DOCSLIB.ORG

120 Years of Electronic Music

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
120 Years of Electronic Music 120 Years of Electronic Music Electronic Musical Instruments 1870 - 1990 - 2 - 1870 Introduction........................................................................................................ 12 Elisha Gray and "The Musical Telegraph" (1876)............................................. 14 Thaddeus Cahill's “Dynamophone/Telharmonium” (1897)............................... 18 1900 Choralcello Electric Organ (1888-1908)............................................................ 22 The "Intonarumori" (1913), "Rumorarmonio" (1922) & the "Enharmonic Piano" (1931) ..................................................................... 23 The Audion Piano (1915)................................................................................... 26 The Audion Piano (1915)................................................................................... 27 The Optophonic Piano (1916)............................................................................ 29 Lev Sergeivitch Termen & "The Theremin" (1917) .......................................... 31 The "Rhythmicon" (1930) The first electronic rhythm generator.................. 32 The "Terpistone" (1930) ................................................................................. 32 The "Keyboard Theremin"(1930) ................................................................... 32 The "Theremin Cello" (1932) ......................................................................... 32 The Electrophon, Sphäraphon, Partiturophon - 3 - §and the Kaleidophon (1921-1930) .................................................................. 34 The Pianorad (1926) .......................................................................................... 36 The Staccatone (1923) .................................................................................... 36 The Pianorad (1926) ....................................................................................... 36 The Dynaphone (1927-28)................................................................................. 37 The Cellulophone (1927) ................................................................................... 38 The “Clavier à Lampes” (1927) The “Orgue des Ondes” (1929), The “Givelet” (1930)................................................................................................................. 41 The Ondes-Martenot (1928)............................................................................... 43 The Sonorous Cross -"La Croix Sonore" (1929-1934) ...................................... 44 The "Hellertion"(1929) & the "Heliophon"(1936)............................................. 45 1930 The Trautonium, Mixtur-Trautonium, Radio Trautonium ................................. 47 and Concert-Trautonium (1930) ........................................................................ 47 The Ondium Péchadre (1930) ............................................................................ 50 The Rhythmicon or "Polyrhythmophone" (1930) .............................................. 51 The 'Theremin Cello' (1930) .............................................................................. 53 The Westinghouse Organ (1930) ....................................................................... 53 - 4 - The Westinghouse Organ (1930) ....................................................................... 54 The "Sonar" (1930) ............................................................................................ 54 The Saraga-Generator(1931).............................................................................. 54 The "Radio Organ of a Trillion Tones" (1931) .................................................. 55 The "Radio Organ of a Trillion Tones" (1931)............................................... 55 The Polytone Organ (1934) ............................................................................ 55 The Singing Keyboard (1936) ........................................................................ 55 The Variophone (1932)...................................................................................... 56 The Emiriton (1932)........................................................................................... 56 The Emicon (1932) ............................................................................................ 57 The Rangertone Organ (1932) ........................................................................... 58 The "Syntronic Organ" (1934) & The "Photona" (1935)................................... 58 The Hammond Organ (1935)............................................................................. 59 The Sonothèque (1936)...................................................................................... 60 The "Licht-Ton Orgel" (Light-Tone organ) (1936)............................................ 62 The "Warbo Formant Orgel" (1937) The "Melodium: (1938) The "Melochord" (1947-49) Bode Sound Co (1963)..................................................................... 63 The Hammond Novachord (1939) ..................................................................... 65 - 5 - 1940 Homer Dudley's Speech Synthesisers, "The Vocoder" (1940) & "Voder"(1939)................................................................................................ 67 The Univox (1940)............................................................................................. 69 The Multimonica (1940) .................................................................................... 69 The Ondioline (1938-40) ................................................................................... 69 The Hammond Solovox (1940).......................................................................... 71 The "Electronic Sackbut"(1945) and The "Sonde" (1948)................................. 71 Hanert Electric Orchestra (1944-1945).............................................................. 76 The Clavioline (1947) & Combichord (1953).................................................... 77 The Monochord (1948) ...................................................................................... 78 The Free Music Machine (1948)........................................................................ 79 - 6 - 1950 The "Electronium" and "Electronium Pi" (1950)............................................... 83 Dr Kent's Electronic Music Box (1951)............................................................. 84 "An Electronic Music Box" ................................................................................ 85 The "Clavivox" (1950) & The "Electronium-Scott" (1950-70) ...................... 90 The RCA Synthesiser......................................................................................... 93 Images of the RCA Synthesiser ...................................................................... 95 Computer Music: Music1-V & GROOVE......................................................... 99 The GROOVE System (1970) ........................................................................... 99 The 'Siemens Synthesiser' or Siemens Studio For Electronic Music (1959-1969)................................................................... 102 History of the Siemens-Studios for electronic music..................................... 109 The Wurlitzer "Side Man" (1959).................................................................... 111 1960 Milan Electronic Music Studio ........................................................................ 113 Robert Moog and Moog Synthesisers .............................................................. 114 Mellotrons and Chamberlins............................................................................ 115 - 7 - Buchla Synthesisers ......................................................................................... 117 The Donca-Matic DA-20 (1963)...................................................................... 119 The Synket (1964)............................................................................................ 119 Tonus/ARP Synthesisers.................................................................................. 119 PAiA Electronics, Inc (1967)........................................................................... 122 Computer Music: MUSYS III (1962) hybrid system....................................... 124 EMS Synthesisers 1969-1979 .......................................................................... 125 1970 The 'Optigan' and 'Orchestron'(1971)............................................................... 128 The Roland Corporation................................................................................... 131 Maplin Synthesisers (1973) ............................................................................. 134 Korg Synthesisers ............................................................................................ 136 The Electronic Dream Plant "Wasp" (1978) .................................................... 139 Yamaha Synthesisers ....................................................................................... 140 Palm Productions GmbH (1975 - 1987)........................................................... 144 Serge Synthesisers ........................................................................................... 146 The Fairlight CMI............................................................................................ 148 - 8 - 1980 Casio Synthesisers (1982-1992)....................................................................... 150 The
Load more

Recommended publications
  • Minimoog Model D Manual
    3 IMPORTANT SAFETY INSTRUCTIONS WARNING - WHEN USING ELECTRIC PRODUCTS, THESE BASIC PRECAUTIONS SHOULD ALWAYS BE FOLLOWED. 1. Read all the instructions before using the product. 2. Do not use this product near water - for example, near a bathtub, washbowl, kitchen sink, in a wet basement, or near a swimming pool or the like. 3. This product, in combination with an amplifier and headphones or speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level or at a level that is uncomfortable. 4. The product should be located so that its location does not interfere with its proper ventilation. 5. The product should be located away from heat sources such as radiators, heat registers, or other products that produce heat. No naked flame sources (such as candles, lighters, etc.) should be placed near this product. Do not operate in direct sunlight. 6. The product should be connected to a power supply only of the type described in the operating instructions or as marked on the product. 7. The power supply cord of the product should be unplugged from the outlet when left unused for a long period of time or during lightning storms. 8. Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings. There are no user serviceable parts inside. Refer all servicing to qualified personnel only. NOTE: This equipment has been tested and found to comply with the limits for a class B digital device, pursuant to part 15 of the FCC rules.
    [Show full text]
  • Analog Synthesizer So There Is No Need for Soldering.)
    Assembly time: Approximately 20 minutes (The electric circuit comes pre-assembled, Analog Synthesizer so there is no need for soldering.) How to Assemble and Use the Supplement Things you will need Parts in the Kit Phillips screwdriver (No. 1) AA alkaline batteries (4 new) Knobs (5) * Please note that rechargeable NiCd batteries and non-rechargeable Oxyride and nickel-based batteries should not be Washer head screws (7) used due to a high risk of components melting or fire breaking out with these batteries because of accidental short-circuiting or the like. Additionally, because this supplement was designed based on operation at 6 V, it may not operate in the desired way due to an excess of or a deficiency in voltage with the above batteries. Incidentally, most rechargeable batteries provide 1.2 V and Screws (3) Oxyride batteries, 1.7 V. Main unit Cellophane tape Notes for tightening screws The types of screws used for the supplement are those that carve grooves into the plastic as they are inserted (self-threading). The screwdriver most suited to tightening the screws is the #1 JIS screwdriver. When tightening screws, Circuit board firmly press the provided screwdriver straight against the screws and turn. It is said that 70 percent of the force applied is used for pushing against the screw and 30 percent for turning it. Precision screwdrivers are hard to turn, so use a small screwdriver with a grip diameter of about 2 cm. Electrode Slider panel Speaker Cut out the cardboard (Wrapped in cardboard.) case to use as a back cover.
    [Show full text]
  • HINDEMITH VAN DER ROOST Clarinet Concertos Eddy Vanoosthuyse, Clarinet Central Aichi Symphony Orchestra Sergio Rosales, Conductor
    HINDEMITH VAN DER ROOST Clarinet Concertos Eddy Vanoosthuyse, Clarinet Central Aichi Symphony Orchestra Sergio Rosales, Conductor 1 Paul Hindemith (1895−1963): Clarinet Concerto Born in Frankfurt in 1895, the son of a house-painter, Paul Hindemith studied the violin privately with teachers from the Hoch Conservatory before being admitted to that institution with a free place at the age of thirteen. By 1915 he was playing second violin in his teacher Adolf Rebner’s quartet and had a place in the opera orchestra, of which he became leader in the same year. His father was killed in the war and Hindemith himself spent some time from 1917 as a member of a regimental band, returning after the war to the Rebner Quartet and the Frankfurt Opera Orchestra. At the same time he was making his name as a composer of particular originality, striving to bring about a revolution in concert-going with his concept of Gebrauchsmusik (functional or utility music), and devoting much of his energy to the promotion of new music, in particular at the Donaueschingen Festival. Having changed from violin to viola, he formed the Amar-Hindemith Quartet in 1921, an ensemble that won considerable distinction for its performances of new music. In 1927 Hindemith was appointed professor of composition at the Berlin Musikhochschule, two years later disbanding the quartet – to which he could no longer give time – and instead performing in a string trio with Josef Wolfsthal, (replaced on his death by Szymon Goldberg) and the cellist Emanuel Feuermann. He was also enjoying a career as a viola soloist.
    [Show full text]
  • Open Etoth Dissertation Corrected.Pdf
    The Pennsylvania State University The Graduate School The College of Arts and Architecture FROM ACTIVISM TO KIETISM: MODERIST SPACES I HUGARIA ART, 1918-1930 BUDAPEST – VIEA – BERLI A Dissertation in Art History by Edit Tóth © 2010 Edit Tóth Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy May 2010 The dissertation of Edit Tóth was reviewed and approved* by the following: Nancy Locke Associate Professor of Art History Dissertation Adviser Chair of Committee Sarah K. Rich Associate Professor of Art History Craig Zabel Head of the Department of Art History Michael Bernhard Associate Professor of Political Science *Signatures are on file in the Graduate School ii ABSTRACT From Activism to Kinetism: Modernist Spaces in Hungarian Art, 1918-1930. Budapest – Vienna – Berlin investigates modernist art created in Central Europe of that period, as it responded to the shock effects of modernity. In this endeavor it takes artists directly or indirectly associated with the MA (“Today,” 1916-1925) Hungarian artistic and literary circle and periodical as paradigmatic of this response. From the loose association of artists and literary men, connected more by their ideas than by a distinct style, I single out works by Lajos Kassák – writer, poet, artist, editor, and the main mover and guiding star of MA , – the painter Sándor Bortnyik, the polymath László Moholy- Nagy, and the designer Marcel Breuer. This exclusive selection is based on a particular agenda. First, it considers how the failure of a revolutionary reorganization of society during the Hungarian Soviet Republic (April 23 – August 1, 1919) at the end of World War I prompted the Hungarian Activists to reassess their lofty political ideals in exile and make compromises if they wanted to remain in the vanguard of modernity.
    [Show full text]
  • Johnny O'neal
    OCTOBER 2017—ISSUE 186 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM BOBDOROUGH from bebop to schoolhouse VOCALS ISSUE JOHNNY JEN RUTH BETTY O’NEAL SHYU PRICE ROCHÉ Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East OCTOBER 2017—ISSUE 186 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 NEw York@Night 4 Laurence Donohue-Greene: Interview : JOHNNY O’NEAL 6 by alex henderson [email protected] Andrey Henkin: [email protected] Artist Feature : JEN SHYU 7 by suzanne lorge General Inquiries: [email protected] ON The Cover : BOB DOROUGH 8 by marilyn lester Advertising: [email protected] Encore : ruth price by andy vélez Calendar: 10 [email protected] VOXNews: Lest We Forget : betty rochÉ 10 by ori dagan [email protected] LAbel Spotlight : southport by alex henderson US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or VOXNEwS 11 by suzanne lorge money order to the address above or email [email protected] obituaries Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Fred Bouchard, Festival Report Stuart Broomer, Robert Bush, 13 Thomas Conrad, Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, special feature 14 by andrey henkin Anders Griffen, Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, CD ReviewS 16 Suzanne Lorge, Mark Keresman, Marc Medwin, Russ Musto, John Pietaro, Joel Roberts, Miscellany 41 John Sharpe, Elliott Simon, Andrew Vélez, Scott Yanow Event Calendar Contributing Writers 42 Brian Charette, Ori Dagan, George Kanzler, Jim Motavalli “Think before you speak.” It’s something we teach to our children early on, a most basic lesson for living in a society.
    [Show full text]
  • Fab Four Virtuelles Instrument
    Fab Four Virtuelles Instrument Benutzerhandbuch i FAB FOUR VIRTUELLES INSTRUMENT Die Informationen in diesem Dokument können sich jederzeit ohne Ankündigung ändern und stellen keine Verbindlichkeit seitens East West Sounds, Inc. dar. Die Software und die Klänge, auf das sich dieses Dokument bezieht, sind Gegenstand des Lizenzabkommens und dürfen nicht auf andere Medien kopiert werden. Kein Teil dieser Publikation darf kopiert oder reproduziert werden oder auf eine andere Art und Weise übertragen oder aufgenommen werden, egal für welchen Zweck, ohne vorherige schriftliche Erlaubnis von East West Sounds, Inc. Alle Produkt- und Firmennamen sind TM oder ® Warenzeichen seiner jeweiligen Eigentümer. PLAY™ ist ein Markenzeichen von East West Sounds, Inc. © East West Sounds, Inc. 2010. Alle Rechte vorbehalten. East West Sounds, Inc. 6000 Sunset Blvd. Hollywood, CA 90028 USA Telefon: 1-323-957-6969 Fax: 1-323-957-6966 Bei Fragen zur Lizensierung der Produkte: [email protected] Bei allgemeinen Fragen zu den Produkten: [email protected] http://support.soundsonline.com Version von Juli 2010 ii FAB FOUR VIRTUELLES INSTRUMENT 1. Willkommen 2 Produzent: Doug Rogers 4 Tontechniker: Ken Scott 6 Danksagung 8 Wie man dieses und andere Handbücher benutzt 9 Online Dokumentation und andere Hilfsquellen Klicken Sie hier, um das Haupt- navigationsdokument zu öffnen 1 FAB FOUR VIRTUELLES INSTRUMENT Willkommen Produzent: Doug Rogers Doug Rogers hat in der Musikbranche mehr als 30 Jahre Erfahrung und ist der Empfänger von vielen Auszeichnungen inklusive dem „Toningenieur des Jahres“. Im Jahre 2005 nannte „The Art of Digital Music“ ihn einen der „56 Visionary Artists & Insiders“ im gleichnamigen Buch. Im Jahre 1988 gründete er EastWest, den von der Kritik am meisten gefeierten Klangentwickler der Welt.
    [Show full text]
  • The Vox Continental
    Review: The Vox Continental ANDY BURTON · FEB 12, 2018 Reimagining a Sixties Icon The original Vox Continental, rst introduced by British manufacturer Jennings Musical Industries in 1962, is a classic “combo organ”. This sleek, transistor-based portable electric organ is deeply rooted in pop-music history, used by many of the biggest rock bands of the ’60’s and beyond. Two of the most prominent artists of the era to use a Continental as a main feature of their sound were the Doors (for example, on their classic 1967 breakthrough hit “Light My Fire”) and the Animals (“House Of The Rising Sun”). John Lennon famously played one live with the Beatles at the biggest-ever rock show to date, at New York’s Shea Stadium in 1965. The Continental was bright orange-red with reverse-color keys, which made it stand out visually, especially on television (which had recently transitioned from black-and-white to color). The sleek design, as much as the sound, made it the most popular combo organ of its time, rivaled only by the Farsa Compact series. The sound, generated by 12 transistor-based oscillators with octave-divider circuits, was thin and bright - piercing even. And decidedly low-delity and egalitarian. The classier, more lush-sounding and expensive Hammond B-3 / Leslie speaker combination eectively required a road crew to move around, ensuring that only acts with a big touring budget could aord to carry one. By contrast, the Continental and its combo- organ rivals were something any keyboard player in any band, famous or not, could use onstage.
    [Show full text]
  • Organ1st: Issue Fourteen May to July 2002 1 Welcome to Issue Fourteen Containing in Colour
    The Magazine for Organists This Issue: “At Home with Penny Weedon” by Tony Kerr Profile of Nicholas Martin Profile of Ryan Edwards Glyn Madden interviewed by Robert Mottram Carol Williams “Behind the Scenes at Blenheim Palace” “The Lady Is A Tramp” Organ Arrangement by Glyn Madden “The B3 March” Topline Music Alan Ashton’s “Organised Keyboards” PDF “Time Was” by Ivor Manual (Part Six) ORGAN1st: Issue Fourteen May to July 2002 1 Welcome to issue fourteen containing in colour. We have thought about some letters! If you have any questions profiles of Nicholas Martin, Penny changing the printed magazine to colour, or comments about organists, organs, our Weedon, Ryan Edwards, plus much more. but the web versions are the best option magazine, concerts or recordings etc., for us at the moment. please send them to us. You can post, We have a great arrangement of “The fax (or preferably email) them. We will Lady Is A Tramp” by Glyn Madden. Our New issues are available to subscribers send a £5.00 credit note for any we print thanks go to him for a super arrangement only for the first few months. As we do and £10.00 for the best one. which is exclusive to us. We also have an not have to wait for the web version to be interviewFourteen with him by Robert Mottram. printed, they are available on our website Organ Festivals by Tim Flint: in early January, April, July and October I have also included a topline version of Tim Flint has started his own Organ (a month before the printed ones are sent one of my own compositions called “The Festivals called “Superior Hotel Breaks out).
    [Show full text]
  • Electric Organ Electric Organ Discharge
    1050 Electric Organ return to the opposite pole of the source. This is 9. Zakon HH, Unguez GA (1999) Development and important in freshwater fish with water conductivity far regeneration of the electric organ. J exp Biol – below the conductivity of body fluids (usually below 202:1427 1434 μ μ 10. Westby GWM, Kirschbaum F (1978) Emergence and 100 S/cm for tropical freshwaters vs. 5,000 S/cm for development of the electric organ discharge in the body fluids, or, in resistivity terms, 10 kOhm × cm vs. mormyrid fish, Pollimyrus isidori. II. Replacement of 200 Ohm × cm, respectively) [4]. the larval by the adult discharge. J Comp Physiol A In strongly electric fish, impedance matching to the 127:45–59 surrounding water is especially obvious, both on a gross morphological level and also regarding membrane physiology. In freshwater fish, such as the South American strongly electric eel, there are only about 70 columns arranged in parallel, consisting of about 6,000 electrocytes each. Therefore, in this fish, it is the Electric Organ voltage that is maximized (500 V or more). In a marine environment, this would not be possible; here, it is the current that should be maximized. Accordingly, in Definition the strong electric rays, such as the Torpedo species, So far only electric fishes are known to possess electric there are many relatively short columns arranged in organs. In most cases myogenic organs generate electric parallel, yielding a low-voltage strong-current output. fields. Some fishes, like the electric eel, use strong – The number of columns is 500 1,000, the number fields for prey catching or to ward off predators, while of electrocytes per column about 1,000.
    [Show full text]
  • Behind the Music
    Q&A BEHIND THE MUSIC It’s crazy to think that this year marks the 20th Anniversary of Kurt Cobain’s passing – a true game-changer in our industry, and a man who, in many ways, revolutionised music, inadvertently spawning a whole new scene. Nevermind is a seminal record, and its success was the catalyst for record labels’ mission impossible, the search for ‘the next Nirvana’. Although he might not have known it at the time, those 16 days recording Nevermind would change Butch Vig’s career forever. It paved the way for a remarkable musical journey, the production of a string of hit records for supergroups such as The Smashing Pumpkins, The Foo Fighters, and many more... Not to mention Garbage, Vig’s own band, which has enjoyed more than 17 million record sales over the last two decades. This legend of the game reveals some of his trade secrets, and shares some fond, unforgettable memories... Your career speaks for itself, but first up, how did it all begin for you? Well, I played in bands in high school in a small town in Wisconsin, and then I went to University in Madison. I started getting into the local music scene, and joined a band, which was sort of a power pop, new wave band called Spooner; and Duke [Erikson] from Garbage was the guitarist and lead singer at the time. I also got a degree in film, and ended up doing a lot of music for film; a lot of synth, and abstract music, and that’s where I kind of got the recording bug.
    [Show full text]
  • Remix Magazine, September 1St 2002 TIME BANDITS
    Remix Magazine, September 1st 2002 TIME BANDITS Garry Cobain and Brian Dougans — aka Amorphous Androgynous and Future Sound of London — started making magic with sequencers and samplers long before Aphex Twin, The Orb and Orbital were just beginning to dabble in revolutionary sonic experiments. An ultraworld of quicksilver samples, sequenced atmospheres and lushly rolling beats, the duo's early masterpiece Lifeforms (Astralwerks, 1994) suggested, for the first time, an alternate sound world created with computer technology. But just as the world seemed ready for Future Sound of London and accepted their apocalyptic Dead Cities (Astralwerks, 1996) album with open arms, the devious duo disappeared, retreating to reclaim their souls as the media pervaded their psyches. Those were somewhat better times for the pair, before Cobain discovered a certain death that lurked inside his body. “I had developed an arrhythmic heart, massive food and environmental allergies, eczema and stiff joints,” says Cobain from FSOL's Kensal Road recording studio in London. “I realized that my immune system was shot to ribbons by my mercury fillings. Silver is the same thing as mercury. They use the word silver not to tell you that you have the second most toxic substance known to man in your gob. You are talking mass conspiracy shit here.” After having the fillings removed (Dougans followed suit), Cobain took up fasting, meditation and enema cleansing; slowly, year after year, his health returned. But even before Cobain's illness sidelined FSOL, Cobain and Dougans were already tiring of the scene, its influx of ambient compilations and growing corporate interference.
    [Show full text]
  • Pdf Nord Modular
    Table of Contents 1 Introduction 1.1 The Purpose of this Document 1.2 Acknowledgements 2 Oscillator Waveform Modification 2.1 Sync 2.2 Frequency Modulation Techniques 2.3 Wave Shaping 2.4 Vector Synthesis 2.5 Wave Sequencing 2.6 Audio-Rate Crossfading 2.7 Wave Terrain Synthesis 2.8 VOSIM 2.9 FOF Synthesis 2.10 Granular Synthesis 3 Filter Techniques 3.1 Resonant Filters as Oscillators 3.2 Serial and Parallel Filter Techniques 3.3 Audio-Rate Filter Cutoff Modulation 3.4 Adding Analog Feel 3.5 Wet Filters 4 Noise Generation 4.1 White Noise 4.2 Brown Noise 4.3 Pink Noise 4.4 Pitched Noise 5 Percussion 5.1 Bass Drum Synthesis 5.2 Snare Drum Synthesis 5.3 Synthesis of Gongs, Bells and Cymbals 5.4 Synthesis of Hand Claps 6 Additive Synthesis 6.1 What is Additive Synthesis? 6.2 Resynthesis 6.3 Group Additive Synthesis 6.4 Morphing 6.5 Transients 6.7 Which Oscillator to Use 7 Physical Modeling 7.1 Introduction to Physical Modeling 7.2 The Karplus-Strong Algorithm 7.3 Tuning of Delay Lines 7.4 Delay Line Details 7.5 Physical Modeling with Digital Waveguides 7.6 String Modeling 7.7 Woodwind Modeling 7.8 Related Links 8 Speech Synthesis and Processing 8.1 Vocoder Techniques 8.2 Speech Synthesis 8.3 Pitch Tracking 9 Using the Logic Modules 9.1 Complex Logic Functions 9.2 Flipflops, Counters other Sequential Elements 9.3 Asynchronous Elements 9.4 Arpeggiation 10 Algorithmic Composition 10.1 Chaos and Fractal Music 10.2 Cellular Automata 10.3 Cooking Noodles 11 Reverb and Echo Effects 11.1 Synthetic Echo and Reverb 11.2 Short-Time Reverb 11.3 Low-Fidelity
    [Show full text]