CD-Synth: a Rotating, Untethered, Digital Synthesizer
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Digital Developments 70'S
Digital Developments 70’s - 80’s Hybrid Synthesis “GROOVE” • In 1967, Max Mathews and Richard Moore at Bell Labs began to develop Groove (Generated Realtime Operations on Voltage- Controlled Equipment) • In 1970, the Groove system was unveiled at a “Music and Technology” conference in Stockholm. • Groove was a hybrid system which used a Honeywell DDP224 computer to store manual actions (such as twisting knobs, playing a keyboard, etc.) These actions were stored and used to control analog synthesis components in realtime. • Composers Emmanuel Gent and Laurie Spiegel worked with GROOVE Details of GROOVE GROOVE System included: - 2 large disk storage units - a tape drive - an interface for the analog devices (12 8-bit and 2 12-bit converters) - A cathode ray display unit to show the composer a visual representation of the control instructions - Large array of analog components including 12 voltage-controlled oscillators, seven voltage-controlled amplifiers, and two voltage-controlled filters Programming language used: FORTRAN Benefits of the GROOVE System: - 1st digitally controlled realtime system - Musical parameters could be controlled over time (not note-oriented) - Was used to control images too: In 1974, Spiegel used the GROOVE system to implement the program VAMPIRE (Video and Music Program for Interactive, Realtime Exploration) • Laurie Spiegel at the GROOVE Console at Bell Labs (mid 70s) The 1st Digital Synthesizer “The Synclavier” • In 1972, composer Jon Appleton, the Founder and Director of the Bregman Electronic Music Studio at Dartmouth wanted to find a way to control a Moog synthesizer with a computer • He raised this idea to Sydney Alonso, a professor of Engineering at Dartmouth and Cameron Jones, a student in music and computer science at Dartmouth. -
User Manual Synclavier V
USER MANUAL ARTURIA – Synclavier V – USER MANUAL 1 Direction Frédéric Brun Kevin Molcard Development Cameron Jones (lead) Valentin Lepetit Baptiste Le Goff (project manager) Samuel Limier Stefano D’Angelo Germain Marzin Baptiste Aubry Mathieu Nocenti Corentin Comte Pierre Pfister Pierre-Lin Laneyrie Benjamin Renard Design Glen Darcey Sebastien Rochard Shaun Ellwood Greg Vezon Morgan Perrier Sound Design Drew Anderson Victor Morello Jean-Baptiste Arthus Dave Polich Wally Badarou Stéphane Schott Jean-Michel Blanchet Paul Shilling Marion Demeulemeester Edware Ten Eyck Richard Devine Nori Ubukata Thomas Koot Manual Kevin E. Maloney Jason Valax Corentin Comte ARTURIA – Synclavier V – USER MANUAL 2 Special Thanks Brandon Amison Steve Lipson Matt Bassett Terence Marsden François Best Bruce Mariage Alejandro Cajica Sergio Martinez Chuck Capsis Shaba Martinez Dwight Davies Jay Marvalous Kosh Dukai Miguel Moreno Ben Eggehorn Ken Flux Pierce Simon Franglen Fernando Manuel Rodrigues Boele Gerkes Daniel Saban Jeff Haler Carlos Tejeda Neil Hester James Wadell Chris Jasper Chad Wagner Laurent Lemaire Chuck Zwick © ARTURIA S.A. – 1999-2016 – All rights reserved. 11 Chemin de la Dhuy 38240 Meylan FRANCE http://www.arturia.com ARTURIA – Synclavier V – USER MANUAL 3 Table of contents 1 INTRODUCTION ........................................................................................... 11 1.1 What is Synclavier V? ................................................................................................... 11 1.2 1.2 History of the Original Instrument -
Music Synthesizer Senior Project: Danalog
Music Synthesizer Senior Project: Danalog Report by: Vikrant Marathe Other Group Members: Bryan Bellin, Evan Lew, Jordan Wong Advisor: Dr. Wayne Pilkington Spring 2017 Cal Poly Electrical Engineering Table of Contents I. Introduction II. Product Design Engineering Requirements III. Background IV. System Design - Functional Decomposition (Level 1) V. Physical Construction and Integration VI. Integrated System Tests and Results VII. Bibliography List of Tables and Figures Abstract The Danalog is a 25 key portable digital music synthesizer that uses multiple synthesis methods and effects to generate sounds. Sound varieties included three synthesis methods including FM, subtractive, and sample-based, with up to eight adjustable parameters, at least four effects, including reverb, chorus, and flange, with five adjustable parameters, and at least two note polyphony, and a five band equalizer. The user would be able to adjust these effects using digital encoders and potentiometers and view the settings on two LCD screens. The finals project was unable to meet the original design requirements. The FM synthesis method was primarily working in the end product. The synthesizer was built to produce two note polyphony. The LCD screens displayed the information about the synthesis method as the user plays. I. Introduction The purpose of this project was to create a portable, inexpensive digital music synthesizer for amateur musicians. The intended customer base consists of young, amateur musicians who don’t have a big budget for a more expensive music synthesizer. The market requirements for this product are as follows: - The Danalog Synthesizer will be inexpensive at less than $200 - The design will be sleek and lightweight to promote portability - Up to eight adjustable synthesis parameters - Up to five adjustable effects parameters - Five band equalizer Our intended customer is an amateur musician seeking an inexpensive digital synthesizer to create a wide array of user-defined sounds. -
THE SOCIAL CONSTRUCTION of the EARLY ELECTRONIC MUSIC SYNTHESIZER Author(S): Trevor Pinch and Frank Trocco Source: Icon, Vol
International Committee for the History of Technology (ICOHTEC) THE SOCIAL CONSTRUCTION OF THE EARLY ELECTRONIC MUSIC SYNTHESIZER Author(s): Trevor Pinch and Frank Trocco Source: Icon, Vol. 4 (1998), pp. 9-31 Published by: International Committee for the History of Technology (ICOHTEC) Stable URL: http://www.jstor.org/stable/23785956 Accessed: 27-01-2018 00:41 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms International Committee for the History of Technology (ICOHTEC) is collaborating with JSTOR to digitize, preserve and extend access to Icon This content downloaded from 70.67.225.215 on Sat, 27 Jan 2018 00:41:54 UTC All use subject to http://about.jstor.org/terms THE SOCIAL CONSTRUCTION OF THE EARLY ELECTRONIC MUSIC SYNTHESIZER Trevor Pinch and Frank Troceo In this paper we examine the sociological history of the Moog and Buchla music synthesizers. These electronic instruments were developed in the mid-1960s. We demonstrate how relevant social groups exerted influence on the configuration of synthesizer construction. In the beginning, the synthesizer was a piece of technology that could be designed in a variety of ways. Despite this interpretative flexibility in its design, it stabilised as a keyboard instrument. -
You Can't Always Get What You Want but Digital Sampling Can Get What You Need! Ronald Mark Wells
The University of Akron IdeaExchange@UAkron Akron Law Review Akron Law Journals July 2015 You Can't Always Get What You Want But Digital Sampling Can Get What You Need! Ronald Mark Wells Please take a moment to share how this work helps you through this survey. Your feedback will be important as we plan further development of our repository. Follow this and additional works at: http://ideaexchange.uakron.edu/akronlawreview Part of the Intellectual Property Law Commons Recommended Citation Wells, Ronald Mark (1989) "You Can't Always Get What You Want But Digital Sampling Can Get What You Need!," Akron Law Review: Vol. 22 : Iss. 4 , Article 10. Available at: http://ideaexchange.uakron.edu/akronlawreview/vol22/iss4/10 This Article is brought to you for free and open access by Akron Law Journals at IdeaExchange@UAkron, the institutional repository of The nivU ersity of Akron in Akron, Ohio, USA. It has been accepted for inclusion in Akron Law Review by an authorized administrator of IdeaExchange@UAkron. For more information, please contact [email protected], [email protected]. Wells: You Can't Always Get What You Want YOU CAN'T ALWAYS GET WHAT YOU WANT' BUT DIGITAL SAMPLING CAN GET WHAT YOU NEED! INTRODUCTION Digital sampling sounds like a dream come true for record companies and producers. Digital sampling makes it possible for record producers to record a voice or instrument, either live or from a previous recording, store it on a computer disc and play it back on a keyboard.' Alas, no more expensive studio musicians to contend with for they can be replaced by relatively inexpensive samples readily available on the black market. -
Analog & Digital Remote Synthesizer
The University of Akron IdeaExchange@UAkron Williams Honors College, Honors Research The Dr. Gary B. and Pamela S. Williams Honors Projects College Spring 2021 Analog & Digital Remote Synthesizer Adam Brunner [email protected] Andrew Cihon-Scott [email protected] Scott Grisso [email protected] Linus Wright [email protected] Follow this and additional works at: https://ideaexchange.uakron.edu/honors_research_projects Part of the Digital Circuits Commons, Digital Communications and Networking Commons, Electrical and Electronics Commons, Other Electrical and Computer Engineering Commons, and the Signal Processing Commons Please take a moment to share how this work helps you through this survey. Your feedback will be important as we plan further development of our repository. Recommended Citation Brunner, Adam; Cihon-Scott, Andrew; Grisso, Scott; and Wright, Linus, "Analog & Digital Remote Synthesizer" (2021). Williams Honors College, Honors Research Projects. 1288. https://ideaexchange.uakron.edu/honors_research_projects/1288 This Dissertation/Thesis is brought to you for free and open access by The Dr. Gary B. and Pamela S. Williams Honors College at IdeaExchange@UAkron, the institutional repository of The University of Akron in Akron, Ohio, USA. It has been accepted for inclusion in Williams Honors College, Honors Research Projects by an authorized administrator of IdeaExchange@UAkron. For more information, please contact [email protected], [email protected]. Analog + Digital Remote Synthesizer Project Design Report Design Team 9 Adam Brunner Andrew Cihon-Scott Scott Grisso Linus Wright Dr. Robert Veillette 11/25/2020 2 Table of Contents List of Figures 4 List of Tables 5 Abstract 7 1. Problem Statement 8 1.1. -
Design for a New Type of Electronic Musical Instrument
Reimagining the synthesizer for an acoustic setting; Design for a new type of electronic musical instrument Industrial Design Engineering Bachelor Thesis Arvid Jense s0180831 5-3-2013 University of Twente Assessors: 1st: Ing. P. van Passel 2nd: Dr.Ir. M.C. van der Voort Reimagining the synthesizer for an acoustic setting; Design for a new type of electronic musical instrument By: Arvid Jense S0180831 Industrial Design Engineering University of Twente Presentation: 5-3-2013 Contact: Create Digital Media/Meeblip Betahaus, to Peter Kirn Prinzessinnenstrasse 19-20 BERLIN, 10969 Germany www.creadigitalmusic.com www.meeblip.com Examination committee: Dr.Ir. M.C. van der Voort Ing. P. van Passel Peter Kirn ii iii ABSTRACT A design of a new type of electronic instrument was made to allow usage in a setting previously not suitable for these types of instrument. Following an open-ended design brief, an analysis of the Meeblip market, synthesizer design literature and three case-studies, a new usage scenario was chosen. The scenario describes a situation of spontaneous music creation at an outside location. A rapidly iterating design process produced a wooden, semi-computational operated synthesizer which has an integrated power supply, amplifier and speaker. Care was taken to allow for rich and musical interaction as well as making the sound quality of the instrument on a similar level as acoustic instruments. Keywords: Synthesizer design, Electronics design, Open source, Arduino, Meeblip, Interaction design SAMENVATTING (DUTCH) Een ontwerp is gemaakt voor een nieuw type elektronisch muziek instrument welke gebruikt kan worden in een setting die eerder niet geschikt was voor elektronische instrumenten. -
Hip Hop, Technology, and Innovation
Hip Hop, Technology, and Innovation by Adjoa Poku Hip Hop | 21M.775 Professor Thomas DeFrantz 10 December 2004 Hip Hop is a cultural movement that emerged from the Bronx during the 1970s due to the isolation of this neighborhood from the rest of New York City by a newly built highway system. Although the African-Americans and Puerto Ricans of this community lived in poverty and hardship, they created a beautiful culture consisting of four main elements of MCing, DJing, graffiti art, and break-dancing that displayed their resistance to the oppressive society around them. Due to its dynamic nature, hip hop continually evolves through individuals’ experimentation with different methods of expression. The music of hip hop, which is known for its strong beats and rhythms, is similarly the result of creative experimentation with live and electric sounds. While Hip Hop has not yet led directly to advancements and innovations in the technologies of music engineering equipment, its producers have revolutionized the use of the technology in ways that incorporate priorities of black culture. Within the realm of DJing, a good turntablist knows how to get the crowd hyped and moving with the music he spins. Female MC Ciara, not only rhymes that the beat in her 2004 hit song, “1, 2 Step” is superior, she also indirectly describes what constitutes a good beat and how it takes physical control of the listener: This Beat Is Automatic, supersonic, hypnotic, funky fresh Work my body, so melodic, this beat rolls right through my chest Everybody, ma and papi, came to party Grab somebody, work ya body, work ya body Let me see you 1, 2 step .. -
Creative Musical Instrument Design
CREATIVE MUSICAL INSTRUMENT DESIGN: A report on experimental approaches, unusual creations and new concepts in the world of musical and sound instruments. A thesis submitted to the SAE Institute, London, in fulfillment of the requirements for the degree in Recording Arts, awarded by Middlesex University. Author: Andrea Santini Student: 42792 Intake: RAD0503X Project Tutors: Christopher Hayne Darren Gash London, August 2004 c r e a t i v e m u s i c a l i n s t r u m e n t d e s i g n Abstract The following document presents the results of an investigation into the current reality of creative musical-instrument and sound-instrument design. The focus of this research is on acoustic and electro-acoustic devices only, sound sources involving oscillators, synthesis and sampling, be it analogue or digital, have therefore been excluded. Also, even though occasional reference will be made to historical and ‘ethnical’ instruments, they will not be treated as a core issue, the attention being primarily centered on contemporary creations. The study includes an overview of the most relevant “sonic creations” encountered in the research and chosen as representative examples to discuss the following aspects: o Interaction between body and instrument. o Sonic Space o Tuning and layout of pitches o Shapes, materials and elements o Sonic objects, noise and inharmonic sources o Aesthetics: sound instruments as art objects o Amplification and transducer technologies These where chosen to provide some degree of methodology during the research process and a coherent framework to the analysis of a subject which, due to its nature and to the scarcity of relevant studies, has unclear boundaries and a variety of possible interdisciplinary connections. -
Résonance Et Perception Des Harmoniques Naturelles
UNIVERSITE PARIS VIII – VINCENNES A SAINT-DENIS UFR « Arts, Philosophie, Esthétique » Département de Musique RESONANCE ET PERCEPTION DES HARMONIQUES ATURELLES Julien GILI Mémoire de maîtrise réalisé sous la direction de M. Philippe MICHEL Année universitaire 2004 – 2005 1 Avant-propos L’élan qui a motivé ce travail pourrait se résumer à une curiosité permanente qui s’est amplifiée au fur et à mesure que je creusais le sujet des vibrations sonores et de l’acoustique naturelle. L’étude des musiques du monde et des instruments peu communs m’a fait prendre conscience que dans les cultures les plus éloignées, aussi bien historiquement que géographiquement, on retrouve des points communs surprenants, des coïncidences qui, au fond ne sont sans doute pas le fruit du hasard. Parmi ces principes universels, je me suis particulièrement penché sur le phénomène de la résonance et celui de la série des harmoniques naturelles. Je tenterai de les rapprocher dans ce mémoire en mettant en évidence leurs effets et leurs utilisations. Il n’y a pas de réel commencement à cette curiosité, mais plutôt une série de découvertes plus ou moins importantes qui, par étapes, m’ont encouragé à en savoir toujours plus. La première phase significative fut franchie grâce au travail de l’ethnomusicologue Trân Quang Hai, qui m’a d’ailleurs accordé un précieux entretien. Dans un documentaire vidéo réalisé par Hugo Zemp, il présente ses recherches sur le chant diphonique. Ce chant, qui fait entendre deux sons simultanément, m’a particulièrement intéressé et l’approche pédagogique de T.Q.Hai m’a encouragé à le développer sur ma propre voix. -
TO: Producers & Engineers Wing Advisory Council Members
TECHNICAL GRAMMY® SAMPLE BIO A good Technical GRAMMY bio is: A summary of specific contributions, major developments or techniques, and what impact this individual had on the recording industry (please include any available citations or footnotes which will not be considered part of the 500 word limit). Your personal thoughts on why this person is deserving of the Award can also be included. A good Technical GRAMMY bio is not: Pasted directly from Wikipedia or promotional marketing copy GOOD SAMPLE BIO: IKUTARO KAKEHASHI/ DAVE SMITH In 1983, a collaboration between competing manufacturers resulted in a new technology that was introduced at the winter NAMM show where Ikutaro Kakehashi, founder of Roland Corporation, and Dave Smith, president of Sequential Circuits, unveiled MIDI, (Musical Instrument Digital Interface.”) They connected two competing manufacturers’ electronic keyboards, the Roland JP-6 synthesizer and Sequential Circuits Prophet 600, enabling them to “talk” to one another using a new communications standard. The presentation registered shockwaves during the show, and ultimately revolutionized the music world. Prior to this, the popularity of the electronic keyboard was swelling--as were the stage setups of performing keyboardists— since these instruments were unable to “talk” to one another, requiring a dedicated keyboard for each sound needed. Mr. Kakehashi initiated discussions with his primary Japanese competitors – Yamaha, Korg and Kawai in 1981. At the same time Dave Smith started discussions with the major U.S. synthesizer manufacturers including Moog, Oberheim, ARP and E-mu. In November, 1981, Smith presented a paper at the AES Convention in New York about USI (Universal Serial Interface). -
Chapter Outline
CHAPTER THIRTEEN: THE 1980s: THE DIGITAL TECHNOLOGY, MTV, AND THE POPULAR MAINSTREAM Chapter Outline I. The 1980s and the Music Business A. 1979 saw an 11 percent drop in annual sales nationwide. B. Profits from the sale of recorded music hit rock bottom in 1982 ($4.6 billion), down half a billion from the peak year of 1978 ($5.1 billion). C. Record companies relied on a small number of multiplatinum artists to create profits in the 1980s. D. The recovery of the recording industry was due to the success of a few recordings by superstar musicians—Michael Jackson, Madonna, Prince, Bruce Springsteen, Whitney Houston, Phil Collins, Janet Jackson, and others. E. The crash of the early 1980s 1. Onset of a national recession 2. Competition from new forms of entertainment 3. The decline of disco 4. Illegal copying (“pirating”) of commercial recordings by consumers with cassette tape decks a) In 1984, sales of prerecorded cassettes surpassed those of vinyl discs. CHAPTER THIRTEEN: THE 1980s: THE DIGITAL TECHNOLOGY, MTV, AND THE POPULAR MAINSTREAM F. New technologies of the 1980s 1. Digital sound recording and five-inch compact discs (CDs) 2. The first CDs went on sale in 1983, and by 1988, sales of CDs surpassed those of vinyl discs. 3. New devices for producing and manipulating sound: a) Drum machines b) Sequencers c) Samplers d) MIDI (Musical Instrument Digital Interface) G. Music Television (MTV) 1. Began broadcasting in 1981 2. Changed the way the music industry operated, rapidly becoming the preferred method for launching a new act or promoting a superstar’s latest release.