elektronik// musik / 1857-1939
phonautograph 1857 Edourd-Leon Scott de Martinville
phonograph 1878 Thomas A. Edison
disc phonograph 1887 Emile Berliner
Telharmonium 1897 Thaddeus Cahill
a new esthetic of music 1907 Furruccio Busoni “Music as an art, our so-called occidental music, is hardly four hundred years old; its state is one of development, perhaps the very first stage of a development beyond present conception, and we—we talk of "classics" and "hallowed traditions"! And we have talked of them for a long time!” technical manifesto of futurist music 1911 Balilla Pratella "To present the musical soul of the masses, of the great factories, of the railways, of the transatlantic liners, of the battleships, of the automobiles and airplanes. To add to the great central themes of the musical poem the domain of the machine and the victorious kingdom of electricity." art of noises festival 1914 Luigi Russolo
Triode Audion 1906 Lee DeForrest
audion piano 1915 Lee DeForrest
Ondres Martenot 1928 Maurice Martenot
Croix sonore 1926 Nikolai Obukhov
Theremin 1919 Leon Theremin
Hammond Organ 1934 Laurens Hammond Novavchord 1939 Laurens Hammond John Hanert C.N Williams
Magentic recording tape 1927 J. A. OʼNeill
phonautograph
triode audion
The earliest known sound recording device. The device could record sound but was unable to play it back. Designed for audio experiments in labs, the phonoautograph used a pair of tuning forks to records waveforms onto smoke stained glass or paper. In 2008 16 of these recording were played back using optical scanning ot turn the waveforms into audio files.
The Triode Audion was a device that used a vaccum tube and a thermonic valve to amplify sound using electronic signals. This led to the generation of amplification through electrical signals in radio broadcasting and electronic computation.
phonograph
audion piano
The phonograph was used to both record and reproduce sounds. The recordings on this device The first electronic instrument to use a beat frequency or Heterodyning Oscillator System. This
where played back using a stylus that traced reocored waveforms around a metal cylinder.
was the process of combining to seperate radio frequencies to create a lower frequeny that
The vibrations would then be amplified through a horn.
was within an audible range.
Magnetic recording Tape The process of recording and production took a massive leap with the creation of magnetic tape. Unlike grooves in cyliners of disc tape was more mangible and allowed producers to edit it like film tape, creating loops and layered tracks that could be re-recorded onto one reel. ondres Martenot The instrument's eerie wavering notes are produced by varying the frequency of oscillation in vacuum tubes. An invention created by Lee DeForrest. The production of the instrument took the shape of a keyboard so that specific notes could be created.
disc-phonograph This device used engraved disc instead of cylinders to playback sound. The discs where recorded by engraving a spiral that began on the outside and finished on the inside. This technique allowed for a more accurate playback time and is still used today on modern turntables. telharmonium The Telharmonium was a massive instrument that used telephowne wires to transmit sound through primitive paper cones, an early form of speaker. The first version of the instrument, the Mk1 was 7 tons, whilst later versions, the Mk11 and Mk111 reached 200 tons.
theremin The Theremin was an electronic instrument that created sound without discernable contact from the player through two antenas. The frequency in sound was created depending on the distance of the perfomers hand from the antennas. Croixe Sonore An invention similar to the Theremin where pitch is dependent on the distance of the players hand to the antennas. Unlike the theremin the atenas formed a cross which was affixed to a ball in which the electronics were stored.
hammond organ The Hammond Organ used additive synthesis of waveforms from harmonic series made by tonewheels that rotated in front of electromagnetic pickups. Sounds where then mixed using sliding drawbars mounted on two keyboards. Novachord The Novachord is often considered to be the world first commercial polyphonic synthesizer. All-elctronic, incorporating many circuit and control elements still used in todays synths. It contains 163 vacuum tubes and over 1,000 custom capacitors.
elektronik// musik / 1939-1951 Similar happenings 1946 Toro Takemitsu Minao Shibata In 1946, two Japanese composers, Toru Takemitsu and Minao Shibata, independently wrote about the possible use of electronic technology to produce music during the late 1940s. In 1948, Takemitsu conceived of a technology that would "bring noise into tempered musical tones inside a busy small tube," an idea similar to Pierre Schaeffer's musique concrète the same year, which Takemitsu was unaware of until several years later. The Bing Crosby show 1948 ABC Studios In 1948 ABC used the model 200 tape reocording device to pre record and episode of The Bing Crosby Show. This marked the first time recording equipment had been used to create broadcast delayed radio, where by programs could be aired at a later time. Previous to this all radio broadcasting was done live.
k4 magnetophone 1941 Walter Weber
electroacoustic magnetic tape 1944 Halim El-Dabh
‘Musique concrète’ 1944 Pierre Schaeffer
‘Etude aux chemins de fer’ 1948 Radiodiffusion Française
ampex 1944 Alexander M. Poniatoff
Tokyo Tsushin kogyo k.k (sony) 1946 Akio Morita Masaru Ibuka
model 200 1948 Ampex
g-type 1949 Tokyo Tsushin Kogyo K.K (Sony) ‘jikken Kobo’ 1950 Tokyo Tsushin Kogyo K.K (Sony) Toro Takemitsu Kuniharu Akiyama Joji Yuasa h-type 1951 Tokyo Tsushin kogyo k.k (sony)
K4 Magnetophone During World War II, Walter Weber rediscovered and applied the AC biasing technique, which dramatically improved the fidelity of magnetic recording by adding an inaudible high-frequency tone. It extended the 1941 'K4' Magnetophone frequency curve to 10 kHz and improved the dynamic range up to 60 dB, surpassing all known recording systems at the time. electroacoustic magnetic tape The spread of tape recorders eventually led to the development of electroacoustic tape music. The first known example was composed in 1944 by Halim El-Dabh, a student at Cairo, Egypt. He recorded the sounds of an ancient Zaar ceremony using a cumbersome wire recorder. The resulting work was entitled The Expression of Zaar. Musique concrète It wasn't long before composers in Paris also began using the tape recorder to develop a new technique for composition called Musique concrète. This technique involved editing together recorded fragments of natural and industrial sounds. The first pieces of musique concrète in Paris were assembled by Pierre Schaeffer, who went on to collaborate with Pierre Henry. Ampex Alexander Matthew Poniatoff established the company in San Carlos, California, in 1944 as the Ampex Electric and Manufacturing Company. The name came from his initials plus "ex" to avoid using the name AMP already in use.
Tokyo Tsushin Kogyo K.K (Sony) In late 1945, after the end of World War II, Masaru Ibuka started a radio repair shop in a bomb-damaged department store Shirokiya building in Nihonbashi of Tokyo. The next year, he was joined by his colleague, Akio Morita, they founded a company called Tokyo Tsushin Kogyo K.K. In 1958 his name was changed its to Sony. Model 200 (AMPEX) TheAmpex built Model 200, revolutionized the radio and recording industries. In 1948, ABC used an Ampex Model 200 audio recorder using 3M Scotch 111 gamma ferric oxide coated acetate tape for the first-ever U.S. broadcast delayed radio broadcast of The Bing Crosby Show. Etude aux chemins de fer. On 5 October 1948, Radiodiffusion Française (RDF) broadcast composer Pierre Schaeffer's Etude aux chemins de fer. This was the first "movement" of Cinq études de bruits, and marked the beginning of studio realisations and musique concrète. g-Type (Tokyo Tsushin Kogyo K.K) Japan's first reel-to-reel tape recorder, the G Type. When released, the recorder was viewed as a product for government use, hence the G in G Type. The recording medium was actually long-fiber craft paper ordered from a mill, onto which dissolved magnetic powder was painted.
Jikken Kobo In 1950, the Jikken Kobo (Experimental Workshop) electronic music studio would be founded by a group of musicians in order to produce experimental electronic music using Sony tape recorders. It included musicians such as Toru Takemitsu, Kuniharu Akiyama, and Joji Yuasa, and was supported by Sony, which offered them access to the latest audio technology. H-Type (Tokyo Tsushin Kogyo K.K) Designed for “home use” and popular in Japanese schools, the H-type was a drastic step forward as the H-1 was almost a third of the size of its larger recorder sibling the “G-type”. The recorder was encased in a wooden suitcase like box. The idea was to mimic a trunk for overseas travelers.
elektronik// musik / 1951-1956
Ferranti Mk 1 1951 Christopher Strachey
‘Musique concrète japan’ 1952 Toshiro Mayazumi Magnetic tape feedback 1952 Peter Mauzey
‘music for magnetic tape project’ 1952 John Cage Earle Brown Christian Wolff David Tudor Morton Feldman
Stochastic music 1954 Iannis Xenakis “An important new development was the advent of computers for the purpose of composing music, as opposed to manipulating or creating sounds. Iannis Xenakis began what is called "musique stochastique," or "stochastic music", which is a method of composing that employs mathematical probability systems. Different probability algorithms were used to create a piece under a set of parameters. This was done by using graph paper and a ruler to aid in calculating the velocity trajectories of glissandi.”
Autoslide 1953 Tokyo Tsushin Kogyo K.K ‘Ussachevsky experiment’ 1952 Vladimir Ussachevsky Peter Mauzey
‘Electronische musik’ 1953 Werner Meyer-Eppler Herbert Eimert Karlheinz Stockhausen Gottfried Michael Koenig
debut electroacoustic performance, N.B.C 1952 Vladimir Ussachevsky Otto Luening “On October 28, 1952, Vladimir Ussachevsky and Otto Luening presented the first Tape Music concert in the United States. After several concerts caused a sensation in New York City, Ussachevsky and Luening were invited onto a live broadcast of NBC's Today Show to do an interview demonstration—the first televised electroacoustic performance.”
‘Dèserts’ 1954 Edgard Varèse Studio de Fonologia 1954 Toshiro Mayuzumi
‘R . V . L . S’ 1954 Vladimir Ussachevsky Otto Luening ‘A poem in cycles and bells’ 1954 Vladimir Ussachevsky Otto Luening ‘Forbidden Planet’ 1956 Louis & Bebe Barron
Ferranti mk 1
Magnetic Tape feed back
The oldest known recordings of computer generated music were played by the Ferranti Mark 1 "The equipment at his disposal consisted of an Ampex tape recorder . . . and a simple box-like
computer, a commercial version of the Baby Machine from the University of Manchester in the device designed by the brilliant young engineer, Peter Mauzey, to create feedback, a form of
autumn of 1951.
mechanical reverberation.” - Otto Luening.
Musique concrète japan
Autoslide
Japan was introduced to Musique Concrète through Toshiro Mayuzumi, who in 1952 attended a Schaeffer concert in Paris. On his return to Japan, he experimented with a short tape music piece for the 1952 comedy film Carmen Jyunjyosu and then produced "X, Y, Z for Musique Concrète" which was broadcast by the JOQR radio station in 1953.
ʻauto-slide', a machine developed by Sony that made it possible to synchronize a slide show with a soundtrack recorded on tape; they used the same device to produce the concert's tape music at the Sony studio. Inventions like this and elctroacoustic devices like it helped the introduction of musique concrete into Japan
The magnetic Tape Project
Electronische Musik
The Music for Magnetic Tape Project was formed by members of the New York School and lasted three years until 1954. "In this social darkness, therefore, the work of Earle Brown, Morton Feldman, and Christian Wolff continues to present a brilliant light, for the reason that at the several points of notation, Ussachevsky experiment 1952, Ussachevsky presented several demonstrations of tape music/effects that he created at his Composers Forum, in the McMillin Theatre at Columbia University. These included Transposition, Reverberation, Experiment, Composition, and Underwater Valse.
Meyer-Eppler conceived the idea to synthesize music entirely from electronically produced signals; in this way, elektronische Musik was sharply differentiated from French musique concrète, which used sounds recorded from acoustical sources. Dèserts With electronic sections based upon factory sounds and percussion instruments, Varèse began composition in 1953 upon the anonymous gift of a Ampex tape recorder, worked further on the piece at Pierre Schaeffer's studio at Radiodiffusion-Télévision Française, and revised it at the Columbia-Princeton Electronic Music Center.
rhapsodic Variations for the louisville symphony A fusion of live orchestra and tape. As he had been working at Schaeffer's studio, the tape part for Varèse's work contains much more concrete sounds than electronic. a poem in cycles and bells A group made up of wind instruments, percussion and piano alternates with the mutated sounds of factory noises and ship sirens and motors, coming from two loudspeakers. Forbidden Planet Two American pioneers of electroacoustic tape music. They are credited with writing the first electronic music for magnetic tape, and the first entirely electronic film score for the MGM movie Forbidden Planet. The entire score was composed using custom built electronic circuits and tape recorders. studio de fonologia The Studio Fonologia was studio set up by Toshiro Mayuzumi, The man responcible for bringing music to Japan in 1952. The studio was set up at the N.H.K, Tokyo.
elektronik// musik / 1956-1960 oramics 1959 Daphne Oram The technique of Oramics was developed by Daphne Oram, an electronic composer working at the BBC Radiophonic Workshop, in England from 1959 onwards. It consisted of drawing onto a set of ten sprocketed synchronised strips of 35mm film which covered a series of photo-electric cells that in turn generated an electrical charge to control the sound fequency, timbre, amplitude and duration. analogue synthesizers 1950ʼs The most commonly used electronic instruments are synthesizers, so-called because they artificially generate sound using a variety of techniques. All early circuit-based synthesis involved the use of analogue circuitry, particularly voltage controlled amplifiers, oscillators and filters. An important technological development was the invention of the Clavivox synthesizer in 1956 by Raymond Scott with subassembly by Robert Moog.
Clavivox synthesizer 1956 Raymond Scott Robert Moog
‘lilac suite for string quartet’ 1956 Lejaren Hiller Leonard Isaacson
music 1 program 1957 Max Matthews
‘Gesang der Jünglinge’ 1956 Karlheinz Stockhausen
RCA Mkii synthesizer 1957 Herbert Belar Harry Olson Vladimir Ussachevsky Peter Mauzey creative tape recorder 1960 Hugh Le Caine
‘song of the second moon’ 1957 Kid Balten Tom Dissevelt ‘Poème électronique’ 1958 Edgard Varèse ‘Transición II’ 1958 Mauricio Kagel
bbc Radiophonic workshop 1958 Desmond Briscoe Daphne Oram Dick Mills siemens studio for elctronic music 1959 Helmut Klien W. Schaaf
Ace Tone 1960 Helmut Klien W. Schaaf
calvivox synthesizer
Poème électronique
The Clavivox was a keyboard sound synthesizer and sequencer invented by American composer Raymond Scott in 1952, and patented in 1956. Scott had earlier built a theremin as a toy for his daughter Carrie. In his first Clavivox prototype, he used a theremin module built by Bob Moog. The unit allowed the use of portamento over a 3-octave range.
Poème électronique is a piece of electronic music by composer Edgard Varèse, written for the Philips Pavilion at the 1958 Brussels Worldʼs Fair. The Philips corporation commissioned Le Corbusier to design the pavilion, which was intended as a showcase of their engineering progress.
Lilac suite for string quartet
music 1 program
Lejaren Hiller and Leonard Isaacson composed Iliac Suite for string quartet, the first complete work of computer-assisted composition using algorithmic composition. "... Hiller postulated that a computer could be taught the rules of a particular style and then called on to compose accordingly."
MUSIC was the first computer program for generating digital audio waveforms through direct synthesis. It was one of the first programs for making music (in actuality, sound) on a digital computer, and was certainly the first program to gain wide acceptance in the music research community as viable for that task.
Gesang der Jünglinge
RCA mkii synthesizer
Gesang der Jünglinge (literally "Song of the Youths") is a noted electronic music work by Karlheinz Stockhausen. It was realised in 1955–56 at the Westdeutscher Rundfunk studio in Cologne and is Work Number 8 in the composer's catalog of works. The vocal parts were supplied by 12-year-old Josef Protschka.
The RCA Mark II Sound Synthesizer was the first programmable electronic music synthesizer and the flagship piece of equipment at the Columbia-Princeton Electronic Music Center. Designed by Herbert Belar and Harry Olson at RCA, it was installed at Columbia University in 1957. Consisting of a room-sized array of interconnected sound synthesis components.
song of the second moon
Transición II
Dick Raaijmakers [aka Kid Baltan] composed the very first electronic pop tune in 1957 called "Song Of The Second Moon". It delt with spacetravel, a theme that was popular due to the first man in space Yuri Gagarin. The song was composed at the Phillips studio in Eindhoven.
The work was realized at the WDR studio in Cologne. Two musicians perform on a piano, one in the traditional manner, the other playing on the strings, frame, and case. Two other performers use tape to unite the presentation of live sounds with the future of prerecorded materials from later on and its past of recordings made earlier in the performance.
creative tape recorder A synthesizer that Le Caine installed in the Centre for Electronic Music in Israel, established by Josef Tal. Le Caineʼs synthesizer was previously unheard of in Canada, where he was from which caused him great distress. He is now considered to be one of the most important figures in the development of electronic music. BBc Radioworkshop The BBC Radiophonic Workshop, one of the sound effects units of the BBC, was created in 1958 to produce effects and new music for radio. It was based in London, growing outwards from the then-legendary Room 13. The innovative music and techniques used by the Workshop made it one of the most significant influences on electronic music today. siemens studio for electronic music The Siemens Synthesiser or 'Siemens Studio For Electronic Music' was a German development similar to the RCA Synthesiser originally to compose live electronic music for Siemens's own promotional documentary films. The studio was a modular composition and synthesis system that generated musical sequences and synthesised and recorded the results. Novachord Ace Electronic Industries Inc., or Ace Tone was a manufacturer of musical instruments, including electronic organs and analogue drum machines, and effects pedals. Founded in 1960 by Ikutaro Kakehashi with an investment by Sakata Shokai, Ace Tone can be considered an early incarnation of the Roland Corporation, which was also founded by Kakehashi.
elektronik// musik / 1960-1966 Iowa state university ‘cyclone’ 1961 LaFarr Stuart LaFarr Stuart programmed Iowa State University's CYCLONE computer to play simple, recognisable tunes through an amplified speaker that had been attached to the system originally for administrative and diagnostic purposes. An interview with Mr. Stuart accompanied his computer music. NBC RADIO NETWORK 1962 Pre-recorded Radio Broadcast One of the first large-scale public demonstrations of computer music was a pre-recorded national radio broadcast on the NBC radio network program Monitor on February 10, 1962.
‘Gargoyles’ 1960 Otto Luening
‘kontakte’ 1960 karlheinz Stockhausen
‘cartridge music’ 1960 John Cage
‘composition for synthesizer’ 1961 Milton Babbit
centre for electronic music in israel 1961 Josef Tal
sanfrancisco tape music centre 1962 Morton Subotnik Ramon Sender Pauline Oliveros Anthony Martin Terry Riley
Milton Cohens Space Theatre 1965 Ann Arber Gordon Mumma Robert Ashley David Tudor The sonic arts union 1966 Gordon Mumma Robert Ashley Alvin Lucier David Behrman
Buchla music box 1963 Don Buchla Mikrophonie mki 1964 Karlheinz Stockhausen Mikrophonie mkii 1965 Karlheinz Stockhausen circuit bending 1966 Reed Ghazala
gargoyles
Centre for electronic music in israel
Buchla music box
Otto Luening's Gargoyles for violin and tape demonstrates the interesting structures that can be produced with a limited range of electronic tones. This piec of music became extremly popualr in the 1960ʼs and is considered to be an augmented classic, combing acoustic and electroacoustic sound.
In 1961 Josef Tal established the Centre for Electronic Music in Israel at The Hebrew University, and in 1962 Hugh Le Caine arrived in Jerusalem to install his Creative Tape Recorder in the centre.
The original Buchla Music Box was the brainchild of Don Buchla and came from a commission by composers Ramon Sender and Morton Subotnick. First built in 1963, this synthesizer was composed of several "modules" that generated or modified a music event. Each box served a specific function: oscillator, filter, sample and hold, etc.
kontakte
san francisco tape music centre
mikrophonie i
Kontakte is a celebrated electronic music work by Karlheinz Stockhausen, realised in 1958–60 at the Westdeutscher Rundfunk electronic-music studio in Cologne. The title of the work refers both to contacts between instrumental and electronic sound groups and to contacts between self-sufficient, strongly characterized moments.
The San Francisco Tape Music Center was founded in 1962 by composers Morton Subotnick and Ramon Sender as a "nonprofit cultural and educational corporation, the aim of which was to present concerts and offer a place to learn about work within the tape music medium" Other composers involved include Terry Riley, Pauline Oliveros and Steve Reich.
Mikrophonie I for tamtam, 2 microphones, 2 filters, and controllers, is an example of moment form, polyvalent form, variable form, and process composition. It consists of 33 structural units, or "moments", which can be ordered in a number of different ways, according to a connection scheme specifying the relationships between successive moments by a combination of elements.
cartridge music
Milton coens space theartre & the sonic arts union
mikrophonie ii
The 'Cartridge' refers to the cartridge of old phonographic pick-ups, where one can put needle into the apertures. In 'Cartridge Music' one inserts all kinds of small objects into the cartridges, such as pipe-cleaners, feathers, etc. Furniture is used as well, with contact microphones connected to them. All sounds are to be amplified and controlled by the perfomers. composition for synthesizer Babbittʼs Composition for Synthesizer displayed his interest in establishing precise control over all elements of composition; the machine is used primarily to achieve such control rather than solely to generate novel sounds.
Live electronics were pioneered in the early 1960s by members of Milton Cohen's Space Theater in Ann Arbor, Michigan, including Gordon Mumma and Robert Ashley, by individuals such as David Tudor around 1965, and The Sonic Arts Union, founded in 1966 by Gordon Mumma, Robert Ashley, Alvin Lucier, and David Behrman. ONCE Festivals, featuring multimedia theater music, were organized by Robert Ashley and Gordon Mumma in Ann Arbor between 1958 and 1969. In 1960, John Cage composed Cartridge Music, one of the earliest live-electronic works. Both are members of the ONCE Group.
Mikrophonie II for choir, Hammond organ, and four ring modulators, like Mikrophonie I composed in moment form. The work combines the electronically produced sounds of the Hammond organ with vocal sounds from the choir through ring modulation to produce transformations that in many places achieve distortions evoking wizardry. Circuit bending In 1966, Reed Ghazala discovered and began to teach "circuit bending"—the application of the creative short circuit, a process of chance short-circuiting, creating experimental electronic instruments, exploring sonic elements mainly of timbre and with less regard to pitch or rhythm.
elektronik// musik / 1966-1978
paia Electronics 1967 John Simonton ems Synthesizers 1969 Peter Zinnovieff minimoog 1970 Peter Zinnovieff
ems synthi 100 synthesizer 1971 Electronic Music Studios London n 1974 the WDR studio in Cologne acquired an EMS Synthi 100 synthesizer which was used by a number of composers in the production of notable electronic works—amongst others, Rolf Gehlhaar's Fünf deutsche Tänze (1975), Karlheinz Stockhausen's Sirius (1975–76), and John McGuire's Pulse Music III (1978). intergrated synthesizers 1970 Robert Moog In 1970, Moog designed the Minimoog, a non-modular synthesizer with a built-in keyboard. The analogue circuits were interconnected with switches in a simplified arrangement called "normalization." Though less flexible than a modular design, normalization made the instrument more portable and easier to use. The Minimoog sold 12,000 units. Further standardized the design of subsequent synthesizers with its integrated keyboard, pitch and modulation wheels and VCO->VCF->VCA signal flow
optigon 1971 Optigan Corporation
orchestron 1971 Optigan Corporation
sh1000 1972 Roland Corporation
4600 1972 Maplin Synthesizers
3600 1972 Maplin Synthesizers
Yamaha gx-1 1976 Yamaha Corportion
Fünf deutsche Tänze 1975 Rolf Gehlhaar
Pulse music three 1978 John McGuinnes
Sirius 1976 Karlheinz Stockhausen
paia electronics PAiA Electronics, Inc. is an American synthesizer kit company that was started by John Simonton in 1967. It sells various musical electronics kits including analog synthesizers, theremins, mixers and various music production units designed by founder John Simonton, Craig Anderton, Marvin Jones, Steve Wood and others. ems synthesizers london In 1969 the English electronic engineer and composer Peter Zinnovieff created EMS Ltd to exploit the new market of electronic musical instruments. EMS created some of the most innovative and sometimes eccentric instruments of their time. EMS's most well known product was the 3 VCO monosynth with a routable pinboard and a joystick housed in a wooden case. Optigan & Orchestron The Optigan (a portmanteau of Optical Organ) was an electronic keyboard instrument designed for the consumer market. The name stems from the instrument's reliance on pre-recorded optical soundtracks to reproduce sound. Later versions (built under license and aimed at the professional market) were sold under the name Orchestron. The immediate predecessors of the Optigan were the "Welte Lichtton-Orgel" of 1936 and the Lumigraph of 1950. Engineering work on the project began in 1968 and the first patents issued in 1970. The Optigan was released in 1971 by Optigan Corporation, a subsidiary of toy manufacturer Mattel, Incorporated of El Segundo, California.
minimoog
yamaha gx - 1
The Minimoog is a monophonic analog synthesizer, invented by Bill Hemsath and Robert Moog. It was released in 1970 by R.A. Moog Inc. Production was stopped in 1981. It was re-designed by Robert Moog in 2002 and released as Minimoog Voyager.
The GX1 was Yamaha's first polyphonic synthesiser although innovative for its time the instrument was out of the price range of most musicians selling for 30,000 in 1976, Yamaha sold very few models. The GX-1 has four synthesizer "ranks" or manuals, called Solo, Upper, Lower and Pedal, plus an analog rhythm machine.
Roland Rh-1000
Fünf deutsche Tänze
The Roland SH-1000, introduced in 1973, was the first compact synthesizer produced in Japan, and the first synthesizer produced by Roland. It resembles a home organ more than a commercial synth, with coloured tabs labelled with descriptions of its presets and of the "footage" of the divide-down oscillator system used in its manually editable synthesizer section.
Rolf only began to play the piano at the age of fifteen, and at about the same time began to compose for fun (Schürmann 1976,) Initially, he had studied medicine, but soon changed his major to philosophy and the philosophy of science; then at Yale he attended a course in composition. He moved to Cologne, in 1967 to become assistant to Karlheinz Stockhausen.
maplin 3600 & 4600 synthesizers
Sirius
Trevor G Marshall started building synthesiser kits in Australia in 1973, the first models being the 3600 and 4600 which were hybrid digital and analogue synthesisers. The original company was bought by the UK based Maplin Electronics and these models were marketed as the Maplin 3800 and 5600.
Sirius: eight-channel electronic music and trumpet, soprano, bass clarinet, and bass is a music-theatre composition by Karlheinz Stockhausen, composed between 1975 and 1977. It is Nr. 43 in the composer's catalogue of works, and lasts 96 minutes in performance.
pulse music iii
Pulse Music III seeks a synthesis of minimalism and the serialism with which he had become acquainted during his studies in Germany, especially with Stockhausen. His work over the next 25 years was devoted entirely to the exploration and development of various aspects of this synthesis, in particular the fusion of elemental tonal functions with chromatic time structures.
elektronik// musik / 1978-1987 fm Synthesis 1907 John Chowning The first digital synthesizers were academic experiments in sound synthesis using digital computers. FM synthesis was developed for this purpose, as a way of generating complex sounds digitally with the smallest number of computational operations per sound sample. first developed by John Chowning at Stanford University during the late sixties. Chowning exclusively licensed his FM synthesis patent to Yamaha in 1975. The rise Of POPUlar electronic music 1911 After the arrival of punk rock, a form of basic synth rock emerged, increasingly using new digital technology to replace other instruments. Pioneering bands included Ultravox with their 1977 single "Hiroshima Mon Amour", Yellow Magic Orchestra from Japan, The Human League and Tubeway Army from the UK, and Devo from the US.[94] Yellow Magic Orchestra in particular helped pioneer synthpop with their self-titled album (1978) and Solid State Survivor (1979). The definition of MIDI and the development of digital audio made the development of purely electronic sounds much easier. These developments led to the growth of synth pop, which after it was adopted by the New Romantic movement, allowed synthesizers to dominate the pop and rock music of the early 80s.
farlight cmi keyboard 1979 Peter Vogec Kim Ryrie yamaha gs-1 synthesizer 1980 Yamaha Corporation
tr-808 drum machine 1980 Roland Corporation
midi 1.0 1980 Dave Smith
‘Sexual Healing’ 1982 Marvin Gaye
Sogitec 4x computer system 1981 IRCAM
Tb-303 bass synthesizer 1982 Roland Corporation yamaha dx-7 1983 Yamaha Corporation
Real time pitch flowing 1982 Larry Beaurgard Barry Vercoe ‘Synapse ii’ 1984 Larry Beaurgard Barry Vercoe MAx Program 1985 Miller Pluckette
‘aCid Tracks’ 1987 Phuture
phonautograph
Sogitec 4x computer system
REAL-TIME PITCH-FLOWING
The Fairlight CMI, the first polyphonic digital sampler, was the harbinger of sample-based synthesizers. Designed in 1978 by Peter Vogel and Kim Ryrie and based on a dual microprocessor computer designed by Tony Furse in Sydney, the Fairlight CMI gave musicians the ability to modify volume, attack, decay, and use special effects like vibrato.
IRCAM in Paris became a major center for computer music research and realization and development of the Sogitec 4X computer system, featuring then revolutionary real-time digital signal processing. Pierre Boulez's Répons (1981) for 24 musicians and 6 soloists used the 4X to transform and route soloists to a loudspeaker system.
At IRCAM in Paris in 1982, flutist Larry Beauregard had connected his flute to DiGiugno's 4X audio processor, enabling real-time pitch-following.
Yamaha Gs-1
Roland tb-303 bass synthesizer
MAX PROGRAM
Yamaha released their first FM synthesizers, the GS-1 and GS-2 in 1980 which were costly and heavy. There followed a pair of smaller, preset versions, the CE20 and CE25 Combo Ensembles, targeted primarily at the home organ market and featuring four-octave keyboards.
The TB-303 (short for "Transistorized Bass") was originally marketed to guitarists for bass accompaniment while practicing alone. Production lasted approximately 18 months, resulting in only 10,000 units. It was not until the mid- to late-1980s that DJs and electronic musicians in Chicago found a use for the machine in the context of the newly developing house genre.
Max is a visual programming language for music and multimedia developed and maintained by San Francisco-based software company Cycling '74. During its 20-year history, it has been widely used by composers, performers, software designers, researchers, and artists for creating innovative recordings, performances, and installations.
midi 1.0
Yamaha dx-7
Sexual healing
In 1980, a group of musicians and music merchants met to standardize an interface by which new instruments could communicate control instructions with other instruments and the prevalent microcomputer. This standard was dubbed MIDI (Musical Instrument Digital Interface). In August 1983, the MIDI Specification 1.0 was finalised.
The Yamaha DX7 is a FM Digital Synthesizer manufactured by the Yamaha Corporation from 1983 to 1986. It was the first commercially successful digital synthesizer. Its distinctive sound can be heard on many recordings, especially pop music from the 1980s.
A classic pop song released in 1982 that made good use of the new synthesizers that were being made at the time, in particular the TR-808 drum machine from Roland.
Roland TR-808
synapse ii
Acid tracks
The Roland TR-808 Rhythm Composer was one of the first programmable drum machines ("TR" serving as an initialism for Transistor Rhythm). Introduced by the Roland Corporation in early 1980, it was originally manufactured for use as a tool for studio musicians to create demos. Like earlier Roland drum machines, it does not sound very much like a real drum kit.
Larry Beauregard and Barry Vercoe gave numerous demonstrations of the computer as a chamber musician, playing Handel flute sonatas, Boulez's Sonatine for flute and piano and by 1984 my own Synapse II for flute and computer—the first piece ever composed expressly for such a setup.
"Acid Tracks" is a 12-inch single released in 1987 by Phuture. It considered the first song made using the Roland TB-303 synthesizer to create the acid house "squelch" sound. The 303 was originally designed as a bass accompaniment for bands, but ended up as a favorite among electronic-music producers. The style of music soon became known as acid house.
elektronik// musik / 1987-1999
Digital audio tape 1987 Sony
Roland Hp-3700 digital piano 1990 Roland Corporation
‘little fluffy clouds’ 1990 Orb
Mini disc 1992 Sony
MP3 1992 Sony
‘papua new guinea’ 1991 The Future Sound Of London
The demise of vinyl 1988 1988 For the first time sales of CD were higher than vinyl. By 1989 the CD accounted for over 200 million units and the LP was beginning to disappear from record stores. First U.k Ecstacy related death 1989 The Haçienda On July 14, 1989, the UK's first ecstacy-related death occurred at the club; 16 year-old Clare Leighton collapsed and died after her boyfriend gave her an ecstacy tablet. A police clampdown followed was opposed by Manchester City Council which argued that the club contributed to an "active use of the city centre core" inline with the government's policy of regenerating urban areas. The resulting problems caused the club to close for a short period in early 1991, before reopening with improved security later the same year.
gatecrasher 1993 Tardebigge Engine House
‘love stimulation’ 1993 Humate (Paul Van Dyk Remix)
Napster 1998 John Fanning Shawn Fanning Sean Parker
‘selected ambient works ii’ 1994 Aphex Twin
Ableton 1999 Ableton A.G
S.D.M.i 1999 Edward Felten Eric Scheirer
digitl audio tape (d.a.t) Digital Audio Tape (DAT or R-DAT) is a signal recording and playback medium developed by Sony and introduced in 1987. In appearance it is similar to a compact audio cassette, using 4 mm magnetic tape enclosed in a protective shell, but is roughly half the size. DAT has the ability to record at higher, equal or lower sampling rates than a CD at 16 bits quantization. HP-3700 Digital piano A trendsetting model of the HP series, equipped with advanced SA sound generator and newly-styled furniture-like cabinet. The HP-3700 delivered super rich sound quality that stood it apart from other electric keybaords and synthesizers. Manufactured for a more classical sound. Little fluffy clouds "Little Fluffy Clouds" is a single released by the English ambient house group The Orb. It was originally released in July 1990 on the record label Big Life and peaked at #87 on the UK Singles Chart. The Orb also included it on their 1991 double album The Orb's Adventures Beyond the Ultraworld. Papua new guinea "Papua New Guinea" is a 1991 song by the electronic music group Future Sound of London. It was the group's debut single and later appeared on their full-length album Accelerator. The single reached #22 on the UK singles chart. The track has been remixed and released many times since its original release, both legitimately and in bootleg format.
Minidisc
selected ambient works VOlume ii
A MiniDisc (MD) is a magneto-optical disc-based data storage device initially intended for storage of up to 74 minutes and, later, 80 minutes, of digitized audio. In the form of Hi-MD, it has also developed into a general-purpose storage medium. MiniDisc was announced by Sony in September 1992 and released that year for sale in Japan and in December for Europe.
Selected Ambient Works Volume II released in 1994, is the second album by Richard D. James under his Aphex Twin moniker. Volume II differs significantly from the first volume in the series, in that it consists of lengthy, textured ambient compositions with minimal percussion and occasional vocal samples, in a vein similar to Brian Eno's ambient works.
Mp3
napster
MPEG Audio Layer III, more commonly referred to as MP3, is a patented digital audio encoding format using a form of lossy data compression. It is a common audio format for consumer audio storage, as well as a de facto standard of digital audio compression for the transfer and playback of music on digital audio players. created by MPEG.
Napster is a name given to two music-focused online services. It was originally founded as a pioneering peer-to-peer file sharing Internet service that emphasized sharing audio files, typically music, encoded in MP3 format. The original company ran into legal difficulties over copyright infringement, ceased operations and was eventually acquired by Roxio.
Gatecrasher
Ableton live
Gatecrasher was first held as a one-off event in 1993 in the West Midlands at the Tardebigge Engine House. The night originally took its form from similar local clubs such as 'Fun', 'Wobble', and C.R.E.A.M. The club later moved to Bakers nightclub on Broad Street, but became so popular that larger events were organised in other locations in and around the West Midlands.
Ableton was founded in 1999 by Gerhard Behles, Robert Henke of Monolake and Bernd Roggendorf. After Behles' work on granular synthesis features for Native Instruments' Reaktor, as well as earlier software using a Silicon Graphics workstation at the Technical University of Berlin.
Love stimulation (Paul Van Dyk Remix)
scure digital music initiative sdmi
Paul van Dyk is a German Grammy Award-winning Electronic Dance Music DJ, musician and record producer. One of the first true Superstar DJs, Paul van Dyk was one of the first artists to receive a Grammy nomination in the newly added category of Best Dance/Electronic album for his 2004 release Reflections. He was named the World's No. 1 DJ in both 2005 and 2006.
Secure Digital Music Initiative (SDMI) was a forum formed in late 1998, composed of more than 200 IT, consumer electronics, security technology, ISP and recording industry companies, ostensibly with the purpose of developing technology specifications that protected the playing, storing and distributing of digital music.
elektronik// musik / 1999-2012 virtual studio technology 1996 Steinberg Steinberg's Virtual Studio Technology (VST) is an interface for integrating software audio synthesizer and effect plugins with audio editors and hard-disk recording systems. VST and similar technologies use digital signal processing to simulate traditional recording studio hardware with software. Thousands of plugins exist, both commercial and freeware, and VST is supported by a large number of audio applications. The technology can be licensed from its creator, Steinberg. Vinyl emulation software 2001 N2IT Vinyl emulation software allows the user to physically manipulate the playback of digital audio files on a computer using the turntables as an interface, thus preserving the hands-on feel of deejaying with vinyl while allowing playback of audio recordings not available in phonograph form. This allows DJs to scratch, beatmatch, and perform other turntablism that would be impossible with a conventional keyboard-and-mouse computer interface. The technology is also referred to as DVS for either Digital Vinyl System or Digital Vinyl Software. Final Scratch was the first vinyl emulation software sold publicly. Since its release in 2001, many similar software and hardware packages have been
Cubase 2.0 1999 Steinberg
reason 2000 Propellorhead Software
logic pro 2002 Apple Inc.
Technics 1210MK2 2002 Panasonic Corporation
Fruityloops version 4.0 2004 Image Line
Scratch live 2004 Serato Audio Research
traktor 3 2006 Native Instrument & Stanton Magnetic
technics mk6k7 2007 Panasonic Corporation
‘outside of the box’ 2009 Skream
pioneer cdj-900 2009 Pioneer Electronics
‘save the world’ 2011 Swedish House Mafia
‘sring of life’ 2012 Perfume
cubase vst32 5.0
fruityloops
pioneer cdj-900
Cubase is a music software product developed by Steinberg for music recording, arranging and editing as part of a Digital Audio Workstation. It is one of the oldest DAWs to still enjoy widespread use. Available individually and as part of a Producer's Pack featuring Recycle loop editor, programs developed by Propellerheads but distributed by Steinberg.
FL Studio (formally known as frutyloops) is a digital audio workstation developed by the Belgian company Image-Line. FL Studio features a graphical user interface based on a pattern-based music sequencer. The program is available in four different editions for Microsoft Windows, including FL Studio Express and Fruity Edition.
CDJ is a term used to describe a line of CD players from Pioneer Electronics that allow analogue control of music from CDs, usually using an emulated vinyl control surface. The term "CDJ" is derived from the first controller, the CDJ-500 from Pioneer Electronics. he Pioneer CDJ-900 is the latest CDJ player announced.
reason
scratch live
outside of the box
Reason is a music software program developed by Swedish software developers Propellerhead Software. It emulates a rack of hardware synthesizers, samplers, signal processors, sequencers, and mixers, all of which can be freely interconnected in an arbitrary manner. Reason can be used either as a complete virtual music studio or as a collection of virtual instruments.
Scratch Live is a vinyl emulation software application created by New Zealand based Serato Audio Research, distributed by and licensed exclusively to Rane Corporation. Serato was first known for its popular Pro Tools plug-in Pitch N Time which was sold mainly to the film industry and music scene. Since is debut in the program has been simply referred to as ʻSeratoʼ.
Outside the Box is the second and latest album by British dubstep producer Skream, released on 9 August 2010 on Tempa records. The album features collaborations with electropop duo La Roux and American rapper Murs, amongst others. Two singles were released from the album: "Listenin' To The Records On My Wall" and "Where You Should Be".
logic pro
traktor 3
save the world
Logic Pro is a hybrid 32 / 64 bit digital audio workstation and MIDI sequencer software application for the Mac OS X platform. Originally created by German software developer Emagic, Logic Pro became an Apple product when Apple bought Emagic in 2002. Logic Pro is part of Apple's Logic Studio bundle of professional music applications.
Traktor (previously known as Traktor DJ Studio) is a DJ software package developed by Native Instruments. On October 11, 2006, the partnership between Native Instruments and Stanton Magnetics ended, and Traktor DJ Studio 3 was renamed Traktor 3.
"Save the World" is a song by Swedish house music group Swedish House Mafia. The song features vocals from Swedish singer John Martin, who co-wrote the song with Axwell, Steve Angello, Sebastian Ingrosso, Michel Zitron and Vincent Pontare. It was released on May 13, 2011 as a digital download, and it premiered on BBC Radio 1 on April 22, 2011.
Technics 1210 mk2
technics mk6k1
spring of life
he Technics SL-1200 are a series of turntables manufactured since October 1972 by Matsushita under the brand name of Technics. SL-1210MK2 comes in matte black only and is nearly the same in function as the SL-1200MK2, although some of the circuitry inside is updated to use fewer different types of pots and resistors.
SL-1200MK6K1 is the same as the SL-1200MK6 except with a matte black finish like the MK2. Released in 12 December 2007 (in Japan) as a special 35th-anniversary edition, in a limitation of 1000 only.
Spring of Life" (εϓϦϯάΦϒϥΠϑ) is the twentieth single of Japanese techno-pop girl group Perfume. It was released on April 11, 2012 in Japan under Universal J. It was the group's first single under the label after they transferred from Tokuma Japan Communications.