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Korg Wavestation
The Korg Wavestation is a vector synthesis synthesizer first produced in the early 1990s and later re-released as a software synthesizer in 2004. Its primary innovation was Wave Sequencing, a method of multi-timbral sound generation in which different PCM waveform data are played successively, resulting in continuously evolving sounds. The Wavestation's "Advanced Vector Synthesis" sound architecture resembled early vector synths such as the Sequential Circuits Prophet VS. Designed as a "pure" synthesizer rather than a music workstation, it lacked an on-board song sequencer, yet the Wavestation, unlike any synthesizer prior to its release, was capable of generating complex, lush timbres and rhythmic sequences that sounded like a complete soundtrack by pressing only one key. – see "The Wavestation Family" – see heading "1990" & "Milestone—The Wavestation Family" '' Keyboard Magazine'' readers gave the Wavestation its "Hardware Innovation of the Year" award, (see also ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Korg Wavestation
The Korg Wavestation is a vector synthesis synthesizer first produced in the early 1990s and later re-released as a software synthesizer in 2004. Its primary innovation was Wave Sequencing, a method of multi-timbral sound generation in which different PCM waveform data are played successively, resulting in continuously evolving sounds. The Wavestation's "Advanced Vector Synthesis" sound architecture resembled early vector synths such as the Sequential Circuits Prophet VS. Designed as a "pure" synthesizer rather than a music workstation, it lacked an on-board song sequencer, yet the Wavestation, unlike any synthesizer prior to its release, was capable of generating complex, lush timbres and rhythmic sequences that sounded like a complete soundtrack by pressing only one key. – see "The Wavestation Family" – see heading "1990" & "Milestone—The Wavestation Family" '' Keyboard Magazine'' readers gave the Wavestation its "Hardware Innovation of the Year" award, (see also ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Korg
, founded as Keio Electronic Laboratories, is a Japanese multinational corporation that manufactures electronic musical instruments, audio processors and guitar pedals, recording equipment, and electronic tuners. Under the Vox brand name, they also manufacture guitar amplifiers and electric guitars. History Korg was founded in 1962 in Tokyo by Tsutomu Kato and Tadashi Osanai as ''Keio Gijutsu Kenkyujo Ltd.''. It later became because its offices were located near the Keio train line in Tokyo and Keio can be formed by combining the first letters of Kato and Osanai. Before founding the company, Kato ran a nightclub. Osanai, a Tokyo University graduate and noted accordionist, regularly performed at Kato's club accompanied by a Wurlitzer Sideman rhythm machine. Dissatisfied with the rhythm machine, Osanai convinced Kato to finance his efforts to build a better one.Julian Colbeck, Keyfax Omnibus Edition, MixBooks, 1996, p. 52. The company's first product was an electro- ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Wavetable Synthesis
Wavetable synthesis is a sound synthesis technique used to create quasi-periodic waveforms often used in the production of musical tones or notes. Development Wavetable synthesis was invented by Max Mathews in 1958 as part of MUSIC II. MUSIC II “had four-voice polyphony and was capable of generating sixteen wave shapes via the introduction of a wavetable oscillator.” Hal Chamberlin discussed wavetable synthesis in Byte's September 1977 issue. Wolfgang Palm of Palm Products GmbH (PPG) developed his version in the late 1970s and published it in 1979. The technique has since been used as the primary synthesis method in synthesizers built by PPG and Waldorf Music and as an auxiliary synthesis method by Ensoniq and Access. It is currently used in hardware synthesizers from Waldorf Music and in software synthesizers for PCs and tablets, including apps offered by PPG and Waldorf, among others. It was also independently developed by Michael McNabb, who used it in his ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Polyphony
Polyphony ( ) is a type of musical texture consisting of two or more simultaneous lines of independent melody, as opposed to a musical texture with just one voice, monophony, or a texture with one dominant melodic voice accompanied by chords, homophony. Within the context of the Western musical tradition, the term ''polyphony'' is usually used to refer to music of the late Middle Ages and Renaissance. Baroque forms such as fugue, which might be called polyphonic, are usually described instead as contrapuntal. Also, as opposed to the ''species'' terminology of counterpoint, polyphony was generally either "pitch-against-pitch" / "point-against-point" or "sustained-pitch" in one part with melismas of varying lengths in another. In all cases the conception was probably what Margaret Bent (1999) calls "dyadic counterpoint", with each part being written generally against one other part, with all parts modified if needed in the end. This point-against-point conception is oppose ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Aftertouch
Keyboard expression is the ability of a keyboard musical instrument to change tone or other qualities of the sound in response to velocity, pressure or other variations in how the performer depresses the keys of the musical keyboard. Expression types include: * ''Velocity sensitivity''—how fast the key is pressed * ''Aftertouch'', or ''pressure sensitivity'' — the amount of pressure on a key, once already held down * ''Displacement sensitivity''—distance that a key is pressed down Keyboard instruments offer a range of expression types. Acoustic pianos, such as upright and grand pianos, are velocity-sensitive—the faster the key strike, the harder the hammer hits the strings. Baroque-style clavichords and professional synthesizers are aftertouch-sensitive—applied force on the key after the initial strike produces effects such as vibrato or swells in volume. Tracker pipe organs and some electronic organs are displacement-sensitive—partly depressing a key produces a quiete ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Low-frequency Oscillation
Low-frequency oscillation (LFO) is an electronic frequency that is usually below 20 Hz and creates a rhythmic pulse or sweep. This is used to modulate musical equipment such as synthesizers to create audio effects such as vibrato, tremolo and phasing. History Low-frequency oscillation was introduced with modular synthesizers of the 1960s, such as the Moog synthesizer. Often the LFO effect was accidental, as there were myriad configurations that could be "patched" by the synth operator. LFOs have since appeared in some form on almost every synthesizer. More recently other electronic musical instruments, such as samplers and software synthesizers, have included LFOs to increase their sound alteration capabilities. Overview The primary oscillator circuits of a synthesizer are used to create the audio signals. An LFO is a secondary oscillator that operates at a significantly lower frequency (hence its name), typically below 20 Hz - that is, below the range of hu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Joystick
A joystick, sometimes called a flight stick, is an input device consisting of a stick that pivots on a base and reports its angle or direction to the device it is controlling. A joystick, also known as the control column, is the principal control device in the cockpit of many civilian and military aircraft, either as a centre stick or side-stick. It often has supplementary switches to control various aspects of the aircraft's flight. Joysticks are often used to control video games, and usually have one or more push-buttons whose state can also be read by the computer. A popular variation of the joystick used on modern video game consoles is the analog stick. Joysticks are also used for controlling machines such as cranes, trucks, underwater unmanned vehicles, wheelchairs, surveillance cameras, and zero turning radius lawn mowers. Miniature finger-operated joysticks have been adopted as input devices for smaller electronic equipment such as mobile phones. Aviation Joys ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
MIDI Clock
{{No footnotes, date=January 2020 MIDI beat clock, or simply MIDI clock, is a clock signal that is broadcast via MIDI to ensure that several MIDI-enabled devices such as a synthesizer or music sequencer stay in synchronization. Clock events are sent at a rate of 24 pulses per quarter note. Those pulses are used to maintain a synchronized tempo for synthesizers that have BPM-dependent voices and also for arpeggiator synchronization. MIDI beat clock differs from MIDI timecode in that MIDI beat clock is tempo-dependent. Location information can be specified using MIDI Song Position Pointer (SPP, see below), although many simple MIDI devices ignore this message. Messages MIDI beat clock defines the following real-time messages: * clock (decimal 248, hex 0xF8) * start (decimal 250, hex 0xFA) * continue (decimal 251, hex 0xFB) * stop (decimal 252, hex 0xFC) MIDI also specifies a System Common message called Song Position Pointer (SPP). SPP can be used in conjunction with the above r ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rompler
A rompler is a synthesizer that plays pre-fabricated sounds based on audio samples. The term ''rompler'' is a blend of the terms ''ROM'' and ''sampler.'' In contrast to samplers, romplers do not record audio. Both may have additional sound editing features, such as layering several waveforms and modulation with ADSR envelopes, filters and LFOs. The waveforms are commonly stored in form of PCM-encoded waveforms which were similar to those stored in WAV or AIFF file formats, although in some hardware design other encodings and forms of (usually lossless) compression could be used. The core characteristic of a rompler, compared to a sampler, is that they do not have the ability to record new samples, or in case of software instruments, the ability to add user samples from disk. Note that earlier digital synthesizers, which used short-cycle sampled waveforms, are usually not considered romplers but are either called "PCM synthesizers" or " wavetable synthesizers" because ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sample-based Synthesis
Sample-based synthesis is a form of audio synthesis that can be contrasted to either subtractive synthesis or additive synthesis. The principal difference with sample-based synthesis is that the seed waveforms are sampled sounds or instruments instead of fundamental waveforms such as sine and saw waves used in other types of synthesis. History Before digital recording became practical, instruments such as the Welte (1930s), phonogene (1950s) and the Mellotron (1960s) used analog optical disks or analog tape decks to play back sampled sounds. When sample-based synthesis was first developed, most affordable consumer synthesizers could not record arbitrary samples, but instead formed timbres by combining pre-recorded samples from ROM before routing the result through analog or digital filters. These synthesizers and their more complex descendants are often referred to as ROMplers. Sample-based instruments have been used since the Computer Music Melodian, the Fairlight ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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