- Key People:
- Leo Fender
- Maurice Martenot
The direct synthesis of sound by computer was first described in 1961 by Max Mathews and coworkers at the Bell Telephone Laboratories, Murray Hill, N.J., U.S. Computer sound synthesis involves the description of a sound waveform as a sequence of numbers representing the instantaneous amplitudes of the wave over very small successive intervals of time. The waveform itself is then generated by the process of digital-to-analog conversion, in which first the numbers are converted to voltage steps in sequence and then the steps are smoothed to produce the final waveform.
Unlike the electronic music synthesizers of the 1960s and ’70s, in which electronic circuits performed specific waveform generation and processing functions, computer-based music composition systems are capable of performing any function that can be described as a computational procedure, or algorithm. The algorithm is written by a composer or programmer as a series of instructions that are stored in digital media (i.e., punched cards, magnetic tape, or magnetic disks) and “loaded” into the computer when the music is to be realized. The composer then also writes a score that specifies properties of the individual sound events that make up the composition.
A great variety of sound-synthesis and music-composition algorithms have been developed at research institutions around the world. Music V, created in 1967–68, is the most widely used sound-synthesis program to have been developed at Bell Laboratories. Music V consists of computer models of oscillator and amplifier modules, plus procedures for establishing interactions among the modules. Another widely used synthesis algorithm is Frequency Modulation (FM) Synthesis. Described by John Chowning of Stanford University (Palo Alto, Calif., U.S.) in 1973, FM produces a wide variety of complex timbres by rapidly varying the frequency of one waveform in proportion to the amplitude of another waveform.
As computer technology developed and computers became more powerful and less expensive during the 1970s and ’80s, the flexibility and sound-production capability of computer-based music systems attracted an increasing proportion of experimental music composers. By the end of the 1980s, computer music systems surpassed tape studio techniques and analog synthesizers as the electronic composition medium of choice among modern and experimental music composers.
Digital synthesizers, the music workstation, and MIDI
Digital synthesizers
During the 1980s, commercial electronic instrument manufacturers introduced many performance-oriented keyboard instruments that used digital computer technology in combination with built-in sound-synthesis algorithms. One of the earliest and best-known of these was the Yamaha DX-7, which was based on the results of Chowning’s research in FM Synthesis. Introduced in 1983, the DX-7 was polyphonic, had a five-octave touch-sensitive keyboard, and offered a wide choice of timbres, which the player could adjust or change to suit his requirements. Well over 100,000 DX-7s were sold, and Yamaha adapted their FM technology to a line of instruments ranging from portable, toylike keyboards to rack-mounted modules for studio and experimental use. Another important early digital synthesizer was the Casio CZ-101, a battery-powered four-voice keyboard instrument using simple algorithms that were modeled after the capabilities of analog synthesizers. The CZ-101 was introduced in 1984 at a price approximately one-quarter that of the DX-7 and achieved widespread popularity.
Sampling instruments; music workstations
A sound waveform from a microphone or tape recorder can be digitized, or converted to a sequence of numbers that is the digital representation of the waveform. Instruments that enable a musician to digitize a sound waveform and then process it and play it back under musical control are called sampling instruments. The first commercial sampling instrument was the Fairlight Computer Musical Instrument (CMI), developed in Sydney, Australia, during the late 1970s. The Fairlight CMI was a general-purpose computer with peripheral devices that allowed the musician to digitize sounds, store them, and then play them back from a keyboard. The instrument was sold with programs that enabled the musician both to synthesize sound “from scratch” and to manipulate digitized sound using techniques that were developed in tape studios.
In 1980 Roger Linn introduced the Linn Drum, an instrument containing digitized percussion sounds that could be played in patterns determined by the musician. In 1984 Raymond Kurzweil introduced the Kurzweil 250, a keyboard-controlled instrument containing digitally encoded representations of grand piano, strings, and many other orchestral timbres. Both the Linn and the Kurzweil instruments were intended for composition as well as for performance, since they contained digital memories into which the musician could enter a score.
By the end of the 1980s, many instrument manufacturers had combined the technologies of the digital computer, digital sound synthesis, and sampling (digital sound recording) into integrated composition and sound-processing systems called music workstations. The Synclavier series, manufactured by New England Digital Corp. since 1976, is representative of this class of instruments.
Musical instrument digital interface
In 1983 several commercial instrument manufacturers agreed on a way of interconnecting instruments so that they could work together or in conjunction with a personal computer. The resultant specification, called Musical Instrument Digital Interface (MIDI), has become universally accepted by musicians and instrument builders. MIDI embodies the means for transmitting commands that tell which notes are being played, what timbre is desired, what nuances are being produced, and so forth. With a personal computer and the appropriate software (programs), MIDI-equipped instruments are capable of performing as a system similar to the larger music workstations. By the end of the 1980s, MIDI systems had become very popular with amateur as well as professional musicians.
Robert A. Moog