Music synthesizerWritten by: The Editors of Encyclopdia Britannica Alternate title: electronic sound synthesizer

music synthesizer,also called electronic sound synthesizer, machine that electronically generates and modifies sounds, frequently with the use of a digital computer. Synthesizers are used for the composition of electronic music and in live performance.The intricate apparatus of the sound synthesizer generates wave forms and then subjects them to alteration in intensity, duration, frequency, and timbre, as selected by the composer or musician. Synthesizers are capable of producing sounds far beyond the range and versatility of conventional musical instruments.The first electronic sound synthesizer, an instrument of awesome dimensions, was developed by the American acoustical engineers Harry Olson and Herbert Belar in 1955 at the Radio Corporation of America (RCA) laboratories at Princeton, N.J. The information was fed to the synthesizer encoded on a punched paper tape. It was designed for research into the properties of sound and attracted composers seeking to extend the range of available sound or to achieve total control of their music.During the 1960s, synthesizers of more compact design were producedfirst the Moog (see photograph), and others soon after, including the Buchla and Syn-Ket, the last approximately the size of an upright piano. Most synthesizers have had piano-like keyboards, although other types of performing mechanisms have been used. The Moog III, developed by the American physicist Robert Moog, had two five-octave keyboards that controlled voltage changes (and thus pitch, timbre, attack, decay of tone, and other aspects of sound), allowing the composer or musician an almost infinite variety of tonal control. This type of analogue technology became the basis of both modular and portable synthesizers mass-produced in the 1960s and 70s. A notable use of the Moog was in Alwin Nikolais television ballet The Relay. The Buchla synthesizer, developed by the American scientist Donald Buchla, was activated by a keyboard that was a touch-sensitive metal plate without movable keys, somewhat comparable to a violin fingerboard. It was used in such works as Morton Subotnicks Silver Apples of the Moon (1967) and The Wild Bull (1968).The aforementioned synthesizers used subtractive synthesisremoving unwanted components from a signal containing a fundamental tone and all related overtones (sawtooth-wave signals). The harmonic-tone generator developed by James Beauchamp at the University of Illinois, in contrast, used additive synthesisbuilding tones from signals for pure tones, i.e., without overtones (sine-wave signals)and offered certain advantages in the nuances of tone colours produced.During the late 1970s and 1980s much more compact synthesizers using microcomputers and a variety of digital synthesis techniquessuch as whole-sound sampling (the digital recording of sounds), Fourier synthesis (the specification of individual harmonics), and FM (frequency modulation) synthesis using sine waveswere developed. Notable among these instruments were the Fairlight CMI, New England Digitals Synclavier II, and Yamahas series of FM synthesizers.NotesIf you are going to add to the list please use the same format and insert in chronological order. The Synth List - Formating: Year - Manufacturer - Model - First at what..? 1837 - C.G. Page (Salem. Mass) - first to produce electronically generated sound (not necessarily associated with a musical instrument). After inventing the Volta in 1800 (an early battery), in 1837 Page was doing experiments with coils and realized when certain coils were attached to a batter they omitted a ringing sound. While he initially thought the ring came from the electrical current was interrupted (battery disconnected), what was actually taking place was the induction through the coils was causing them to vibrate. via Peter Grenader 1885 - Person and Ernst Lorenz -'Elektrisches Musikinstrument' - the first musical instrument designed to produce electrically generated sound. It used electronic vibrations to drive an electromagnet that were connected to resonating boards, which translated these vibrations to sound. via Peter Grenader 1897 - Taddaeus Cahills - Telharmonium - electromechanical instrument. 1936 - Oskar Sala - Mixturtrautonium - first synth using Subharmonic synthesis 1939 - Homer Dudley invents the Parallel Bandpass Vocoder (VODER) - A manually key operated speech synthesizer 1940 - Homer Dudley invents the The Voder speech synthesizer - A device which used the human voice and an artificial voice to produce a composite. Both were researched as a way to transmit speech over copper wires (id est, 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 - first sequencer. 1950 - CSIR - Mk 1 - The first known use of a digital computer for the purpose playing music 1956 - Louie and Bebe Barron - Produced the first all-electronic musical score for a major motion picture - MGM's 'Forbidden Planet' 1957 - Max V. Mathews at Bell Labs - MUSIC - the first digital synthesizer. Technically, it was a computer program, though it set the stage for every digital synthesizer that proceeded it. 1963/64 - Buchla - model 100 modular - 1st "modern" modular synth 1967 - Moog - Moog modular synthesizer I, II & III - 1st commercial modular synth. 1969 - EMS - Synthi VCS-3 - first non-modular mini-synth 1970 - Moog - Minimoog - 1st Mono Synth with keys (non-modular) 1971 - Tonus/ARP - Soloist - 1st preset mono synth 1971 - John Chowning - developed FM synthesis using the MUSIC-IV language (source), a direct descendent of Mathew's MUSIC program. FM synthesis was later licensed by Yamaha, and used in popular synths such as the DX7. 1971 - Buchla - 500 - micro-controlled polyphonic analogue in 1971, it was also programmable as you could save patches to floppy. 1972 - Triadex Muse - first of many horrible sounding digital synth/seq workstation thingies 1973 - Coupland Digital Music Synthesizer - First Digital (Triadex beat it?) Update via Peter Grenader: "No time to read through all these posts to see if it's come up yet, but the Coupland was vaporwear...it never existed. I met Mark Vail, who's now a friend, by writing him a letter informing him that his story about the Coupland in his Vintage Synthesizers book (GREAT book) which mentioned it's only recorded showing was at the AES show in LA in 1978 was a farce. I was there - at their booth and their suite in the Hilton where the instrument was said to be. I was there on the first day, I was there on the last day. The only thing they had was a small model - about six inches across, sitting on a table. The booth was amazing - this radial orb multiple people could sit in, with a cover that came over each person which played what I remembered was a very impressive demo which swirled around four speakers inside the box. I, and everyone else, were blown away. They kept saying...'it will be here tomorrow, it'll be here tomorrow'...so I showed up the last day just to see it, figuring by the then it would have arrived...it didn't. I did see the frst Synclavier at that show however. Their suite was across the hall from the Coupland folk. That completely kicked the crap out of everything else shown that year." 1973 - NED - Synclavier - first digital synth 1974 - Roland - SH3a - first commercial additive synth 1974 - RMI - Harmonic Synthesizer - first commercial additive synth 1976 - Yamaha - CS80 - first synth with poly aftertouch = polypressure 1976 - PPG - PPG 1003 sonic carrier - 1st programmable mono/duo synth (this, along with the model 1020, might have been the 1st synths to use DCOs as well) 1977 (late) - Oberheim - OB1 - 1st commercial programmable mono synth 1978 (late) - PPG - Wavecomputer 360 - 1st wavetable synth 1978 - Sequential Circuits - microprocessor control the SCI Prophet10 (briefly) and the P5 --- again based on existing E-mu tech stuff 1979 - NED - Synclavier - First FM 1979 - Fairlight CMI - First Sampler, First Workstation 1982 - Sequential Circuits - Prophet600 / First Midi Synthesizer (though some argue the Prophet 5 rev 3.2 is pre-MIDI MIDI) 1983 - Yamaha - DX7 - Digital takes over, FM goes mainstream 1983 - OSC - OSCar - First real-time additive with analog filters 1984 - Sequential Circuits - SixTrak - first multitimbral 1985 - Casio - CZ101 - First battery-powered all digital mini-synth 1989 - Emu Systems - Proteus - First dedicated ROMpler 1994 - Yamaha - VL1 - first physical modelling synth 1995 - Clavia - Nord Lead - 1st Virtual Analog (VA) 1996 - Rubberduck - still not the first softsynth but came before Seer Systems Reality. 1996 - Steinberg - VST - Ok not a synth but enabled a lot to be written as plug-ins and used simultaneously 1997 - Seer Systems - Reality - First Modular Soft Synth 2912 - KalQuestoTron - the first genetically engineered synth. Each cell is an oscillator, filter, and neural sequencer. Can be delivered via injection to always play 'hold music' in your

A Brief History of the SynthesizerThis overview showcases a few of the most significant developments in synthesizer history.Precursors to the SynthesizerIt may surprise you to learn that the earliest seeds of modern electronic synthesizers began in the twilight years of the 19th century. In 1896/1897, an American inventor named Thaddeus Cahill applied for a patent to protect the principle behind an instrument known as the Telharmonium, or Dynamophone. Weighing in at a staggering 200tons, this mammoth electronic instrument was driven by 12 steam-powered electromagnetic generators. This behemoth was played in real time using velocity-sensitive keys and, amazingly, was able to generate several different sounds simultaneously. The Telharmonium was presented to the public in a series of concerts held in 1906. Christened Telharmony, this music was piped into the public telephone network, because no public address systems were available at the time.In 1919, Russian inventor Leon Theremin took a markedly different approach. Named after the man who masterminded it, the monophonic Theremin was played without actually touching the instrument. It gauged the proximity of the players hands, as they were waved about in an electrostatic field between two antennae, and used this information to generate sound. This unorthodox technique made the Theremin enormously difficult to play. Its eerie, spine-tingling (but almost unvarying) timbre made it a favorite on countless horror movie soundtracks. Incidentally, R. A. Moog, whose synthesizers would later garner worldwide fame, began to build Theremins at the tender age of 19.In Europe, the Frenchman Maurice Martenot devised the monophonic Ondes Martenot in 1928. The sound generation method of this instrument was akin to that of the Theremin, but in its earliest incarnation it was played by pulling a wire back and forth.In Berlin during the 1930s, Friedrich Trautwein and Oskar Sala worked on the Trautonium, an instrument that was played by pressing a steel wire onto a bar. Depending on the players preference, it enabled infinitely variable pitchesmuch like a fretless stringed instrumentor incremental pitches similar to that of a keyboard instrument. Sala continued to develop the instrument throughout his life, an effort culminating in the two-voice Mixturtrautonium in 1952. He scored numerous industrial films, as well as the entire soundtrack of Alfred Hitchcocks masterpiece The Birds, with this instrument. Although the movie does not feature a conventional musical soundtrack, all bird calls and the sound of beating wings heard in the movie were generated on the Mixturtrautonium. In Canada, Hugh Le Caine began to develop his Electronic Sackbut in 1945. The design of this monophonic instrument resembled that of a synthesizer, but it featured an enormously expressive keyboard, which responded not only to key velocity and pressure but also to lateral motion.The instruments discussed thus far were all designed to be played in real time. Relatively early, however, people began to develop instruments that combined electronic sound generators and sequencers. The first instrument of this kind was presented by the French duo Edouard Coupleux and Joseph Givelet in 1929the inspirationally named Automatically Operating Musical Instrument of the Electric Oscillation Type. This hybrid married electronic sound generation to a mechanically punched tape control. Generally acknowledged to be a mouthful, its unofficial name was shortened to Coupleux-Givelet Synthesizer by its builders; this was, incidentally, the first time a musical instrument was called a synthesizer.The term was officially introduced in 1956 with the debut of the RCA Electronic Music Synthesizer Mark I, developed by American engineers Harry F. Olson and Herbert Belar. Its dual-voice sound generation system consisted of 12tuning forks, which were stimulated electromagnetically. For its time, the instrument offered relatively sophisticated signal-processing options. The output signal of the sound generator could be monitored by loudspeakers and, amazingly, recorded directly onto two records! A single motor powered both turntables and the control unit of the Mark 1. The synthesizer was controlled by information punched onto a roll of paper tape, which actually enabled continuous automation of pitch, volume, timbre, and envelopes. It was as complicated as it sounds-handling was anything but a dream, and spontaneous playing was impossible.The First Voltage-Controlled SynthesizersWith the exception of the Telharmonium, which was conceived prior to the advent of the thermionic valve, these precursors to the modern-day synthesizer were all based on tube circuitry. This made these instruments relatively unwieldy and certainly volatile. After the transistor became available in 1947/48, more rugged, smaller, and thus portable, instruments were soon to come.At the end of 1963, American innovator R. A. (Bob) Moog met the composer Herbert Deutsch, who inspired Moog to combine a voltage-controlled oscillator and amplifier module with a keyboard in 1964the first prototype of a voltage-controlled synthesizer. This collaboration with the German musician prompted Moog to extend his range of modules and to combine them into entire systems. It wasnt until 1967, however, that Moog actually called his diverse mix-and-match systems synthesizers.Moogs achievements spread by word of mouth, and Moog, always keen to elicit the feedback of his customers, continued to add further modules to his line. Wendy Carlos LP release Switched-On Bach (1968) was responsible for the breakthrough of Moogs instruments. The record featured Moogs modular synthesizers and was one of the earliest commercial multitrack recordings. The albums success introduced the synthesizer to a wider audience and made the name Moog synonymous with the instrument. Hoping to capitalize on the new sounds that synthesizers made available, and match Carlos commercial success, numerous studios, producers, and musicians acquired Moog modular synthesizers. In 1969, as many as 42 employees produced two to three complete modular systems every week at Moogs production facility.Working independently, an engineer named Donald Buchla had conceived and implemented the concept for a modular, voltage-controlled synthesizer. This coincided with Moogs version. Buchla also developed his first instruments in close cooperation with users. The inspiration for his first synthesizer originated with composers Morton Subotnik and Ramon Sender, of the San Francisco Tape Music Center. Although he began working on this instrument in 1963, it didnt make its public debut until 1966. By design, Buchlas instruments catered primarily to academia and avant-garde musicians, so they never garnered the public attention and acclaim of Moogs synthesizers.Compact and CheapThese early voltage-controlled synthesizers were modular.One (or several) chassis housed the power supply and the actual modules. The inputs and outputs of the modules had to be interconnected via a confusing tangle of patch cords before the synthesizer would actually make a sound. Establishing these connections properly was an art unto itself, and obtaining useful settings on the modules required significant expertise.Moog realized that these modular synthesizers were too complex and expensive for the average musician and were likely to fail if sold through traditional music retailers. In 1969, Moog collaborated with engineers Jim Scott, Bill Hemsath, and Chad Hunt to design a compact, portable, affordable, and easy-to-use synthesizer. After three prototypes were built, the Minimoog Model D was released in the summer of 1970.Unlike previous modular synthesizers, it was neither necessary (nor possible) for players to connect the modules of the Minimoog as they saw fit. All of the modules connecting circuitry was hard-wired at the factory. The type and number of modules was also fixed. This simplified manufacturing considerably, and cut costs dramatically. Hard on the heels of a major marketing campaign, the Minimoog became a huge success. Without alteration in its basic design, 13,000 Minimoogs were sold worldwide, right up to 1981.Storage and PolyphonyCustomers werent entirely satisfied, however. Although musicians no longer had to contend with countless cords in order to play a synthesizer, they still had to deal with loads of knobs and switches before they could do something as simple as switch from one sound to another. Moreover, keyboardists were bored with playing monophonic melody lines on synthesizersthey wanted to be able to play chords. Although dual-voice keyboards that connected two monophonic synthesizers were available as early as 1970, customers wanted more.Attempting to satisfy these demands, two schools of thought emerged in synthesizer design. One approach called for an independent, monophonic synthesizer to be assigned to every key on the keyboard. To this end, designers married the design principles of electronic organs to synthesizer technology. Although this breed of instrument was fully polyphonicall notes of the keyboard could be heard simultaneouslyit wasnt as versatile in its control options as a true synthesizer. The first fully polyphonic synthesizer to feature this type of design was the Moog Polymoog, released in 1975. Developed primarily by David Luce, it featured 71 weighted, velocity-sensitive keys.In the second approach to polyphonic sound generation, a synthesizer was assigned to a key only when the key was pressedin effect, semi-polyphony. As early as 1973, American company E-MU Systems introduced the Modular Keyboard System Series 4050, a digital keyboard that could be connected to up to ten monophonic synthesizers, and thus had ten-voice polyphony. The problems with this approach are obviousvery few people owned ten synthesizers, and the amount of time and effort involved in programming the settings for a new sound were an overwhelming deterrent. Digital memory was still waiting to be developed and, once again, the evolution of semi-polyphonic synthesizers required the desirable qualities that only digital keyboards could provide. The same prerequisite-digital engineeringeventually led to synthesizers that allowed sounds to be stored. Without the benefit of digital technology, early attempts at storing sounds included some unwieldy solutions. As an example, a synthesizer with analog programmability required a dedicated row featuring all of the instruments control elements, for every memory slot! In this case, a selector switch accessed one of the many identical control panels and connected it to the sound generator.The first synthesizer featuring storage slots implemented in this manner was the GX1, which Yamaha released in 1975. The control elements for the systems storage slots were so small that they could only be adjusted using jewellers screwdrivers and complicated toolscalled programmers and comparators.It was not until 1978 that the problem was resolved satisfactorily. The five-voice polyphonic Prophet-5, released by American company Sequential Circuits, was the worlds first synthesizer with a global storage facility. All settings for each of its five onboard monophonic synthesizers were stored in memory slots40 in the debut model. Moreover, all five synthesizers shared a single user interface, which simplified matters considerably. In spite of its initially steep price, this instrument proved extremely popular and approximately 8,000 were built, up until 1985. In addition to its digitally implemented polyphony and memory, the success of the Prophet-5 is attributable to the outstanding quality of its analog sound generation system.Digital SynthesizersEven modern digital synthesizers featuring variable polyphony, memory, and completely digital sound generation systems follow this semi-polyphonic approach. The number of voices that these instruments are able to generate, however, is no longer dependent on the number of built-in monophonic synthesizers. Rather, polyphony depends entirely on the performance capability of the computers that power them.The breathtaking developments in the digital world are best illustrated by the following example. The first program that emulated sound generation entirely by means of a computer was Music I, authored by the American programmer Max Mathew. Invented in 1957, it ran on a university mainframe, an exorbitantly expensive IBM 704. Unimpressively, its sole claim to fame was that it could compute a triangle wave, although doing it in real time was beyond its abilities.This lack of capacity for real-time performance is the reason why early digital technology was used solely for control (and storage) purposes in commercial synthesizers. Digital control circuitry debuted in 1971 in the form of the digital sequencer found in the Synthi 100 modular synthesizerin all other respects an analog synthesizerfrom English company EMS. Priced out of reach of all but the wealthiest musicians, the Synthi 100 sequencer featured a whopping total of 256 events.Ever-increasing processor performance made it possible to integrate digital technology into parts of the sound generation engine itself. The monophonic Harmonic Synthesizer, manufactured by Rocky Mountain Instruments (RMI), was the first instrument to do so. This synthesizer had two digital oscillators, combined with analog filters and amplifier circuits.The Synclavier, introduced in 1976 by New England Digital Corporation (NED), was the first synthesizer with completely digital sound generation. Instruments like the Synclavier were based on specialized processors, which had to be developed by the manufacturers themselves. This development cost made the Synclavier an investment that few could afford.An alternative solution was the use of general-purpose processors made by third-party computer processor manufacturers. These processors, especially designed for multiplication and accumulation operationscommon in audio processing tasksare called digital signal processors (DSPs). Peaveys DPM-3, released in 1990, was the first commercially available synthesizer completely based on standard DSPs. The instrument was 16-note polyphonic and based mainly on three Motorola 56001 DSPs. It featured an integrated sequencer and sample-based subtractive synthesis, with factory presets and user-definable samples.Another solution was to design synthesizers as a computer peripheral, rather than as a standalone unit. The growing popularity of personal computers from the early 1980s made this option commercially viable. Passport Soundchaser and the Syntauri alphaSyntauri were the first examples of this concept. Both systems consisted of a processor card with a standard musical keyboard attached to it. The processor card was inserted into an AppleII computer. The synthesizers were programmed via the Apple keyboard and monitor. They were polyphonic, had programmable waveforms, envelopes, and sequencers. Todays sound cards, introduced in countless numbers since 1989, follow this concept.Exploiting the ever-increasing processing power of todays computers, the next evolutionary step for the synthesizer is the software synthesizer, which runs as an application on a host computer. The sound card (or built-in audio hardware) is needed these days only for audio input and output. The actual process of sound generation, effects processing, recording, and sequencing is performed by your computers CPUusing the LogicExpress software and instrument collection.

SYNTHESIZERS AND SAMPLERS Where would be today's club, hip-hop or ambient music without synthesizers? Well, it would be no such thing as those styles, at all. The best synthesizers and samplers had great influence on evolution of many musical styles, actually creating them. The inspiration married to particular unit with great sound created so many beautiful records that we enjoy today. And the most part of sound on them are synthesizers and samplers.

The history of synthesizers and samplers - Part I

In this article we would like to present a solid theoretical foundation for anyone who wants to know the history, principles of construction, operation and the use of synthesizers and samplers in the production of music. The magnitude of the subject does not give us the opportunity to very detailed description of all of them, however we will try to give a fairly broad cross-section of what is most important both in terms of influence, as well as the operation of most famous synthesizers and samplers.

What is synthesizer? Synthesizer is an electronic musical instrument, which contains various modules for producing and shaping sound, such as oscillators, filters or voltage control amplifiers. The synthesizers are used to produce sounds impossible to obtain by traditional instruments. With the emergence of these instruments the entirely separate branch of music was developed, namely the electronic music. The word "synthesizer" is derived from the word "synthesis". And that word means the synthesis of all the components or any individual pieces into one thing. This is what the synthesizer do. A typical synthesizer contains three most basic modules: 1 The Oscillator - the module that produces initial sound 2 The Keyboard - the module that is used to control the sound in the musical way 3 The Filters and Effects to change the nature of the sound. The third section usually contains the VCA module, which allows you to set different characteristics of sound int terms of it's decay or attack as well as the VCF Envelope filter, which may change the characteristics of filter actions depending on the time.

For a long time already the synthesizers have a built-in sequencer module for programming synthesizer, so that it can play different rhythms or phrases at the same time, and a module to store both factory and user sound presets. The first synthesizer that was equipped with a memory for storing sounds was the Prophet 5, and it was simply priceless in terms of practical usability for musicians, who did not have to set each sound again.

A brief history and types of synthesizers

The first synthesizer in the world has been discovered in 1919 by Lon Theremin. He called it Aetherphone, but this name was not accepted and that synthesizer has become known as the Theremin. This is one of the few electronic instruments that do not require physical contact, to play them. A musician who played it just raises his hands near the two synthesizer's antennas and through the movement of hands he controls the volume and pitch. This synthesizer has been used in numerous recordings, such as a soundtrack for the film "Forbidden Planet", the song "Good Vibrations" by the group Beach Boys and is still used.

The following photos illustrate both the appearance of the instrument, and the way it was played. In the first photo is Lon Theremin:

The next significant step in the history of synthesizer development is the Ondes Martenot: Maurice Martenot (1898 - 1980) invented it when he worked as a radio technician during World War I, He noted "the purity of the vibrations produced by the tubes, which can be controlled with a capacitor". This was one of the first electronic instruments in the world, and the only, which inspired a huge repertoire of songs, and that is still in use today. Martenot began work on the Ondes Martenot in 1919. It does not, however, was presented to the public until May 1928, when it suffered unprecedented success at the Paris Opera. This triumph allowed Martenot the world concert tour. The Martenot's instrument is still in use and taught in about ten conservatories of music (France, Canada). Some companies like Ambro Oliva and SEAM improved the design of this instrument and it is available under these new names since 2001.

Ondes Martenot is a monophonic instrument, consisting of 3 "diffusers": the "major" diffuser (a traditional speaker), the "resonant" diffuser and the "metallique" diffuser (a gong put in vibration by using an engine, metal replaced a speaker's membrane, which gives a metallic sound with precise height). The Resonant diffuser has 2 varieties: the so-called. "Palm", which is a speaker in the shape of a flame, with strings placed on the resonance chamber, allowing the sounds on the principle of resonance, and second, more modern, so-called "Resonnance" (which is built on springs using the same principle of resonance)

Mobile keyboard allows the player to control the vibration, and also to obtain micro intervals. On the front and along the keyboard is a ribbon with a ring through which the performer put his right hand finger. The frequency of the instrument is determined by the location of the finger and allows the player to get the same effects as using fretless string instruments or the human voice (e.g. glissando). Ondes Martenot's range is very broad, it covers as much as 7 octaves. On the left there is a drawer with all the regulators: the preset sounds (100 possible combinations), the transposition keys (among other things quarter tons), regulators for speaker, the balance, pink noise and the "touche d'intensit" (key expression). The instrument also has 2 foot controlled pedals- the muting pedal and decay pedal.

More then 1200 compositions in very different styles were written for Ondes Martenot: the ballet, film music, theater, jazz, rock, contemporary music, the television and radio ads.

Here is a sample of the sound of this wonderful synthesizer coming from the Jolivet's concert on Ondes Martenot:

Shortly after the Ondes Martenot another, very important in the history synthesizer was invented, which was called Trautonium: Trautonium is an instrument discovered by German engineer Dr. Freidrich'a Adolf Trautwein, who first presented it at an exhibition in 1930r. In the years 1932-35 the serial production was started by the Telefunken company. The famous music writers using that instrument were Paul Hindemith (Concertina for Trautonium and Orchestra), Hffer, Genzmer, Julius Weismann, and also Oscar Hall, who became a virtuoso of this instrument, and even continued to work on its development, by introducing its own variations - 'Mixtur-Trautonium', 'Concert-Trautonium' and 'Radio - Trautonium'. Dr. Freidrich Trautwein also invented the 'amplified harpsichord' (1936) and 'Electronic Bells' (1947).

'Trautonium' had a keyboard consisting of resistive wire, extended on a metal rail. It was marked with chromatic signs, similar to the piano keyboard and was connected to a tube oscillator. The performer played the instrument by pressing a wire touching the rails, closing the circuit, and the sound of the oscillator has been strengthened through the loudspeaker. Position of the finger on the wire controlled resistance, which gave the appropriate frequency. Trautonium had a range of 3 octaves, which could be transposed by the switch. The additional circuitry can be added in order to control the sound by strengthening the harmonics tone of the basic components, the un-harmonics also can be added by the selective filtering. This unique form of the so-called "subtractive" synthesis yielded interesting and inspiring tones. This instrument differed significantly from other synthesizers from 20' and 30' of the last century. The instrument had a pedal that controls the overall volume.

SYNTHESIZERS AND SAMPLERS - part II The history of synthesizer and sampler development - part II

Mellotron sound was used on the famous recordings of The Beatles, such as Strawberry Fields Forever. It was the first sampler in the history using the pieces of magnetic tapes as today's digital samplers use digital samples.Here is a sample of the Mellotron sound from that famous recording mp3 >>> Another very important inventor in the history of music was Robert Moog. He invented a modular synthesizer, which consists of several modules combined with each other in different ways by using cables. Although he was not the first of the inventors of a modular synthesizer, earlier than him was Bchl Don, who also introduced the initial concept of this sequencer, but Moog was important in the sense of establishing a certain standard in the construction of electronic synthesizers, which since then are reproduced by countless companies: the Music Control Voltage (VCA). Modular Moog synthesizers included voltage control setting of 1 Volt per octave, to control the basic functions: pitch (VCO), cut-off filter (VCF) and volume (VCA). Envelope, low frequency oscillators and keyboard could give the small voltage needed. Although the Don Buchla synthesizer also used voltage controls as well as Moog, but did not have such precise adjustment, it's settings were rather experimental and not suitable to the broader use in music just like Moog's synthesizer.

On the following photos left to right - Bchla together with his modular synthesizer and early Moog:

A very important step forward was the invention in 1969 by R. Moog 's the MiniMoog synthesizer. It was an attempt to get rid of huge quantities of cables, which can be very complicated in operation and adjustment of the modular Moog synthesizer. This has resulted in fantastically miniaturized instrument:

Moog remedied the problem of huge quantities of cables by the use of permanent connections between the modules and by use of large-scale switches, through which similarly large number of combinations could be obtained, as using cables. This allowed the extensive use of synthesizers during concerts, and not only in the studio. Bass sounds of the Minimoog ibecame quickly the loved standard for many musicians musicians and took a permanent place in classic popular music.

Another instrument that has permanently inscribed on the history of music is the Prophet 5:

Although it was not the first polyphonic synthesizer, which is capable of playing chords, as such instruments existed before, like the Yamaha CS-80 (which is one of the main Vangelis' instruments in the late'70 and early'80), its truly innovative value, however, consisted of something else: it had a miniature internal chips, where a single VCO, VCF, VCA unit could be built in a linear IC system. The Prophet 5, thanks to the use of this technology has become the smallest polyphonic synthesizer, which may be used for concerts, and is easily transported. Another very important innovation of Prophet 5 was the overall programmability. Musicians were for the first time able to save their sounds in the cells of RAM and recall them freely during the concerts. This was simply invaluable move forward for musicians, using the synthesizer as their principal instrument. Polyphonic synthesizers, which emerged after the Prophet 5, all used similar technology of miniaturized integrated circuits of IC type.So far, the only types of sound synthesis in synthesizers were either the "additive" and the "subtractive". The first instrument, which was built on the basis of a completely different sound synthesis was the New England Digital Synclavier. Although it was very expensive and rarely used outside the world of film and experimental music, but it included many elements, which passed the synthesizer to the future. First of all, it had a new technology generators based on the principle of FM synthesis, namely the mathematical, digital audio synthesis. Secondly, the Synclavier contained a computer, which governed both the parameters and the sequencing of sound, and even the sampling of sounds from outside in the later models. It was to become the first fully digital sampler and a first digital workstation. Later, some companies have put on the market their workstations, which were more miniaturized, such as Ensoniq ESQ-1, Korg M1, but the concept was discovered and introduced by the Synclavier. It significantly helped in the development of electronic music and one of its big fans was an American composer and guitarist, the great experimenter, Frank Zappa.

In the photo below New England Digital Synclavier:One can not mention here is the first digital sampler, the Fairlight CMI. In the seventies of last century, a group of people in Sydney in Australia have started work on the synthesizer controlled by computer. But what came out was completely different from the original draft vision. It turned out that they built the first sampler. This sampler has changed the face of electronic music by replacing the complex process of tape looping with much easier digital processing. Although it was very costly device, its ability to create and edit sounds, as well as controlling them through the illuminated graphic pen on the keyboard was highly coveted by musicians. Excellent French composer, Jean-Michel Jarre in his early albums was very advanced user of the device. Fairlight CMI has inspired a lot more, newer samplers. The following photo shows that first mass-used sampler:

Another very important synthesizer-sampler designating new horizons in the development of music is Emu Emulator. Emu in the early seventies, was a company that produced modular synthesizers. However, Dave Rossum, founder of Emu Systems, completely changed its approach when he first saw Fairlight'a CMI in 1980. Then he came to the conclusion that there must be a simpler way of sampling and a year later the EMU produced the first prototype- the Emulator I. User's interface was much simpler than the CMI's, the operation of instrument was also easier to understand, and the price ($ 8000) was significantly lower than CMI's price. Starting from then Emu has become the dominant sampling company. Another model was Emulator II, produced in 1984 - it had longer sampling times, the built-in sequencer, and the possibility of multisampling. Some of the sounds have become the standard sounds of eighties, for example "shakuhachi", and are still popular today. There

Another important synthesizer in the history is the Yamaha DX7 released in 1983. This is one of the most famous and most widespread synthesizers using FM synthesis. Yamaha has developed technology for their keyboards, the FM has been in existence for some time, but only this model has brought up the desired success. Since that time, FM synthesis has dominated analog synthesizers and until recently was the dominant technology used in synthesizers. FM technology was able to produce good sounds at a relatively low cost that were previously available only on very expensive and complex machinery. The DX7 is a digital synthesizer that has the easy choice of a sound at the touch of a button. It was also equipped with recently discovered midi interface, which allowed for easy control of synthesizer, as well as its co-operation with other sound modules. The Yamaha DX7 cost was less than $ 2,000. It was the first really widely available digital synthesizer. It has proved a huge success, becoming one of the most widely sold and most widespread synthesizers in history. In the years 1983 - 1987, very many songs on the music market contained the sounds from DX-7.

Here is the Yamaha DX7 model:

Roland TB-303. Before the techno era it is absolutely would not get onto this list of the best or most notable synthesizers. But since the techno style was invented, this instrument has become the most desirable instrument to get for a techno musician, because it's action of unique resonance filter has become very desirable and fashionable element of the techno style. Interestingly, the Roland TB-303 was designed and produced as an instrument to imitate bass guitar. It appeared, however, that it did not completely suited to this role, it's tone was a very poor attempt to clone the bass guitar. But the electronic musicians quickly figured out that with the appropriate settings of the controls it gives a very nice and interesting, wet filter sound, with a soft kind of distortion, which is suitable for many synthesizer lines such as leads and pulsations. The Roland TB-303 is probably the most classic techno music synthesizer on the market. It's simplicity and one of a kind sound have contributed to its high rank among the best synthesizers in history.

The Roland D-50. This instrument was designed by Roland specifically to make it the same market hit as the Yamaha DX7 for the Yamaha company. And so it happened: D50 has become one of the most popular synthesizers of the eighties, and the whole twentieth century. It also helped in the development of today's sample based synthesizers. The D-50 was one of the first synthesizer with built-in ROM memory that contained the samples which could be used instead of oscillators. These samples were short, but good enough to give a lot of realistic instrument sounds. Another very important innovation of the Roland D-50 was the introduction of the synthesizer module effects: the reverb, chorus, equalizer. Many previously built synthesizers had some effects but they were of much poorer quality. After the D-50, synthesizers which sounds based on samples almost always had built in effects similar to the famous Roland. After adding digital analog sound emulation it has become a very warm sounding synthesizer, which actually carried out the majority of the sound of the eighties style music. Other synthesizers, such as the Korg M1, with its capability of imposing various tone over themselves (Combi feature) helped much in the development of today's advanced synthesizers, based on samples. But the Roland D-50 was the beginning of a new line of synthesizers, which went into the samples.Therefore, the Roland D-50 is on the short list of most beloved synthesizers of all time. It is still a favorite among professional keyboard players. It is much easier to use than the Yamaha DX-7. It combines the technology of 8-bit PCM samples with the sounds generated in the typical synthesizer way, the so-called LAS technology (Linear Arithmetic Synth), so it is able to provide a very unique and complex sounds. PCM sample contains a lot of transients in the attack, while the rest of the sound comes from the LAS section, which sounds very analog, soft, in the subtractive synthesis style and contains perfectly sounding low-resonance filters. The instrument has a built-in chorus and reverb that was the first digital reverb ever used in a synthesizer, which helps to give it's sounds extra space and life.A very interesting solution is the joystick, which is used to manipulate sounds in real time. The D-50 was and still is a wonderful instrument for pads, beautiful, sometimes sounding a bit percussive. The most successful patches are for example the "Staccato Heaven" or "Glass Voices" The combination of sound characteristics of digital loops, featured on the first samplers and analogue warmth gives the D-50 really unmatched sound quality-clean and warm at the same time. Another famous patch is "Fantasia", a mixture of digital bells and synthesizers with a slightly warm, out of tune taste to it.

Yet another notable patches to "DigitalNativeDance", "Soundtrack", "Pizzagogo" and "Glass Voices" of the D-50 have characteristics of the sound of the analog mixed wealth, combined with crystal, digitally perfect taste, with the expression and overall beauty of sound, which is difficult to imitate. The Roland recently released its V-Synth, which is like D-50, thanks to the use samples of low resolution in some cases. This popular synthesizer is in wide use in all music styles among artists such as Eric Clapton, Enya, 808 State, Jean Michael Jarre, Vince Clarke, Apollo 440, Eat Static, LTJ Bukem, Fluke, Information Society, Lab-4, Gary Numan, Rick Wakeman, Kitaro, Rush, Boston and Nick Rhodes of

The last synthesizer presented here did not become so popular as the previous ones, but its importance lies in the fact that it introduced a new technology to create new sounds: the modeling. This is the Yamaha VL1. Its drawback was the high cost. Yamaha VL1 was first available in the market synthesizer using sound modeling techniques. It was very expensive and could only do a few things (for example, play as a true saxophone). But it had the ability to do those things really well! Which is why it inspired a new wave of modeling synthesizers (such as the Clavia Nord Lead and the Korg Prophecy, which was able to deliver a lot of strange sound effects, being an affordable solo synthesizer. Therefore, it enjoyed a big commercial success. Like the Synclavier and Fairlight, the Yamaha VL1 can be seen as the beginning of a new generation of advanced synthesizers.The rhythm machine modules-rhythmic synthesizers and percussion samplers

Very interesting and necessary instrument in the market of electronic music is a programmable drum and percussion machine. One of the most successful models is the Roland TR-808. Initially, Roland has introduced a series of CR:

However, the rhythm could not be fully programmed using those devices. They had only permanently programmed factory rhythm 'patterns' and could therefore be used as fully professional equipment to create rhythms, and could only be helpful with, for instance exercises on the guitar. The first fully programmable drum synthesizer-sampler was the Roland TR-808 introduced in 1980. This machine has become very popular and has initiated many styles of music as we know today as Techno, Rap, modern House, etc. The machine had a well-sounding samples based on the analogue sound of drums. Interestingly, although these machines initially had been dominated by other samplers of this type, such as the Linndrum, the fashion for Roland TR-808 returned at the end of '80, when hip-hop artists have discovered that they could tune the sound of a kick drum of the machine down in such a way that it gave an extremely powerful, bass sinusoidal wave, which became the basis for the style in countless productions.

Here's how the Linndrum looks. It dominated the sound of the sampled drums in the middle of eighties and the Roland TR-808, which a classic of the genre at the late eighties:

TR-808 sound:

Here is one more drum and percussion machine. This is the Roland TR-909. The instrument is an analog-digital hybrid, which has become another classic techno genre. It is used very often in 'house' and related styles of music. It is a tool that every producer of dance music already has or will have in his collection. You can not name all using it, because it is used by everybody. to name a few of them they are Technotronic on "Pump Up the Jam" , "This Beat Is Technotronic," Speedy J "Pullover", or "Dee-Lite".

This is the instrument:

There is also yet another famous and widely used machine of the Roland 'TR' series - the Roland TR-707. It is a machine based on sampled rock drums, but in combination with a sequencer is also gives excellent results in dance music. Many of the Britney Spears' hits and other pop performers enjoy the sounds of the instrument:

This article shows briefly only some of the most important synthesizers and samplers in the history of music. But we hope this gives a good view on the subject for all who want to enrich their knowledge about the history of electronic instruments.

Modular synthesizerFrom Wikipedia, the free encyclopedia[hide]This article has multiple issues. Please help improve it or discuss these issues on the talk page.

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The modular synthesizer is a type of synthesizer, usually analogue, consisting of separate specialized modules. The modules are not hardwired together but are connected together, usually with patch cords or a matrix patching system, to create a patch. The voltages from the modules may function as (audio) signals, control voltages, or logic conditions.Contents 1 Types of modules 2 Function of modules 3 Historic manufacturers of modular synthesizer hardware 4 Modern manufacturers of modular hardware synthesizers (alphabetical) 5 Technical specifications 5.1 Form Factors 5.2 Electrical 6 Modular software synthesizers (alphabetical) 7 Semi-modular synthesizers 7.1 Matrix Systems 7.2 Patch Override Systems 7.3 Electronically Reconfigurable Systems 8 Hybrid modular synthesizers 9 See also 10 External links 11 ReferencesTypes of modulesThere are three basic kinds of modules: source, processor and logic. The basic modular functions are as: signal, control, logic/timing. Outputs are an electric voltage.There exist many different types and sub-types of modules even modules with the same basic function will have different inputs, outputs and controls on various models. There are some standards which manufacturers followed for their range of synthesizers, such as 1V/oct; however, connecting synthesizers from different manufacturers may require cables with different kinds of jacks.Some standard modules found on almost any modular synth are: sources - characterized by an output, but no signal input; it may have control inputs: VCO Voltage Controlled Oscillator, a continuous voltage source, which will output a signal whose frequency is a function of the settings. In its basic form these may be simple waveforms (most usually a square wave or a sawtooth wave, but also includes pulse, triangle and sine waves), however these can be dynamically changed through such controls as sync, frequency modulation, and self-modulation. Noise source - A source that outputs a random voltage. Common types of noise offered by modular synthesizers include white, pink, and low frequency noise. LFO - A Low Frequency Oscillator may or may not be voltage-controlled. It may be operated with a period anywhere from a fortieth of a second to several minutes. It is generally used as a control voltage for another module. For example, modulating a VCO will produce frequency modulation, and may create vibrato, while modulating a VCA will produce amplitude modulation, and may create tremolo, depending on the control frequency. The rectangular wave can be used as a logic / timing / trigger function. EG - An envelope generator is a transient voltage source. A trigger in the presence of a gate, applied to an Envelope Generator produces a single, shaped voltage. Often configured as ADSR (Attack, Decay, Sustain, Release) it provides a transient voltage that rises and falls. It can be triggered by a keyboard or by another module in the system that produces a rapidly rising trigger in the presence of a gate. Usually it controls the amplitude of a VCA or the center frequency of a VCF, but the patchable structure of the synthesizer makes it possible to use the envelope generator to modulate other parameters such as the frequency or pulse width of the VCO. Simpler EGs (AD or AR) or more complex (DADSRDelay, Attack, Decay, Sustain, Release) are sometimes available.Processors - characterized by a signal input and an output; it may have control inputs. VCF - Voltage Controlled Filter, which attenuates frequencies below (high-pass), above (low-pass) or both below and above (band-pass) a certain frequency. VCFs can also be configured to provide band-reject (notch), whereby the high and low frequencies remain while the middle frequencies are removed. Most VCFs have variable resonance, sometimes voltage-controlled. VCA - Voltage Controlled Amplifier, is usually a unity-gain amplifier which varies the amplitude of a signal in response to an applied control voltage. The response curve may be linear or exponential. Also called a two-quadrant multiplier. RM - Ring modulator - Two audio inputs are utilized to create sum and difference frequencies while suppressing the original signals. Also called a four-quadrant multiplier or balanced modulator. Mixer - a module that adds voltages. Slew limiter - is a very-low frequency lowpass filter which slows down changes in voltage. This can be used to create glide or portamento between notes. S&H - Sample and hold, is usually used as a control-voltage processor. Depending upon the design, usually an ascending edge (trigger), captures the value of the voltage at the input, and outputs this voltage until the trigger input reads another voltage and repeats the process. Sequencer, is a compound module which produces a sequence of voltages, usually set by adjusting values on front panel knobs. Basic sequencers will be stepped by a trigger being applied to the trigger input. More complex designs may have the sequencer step forwards or backwards, or only run for a limited number of stages. Custom Control Inputs - It is possible to connect any kind of voltage to a modular synthesizer as long as it remains in the usable voltage range of the instrument, usually -15V to +15V.Modular synthesizers can be bulky and expensive. Reproducing an exact patch can be difficult or next to impossible. In the late 1970s, modular synthesizers started to be largely supplanted in pop music by highly integrated keyboard synthesizers, racks of MIDI-connected gear, and samplers. However, there continues to be a loyal following of musicians who prefer the physically patched approach, the flexibility and the sound of traditional modulars. Since the late 1990s,[when?] there has been a resurgence in the popularity of analog synthesizers aided by physical standardization practices, an increase in 'retro' gear and interest, decreased production costs and increased electronic reliability and stability, the rediscovered ability of modules to control things other than sound, and a generally heightened education through the development of virtual synthesis systems such as MAX/MSP, Pd and Reaktor etc.Function of modules

Representation of synthesizer functions.There are three principal functions in a modular synthesizer, signal, control and logic. The function is not determined by the module, rather by how it is used. For example, an oscillator may function as a signal when the output is routed [eventually] to a loudspeaker; a control when the output controls a parameter of another module; and logic when providing a logic function, such as a clock, trigger or gate.Historic manufacturers of modular synthesizer hardwareThe earliest commercial modular synthesizers were developed, in parallel, by R.A. Moog Co., and Buchla in 1963. Their designs drew from innovations by inventor Hugh Le Caine, particularly his implementation of control voltage in the electronic sackbut. The synthesizer both broadened the spectrum, and greatly eased the creation of electronic music, which before was made via tape splicing, use of primitive electronic oscillators, and earlier electronic or electromechanical instruments such as the theremin and the Ondes Martenot. ARP (in 1970), Serge (1974), and EMS (1969) versions were soon to follow. In 1976, the Japanese company Roland came out with the Roland System 100. Also in the early 1970s, there were at least two mail-order electronics kit vendors Paia Electronics, and Aries, marketing different lines of simple DIY modular synthesizer systems. The Aries system was modeled on the circuits produced by Bernie Hutchins and published as Electronotes. In the UK in the 1980s the Digisound 80 Modular Synthesizer, designed primarily by Charles Blakey, was sold as a kit by the company Digisound Ltd. Many of the early modules appeared in the early to mid-1980s as construction articles in two British electronics magazines - Electronics Today International (ETI) and Electronics & Music Maker (E&MM).[1] Joseph A. Paradiso's Massive Modular Synth is among the world's largest home-designed and built synthesizers.Modern manufacturers of modular hardware synthesizers (alphabetical)Hardware offerings range from complete systems in cases to kits for hobbyist DIY constructors. Many manufacturers augment their range with products based on recent re-designs of classic modules; often both the original and subsequent reworked designs are available free on the internet, the original patents having lapsed. Many hobbyist designers also make available bare PCB boards and front panels for sale to other hobbyists. Analogue Systems Buchla Electronic Musical Instruments (formerly Buchla & Associates) Doepfer Musikelektronik (A-100) PAiA Electronics Sound Transform Systems Synthesis Technology Synthesizers.com SyntonTechnical specificationsForm FactorsMany early synthesizer modules had modules with height in integer inches: 11" (e.g., Roland 700), 10" (e.g., Wavemakers), 9" (e.g., Aries), 8" (e.g., ARP 2500), 7" (e.g., Polyfusion, Buchla, Serge), 6" (e.g., Emu) and width in 1/4" inch multiples. More recently it has become more popular to follow the standard 19" Rack unit system: 6U (Wiard), 5U (8.75" e.g., Moog, Modcan), 4U (e.g., Serge). Two rack 3U unit systems in particular are notable: the Frac Rack system (e.g., Paia) and the similar Eurorack system (e.g., Doepfer). Further minor variations exist where European or Japanese manufacturers round a U measurement up or down to some closer convenient metric equivalent; for example the common 5U modules are exactly 8.75" (222.25mm), but non-American manufacturers may prefer 220mm or 230mm.ElectricalOther differences are with plugs that match 1/4-inch or 6.3mm jacks, 3.5mm jacks, and banana jacks, with main DC power supply (typically 15V, but ranging from 18V to 12V for different manufacturers or systems), with trigger or gate voltages (Moog S-trigger or positive gate), with typical audio signal levels (often 5V with 5V headroom), and with control voltages of volts/octave (typically 1V/octave, but in some cases 1.2V/octave.) Most analog modular systems use a volts/octave system, sometimes termed linear voltage control; some (such as Korg MS-20, ETI 4600) use a volts/hertz system with excellent temperature stability but less flexible controlModular software synthesizers (alphabetical)There are also software synthesizers for personal computers which are organized as interconnectable modules. Many of these are virtual analog synthesizers, where the modules simulate hardware functionality. Some of them are also virtual modular systems, which simulate real historical modular synthesizers. ARP 2600 AudioMulch Bidule ChucK CreamwareAudio Modular III Csound Doepfer MaxMSP Kyma Pure Data Reaktor SuperCollider SynFactoryComputers have grown so powerful and inexpensive that software programs can realistically model the signals, sounds, and patchability of modulars very well. While potentially lacking the physical presence of desirable analog sound generation, real voltage manipulation, knobs, sliders, cables, and LEDs, software modular synthesizers offer the infinite variations and visual patching at a more affordable price and in a compact form factor.The popular plugin formats such as VST may be combined in a modular fashion.Semi-modular synthesizersA modular synthesizer has a case or frame into which arbitrary modules can be plugged; modules are usually connected together using patch cords and a system may include modules from different sources, as long as it fits the form factors of the case and uses the same electrical specifications.A semi-modular synthesizer on the other hand is a collection of modules from a single manufacturer that makes a cohesive product. Modules may not be swapped out and often a typical configuration has been pre-wired. However, the manufacturer provides mechanisms to allow the user to connect modules in different orders.Matrix SystemsMatrix systems use pin matrixes or other crosspoint switches rather than patch cords. Historic examples with pin matrixes include the EMS Synthi 100, EMS VCS-3, ETI International 4600, Maplin 5600. The ARP 2500 used a matrix switch.Patch Override SystemsThe different modules of a semi-modular synthesizer are wired together into a typical configuration, but can be re-wired by the user using patch cords. Some examples are the ARP 2600, Anyware Instruments Semtex, Cwejman S1, EML101, Evenfall Minimodular, Future Retro XS, Korg MS-10, MS-20, MS-50, PS-3100, PS-3200 and PS-3300, Mungo Enterprises State Zero, and Roland System-100.Electronically Reconfigurable SystemsReconfigurable systems allow certain signals to be routed through modules in different orders. Examples include the Oberheim Matrix and Rhodes Chroma, and Moog Voyager.Hybrid modular synthesizersHybrid synthesizers use hardware and software combination. In alphabetical order: Arturia Origin by Arturia (fully self-contained) Clavia Nord Modular and Clavia Nord Modular G2 (these need an external computer to edit patches) Audiocubes

External links 120 years of Electronic Music has information on classic modular synths. Vintage Synth Explorer Information on vintage synth gear, including Moog and other modular synths. Synthmuseum.com Modular Analog Synthesizers Return! Article about new modular systems. Sound samples from classic synthesizers like the Moog ModularReferences1. Digisound 80 Modular Synthesizer

Austin, Kevin - Introduction to the Analog Synthesizer (1984 - 2013), Concordia University, Montreal, Canada

Modular Synthesis a brief history of the futureByIan McQuaidLast week scientists landed a probe on a comet that hurtled through space. They were surprised to discover the comet was singing that is, it was releasing incredibly low frequency modulations, occurring in a pattern that could be interpreted as a song. With a bit of tinkering, the wave forms were boosted to a range audible to the human ear, given a slight sonic dusting by German composer Manuel Senfft, and released to the world.Like many people, I found this whole process mind blowing. I didnt know what to expect when I hit play on the first track from the cosmic rock but I should have. The alien clicks and whirrs sounded almost exactly like the kind of sci-fi musical chicanery the BBC Radiophonic Workshop have been squeezing out of modular synths for years. Comet 67P proved something many of us have long suspected modular synthesisers sound like the stars.Arcane, temperamental and Godly, it seems incredible that modular synthesis is such a young discipline. The first models were manufactured in the 60s, with Don Buchlas 1963 construction, the 100 series Modular Electronic Music System, preceding the more famous Robert Moog construction by a few years. Both the Buchla and Moog systems were built on the concept of multiple units interacting with one another with signal generators used to create sound that was then passed through a labyrinth of oscillators, envelope generators, filters, voltage controlled amplifiers and sequencers hence the modular title.Buchla made his instrument to the specifications of pioneering composer Morton Subotnick. Subotnicks major innovation was looking back to go forward. Whilst other composers working in electronic sound eschewed rhythm in favour of plains of abstract drone, Subotnick sought to apply a recognisable rhythmic framework to the synthetic tones he could create on Buchlas contraption. His first major work for the synth, 1967s Silver Apples of the Moon, wild and alien as much of it is, still had enough points of reference that it crossed over from the rarefied world of avant garde composition to become a minor hit with the emphasis on minor. But the stage was set. Little must have prepared these obscure synth enthusiasts for the explosion that followed.As Subotnick was releasing Silver Apples, synth enthusiasts Paul Beaver and Bernie Krause had been trying to persuade various Hollywood producers to let them soundtrack a film with the Moogs otherworldly tones. With little success in scoring a contract from the ever conservative moneymen of Tinsel town, the duo took the Moog to the 1967 Monteray Festival. There they managed to demonstrate it to enough music industry players to generate some interest. What followed were the first tentative fusions of modular synthesis and rock, pop and soul. Reflections by Diana Ross and the Supremes is generally considered one of the first major records to utilise the synth, but like many other early examples, the Moog is reduced to a novelty decoration a few random bubbles at the start of the track, and an incongruous sweep before the familiar Motown beat kicks in. Other big name artists followed suit The Doors, Simon & Garfunkel, The Rolling Stones, The Beatles all had a crack at crowbarring a touch of synth magic over their music. None of this dilettante dabbling signalled the start of a revolution. It was something quite different that broke the modular synth intopublic perception a record that can now be found in charity shop racks around the land Wendy Carloss Switched on Bach.Switched on Bach was a gruelling labour of love. Working with an erratic monophonic synthesiser, Carlos, a genius of musical engineering, painstakingly spliced individual notes to 8 track tape, working for months until she had managed the impossible; replicating the dynamic scope and tonal range of a formal orchestra. The results were an instant success. Switched on Bach sold millions worldwide and inspired a generation. A rush of composers followed, notably, the Japanese classicist Tomita who carved the oeuvre of long dead European masters into strange new forms, selling album after album of his cutting edge techniques, creating music that existed in an undiscovered country, a territory between centuries old orchestral formality and space age proto-ambience.The realisation that these vast contraptions could emulate and even replace traditional instrumentation quickly filtered from classical to rock. As the 60s drew to a close and the electric guitar grew pass, kids bought up on a constant rushing thrill of the new were looking for fresh kicks. The majesty and novelty of synthesised sound proved irresistible. By the birth of the 70s a number of English bands who had started life as 60s psychedelic outfits embraced and elevated the new technology. This was the time of Pink Floyd, Yes, and, perhaps the synth masters of them all, Emerson, Lake and Palmer.ELP started life emulating the classical music craze, with keyboard player Keith Emerson submitting a couple of a classical treatments on their debut album. If this had been all the band offered its doubtful they would have gone on to reach the huge international acclaim they did. However, they also included the song Lucky Man, Greg Lakes folksy acoustic number that closed with Emerson playing an entirely unexpected square wave solo, a soaring, pitch bending worm of sound, splintering through the track and tunnelling into the minds of Americas drop out generation, carrying a million weed highs on a magic carpet ride. Listening back now, the solo still sounds amazing, that fat block of square wave prefiguring a million grime melodies. The doors were blown off. The 70s had begun.The studious demands of songwriting on a modular synth had a dramatic impact on music. Out went the blues obsessed axe warriors venerating men who could play a storm on a rubber band stretched over a shoe box. In came the sound obsessives, boffins who would happily slave for hours over a mind-bending eco system of wires and knobs, searching for that God note. Inevitably these prog bands embraced complexity it was encoded into every step of their process. They also embraced concept albums, fashion designed for wizards, 20 minute solos and songs about Stonehenge. Still, it can be reasonably argued that the first explosion of prog pushed the parameters of music further forward than the entire previous decade. On Pink Floyds 1970 LP Meddle, the band devoted an entire side of an LP to the pagan freak out Echoes, working from wailing guitar to drones and waves of shimmering noise. It was an aptly titled track, an echo of the sound of Englands mystic past made possible by the instrument of the future.The prog artists were pulling sounds from the depths of their imagination, and the public lapped it up. The mid 70s saw the Floyd on world conquering form, with Dark Side of the Moon becoming one of the biggest selling LPs of all time. Meanwhile, on the other side of the pond, another British act were bringing synths to a far funkier place. Tontos Expanding Head Band consisted of Malcolm Cecil and Robert Margouleff. They had built themeselves The Original New Timbral Orchestra, also known as TONTO, a beast of a machine; vast, near sentient. TONTO consisted of multiple Moogs chained together, along with synths from Oberhim and ARP, and a variety of kit the two had rigged themselves. The pieces stood in cabinets twenty feet in diameter and six feet tall. Look at the photos and marvel you dont sit down and play TONTO; you have to walk into it.

As well as recording two excellent ambient/ prog albums as Tontos Expanding Head Band, the duo worked as session musicians, coming to the attention of a host of American soul acts, most notably with Stevie Wonder. TONTO provided the extra magic on a run of Wonder albums that remain touchstones in the soul pantheon - Music of My Mind, Talking Book, Innervisions, Fulfillingness First Finale and Jungle Fever. They also hooked up with Bobby Womack, Quincy Jones, The Isley Brothers and original boss Gil Scott Heron, providing the futuristic warble on his 1980 album. On both sides of the Atlantic the modular synth reigned supreme.All good things pass As such a vital part of the early 70s music scene, the modular synth quickly passed through that well-worn path of any zeitgeist, a quick slide from innovation, to reputation, to saturation. Smaller, portable options such as the all-in-one-box solution of the Mini Moog seemed increasingly attractive (and proved to be a vital piece of kit in Kraftwerks ascension). And as the decade drew to a close the awe at those mind-blowing dramatics of the first synth experiments had given way to a certain amount of head scratching. Do these solos have to go on for hours? Do I have to have an engineering degree to write a pop song? Do I have to use an instrument that requires a small truck to shift it about and a small fortune to buy? Punk was knocking.Anything that took half a day to set up was always going to suffer in a scene that prized bashing out a 3 chord song. In the hackneyed narrative weve been sold time and again, punk had little time for the intricacies of complex synths. As with most stories repeated to clich, this is both kind of true, and a rigid tale that obscures the awkward facts. Whilst the late 70s saw bands such as The Damned, The Pistols, The Clash and The Jam put guitars front and centre, American acts such as Pere Ubu and Devo continued to prize the invention technology bought. In fact, in the mid 90s the TONTO synth was moved to the Devo studios, it turns out Devo mastermind Mark Mothersbaugh was a long term fan.Regardless, the 80s saw the mega synths of a decade before hand fall out of favour at least in the eyes of the taste makers. Whilst the hip sneered, French synth obsessive Jean Michel Jarre built himself an empire. Jarre produced epics of pomp and excess. He was light years away from the dour UK scene of agit politics and tight guitars; a French fop in a floppy shirt playing a keyboard the size of a car, to contemporary eyes he looked like a prat. But the tunes were undeniable. By the start of the 80s his 1976 space opera Oxygene IV had become a global hit, its unearthly optimism speaking a common dream of distant stars. On the back of this, Jarre toured the Earth, taking his vast synths and his ridiculous light shows with him, Skrillex without the drops. He had the sales, but he just wasnt cool.Meanwhile the rapid changes in tech saw modular synths fall further and further from grace. Roland drum machines and Akai samplers offered cheaper, streamlined options. Computers were becoming a viable home solution. As the 90s started the whole electronic scene had moved on. There were a few innovators keen to situate dance music in a prog time line, with both The Orb and Aphex Twin continuing to explore the possibilities of bewildering networks of wired up units, but in general modular synthesis was consigned to the past.Now we find ourselves in a different space. It could be argued that the same process that beset those early mega synths has happened with computers saturation point has been reached, and in a sea of identical VSTs, producers are looking for a way to make unique sounds something the erratic art of modular synthesis cannot help but do. Simultaneously synth modules have dramatically reduced in price, and a whole new movement is emerging. Techno artists such as Surgeon have long held a love for esoteric sound design, so its little surprise that hes a fan but hes also joined by younger producers such as Blawan, Untold and Actress, keen to push their space age melodies into new frontiers.Most telling has been the success of the London Modular Alliance, a 3 man collective that lie somewhere between a shop and a cult. From their base in the former industrial warehouses of Hackney Wick, London Modular have been designing their own cases, working out practical ways of chaining multiple synths for live performance, selling units from their shop front, and taking themselves on the road to run workshops and gigs. This year has seen them travel from the lazer lit confines of sweaty clubs to the hushed environs of Tate Britain and the V&A, filling the spaces with the whoosh and sweep of man co-operating with machine, bringing the dynamics of dance music to the ideals of modular synthesis, and forcing anyone with ears to acknowledge the potency of the format once more. The sound of the future has returned.Posted: 11 December 2014