History of Electronic Sound Modification'
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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. -
Konzerte, Klanginstallationen, Performances, Künstlergespräche, Filme, Workshops Concerts, Sound Installations, Performances, Artist Talks, Films, Workshops
Biennale für Elektroakustische Musik und Klangkunst Biennial for Electroacoustic Music and Sound Art 28.9. – 1.10.2017 Konzerte, Klanginstallationen, Performances, Künstlergespräche, Filme, Workshops Concerts, Sound Installations, Performances, Artist Talks, Films, Workshops 1 KONTAKTE’17 28.9.–1.10.2017 Biennale für Elektroakustische Musik und Klangkunst Biennial for Electroacoustic Music and Sound Art Konzerte, Klanginstallationen, Performances, Künstlergespräche, Filme, Workshops Concerts, Sound Installations, Performances, Artist Talks, Films, Workshops KONTAKTE '17 INHALT 28. September bis 1. Oktober 2017 Akademie der Künste, Berlin Programmübersicht 9 Ein Festival des Studios für Elektroakustische Musik der Akademie der Künste A festival presented by the Studio for Electro acoustic Music of the Akademie der Künste Konzerte 10 Im Zusammenarbeit mit In collaboration with Installationen 48 Deutsche Gesellschaft für Elektroakustische Musik Berliner Künstlerprogramm des DAAD Forum 58 Universität der Künste Berlin Hochschule für Musik Hanns Eisler Berlin Technische Universität Berlin Ausstellung 62 Klangzeitort Helmholtz Zentrum Berlin Workshop 64 Ensemble ascolta Musik der Jahrhunderte, Stuttgart Institut für Elektronische Musik und Akustik der Kunstuniversität Graz Laboratorio Nacional de Música Electroacústica Biografien 66 de Cuba singuhr – projekte Partner 88 Heroines of Sound Lebenshilfe Berlin Deutschlandfunk Kultur Lageplan 92 France Culture Karten, Information 94 Studio für Elektroakustische Musik der Akademie der Künste Hanseatenweg 10, 10557 Berlin Fon: +49 (0) 30 200572236 www.adk.de/sem EMail: [email protected] KONTAKTE ’17 www.adk.de/kontakte17 #kontakte17 KONTAKTE’17 Die zwei Jahre, die seit der ersten Ausgabe von KONTAKTE im Jahr 2015 vergangen sind, waren für das Studio für Elektroakustische Musik eine ereignisreiche Zeit. Mitte 2015 erhielt das Studio eine großzügige Sachspende ausgesonderter Studiotechnik der Deut schen Telekom, die nach entsprechenden Planungs und Wartungsarbeiten seit 2016 neue Produktionsmöglichkeiten eröffnet. -
Modular Synthesizers
Modular Synthesizers A Brief History and Functional Description of the Modular Music Synthesizer • James Husted Synthwerks, LLC Sunday, March 24, 13 Mod•u•lar - adjective French modulaire or directly from Modern Latin modularis, from Latin modulus "a small measure" 1 : of, relating to, or based on a module or a modulus 2 : constructed with standardized units or dimensions for flexibility and variety in use, as in modular furniture 3 : composed of interchangeable units (!rst recorded 1936) Sunday, March 24, 13 Syn•the•sis - noun Etymology: Greek, from syntithenai to put together 1 : the composition or combination of parts or elements so as to form a whole 2 : the combining of often diverse conceptions into a coherent whole; also : the complex so formed Sunday, March 24, 13 Who’s on first? • 1837 - C.G. Page (Salem. Mass) - !rst to produce electronically generated sound (not necessarily associated with a musical instrument). • 1885 - Person and Ernst Lorenz -'Elektrisches Musikinstrument' - the !rst musical instrument designed to produce electrically generated sound. • 1897 - Taddaeus Cahills - Telharmonium - electromechanical instrument. • 1936 - Oskar Sala - Mixturtrautonium - !rst synth using Subharmonic synthesis • 1939 - Homer Dudley invents the Parallel Bandpass Vocoder (VODER) - A key operated speech synthesizer • 1940 - Homer Dudley invents the The Voder speech synthesizer as a way to transmit speech over telephone lines • 1948 - Hugh LeCaine - Electronic Sackbut - First voltage-controlled synthesizer • 1948 - Dr. Raymond Scott - Wall of Sound - First polyphonic Sequencing Workstation (electromechanical) and the Electronum - !rst sequencer. • 1950 - CSIR - Mk 1 - The !rst known use of a digital computer for the purpose playing music • 1956 - Louie and Bebe Barron - Produced the !rst all-electronic musical score for a major motion picture - MGM's 'Forbidden Planet' • 1957 - Max V. -
The Phase Vocoder: a Tutorial Author(S): Mark Dolson Source: Computer Music Journal, Vol
The Phase Vocoder: A Tutorial Author(s): Mark Dolson Source: Computer Music Journal, Vol. 10, No. 4 (Winter, 1986), pp. 14-27 Published by: The MIT Press Stable URL: http://www.jstor.org/stable/3680093 Accessed: 19/11/2008 14:26 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=mitpress. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. The MIT Press is collaborating with JSTOR to digitize, preserve and extend access to Computer Music Journal. http://www.jstor.org MarkDolson The Phase Vocoder: Computer Audio Research Laboratory Center for Music Experiment, Q-037 A Tutorial University of California, San Diego La Jolla, California 92093 USA Introduction technique has become popular and well understood. -
A Symphony of Noises: Revisiting Oskar Sala's 'Geräuschmontage'
Journal of Sound, Silence, Image and Technology 7 Número 2 | Desembre 2019 | 7-23 ISSN 2604-451X A Symphony of Noises: Revisiting Oskar Sala’s ‘Geräuschmontage’ for Alfred Hitchcock’s ‘The Birds’ (1963) Julin Lee Ludwig-Maximilians-Universität München, Germany [email protected] Date received:10-10-2019 Date of acceptance: 30-11-2019 KEY WORDS: FILM MUSIC | SOUND DESIGN | SOUND STUDIES | MATERIAL CULTURE STUDIES | ORGANOLOGY Journal of Sound, Silence, Image and Technology | Número 2 | Desembre 2019 8 A Symphony of Noises: Revisiting Oskar Sala’s ‘Geräuschmontage’ for Alfred Hitchcock’s ‘The Birds’ (1963) ABSTRACT accompanying the title sequence has a The soundtrack of Alfred Hitchcock’s The formal structure which resembles a classical Birds (1963) is particularly remarkable, not Hollywood film overture, and takes on only because of the absence of a conven- several expositional roles conventionally tional orchestral underscore, but also assigned to a film’s opening musical pas- because the terrifying sounds of the sage. Furthermore, the gull cries adopt the aberrant birds were actually synthesized by function of a leitmotif, while the stylized bird Oskar Sala using the mixturtrautonium, an sounds perform emotive functions usually electronic musical instrument of his own ascribed to film music. In addition, the design. This paper explores the extent to hostile birds are characterized by electroni- which these electronically synthesized bird cally synthesized bird sounds – a representa- sounds go beyond their diegetic placement tion which can be understood within the as sound effects and take on the dramaturgi- broader context of mankind’s ambivalence cal roles usually ascribed to non-diegetic towards machines and technological film music. -
Computer Music
THE OXFORD HANDBOOK OF COMPUTER MUSIC Edited by ROGER T. DEAN OXFORD UNIVERSITY PRESS OXFORD UNIVERSITY PRESS Oxford University Press, Inc., publishes works that further Oxford University's objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright © 2009 by Oxford University Press, Inc. First published as an Oxford University Press paperback ion Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data The Oxford handbook of computer music / edited by Roger T. Dean. p. cm. Includes bibliographical references and index. ISBN 978-0-19-979103-0 (alk. paper) i. Computer music—History and criticism. I. Dean, R. T. MI T 1.80.09 1009 i 1008046594 789.99 OXF tin Printed in the United Stares of America on acid-free paper CHAPTER 12 SENSOR-BASED MUSICAL INSTRUMENTS AND INTERACTIVE MUSIC ATAU TANAKA MUSICIANS, composers, and instrument builders have been fascinated by the expres- sive potential of electrical and electronic technologies since the advent of electricity itself. -
TAL-Vocoder-II
TAL-Vocoder-II http://kunz.corrupt.ch/ TAL - Togu Audio Line © 2011, Patrick Kunz Tutorial Version 0.0.1 Cubase and VST are trademarks of Steinberg Soft- und Hardware GmbH TAL - Togu Audio Line – 2008 1/9 TAL-Vocoder-II ........................................................................................................... 1 Introduction ................................................................................................................. 3 Installation .................................................................................................................. 4 Windows .............................................................................................................. 4 OS X .................................................................................................................... 4 Interface ...................................................................................................................... 5 Examples .................................................................................................................... 6 Credits ........................................................................................................................ 9 TAL - Togu Audio Line – 2008 2/9 Introduction TAL-Vocoder is a vintage vocoder emulation with 11 bands that emulates the sound of vocoders from the early 80’s. It includes analog modeled components in combination with digital algorithms such as the SFFT (Short-Time Fast Fourier Transform). This vocoder does not make a direct convolution -
The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap
Open Cultural Studies 2018; 2: 122–135 Research Article Adam de Paor-Evans* The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap https://doi.org/10.1515/culture-2018-0012 Received January 27, 2018; accepted June 2, 2018 Abstract: In the early 1980s, an important facet of hip hop culture developed a style of music known as electro-rap, much of which carries narratives linked to science fiction, fantasy and references to arcade games and comic books. The aim of this article is to build a critical inquiry into the cultural and socio- political presence of these ideas as drivers for the productions of electro-rap, and subsequently through artists from Newcleus to Strange U seeks to interrogate the value of science fiction from the 1980s to the 2000s, evaluating the validity of science fiction’s place in the future of hip hop. Theoretically underpinned by the emerging theories associated with Afrofuturism and Paul Virilio’s dromosphere and picnolepsy concepts, the article reconsiders time and spatial context as a palimpsest whereby the saturation of digitalisation becomes both accelerator and obstacle and proposes a thirdspace-dromology. In conclusion, the article repositions contemporary hip hop and unearths the realities of science fiction and closes by offering specific directions for both the future within and the future of hip hop culture and its potential impact on future society. Keywords: dromosphere, dromology, Afrofuturism, electro-rap, thirdspace, fantasy, Newcleus, Strange U Introduction During the mid-1970s, the language of New York City’s pioneering hip hop practitioners brought them fame amongst their peers, yet the methods of its musical production brought heavy criticism from established musicians. -
The Synthi VCS3(Mk2) Matrix Interface Module
The Synthi VCS3(mk2) Matrix Interface Module Same as AKS unit but in Custom built Polished Afrormosia hardwood case to match the VCS3 styling. Connect to any VCS3 jack socket for common ground Output signals from Matrix to external IMPORTANT! DO NOT FORGET TO CONNECT modular synthesizer effects unit etc. Signals from THIS OTHERWISE UNIT external modular WILL NOT WORK! synthesizer or effects unit into the Matrix inputs SYNTHI PRESTO CONNECTOR Connects to VCS3(mk2)via presto socket Nn Using the VCS3(mk2)Matrix Interface Module This unit is functionally identical to a similar unit I designed for interfacing to the Synthi AKS. This one however is built into a cool looking polished afrormosia hardwood case. This is exactly the same wood as used on the VCS3 (mk1 or mk2). The front panel is cnc engraved satin anodised silver that complements that of the silver panelled VCS3 mk2’s. Its a complete interface unit for the VCS3(mk2) Matrix...or in other words a 'breakout' box whereby the row/column signals of the Matrix are taken out to 3.5mm jack sockets. This allows powerful interfacing options of the VCS3 with an external modular synthesizer like eg Doepfer-Eurorack and/or external effects racks etc. Note that VCS3 mk1’s don’t have a presto connector unless it has been added as a mod. Therefore this unit is designed only for use with the VCS3(mk2) with a prestopatch connector (some mk2’s from the ‘Datanomics’ period didnt come with them fitted). The panel layout also reflects the mk2 matrix layout which was different from that on the mk1. -
UNIVERZITET UMETNOSTI U BEOGRADU FAKULTET MUZIČKE UMETNOSTI Katedra Za Muzikologiju
UNIVERZITET UMETNOSTI U BEOGRADU FAKULTET MUZIČKE UMETNOSTI Katedra za muzikologiju Milan Milojković DIGITALNA TEHNOLOGIJA U SRPSKOJ UMETNIČKOJ MUZICI Doktorska disertacija Beograd, 2017. Mentor: dr Vesna Mikić, redovni profesor, Univerzitet umetnosti u Beogradu, Fakultet muzičke umetnosti, Katedra za muzikologiju Članovi komisije: 2 Digitalna tehnologija u srpskoj umetničkoj muzici Rezime Od prepravke vojnog digitalnog hardvera entuzijasta i amatera nakon Drugog svetskog rata, preko institucionalnog razvoja šezdesetih i sedamdesetih i globalne ekspanzije osamdesetih i devedesetih godina prošlog veka, računari su prešli dug put od eksperimenta do podrazumevanog sredstva za rad u gotovo svakoj ljudskoj delatnosti. Paralelno sa ovim razvojem, praćena je i nit njegovog „preseka“ sa umetničkim muzičkim poljem, koja se manifestovala formiranjem interdisciplinarne umetničke prakse računarske muzike koju stvaraju muzički inženjeri – kompozitori koji vladaju i veštinama programiranja i digitalne sinteze zvuka. Kako bi se muzički sistemi i teorije preveli u računarske programe, bilo je neophodno sakupiti i obraditi veliku količinu podataka, te je uspostavljena i zajednička humanistička disciplina – computational musicology. Tokom osamdesetih godina na umetničku scenu stupa nova generacija autora koji na računaru postepeno počinju da obavljaju sve više poslova, te se pojava „kućnih“ računara poklapa sa „prelaskom“ iz modernizma u postmodernizam, pa i ideja muzičkog inženjeringa takođe proživljava transformaciju iz objektivističke, sistematske autonomne -
Early Reception Histories of the Telharmonium, the Theremin, And
Electronic Musical Sounds and Material Culture: Early Reception Histories of the Telharmonium, the Theremin, and the Hammond Organ By Kelly Hiser A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music) at the UNIVERSITY OF WISCONSIN-MADISON 2015 Date of final oral examination: 4/21/2015 The dissertation is approved by the following members of the Final Oral Committee ` Susan C. Cook, Professor, Professor, Musicology Pamela M. Potter, Professor, Professor, Musicology David Crook, Professor, Professor, Musicology Charles Dill, Professor, Professor, Musicology Ann Smart Martin, Professor, Professor, Art History i Table of Contents Acknowledgements ii List of Figures iv Chapter 1 1 Introduction, Context, and Methods Chapter 2 29 29 The Telharmonium: Sonic Purity and Social Control Chapter 3 118 Early Theremin Practices: Performance, Marketing, and Reception History from the 1920s to the 1940s Chapter 4 198 “Real Organ Music”: The Federal Trade Commission and the Hammond Organ Chapter 5 275 Conclusion Bibliography 291 ii Acknowledgements My experience at the University of Wisconsin-Madison has been a rich and rewarding one, and I’m grateful for the institutional and personal support I received there. I was able to pursue and complete a PhD thanks to the financial support of numerous teaching and research assistant positions and a Mellon-Wisconsin Summer Fellowship. A Public Humanities Fellowship through the Center for the Humanities allowed me to actively participate in the Wisconsin Idea, bringing skills nurtured within the university walls to new and challenging work beyond them. As a result, I leave the university eager to explore how I might share this dissertation with both academic and public audiences. -
A Brief History of Electronic Music
A Brief History of Electronic Music 1: 1896-1945 The first twenty-five years of the life of the archetypal modern artist, Pablo Picasso - who was born in 1881 - witnessed the foundation of twentieth century technology for war and peace alike: the recoil operated machine gun (1882), the first synthetic fibre (1883), the Parsons steam turbine (1884), coated photographic paper (1885), the Tesla electric motor, the Kodak box camera and the Dunlop pneumatic tyre (1888), cordite (1889), the Diesel engine (1892), the Ford car (1893), the cinematograph and the gramophone disc (1894). In 1895, Roentgen discovered X-rays, Marconi invented radio telegraphy, the Lumiere brothers developed the movie camera, the Russian Konstantin Tsiolkovsky first enunciated the principle of rocket drive, and Freud published his fundamental studies on hysteria. And so it went: the discovery of radium, the magnetic recording of sound, the first voice radio transmissions, the Wright brothers first powered flight (1903), and the annus mirabilis of theoretical physics, 1905, in which Albert Einstein formulated the Special Theory of Relativity, the photon theory of light, and ushered in the nuclear age with the climactic formula of his law of mass-energy equivalence, E = mc2. One did not need to be a scientist to sense the magnitude of such changes. They amounted to the greatest alteration of man's view of the universe since Isaac Newton. - Robert Hughes (1981) In 1896 Thaddeus Cahill patented an electrically based sound generation system. It used the principle of additive tone synthesis, individual tones being built up from fundamentals and overtones generated by huge dynamos.