#synthesizers
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When digital sampling came around, it changed music forever.
The ability to digitally reproduce acoustic instruments and sample any sound opened up completely new scenarios of exploration for new and experienced musicians alike.
Before digital recording became practical, instruments like the Welte Lichttonorgel in the 1930s, Phonogene in the 1950s and the Mellotron in the 1960s, used analog optical disks or analog tape decks to play back sampled sounds. The emergence of the digital sampler made sampling far more practical!
The first polyphonic digital sampling synthesizer was the Australian-produced Fairlight CMI, first available in 1979. These early sampling synthesizers used wavetable sample-based synthesis.
For the Fairlight Series I, a large 1×1.5×3-foot box stored the sampling, processing and ADC/DAC hardware and 8-inch floppy disk.
One, two, three…
References: Excerpt from Discovering Electronic Music (1983), Wiki, Sound Synthesis and Sampling - Martin Russ, Science and Media Museum. #synth #synths #synthesizer #synthesizers #musichistory #fairlight #1970s #1980s #technology #retrotechnology
The ability to digitally reproduce acoustic instruments and sample any sound opened up completely new scenarios of exploration for new and experienced musicians alike.
Before digital recording became practical, instruments like the Welte Lichttonorgel in the 1930s, Phonogene in the 1950s and the Mellotron in the 1960s, used analog optical disks or analog tape decks to play back sampled sounds. The emergence of the digital sampler made sampling far more practical!
The first polyphonic digital sampling synthesizer was the Australian-produced Fairlight CMI, first available in 1979. These early sampling synthesizers used wavetable sample-based synthesis.
For the Fairlight Series I, a large 1×1.5×3-foot box stored the sampling, processing and ADC/DAC hardware and 8-inch floppy disk.
One, two, three…
References: Excerpt from Discovering Electronic Music (1983), Wiki, Sound Synthesis and Sampling - Martin Russ, Science and Media Museum. #synth #synths #synthesizer #synthesizers #musichistory #fairlight #1970s #1980s #technology #retrotechnology
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A mini doc on New Order’s 1983 alternative synth-pop classic, Blue Monday - Part One.
Make sure to watch Part Two once it’s up.
References: NME, Rolling Stone, Vintage Synth Explorer, Sound on Sound, Songlexicon, The Guardian, MTV, TOTP, snippets from New Order’s “Perfect Kiss” and 1981 New York concert.
#synth #synths #synthpop #synthesizers #neworder #bluemonday #joydivision #musicmaking #studio #vintage #retro #1980s #documentary #synthesizer #moog #production
Make sure to watch Part Two once it’s up.
References: NME, Rolling Stone, Vintage Synth Explorer, Sound on Sound, Songlexicon, The Guardian, MTV, TOTP, snippets from New Order’s “Perfect Kiss” and 1981 New York concert.
#synth #synths #synthpop #synthesizers #neworder #bluemonday #joydivision #musicmaking #studio #vintage #retro #1980s #documentary #synthesizer #moog #production
Kraftwerk utilized the first edition of the ARP Odyssey for “Autobahn”. The synth sounds were meant to reflect a trip by emulating sounds of a vehicle. The album and title track were inspired by the group’s joy of driving on Germany’s autobahns.
Other equipment used to record the album included a Moog Minimoog, Farfisa Professional Piano, Schulte Compact Phasing A, Mu-Tron Bi-Phase and a customized Farfisa Rhythm Unit 10 & Vox Percussion King.
The the fourth studio album by Kraftwerk mainly consisted of the 22-minute long title track and was recorded at the group’s home studio Kling Klang and at Conny Plank’s studio in a farmhouse outside Cologne. It completed the group’s transition from the experimental krautrock style of their earlier work, to an electronic pop sound consisting mostly of synths and drum machines.
References: Kraftwerk: Man, Machine and Music, All Music, Tomorrow’s World - Music of the Future, Mixdown Mag.
#kraftwerk #synth #synths #synthesizer #synthesizers #moog #arp #gear #history #musichistory #synthhistory
Other equipment used to record the album included a Moog Minimoog, Farfisa Professional Piano, Schulte Compact Phasing A, Mu-Tron Bi-Phase and a customized Farfisa Rhythm Unit 10 & Vox Percussion King.
The the fourth studio album by Kraftwerk mainly consisted of the 22-minute long title track and was recorded at the group’s home studio Kling Klang and at Conny Plank’s studio in a farmhouse outside Cologne. It completed the group’s transition from the experimental krautrock style of their earlier work, to an electronic pop sound consisting mostly of synths and drum machines.
References: Kraftwerk: Man, Machine and Music, All Music, Tomorrow’s World - Music of the Future, Mixdown Mag.
#kraftwerk #synth #synths #synthesizer #synthesizers #moog #arp #gear #history #musichistory #synthhistory
