers made for reproducing high audio frequencies are called tweeters, those for middle frequencies are called mid-range drivers, and those for low frequencies are called woofers. Smaller loudspeakers are found in such as radios, televisions, portable audio players, computers. Larger loudspeaker systems are used for music, sound reinforcement in theatres and concerts, the term loudspeaker may refer to individual transducers or to complete speaker systems consisting of an enclosure including one or more drivers. To adequately reproduce a range of frequencies with even coverage, most loudspeaker systems employ more than one driver. Individual drivers are used to different frequency ranges. The drivers are named subwoofers, woofers, mid-range speakers, tweeters, the terms for different speaker drivers differ, depending on the application. In two-way systems there is no mid-range driver, so the task of reproducing the mid-range sounds falls upon the woofer and tweeter, home stereos use the designation tweeter for the high frequency driver, while professional concert systems may designate them as HF or highs. When multiple drivers are used in a system, a network, called a crossover. Loudspeaker driver of the type pictured are termed dynamic to distinguish them from earlier drivers, or speakers using piezoelectric or electrostatic systems, or any of several other sorts. Johann Philipp Reis installed an electric loudspeaker in his telephone in 1861, it was capable of reproducing clear tones, alexander Graham Bell patented his first electric loudspeaker as part of his telephone in 1876, which was followed in 1877 by an improved version from Ernst Siemens. In 1898, Horace Short patented a design for a loudspeaker driven by compressed air, he sold the rights to Charles Parsons
9.
Electromagnetism
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Electromagnetism is a branch of physics involving the study of the electromagnetic force, a type of physical interaction that occurs between electrically charged particles. The electromagnetic force usually exhibits electromagnetic fields such as fields, magnetic fields. The other three fundamental interactions are the interaction, the weak interaction, and gravitation. The word electromagnetism is a form of two Greek terms, ἤλεκτρον, ēlektron, amber, and μαγνῆτις λίθος magnētis lithos, which means magnesian stone. The electromagnetic force plays a role in determining the internal properties of most objects encountered in daily life. Ordinary matter takes its form as a result of forces between individual atoms and molecules in matter, and is a manifestation of the electromagnetic force. Electrons are bound by the force to atomic nuclei, and their orbital shapes. The electromagnetic force governs the processes involved in chemistry, which arise from interactions between the electrons of neighboring atoms, there are numerous mathematical descriptions of the electromagnetic field. In classical electrodynamics, electric fields are described as electric potential, although electromagnetism is considered one of the four fundamental forces, at high energy the weak force and electromagnetic force are unified as a single electroweak force. In the history of the universe, during the epoch the unified force broke into the two separate forces as the universe cooled. Originally, electricity and magnetism were considered to be two separate forces, Magnetic poles attract or repel one another in a manner similar to positive and negative charges and always exist as pairs, every north pole is yoked to a south pole. An electric current inside a wire creates a corresponding magnetic field outside the wire. Its direction depends on the direction of the current in the wire. A current is induced in a loop of wire when it is moved toward or away from a field, or a magnet is moved towards or away from it. While preparing for a lecture on 21 April 1820, Hans Christian Ørsted made a surprising observation. As he was setting up his materials, he noticed a compass needle deflected away from north when the electric current from the battery he was using was switched on. At the time of discovery, Ørsted did not suggest any explanation of the phenomenon. However, three later he began more intensive investigations
10.
Vacuum tube
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In electronics, a vacuum tube, an electron tube, or just a tube, or valve, is a device that controls electric current between electrodes in an evacuated container. Vacuum tubes mostly rely on thermionic emission of electrons from a hot filament or a cathode heated by the filament and this type is called a thermionic tube or thermionic valve. A phototube, however, achieves electron emission through the photoelectric effect, the simplest vacuum tube, the diode, contains only a heater, a heated electron-emitting cathode, and a plate. Current can only flow in one direction through the device between the two electrodes, as electrons emitted by the travel through the tube and are collected by the anode. Adding one or more control grids within the tube allows the current between the cathode and anode to be controlled by the voltage on the grid or grids, Tubes with grids can be used for many purposes, including amplification, rectification, switching, oscillation, and display. In the 1940s the invention of devices made it possible to produce solid-state devices, which are smaller, more efficient, more reliable, more durable. Hence, from the mid-1950s solid-state devices such as transistors gradually replaced tubes, the cathode-ray tube remained the basis for televisions and video monitors until superseded in the 21st century. However, there are still a few applications for which tubes are preferred to semiconductors, for example, the used in microwave ovens. One classification of vacuum tubes is by the number of active electrodes, a device with two active elements is a diode, usually used for rectification. Devices with three elements are used for amplification and switching. Additional electrodes create tetrodes, pentodes, and so forth, which have additional functions made possible by the additional controllable electrodes. X-ray tubes are vacuum tubes. Phototubes and photomultipliers rely on electron flow through a vacuum, though in those cases electron emission from the cathode depends on energy from photons rather than thermionic emission, since these sorts of vacuum tubes have functions other than electronic amplification and rectification they are described in their own articles. A vacuum tube consists of two or more electrodes in a vacuum inside an airtight enclosure, most tubes have glass envelopes, though ceramic and metal envelopes have been used. The electrodes are attached to leads which pass through the envelope via an airtight seal, Tubes were a frequent cause of failure in electronic equipment, and consumers were expected to be able to replace tubes themselves. In addition to the terminals, some tubes had an electrode terminating at a top cap. The principal reason for doing this was to avoid leakage resistance through the tube base, the bases were commonly made with phenolic insulation which performs poorly as an insulator in humid conditions. There was even a design that had two top cap connections
11.
Harmonic
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A harmonic is any member of the harmonic series, the divergent infinite series. Every term of the series after the first is the mean of the neighboring terms. The phrase harmonic mean likewise derives from music, the term is employed in various disciplines, including music, physics, acoustics, electronic power transmission, radio technology, and other fields. It is typically applied to repeating signals, such as sinusoidal waves, a harmonic of such a wave is a wave with a frequency that is a positive integer multiple of the frequency of the original wave, known as the fundamental frequency. The original wave is called the 1st harmonic, the following harmonics are known as higher harmonics. As all harmonics are periodic at the frequency, the sum of harmonics is also periodic at that frequency. On strings, harmonics that are bowed have a glassy, pure tone, harmonics may also be called overtones, partials or upper partials. In some music contexts, the harmonic, overtone and partial are used fairly interchangeably. Most acoustic instruments emit complex tones containing many individual partials, rather, a musical note is perceived as one sound, the quality or timbre of that sound being a result of the relative strengths of the individual partials. Oscillators that produce harmonic partials behave somewhat like one-dimensional resonators, and are long and thin. Wind instruments whose air column is open at one end, such as trumpets and clarinets. However they only produce partials matching the odd harmonics, at least in theory, the reality of acoustic instruments is such that none of them behaves as perfectly as the somewhat simplified theoretical models would predict. Partials whose frequencies are not integer multiples of the fundamental are referred to as inharmonic partials, antique singing bowls are known for producing multiple harmonic partials or multiphonics. An overtone is any partial higher than the lowest partial in a compound tone, the relative strengths and frequency relationships of the component partials determine the timbre of an instrument. This chart demonstrates how the three types of names are counted, In many musical instruments, it is possible to play the upper harmonics without the note being present. In a simple case this has the effect of making the note go up in pitch by an octave, in some cases it also changes the timbre of the note. This is part of the method of obtaining higher notes in wind instruments. The extended technique of playing multiphonics also produces harmonics, on string instruments it is possible to produce very pure sounding notes, called harmonics or flageolets by string players, which have an eerie quality, as well as being high in pitch
12.
Organ (music)
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In music, the organ is a keyboard instrument of one or more pipe divisions, each played with its own keyboard, played either with the hands on a keyboard or with the feet using pedals. The organ is an old musical instrument, dating from the time of Ctesibius of Alexandria. It was played throughout the Ancient Greek and Ancient Roman world, subsequently it re-emerged as a secular and recital instrument in the Classical music tradition. Pipe organs use air moving through pipes to produce sounds, since the 16th century, pipe organs have used various materials for pipes, which can vary widely in timbre and volume. The pipes are divided into ranks and controlled by the use of hand stops, although the keyboard is not expressive as on a piano and does not affect dynamics, some divisions may be enclosed in a swell box, allowing the dynamics to be controlled by shutters. Some organs are enclosed, meaning that all the divisions can be controlled by one set of shutters. Some special registers with free reed pipes are expressive and these instruments vary greatly in size, ranging from a cubic yard to a height reaching five floors, and are built in churches, synagogues, concert halls, and homes. Small organs are called positive or portative, increasingly hybrid organs are appearing in which pipes are augmented with electronic additions. Great economies of space and cost are possible especially when the lowest of the pipes can be replaced, non-piped organs include the reed organ or harmonium, which like the accordion and harmonica use air to excite free reeds. Electronic organs or digital organs, notably the Hammond organ, generate electronically produced sound through one or more loudspeakers, mechanical organs include the barrel organ, water organ, and Orchestrion. These are controlled by means such as pinned barrels or book music. Little barrel organs dispense with the hands of an organist and bigger organs are powered in most cases by a grinder or today by other means such as an electric motor. The pipe organ is the grandest musical instrument in size and scope, along with the clock, it was considered one of the most complex human-made mechanical creations before the Industrial Revolution. Pipe organs range in size from a short keyboard to huge instruments with over 10,000 pipes. A large modern organ typically has three or four keyboards with five each, and a two-and-a-half octave pedal board. Wolfgang Amadeus Mozart called the organ the King of instruments, some of the biggest instruments have 64-foot pipes, and it sounds to an 8 Hz frequency fundamental tone. For instance, the Wanamaker organ, located in Philadelphia, USA, has sonic resources comparable with three simultaneous symphony orchestras, most organs in Europe, the Americas, and Australasia can be found in Christian churches. The introduction of organs is traditionally attributed to Pope Vitalian in the 7th century
13.
Flute
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The flute is a family of musical instruments in the woodwind group. Unlike woodwind instruments with reeds, a flute is an aerophone or reedless wind instrument that produces its sound from the flow of air across an opening, according to the instrument classification of Hornbostel–Sachs, flutes are categorized as edge-blown aerophones. A musician who plays the flute can be referred to as a player, flautist, flutist or, less commonly. Flutes are the earliest extant musical instruments, as paleolithic instruments with hand-bored holes have been found, a number of flutes dating to about 43,000 to 35,000 years ago have been found in the Swabian Jura region of present-day Germany. These flutes demonstrate that a musical tradition existed from the earliest period of modern human presence in Europe. Flutes, including the famous Bansuri, have been a part of Indian classical music since 1500 BC. A major deity of Hinduism, Krishna, has been associated with the flute, the English verb flout has the same linguistic root, and the modern Dutch verb fluiten still shares the two meanings. Attempts to trace the word back to the Latin flare have been pronounced phonologically impossible or inadmissable, the first known use of the word flute was in the 14th century. According to the Oxford English Dictionary, this was in Geoffrey Chaucers The Hous of Fame, today, a musician who plays any instrument in the flute family can be called a flutist, or flautist, or simply a flute player. Flutist dates back to at least 1603, the earliest quote cited by the Oxford English Dictionary, flautist was used in 1860 by Nathaniel Hawthorne in The Marble Faun, after being adopted during the 18th century from Italy, like many musical terms in England since the Italian Renaissance. Other English terms, now obsolete, are fluter and flutenist. The oldest flute ever discovered may be a fragment of the femur of a cave bear. In 2008 another flute dated back to at least 35,000 years ago was discovered in Hohle Fels cave near Ulm, the five-holed flute has a V-shaped mouthpiece and is made from a vulture wing bone. The researchers involved in the officially published their findings in the journal Nature. The flute, one of several found, was found in the Hohle Fels cavern next to the Venus of Hohle Fels, on announcing the discovery, scientists suggested that the finds demonstrate the presence of a well-established musical tradition at the time when modern humans colonized Europe. Scientists have also suggested that the discovery of the flute may help to explain the probable behavioural and cognitive gulf between Neanderthals and early modern human. A three-holed flute,18.7 cm long, made from a mammoth tusk was discovered in 2004, the earliest extant Chinese transverse flute is a chi flute discovered in the Tomb of Marquis Yi of Zeng at the Suizhou site, Hubei province, China. It dates from 433 BC, of the later Zhou Dynasty and it is fashioned of lacquered bamboo with closed ends and has five stops that are at the flutes side instead of the top
14.
Bassoon
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The bassoon is a woodwind instrument in the double reed family that typically plays music written in the bass and tenor clefs, and occasionally the treble. Appearing in its form in the 19th century, the bassoon figures prominently in orchestral, concert band. The bassoon is an instrument known for its distinctive tone color, wide range, variety of character. Listeners often compare its warm, dark, reedy timbre to that of a baritone voice. Someone who plays the bassoon is called a bassoonist, the word bassoon comes from French basson and from Italian bassone. However, the Italian name for the instrument is fagotto. B♭1–C5 The range of the bassoon begins at B♭1 and extends upward over three octaves, roughly to the G above the treble staff, higher notes are possible but difficult to produce, and rarely called for, orchestral and concert band parts rarely go higher than C5 or D5. Even Stravinskys famously difficult opening solo in The Rite of Spring only ascends to D5, a1 is possible with a special extension to the instrument—see Extended techniques below. The bassoon disassembles into six pieces, including the reed. Bassoons are double reed instruments like the oboe and the English horn, a modern beginners bassoon is generally made of maple, with medium-hardness types such as sycamore maple and sugar maple preferred. Both bore and tone holes are precision-machined, and each instrument is finished by hand for proper tuning and this ensures coverage by the fingers of the average adult hand. Wooden instruments are lined with hard rubber along the interior of the wing and boot joints to prevent damage from moisture, the end of the bell is usually fitted with a ring, either of metal, plastic or ivory. The joints between sections consist of a tenon fitting into a socket, the tenons are wrapped in either cork or string as a seal against air leaks. The bocal connects the reed to the rest of the instrument and is inserted into a socket at the top of the wing joint, bocals come in many different lengths and styles, depending on the desired tuning and playing characteristics. Folded upon itself, the bassoon stands 1.34 m tall, there are also short-reach bassoons made for the benefit of young or petite players. The origins of the dulcian are obscure, but by the century it was available in as many as eight different sizes. Otherwise, dulcian technique was rather primitive, with eight finger holes, the dulcian came to be known as fagotto in Italy. However, the etymology that equates fagotto with bundle of sticks is somewhat misleading
15.
Clarinet
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The clarinet is a musical-instrument family belonging to the group known as the woodwind instruments. It has a mouthpiece, a straight cylindrical tube with an almost cylindrical bore. A person who plays a clarinet is called a clarinetist, the word clarinet may have entered the English language via the French clarinette, or from Provençal clarin, oboe. It would seem however that its roots are to be found amongst some of the various names for trumpets used around the renaissance. Clarion, clarin and the Italian clarino are all derived from the medieval term claro which referred to a form of trumpet. This is probably the origin of the Italian clarinetto, itself a diminutive of clarino, according to Johann Gottfried Walther, writing in 1732, the reason for the name is that it sounded from far off not unlike a trumpet. The English form clarinet is found as early as 1733, while the similarity in sound between the earliest clarinets and the trumpet may hold a clue to its name, other factors may have been involved. The trumpet parts that required this speciality were known by the term clarino, Johann Christoph Denner is generally believed to have invented the clarinet in Germany around the year 1700 by adding a register key to the earlier chalumeau. Over time, additional keywork and airtight pads were added to improve the tone and these days the most popular clarinet is the B♭ clarinet. However, the clarinet in A, just a lower, is commonly used in orchestral music. Since the middle of the 19th century the clarinet has become an essential addition to the orchestra. The clarinet family ranges from the BBB♭ octo-contrabass to the A♭ piccolo clarinet, the clarinet has proved to be an exceptionally flexible instrument, equally at home in the classical repertoire as in concert bands, military bands, marching bands, klezmer, and jazz. The cylindrical bore is primarily responsible for the clarinets distinctive timbre, the tone quality can vary greatly with the musician, the music, the instrument, the mouthpiece, and the reed. The most prominent were the German/Viennese traditions and the French school, the latter was centered on the clarinetists of the Conservatoire de Paris. The proliferation of recorded music has made examples of different styles of clarinet playing available, the modern clarinetist has a diverse palette of acceptable tone qualities to choose from. The A clarinet and B♭ clarinet have nearly the same bore, orchestral players using the A and B♭ instruments in the same concert could use the same mouthpiece for both. The A and the B♭ instruments have nearly identical tonal quality, the tone of the E♭ clarinet is brighter than that of the lower clarinets and can be heard even through loud orchestral or concert band textures. The bass clarinet has a deep, mellow sound, while the alto clarinet is similar in tone to the bass
16.
Cello
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The cello or violoncello is a bowed or plucked string instrument with four strings tuned in perfect fifths. The strings from low to high are generally tuned to C2, G2, D3 and A3 and it is a member of the violin family of musical instruments, which also includes the violin and viola and the double bass. The cello is used as a musical instrument, as well as in chamber music ensembles, string orchestras, as a member of the string section of symphony orchestras. It is the second-largest and second lowest bowed string instrument in the symphony orchestra. Cello parts are written in the bass clef, but both tenor clef and treble clefs are used for higher-range parts, both in orchestral/chamber music parts and in solo cello works. A person who plays the cello is called a cellist or violoncellist, in a small Classical ensemble, such as a string quartet, the cello typically plays the bass part, the lowest-pitched musical line of the piece. In orchestra, in Baroque era and Classical music period, the cello plays the bass part. In Baroque era music, the cello is used to play the basso continuo bassline, in a Baroque performance, the cello player might be joined by other bass instruments, playing double bass, viol or other low-register instruments. The name cello is a contraction of the Italian violoncello, which means little violone, in modern symphony orchestras, it is the second largest stringed instrument. Thus, the name contained both the augmentative -one and the diminutive -cello. By the turn of the 20th century, it had become common to shorten the name to cello and it is now customary to use cello without apostrophe as the full designation. Viol is derived from the viola, which was derived from Medieval Latin vitula. Cellos are tuned in fifths, starting with C2, followed by G2, D3 and it is tuned in the same intervals as the viola, but an octave lower. Unlike the violin or viola but similar to the double bass, the cello is most closely associated with European classical music, and has been described as the closest sounding instrument to the human voice. The instrument is a part of the orchestra, as part of the string section. A large number of concertos and sonatas have been written for the cello, among the most well-known Baroque works for the cello are Johann Sebastian Bachs six unaccompanied Suites. The Prelude from the First Suite is particularly famous, romantic era repertoire includes the Robert Schumann Concerto, the Antonín Dvořák Concerto as well as the two sonatas and the Double Concerto by Johannes Brahms. The cello is increasingly common in traditional music, especially Scottish fiddle music
17.
Trautonium
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The Trautonium is a monophonic electronic musical instrument invented about 1929 by Friedrich Trautwein in Berlin at the Musikhochschules music and radio lab, the Rundfunkversuchstelle. Soon Oskar Sala joined him, continuing development until Salas death in 2002, instead of a keyboard, its manual is made of a resistor wire over a metal plate, which is pressed to create a sound. Expressive playing was possible with this wire by gliding on it, volume was controlled by the pressure of the finger on the wire and board. The first Trautoniums were marketed by Telefunken from 1933–35, the sounds were at first produced by neon-tube relaxation oscillators, which produced sawtooth-like waveforms. The pitch was determined by the amount of wire chosen by the performer. The oscillator output was fed into two parallel resonant filter circuits, a footpedal controlled the volume ratio of the output of the two filters, which was sent to an amplifier. On 20 June 1930 Oskar Sala and Paul Hindemith gave a performance at the Berliner Musikhochschule Hall called “Neue Musik Berlin 1930″ to introduce the Trautonium. Later, Oskar Sala toured Germany with the Trautonium, in 1931 he was the soloist in a performance of Hindemiths Concert for Trautonium with String Quartet and he also soloed in the debut of Hindemiths student Harald Genzmers “Concert for Trautonium AND Orchestra”. Paul Hindemith wrote several short trios for three Trautoniums with three different tunings, bass, middle, and high voice and his student, Harald Genzmer, wrote two concertos with orchestra, one for the monophonic Trautonium and, later, one for Oskar Salas Mixtur-Trautonium. One of the first additions of Sala was to add a switch for changing the static tuning, later he added a noise generator and an envelope generator, formant filter and the subharmonic oscillators. These oscillators generate a main pitch and several subharmonics, which are not multiples of the fundamental tone, for any of the now two manuals, four of these waves can be mixed and the player can switch through these predefined settings. Thus, it was called the Mixtur-Trautonium, Oskar Sala composed music for industrial films, but the most famous was the bird noises for Alfred Hitchcocks The Birds. The German manufacturer Doepfer sells some devices for the market to allow for Trautonium-like synthesizer control. The German manufacturer trautoniks sells custom made Trautoniums, although Oskar Sala developed the Trautonium further, he did not teach his art to any pupil. However, Peter Pichler, a Munich musician and artist, had heard the sound of the Trautonium when he was a man and was fascinated by its emotional impact. Pichler found he could not forget the unique sound, he searched obsessively for anyone who could help him understand the instrument, in 1996 the two met in Salas studio in Berlin, and the result was the preservation of much of Salas knowledge. Pichler was transformed by the experience but he had to wait fifteen years before he could afford to commission his own Mixturtrautonium from the company Trautoniks. He wrote a musical piece about the fathers of the Trautonium, Wiedersehen in Trautonien
18.
International Standard Book Number
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The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
19.
Chord organ
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Tone-wise, a chord organ is almost identical to an harmonium, accordion, or similar. It was invented by Laurens Hammond in 1950 as a home organ based on vacuum-tube circuits, similar to his earlier Novachord. In addition to Hammond, also Wurlitzer, Farfisa and Estey Organ made electronic chord organs, in 1958, Magnus Organ Corporation introduced its electric chord organs, similar to electrically blown small home reed organs. Since then, chord organs were designed as instruments for beginners. In addition to Magnus, also Emenee, Bontempi and Belcanto made electric chord organs, daniel Johnston The Microphones/Mount Eerie Modest Mouse The Music Tapes Elliott Smith Paul Tesluk Cortney Tidwell Chord organs have seen a recent revival amongst minimalist and ambient musicians. Archived from the original on 2013-07-11, disassembly Photographs of a Small Electric Chord Organ. Archived from the original on 2009-04-12
20.
Clonewheel organ
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Clonewheel organ is a jargon term used to refer to an electronic musical instrument that emulates the sound of the electromechanical tonewheel-based organs formerly manufactured by Hammond. The phrase clonewheel is a pun on the used to describe how the original Hammond produces sound. The first generation of clonewheel organs used synthesizer voices, which were not able to reproduce the Hammond sound. In the 1990s and 2000s, clonewheel organs began using sampling or digital signal processing techniques, to use keyboardless emulation devices, they need to be connected to a MIDI-enabled keyboard. The Hammond organ is an organ that was designed and built by Laurens Hammond in 1934. While the Hammond organ was sold to churches as a lower-cost alternative to the pipe organ, it came to be used for jazz, blues. The original Hammond organ imitated the function of a pipe organs ranks of pipes in multiple registers by using additive synthesis of waveforms from harmonic series to generate its sounds, the Hammond organs individual waveforms were made by mechanical tonewheels which rotated beneath electromagnetic pickups. The component waveforms can be mixed in varying ratios by using drawbars mounted above the two keyboards, Hammond organs also have a harmonic percussion effect, in which the 2nd and 3rd harmonic tones can be added to the attack envelope of a note. Hammond organs have a distinctive percussive key click, which is the transient that occurs when all nine key contacts close. Originally, key click was considered to be a design defect, however, some performers liked the percussive effect, and it has become part of the classic sound that modern imitators of the Hammond organ have tried to reproduce. The classic way of enhancing the sound of a Hammond organ is to use a rotating speaker known as a Leslie speaker or cabinet. Transporting the heavy Hammond organ, bass pedalboard and Leslie speaker cabinets to performance venues makes it cumbersome for artists to tour with a vintage electromechanical organ. As such, there was a strong demand amongst musicians for a way of recreating the Hammond sound in a portable, reliable fashion. Hammond Suzuki USA currently markets numerous home, church, and professional models that reproduce the sound of vintage Hammond tonewheel organs. In between are numerous keyboard-based models from Hammond, Korg, Roland, Clavia, rack-mounted modules, there is even a model by the Pari. E company which uses a modern version of the classic Hammond tonewheels, not a digital simulation. The use of Hammond clones and the merits of using clones versus the vintage electromechanical Hammond is the subject of debate amongst musicians. The argument that digital simulations cannot recreate the complex interplay of variables that create the Hammond sound is supported by a review of clones in Keyboard Magazine, Hammond organ Organ trio History & References
21.
Korg CX-3
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The Korg CX-3 is a clonewheel organ that simulates the sound of an electromechanical Hammond organ, first introduced in 1979. There had been a market for a clone of the Hammond organ. In the 1970s Combo organs attempted to emulate the sound, but many were poorly received, the CX-3 gave a convincing enough emulation of a tonewheel Hammonds sound to be used in professional live performances, particularly when played through a real Leslie. An expanded version of the instrument, the BX-3, had two manuals, the instrument struggled to compete with digital synthesizers in the 1980s, particularly the Yamaha DX7, and sales fell. Production eventually ceased due to the Siemens SM304 chip used in the instruments becoming obsolete, by the end of the 1990s, instruments were being sold second-hand for a similar amount as spinet Hammond organs such as the L100 or M100. A digital remake of the CX-3 was launched in 2001, which included two sets of drawbars, expression and overdrive controls, and a reverb unit and Leslie simulator. It was retired in 2011 after the introduction of the Korg Kronos, Manfred Mann was an early adopter of the CX-3, using it when touring with Manfred Manns Earth Band since 1980. Marillions Mark Kelly used a CX-3 for live performances and recording in the early 1980s, although he wanted a Hammond C-3 organ, it was impractical for touring. Adam Wakeman has used a CX-3 when touring with Ozzy Osbourne, derek Sherinian used a CX-3 when touring with Dream Theater, and also contributed to development of the second version of the instrument
22.
Roland VK-7
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The Roland VK-7 is an electronic keyboard introduced in 1997 which simulates the sound of an electromechanical Hammond organ. Like other electronic instruments that emulate the sound of the electromechanical tonewheel-based organs formerly manufactured by Hammond. Currently it is replaced by the VK-8 and the VK-88, the VK-7 is designed to recreate the organ sounds of the 1960s and 1970s jazz and popular music. The instrument has nine harmonic drawbars so that the organist can control the volume of different overtones, the instrument also provides vibrato, chorus, and reverb effects and an overdrive knob, which adds simulated tube amplifier growl. As with most clonewheel emulator keyboards, the drawbars are positioned to the left of the keyboard, unlike the Hammond organ, which had two manuals, the VK-7 has only a single manual with 61 keys. Nevertheless, the keyboard can be split into two sections, so that the bass drawbars are applied to the low end of the keyboard, and this keyboard-split function allows an organist to perform low-register basslines and high-register chords and solos on a single keyboard. The organist can view the effect and registration settings on a small LCD screen, as well, the instrument contains an orchestral voice section that can be layered with the organ sounds. The sounds include strings, brasses, choirs, percussion instruments, the keyboard has an 11-pin rotary cabinet connector which allows it to be connected to external rotary speaker, such as a Leslie Speaker. It has MIDI inputs, which means that bass pedal keyboards can be used with the instrument, the chassis has a wood finish with alder wood sideboards. Hammond organist Brad Coates from Melmusic reviewed the VK-7 and he praised the use of real wood in the chassis and the very solid and substantial construction, which gave the instrument an authentic feel. He praised the ergonomics and layout of the instrument, stating that The presets, as well, he noted that The drawbars feel smooth and positive and are situated a comfortable 3 cms in from the left-hand end cheek. He stated that the keyboard feels nice and positive but lacks those rounded and he praised the Hammond organ sound on the VK-7, noting that when he conducted a double-blind test comparison with a vintage Hammond organ in his house, they both sounded very similar. He stated that the generation, which uses physical modelling technology had none of that cold. He found problems with the voices, however, and stated that are they are not real great in a live situation. In all, though, he stated that he was impressed with the VK-7. The Roland VK-7, like many other Roland keyboards of the mid to late 1990s and early 2000s, the keys on Rolands keyboards of this era had weights glued into them to create a nice feel for the performer. The weights were glued to the underside of the using a epoxy glue that was red/pink in color. Over time and when exposed to heat, the glue broke down causing the glue to seep into the keyboard action mechanism, the Hammond organ is an electromechanical organ which was designed and built by Laurens Hammond in 1934
23.
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
24.
Doric Organ
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The Doric Transistorized Organ is a model of combo organ produced in Italy in the 1960s. Doric organs were sold under the brand name Ekosonic and were marketed as being the lightest on the market at 40 pounds. The Doric never achieved the fame as Farfisa and Vox organs, perhaps due to limited distribution. The power supply that the jack connects to converts household current to 9 V DC, inside the Doric is a line of circuits labeled with the syllables of solfege, each generating a given tone in a scale. At the far left is a circuit for the bass notes which shares a circuit board with the solid-state vibrato mechanism. As with many organs of the vintage, Doric organs often have problems with electrolytic capacitors which overflow or burn out over time. Information on the Doric Organ on Combo Organ Heaven Video of a broken Doric Organ
25.
Farfisa
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Farfisa is a manufacturer of electronics based in Osimo, Italy. The Farfisa brand name is associated with a series of compact electronic organs, and later. At the height of its production, Farfisa operated three factories to produce instruments, in Camerano in the Marche region of Italy, Farfisa also made radios, televisions, and other electronic items. Today the Farfisa brand mainly produces intercom systems with the company Aci Farfisa which makes and distributes systems for video intercoms, access control, video surveillance, the Bontempi group owns the keyboard division Farfisa brand name. The Farfisa brand name is an acronym for FAbbriche Riunite di FISArmoniche, Farfisa first started manufacturing electric organs in 1964. Distribution in the U. S. was handled by the Chicago Musical Instrument Co, which also owned Gibson, unlike other combo organs, such as the Vox Continental, Farfisa organs have integrated legs, which can be folded up and stored inside its base. The first models to be produced were the Compact series of organs between 1964 and 1968, the range of FAST organs was launched at the 1968 NAMM show, and production of the Professional series appeared around the same time. Production of combo organs ended in the late 1970s after synthesizers had become more commonplace, in 1966, a Farfisa was prominently heard in Double Shot as recorded by the South Carolina-based group The Swingin Medallions. The 1967 release of Second Best by The Household Sponge features a Farfisa Compact, richard Wrights use of the Farfisa Compact Duo was integral to the sound of Pink Floyds early albums, such as The Piper at the Gates of Dawn and Ummagumma. By 1970, he had started to use a Hammond Organ onstage, the Farfisa was last used on Time from Dark Side of the Moon, but Wright reintroduced it to his keyboard setup on David Gilmours 2006 tour, featured notably on the Pink Floyd song Echoes. Sly Stone from Sly and the Family Stone played a Farfisa Professional, the Professional is the only organ used on The Aerosol Grey Machine and The Least We Can Do Is Wave to Each Other, after which he also started using Hammonds. It was retired after the groups 1972 split, John Paul Jones of Led Zeppelin used a Farfisa on Dancing Days from Houses of the Holy, as well as occasionally using a VIP-255 or a Professional model on stage. Another famous recording is the 1970 A Tribute to Jack Johnson by Miles Davis, with the advent of synthesizers, organs such as the classic Farfisa seemed to be headed for obsolescence, but time proved otherwise. Their classic sound, in turn, became a staple on multitimbral instruments, first synthesized, the Farfisa has also been used by rock bands, including Green Day in the song Misery. Crocodile Rock by Elton John features a Farfisa organ, played by John in a rhythm with carnival-style riffs. The introduction of the Farfisa into West Africa, during the 1960s and 1970s, played an important role in evolution of Highlife, Mbalax and this can be heard in the work of seminal acts like K. Frimpong and Monomono. The Farfisa sound is used to impart a stereotypical 1960s-retro essence to music. It was a key ingredient to the sound of such as Inspiral Carpets and has appeared recently on many albums by contemporary artists
26.
Vox Continental
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The Vox Continental is a transistor-based combo organ that was introduced in 1962. Known for its bright but thin, breathy sound, the Connie and it was also designed to replace heavy tonewheel organs, such as the revered Hammond B3. While this was not entirely accomplished, the Continental was used in many 1960s hit singles, although phased out of production in the early 1970s, the organ still has a strong following to this day, and remains among the most sought-after of combo organs by enthusiasts. The Continental came in two models, each with its own variations. The basic models were the single manual Continental, and the manual, which was known as the Vox Continental II in England. Vox Continental were initially manufactured in the Jennings Musical Instruments plant in Dartford, Kent, UK, and by Vox Sound in Erith, Kent. Reportedly the English factories could not keep up demand for VOX amplifiers and organs, and in 1964. In 1992, Korg acquired Vox and henceforth the new products with the trademark Vox will spot essentially the guitar players, the Continental was very striking visually, and had features not often found in keyboard instruments, both then and now. The most obvious of these was its reverse-coloured keys similar to a harpsichord, then the chrome Z-shaped bolt-on leg stand assembly and bright vermilion top made for a very distinctive and handsome piece of equipment. The Vox Continental used six slider-type, metered volume controls called drawbars instead of the rocker switches seen on other combo organs. There was a single-speed, single intensity vibrato, but the Continental had no special effects or bass notes. Its simplicity was appreciated by many players, although they had similar tones and appearance, there were four different builds of the Vox Continental. The first were UK models built by Jennings Musical Industries, or JMI, in Dartford, Kent, later UK models were built by Vox Sound in Erith, Kent. For a short time following Thomas Organs 1964 licensing deal with VOX, single-manual Continentals were built in the US at the Thomas Organ factory at 8345 Hayvenhurst Avenue in Sepulveda, California. There were reportedly approximately 300 of these 301-H organs made, mostly during the months of April through June 1966, production was then moved to the EME factory in Italy. Italian models can be discerned from UK and US models by their flimsy plastic keys, white and black drawbars, the build quality and reliability of the US-built Continentals are held to be superior to the other three variations. In the late 1960s and the early 1970s, various derivatives and variations came along, including the Vox Jaguar, Vox Corinthian and the last of the single manual Continentals, the UK had the Continental II and 300, and Italy had the Super Continental. Both had plastic keys and were available with and without percussion, confusingly, the UK version with percussion was known as the Super II
27.
Electone
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Electone is the trademark used for electronic organs produced by Yamaha. With the exception of the top end models, most Electones are based on the design on the spinet electronic organ. Current models are completely digital and contain a variety of sounds, effects, after Hammond pioneered the electronic organ in the 1930s, other manufacturers began to market their own versions of the instrument. The Yamaha Electone series debuted in 1959 with the D-1, a home instrument, by 1980, with the market waning sharply, and some manufacturers ceasing production, the Electone line embraced digital technology. This allowed Electone’s survival as the traditional home electronic organ market dried up, Electones were to be found not only in homes, especially in Japan and elsewhere in the East Asia, but also in bands and other solo and group public performances. Yamaha began exporting Electones to the United States, starting with the D-2B in 1967,1968 — EX-21 prototype Different from prior Electones, it was expressly designed for stage performances. 1970 — EX-42 This became Yamahas first commercially available stage model Electone and it was also the first to use integrated circuits, although it was still based on analogue technology. 1974 — Designing of Electones around synthesisers, instead of organs 1974 — CSY-1 Based on the SY-1 synthesizer,1975 — GX-1 The first polyphonic synthesizer in Electone form, bridging the gap between synthesizer and organ. It utilised velocity-sensitive keyboards and the keyboard was even after-touch sensitive. Some notable users of the GX-1 include Richard D. James, Stevie Wonder, Keith Emerson, John Paul Jones of Led Zeppelin,1977 — E-70 One of the first home based organs to feature Yamahas PASS in a console cabinet. 1983 to 1986 — FC/FE/FS/FX series Featured FM tone generators and the FX series featured the companys first digitally sampled sounds for the onboard percussion/rhythm units. The F series Electones were the first to allow users to digitally save registrations via pistons and then save them to RAM packs or a disk drive unit. 1987 — HS/HX series Electones became more digital here and it used more integrated circuit technology to make components smaller, and hence allowed for a sleeker design. The HX/HS series was the first to use AWM sampling technology for both voices and rhythms, and also featured 16-operator FM voices, AWM Voice expansion is also possible via sound packs. The EL series introduced new synthesisers, filtering, and expression technologies that made instrument voices on the Electone even more realistic, Voice technology continued to be based on AWM and FM technologies. 1996 — AR series The AR100, and its model the AR80, were designed for the US and European market. Using purely AWM voices, the most distinctive feature of the series is its 384 preset registrations, a huge increase compared to only 5 presets on the EL series. 1998 — EL900 Visually similar to the EL90 model from 1991, but with more voices, rhythms and effects and these voices, or preset sounds, do not use sampling technology but is instead based on modeling
28.
Guitorgan
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A Guitorgan is an electric guitar with electronic organ components added. Each guitar fret is separated into six segments, creating independent contact switches for each string, the organ notes are keyed when a string touches a specific segment. An expression pedal is used to fade the organ sound in and out, bob Murrell is credited with its invention and Musiconics International of Waco, Texas claims to have introduced the Guitorgan. However, many others have created them starting with models of the guitar. In any case, all have the basics in common, Convert a standard electric guitar into a Guitorgan through the addition of electronic organ components. The most critical part of making a Guitorgan is to separate each guitar fret into six segments, the organ notes are keyed when a string touches a specific segment, thus, making the ground connection necessary for the organ circuit to produce output. The organ section in a Guitorgan is a 6-note polyphonic circuit, the guitar section always remains playable, but organ notes can be played alone or simultaneously with the guitar. Murrell worked on converting existing products from the late 1960s, in 1968, he had a significant run of instruments based on semi-hollow body guitars from Japan. The B-300 and M-340 are among the most common examples from this run, also in existence are the M-300 and the B-35 models. Note that FSG pedals cannot be used with non-FSG Guitorgans and vice versa, the multi-pin cable that goes between an FSG pedal and an FSG Guitorgan was labeled with RED ends at MCI for a safety reminder. Bob continued to introduce upgrades to the Guitorgan design that included analog synthesizer interfaces, following the creation of the Guitorgan, Vox quickly produced their own version, known as the Guitar Organ, which was roughly based on their Continental organ voice boards. In the mid-70s, Godwin produced the rare Organ in two versions, the flagship model had 19 switches and 13 knobs, while the lower model had 16 switches and 4 knobs. Some of the produced by the Guitorgan can be heard in Teisco Del Reys The Many Moods of. Bill Dillon is another practitioner of the Guitorgan and he has performed on many Sarah McLachlan albums and appeared with Counting Crows. Wellington-based frank-rock band Hotdog Cereals Everyday Im Doggin E. P. includes a number of songs that showcase the guitorgan and these include Dog Me Out, Guitorgasm, and Mr Roths Haunted Mansion
29.
Organ trio
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An organ trio, in a jazz context, is a group of three jazz musicians, typically consisting of a Hammond organ player, a drummer, and either a jazz guitarist or a saxophone player. In some cases the saxophonist will join a trio which consists of an organist, guitarist, Organ trios were a popular type of jazz ensemble for club and bar settings in the 1950s and 1960s, performing a blues-based style of jazz that incorporated elements of R&B. The organ trio format was characterized by long improvised solos and an exploration of different musical moods, in organ trios, the Hammond organist plays several roles, including playing the basslines, playing chords, and playing lead melodic lines and solos. In organ trios with a guitarist, the guitarist usually fills in the parts that the organist is not performing. For example, if the organist is soloing and playing a bassline, Organ trios of the 1950s and 1960s often played soul jazz, a groove-infused style that incorporated blues, gospel and rhythm and blues. 1970s-era organ trios such as Tony Williams band Lifetime played jazz-rock fusion, in the 1990s and 2000s, organ trios such as Medeski, Martin and Wood and Soulive became involved in the burgeoning jamband scene. In the 1950s and 1960s, the trio became a common musical ensemble in bars and taverns in the US. While bar owners liked this aspect of the organ trio. According to Tom Vicker, the. most famous of the early grinders was Philadelphias Bill Doggett, the next organists to come along were Hank Marr, Dave Baby Cortez, Jimmy McGriff, and then the bossest organ swinger yet, Jimmy Smith. After Smiths death in 2005, Variety magazine writer Phil Gallo eulogized Smith as a man who ingle-handedly reinvented the Hammond B3 organ for jazz, Hammond organ players such as Jimmy Smith and Jack McDuff often performed and recorded in organ trios. Guitarist Grant Green performed a blend of jazz, funk, and boogaloo, collaborating frequently with organists Big John Patton, Jack McDuff, and Earl Neal Creque and with drummer Idris Muhammad. In the late 1960s, as jazz musicians began to explore the new genre of jazz-rock fusion, ventured into more remote territory, expanding the harmonic palette of the organ trio form. Young pioneered a new approach to playing the Hammond B3, synthesizers allowed musicians to make new electronic sounds that were not possible on the electromechanical Hammond organs. Veteran Hammond players such as Emerson and Charles Earland began using synthesizers to update their sound to the styles of the late 1970s. There were a number of well-known organ trios during the 1970s. John Abercrombie had an organ trio with Jan Hammer on Hammond and Moog bass. Tony Williams fusion band Lifetime, which lasted from 1969 to 1975, was a trio with John McLaughlin on guitar. Lifetime was a band of the fusion movement, combining rock, R&B
30.
Kienle Resonator System
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The Kienle Resonator System has been developed by Ewald Kienle since 1970 to replace the loudspeaker reproduction used for digital organs which is regarded as unsatisfactory by many churchgoers. Loudspeakers often disturb the overall impression in churches since, for acoustic reasons. So, in cases, several loudspeakers are located next to each other in a circle to obtain a more even emittance. Another possibility is to install the loudspeaker with the diaphragm facing up, the diagram shows the sound generation processes in an organ pipe and in the resonator of the Kienle Resonator System. To activate the organ pipe, the air flow must be generated first in a sufficient quantity. The air flow is directed through the windway against the upper labium where air vortexes replace each other and this process stimulates the air column in the tube and it starts to oscillate. An example of the distribution of the sound waves fundamental tone created in the tube is shown in the diagram by red curves, the node is located at the height of the curve intersection, the anti-nodes occur close to the openings emitting the main part of the sound. The oscillation of the air column and the sound emittance of the Kienle Resonator System occur in the manner as in a traditional organ pipe. The technical installation of a system with organ characteristics is substantially simplified by the removal of the flow stimulation. All the parts which generate and control the air flow in a pipe organ are omitted and therefore reduce the amount of installation. Sound quality problems, resulting from difficult or uncontrollable flow phenomena, furthermore, loudspeakers can be electrically controlled in a simple and precise manner. This allows the controllable stimulation of both the key tone and the overtones in a resonator. While in larger pipe organs several thousand, sometimes more than 10,000 organ pipes are required. Depending on the design, the Kienle Resonator System can be easily transported. This is an advantage in cases where it is difficult or inappropriate to permanently install facilities in a historic building. The Kienle resonators can be manufactured both as simple tubes, with a circular cross-section, and traditional organ pipes as “pipe resonators”, mostly, the resonators for the key tones of the lower frequencies and the resonators for the higher frequencies are built without a labium. In this case, not every resonator must be stimulated by its own loudspeaker, in the case of high frequencies, several resonators with tube diameters of only approximately 5 –25 mm, can be positioned above only one loudspeaker. Instead of tin organ pipes, Kienle resonator tubes made of zinc or aluminum and also non-metallic materials such as acrylic glass or coated PVC
31.
Lowrey organ
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The Lowrey organ is an electronic organ named for its developer, Frederick Lowrey, a Chicago-based industrialist and entrepreneur. During the 1960s and 1970s, Lowrey was the largest manufacturer of organs in the world. In 1989, the Lowrey Organ Company produced its 1,000, up until 2011, modern Lowrey organs were built in LaGrange Park, Illinois. In 2011, it was announced production of a few models was to be moved to Indonesia. Most notably, the Lowrey organ differs from the Hammond Organ in its incorporation of automatic accompaniment features, while originally intended for the home entertainment market, it was also used by some rock groups in the 1960s and 1970s. Garth Hudson, the keyboardist of the Band, played a Lowrey Festival organ on many of the groups most notable songs and its sound can be heard prominently on the 1968 recording of Chest Fever, which begins with a Bach-inspired prelude/intro. The Lowrey Organ is one of several organs on the Beatles 1967 song Being for the Benefit of Mr. Kite, furthermore, a Lowrey DSO Heritage organ was used to produce the classic opening for Lucy In the Sky With Diamonds. The Lowrey Organ and its build-in drum patterns are heard on the million-seller single. A rather surprising use of a Lowrey Organ, on a percussive marimba repeat setting, was the background noise on The Who song Baba ORiley. To prevent feedback in the silences between notes, Ratledge invented a style of his own avoiding the between-note gaps by soloing in legato, mike Oldfield made use of the instrument quite extensively on his Tubular Bells album, and on several later albums as well. From 1966 to 1971, Lowrey also produced combo organs for Gibson while the manufacturer was owned by parent company Chicago Musical Instruments. The most popular of these was first introduced in 1966 as the Kalamazoo K-101, the Gibson branded organs design and circuitry were similarly based on Lowreys own T-1 and T-2 models, as well as their TLO-R and Holiday spinet models. However, they had additional features that made their sound distinctive from other Lowrey models, including Repeat, Glide
32.
Keyboard amplifier
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A keyboard amplifier is a powered amplifier and loudspeaker in a wooden speaker cabinet used for amplification of electronic keyboard instruments. Another difference between keyboard amplifiers and guitar/bass amplifiers is that keyboard amps are designed with a relatively flat frequency response. For example, a player may perform with an stage piano, a keytar. Each channel input typically has its own pre-amplifier, keyboards amps in the lower cost range and power output range may only provide equalization controls for the overall mix. Higher-priced, higher power output keyboard amps designed for professionals may have controls for each channel. Two notable exceptions to the low distortion rule are keyboard amplifiers designed for the Hammond organ or clonewheel organs, with electric pianos used in a rock or funk band, natural tube overdrive is often added to the sound. This distinction affects the design of the loudspeakers, the speaker cabinet and they usually include tuned bass reflex ports or vents for increased efficiency at low frequencies. Since keyboard amplifiers have to be able to very high notes, they are often equipped with a tweeter. Electric piano players in rock and funk also often seek to add natural tube overdrive to their sound, unlike bass amplifiers and electric guitar amplifiers, keyboard amplifiers are rarely used in the amplifier head and separate speaker cabinets configuration. Instead, most keyboard amplifiers are amplifiers that integrate the amplifier, tone controls. Another unusual aspect of keyboard amplifiers is that they are designed with a wedge shape. This permits them to be used as monitor speakers which is suitable for a seated keyboardist. In some genres, such as rock, for example, keyboardists may perform with several synthesizers, electric pianos. Keyboard amplifiers often have onboard reverb effects, most inexpensive to mid-priced amplifiers currently produced are based on semiconductor circuits. Solid-state amplifiers vary in power, functionality, size, price. The smallest, most inexpensive practice amplifiers may have two channels with volume controls and one or two tone controls. Home practice amps have from 20 to 30 watts of power, small keyboard amplifiers designed for small band rehearsals have 50 to 75 watts, a 12-inch speaker, and possibly a tweeter. Large keyboard amplifiers designed for shows in clubs or halls have 200 to 300 watts of power, a 12-inch or 15-inch speaker
33.
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
34.
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
35.
Tracker action
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Organs trace their history as far back as at least the 3rd Century B. C. with an organlike device known as the hydraulis. Also known as an organ or Roman organ, the Hydraulis was an instrument in which water was used as a source of power to push wind through organ pipes. While the control of air pressure was controlled by pressure, hence the name. This continued in the 17th and 18th centuries, no particularly great developments took place in the Classical Period. In the Romantic Period came a new style of organ building, the organ became larger and louder and pneumatically assisted action became the norm in large instruments, to offset the extreme key weight caused by high wind pressures. Today, many builders are using tracker action throughout the world, some active builders of tracker action organs include Taylor and Boody of Staunton, Virginia, Paul Fritts of Tacoma, Washington, Flentrop Orgelbouw B. V. of Zaandam, the Netherlands, and C. B. Currently, the worlds largest mechanical organ was built by Ronald Sharp in the Concert Hall of the Sydney Opera House, Sydney, Australia. The action consists of many types of devices used for the playing of such said organ, as listed below, Trackers can be used over long distances. They are thin strips of wood, roughly 10 mm wide and 2 mm thick, although flexible, at rest they hold their shape. Playing a note pulls on the end nearer to the keyboard, the term comes from the Latin verb trahere, to draw, cf. modern English tractor. Stickers — used for a motion, often paired with trackers. Their length is limited by the material, though most of the time, levers — levers are used to transfer from a tracker to a sticker, or a general change of direction, or both. Backfalls — backfalls are used for motion over a small or short distance where trackers and stickers would be illogical to use. As a natural result, the motion also changes direction, squares — a specific type of lever commonly used in organs which is at a right angle. Squares can also come in a T shape and form, rollers — Wooden shafts that rotate. Used for parallel direction in vertical or horizontal motion and they have small levers on each end, like cranks. Roller board — location upon which rollers are attached Stops — knobs that control the flow of air over certain ranks of pipes. They are activated with a motion by hand, and deactivated by pushing them shut
36.
Bass guitar
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The bass guitar is a stringed instrument played primarily with the fingers or thumb, by plucking, slapping, popping, strumming, tapping, thumping, or picking with a plectrum, often known as a pick. The bass guitar is similar in appearance and construction to a guitar, but with a longer neck and scale length. The four-string bass, by far the most common, is tuned the same as the double bass. The bass guitar is an instrument, as it is notated in bass clef an octave higher than it sounds to avoid excessive ledger lines. Like the electric guitar, the guitar has pickups and it is plugged into an amplifier and speaker on stage, or into a larger PA system using a DI unit. Since the 1960s, the guitar has largely replaced the double bass in popular music as the bass instrument in the rhythm section. While types of basslines vary widely from one style of music to another, many styles of music utilise the bass guitar, including rock, heavy metal, pop, punk rock, country, reggae, gospel, blues, symphonic rock, and jazz. It is often a solo instrument in jazz, jazz fusion, Latin, funk, progressive rock and other rock, the adoption of a guitar form made the instrument easier to hold and transport than any of the existing stringed bass instruments. The addition of frets enabled bassists to play in more easily than on acoustic or electric upright basses. Around 100 of these instruments were made during this period, around 1947, Tutmarcs son, Bud, began marketing a similar bass under the Serenader brand name, prominently advertised in the nationally distributed L. D. Heater Music Company wholesale jobber catalogue of 1948, however, the Tutmarc family inventions did not achieve market success. In the 1950s, Leo Fender, with the help of his employee George Fullerton and his Fender Precision Bass, which began production in October 1951, became a widely copied industry standard. This split pickup, introduced in 1957, appears to have been two mandolin pickups, the pole pieces and leads of the coils were reversed with respect to each other, producing a humbucking effect. Humbucking is a design that electrically cancels the effect of any AC hum, the Fender Bass was a revolutionary new instrument, which could be easily transported, and which was less prone to feedback when amplified than acoustic bass instruments. Monk Montgomery was the first bass player to tour with the Fender bass guitar, roy Johnson, and Shifty Henry with Louis Jordan & His Tympany Five, were other early Fender bass pioneers. Bill Black, playing with Elvis Presley, switched from bass to the Fender Precision Bass around 1957. The bass guitar was intended to appeal to guitarists as well as upright bass players, following Fenders lead, in 1953, Gibson released the first short scale violin-shaped electric bass with extendable end pin, allowing it to be played upright or horizontally. In 1959 these were followed by the more conventional-looking EB-0 Bass, the EB-0 was very similar to a Gibson SG in appearance
37.
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
38.
Electric piano
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An electric piano is an electric musical instrument which produces sounds when a performer presses the keys of the piano-style musical keyboard. Unlike a synthesizer, the piano is not an electronic instrument. Instead, it is an electro-mechanical instrument, some early electric pianos used lengths of wire to produce the tone, like a traditional piano. Smaller electric pianos used short slivers of steel to produce the tone, the earliest electric pianos were invented in the late 1920s, the 1929 Neo-Bechstein electric grand piano was among the first. Probably the earliest stringless model was Lloyd Loars Vivi-Tone Clavier, a few other noteworthy producers of electric pianos include Baldwin Piano and Organ Company and the Wurlitzer Company. Early electric piano recordings include Duke Ellingtons in 1955 and Sun Ras India as well as tracks from the 1956 sessions included on his second album Super Sonic Jazz. Another factor driving their development and acceptance was the electrification of popular music. Musicians adopted a number of types of electric pianos for rock. This encouraged their manufacturers to modify them for use and then develop models primarily intended for stage use. However, some performers still perform and record with vintage electric pianos, in 2009, Fender Rhodes produced a new line of electro-mechanical pianos, known as the Rhodes Mark 7 followed by an offering from Vintage Vibe. The Neo-Bechstein electric piano was built in 1929, the Vierlang-Forster electric piano was introduced in 1937. The RCA Storytone electric piano was built in 1939 in a joint venture between Story & Clark and RCA, the case was designed by John Vassos, the American industrial designer. It debuted at the 1939 Worlds Fair, the piano has normal strings and hammer action but no soundboard. The sound is amplified through electromagnetic pickups, circuitry and a speaker system, many types were initially designed as a less-expensive alternative to an acoustic piano for home or school use. Some electric pianos were designed with multiple keyboards for use in school or college piano labs, electric piano is a heterogeneous category encompassing several different instruments which vary in their sound-producing mechanisms and consequent timbral characters. Yamaha, Baldwin, Helpinstill and Kawais electric pianos are actual grand or upright pianos with strings, the Helpinstill models have a traditional soundboard, the others have none, and are more akin to a solid-body electric guitar. On Yamaha, Baldwin and Kawais pianos, the vibration of the strings is converted to a signal by piezoelectric pickups under the bridge. Helpinstills instruments use a set of electromagnetic pickups attached to the instruments frame, all these instruments have a tonal character similar to that of an acoustic piano
39.
Pickup (music technology)
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The signal from a pickup can also be recorded directly, using a DI box or broadcast on the radio or television. Most electric guitars and electric basses use magnetic pickups, acoustic guitars, upright basses and fiddles often use a piezoelectric pickup. A magnetic pickup consists of a permanent magnet with a core of such as alnico or ferrite. The pickup is most often mounted on the body of the instrument, Magnetic pickups used with string basses can be attached to the bridge. The permanent magnet creates a field, the motion of the vibrating steel strings disturbs the field, changing magnetic flux. The pickup is then connected with a cable to an amplifier which amplifies the signal to a sufficient magnitude of power to drive a loudspeaker. A pickup can also be connected to recording equipment via a patch cable, there may also be an internal preamplifier device mounted in an acoustic guitar or in an external box. When a preamp is used in way, it is between the pickup and cable and can significantly reduce the equivalent impedance of the pickup coil. The output voltage of magnetic pickups varies between 100 mV rms to over 1 V rms for some of the higher output types, some high-output pickups achieve this by employing very strong magnets, thus creating more flux and thereby more output. This can be detrimental to the sound because the magnets pull on the strings can cause problems with intonation as well as damp the strings. Other high-output pickups have more turns of wire to increase the voltage generated by the strings movement, however, this also increases the pickups output resistance/impedance, which can affect high frequencies if the pickup is not isolated by a buffer amplifier or a DI unit. The turns of wire in proximity to each other have an equivalent self-capacitance that and this resonance can accentuate certain frequencies, giving the pickup a characteristic tonal quality. The more turns of wire in the winding, the higher the output voltage, the inductive source impedance inherent in this type of transducer makes it less linear than other forms of pickups, such as piezo-electric or optical. The tonal quality produced by this nonlinearity is, however, subject to taste, the external load usually consists of resistance and capacitance between the hot lead and shield in the guitar cable. The electric cable also has a capacitance, which can be a significant portion of the overall system capacitance and this arrangement of passive components forms a resistively-damped second-order low-pass filter. Single coil pickups act like an antenna and are prone to pick up mains hum along with the musical signal. Mains hum consists of a signal at a nominal 50 or 60 Hz, depending on local alternating current frequency. The changing magnetic flux caused by the mains current links with the windings of the pickup, the pickups also are sensitive to the electromagnetic field from nearby cathode ray tubes in video monitors or televisions
40.
Instrument amplifier
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An instrument amplifier is an electronic device which converts the often barely audible or purely electronic signal of a musical instrument into an audible sound. Combination amplifiers include a preamplifier, an amplifier, tone controls, and one or more speakers in a cabinet. Instrument amplifiers are available for specific instruments, including the guitar, electric bass, electric/electronic keyboards. A guitar amplifier is designed to amplify the signal of an electric so that it will produce a sound through a loudspeaker that is loud enough for the performer. Most guitar amplifiers can also modify the tone by emphasizing or de-emphasizing certain frequencies. Vibrations of the strings are picked up by a microphone or pickup. For electric guitars, strings are almost always made of metal, acoustic guitars do not usually have a built-in pickup or microphone, at least with entry-level and beginner instruments. Acoustic guitars may also use a pickup, which converts the vibrations of the instrument into an electronic signal. Standard amplifiers, such as the Fender tweed-style amps and Gibson amps, are used by traditional rock, blues. They are used by guitarists, pedal steel guitar players. Combo amplifiers such as the Fender Super Reverb have powerful, loud tube amplifiers, four 10 speakers, smaller guitar amps are also available, which have fewer speakers and lighter, less powerful amplifier units. Smaller guitar amps are easier to transport to gigs and sound recording sessions, smaller amps are widely used in small venue shows and in recordings, because players can obtain the tone they want without having to have an excessively loud volume. One of the challenge with the large, powerful 4x10 Fender Bassman-type amps is that to get the tone a player wants, she has to turn up the amp to too loud a volume. These amps are designed to produce a variety of sounds ranging from a clean, warm sound to a growling, natural overdrive, when the volume is set near its maximum. These amplifiers usually have a sharp treble roll-off at 5 kHz to reduce the high frequencies. The nickname tweed refers to the lacquered beige-light brown fabric covering used on these amplifiers, the smallest combo amplifiers, which are mainly used for individual practice and warm-up purposes, may have only a single 8 or 10 speaker. Some harmonica players use these small combo amplifiers for concert performances, though, larger combo amplifiers, with one 12 inch speaker or two or four 10 or 12 inch speakers are used for club performances and larger venues. For large concert venues such as stadiums, performers may use an amplifier head with several separate speaker cabinets
41.
Bass amplifier
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Bass amps typically consist of a preamplifier, tone controls, a power amplifier and one or more loudspeakers in a wooden cabinet. This distinction affects the design of the loudspeakers, the size and design of the speaker cabinet, speaker cabinets for bass amps usually incorporate larger loudspeakers or more speakers and larger cabinet sizes than those used for the amplification of other instruments. The loudspeakers themselves must also be sturdier to handle the power levels. Bass amp speaker cabinets are more rigidly constructed, with thicker wood. They usually include tuned bass reflex ports or vents cut into the cabinet, for increased efficiency at low frequencies, preamplifier sections have equalization controls that are designed for the deeper frequency range of bass instruments, which extend down to 41 Hz or below. Bass amplifiers are more likely to be designed with heat sinks and/or cooling fans than regular guitar amplifiers, a common format of bass amplifier–the combo amp–contains the amplifier electronics and one or more speakers in a single wooden cabinet. Combo amps have been used by musicians since the 1920s, as they are convenient for transporting to rehearsals, with a large bass stack, a bassist can obtain a much higher wattage and onstage volume than a combo amp could provide. Another trend for higher-priced and higher-wattage amps and cabinets aimed at professionals is providing Speakon speaker jacks in addition to, or in place of traditional 1/4, speaker jacks. The electric bass was invented in the 1930s, but the instrument did not sell well until Leo Fender developed the Precision Bass in the 1950s. As such, the type of players who first began trying methods to make their instruments louder with amplifiers and speakers were upright bass players. While the upright bass is an instrument, standing about six feet tall, due to its low register. About the only available in the pre-amplifiers era was playing slap bass. Beginning in the 1920s, the first amplifiers and speakers designed for gigging musicians became available, since these systems were not specifically designed to amplify bass instruments, it is unlikely they provided good low-frequency sound reproduction. In the early 1920s, it was hard for an upright bass player to find any amplifier and speaker system to make their instrument louder. The only speakers that could be bought during the early 1920s were radio horns of limited range and low acoustic output. When engineers developed the first AC mains-powered amplifiers, they were 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 and gigging musicians. During the late 1920s to mid-1930s, small portable PA systems, while we do know that these late 1920s portable PA systems were used by guitarists and singers, it is not known whether upright bass players used these PA systems
42.
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
