Music technology (electronic and digital)

<h2 id="history">History</h2>
In the late 19th century, <a href="/facts/Thaddeus_Cahill/7P7yxml4">Thaddeus Cahill</a> introduced the <a href="/facts/Telharmonium/Y8uhEqRy">Telharmonium</a>, which is commonly considered the first electromechanical musical instrument.<a class="footnote-ref" id="fnref:2" href="#fn:2">2</a> In the early 20th century, <a href="/facts/Leon_Theremin/hLrsbHh2">Leon Theremin</a> created the <a href="/facts/Theremin/qygjqB7S">Theremin</a>, an early electronic instrument played without physical contact, creating a new form of sound creation.
In the mid-20th century, <a href="/facts/Sampling_(music)/QLXy5WbA">sampling</a> emerged, with artists like <a href="/facts/Pierre_Schaeffer/C0ya8Gu8">Pierre Schaeffer</a> and <a href="/facts/Karlheinz_Stockhausen/XCrTaejh">Karlheinz Stockhausen</a> manipulating recorded sounds on tape to create entirely new compositions. This laid the foundation for future electronic music production techniques.
In the 1960s, the <a href="/facts/Moog_synthesizer/I6EkoW5J">Moog synthesizer</a>, invented by <a href="/facts/Robert_Moog/IcaxADgA">Robert Moog</a>, popularized <a href="/facts/Analog_synthesizer/eCK0cf3U">analog synthesis</a>. Musician <a href="/facts/Wendy_Carlos/BxFYFwRU">Wendy Carlos</a> demonstrated Robert's invention with the album <a href="/facts/Switched-On_Bach/wtokgMz8">Switched-On Bach</a>, which consisted of works composed by <a href="/facts/Johann_Sebastian_Bach/qA71yhEb">Johann Sebastian Bach</a> interpreted with the <a href="/facts/Moog_synthesizer/I6EkoW5J">Moog synthesizer</a>.<a class="footnote-ref" id="fnref:3" href="#fn:3">3</a> Meanwhile, tape-based studios, like the <a href="/facts/BBC_Radiophonic_Workshop/RHv0b8BA">BBC Radiophonic Workshop</a>, were at the forefront of electronic sound design.
The 1980s saw a major shift towards digital technology with the development of the Musical Instrument Digital Interface (<a href="/facts/MIDI/tblhmeFV">MIDI</a>) standard. This allowed electronic instruments to communicate with computers and each other, transforming music production. Digital synthesizers, such as the <a href="/facts/Yamaha_DX7/lKyT53wH">Yamaha DX7</a>, became widely popular.<a class="footnote-ref" id="fnref:4" href="#fn:4">4</a>
The 1990s and 2000s witnessed the explosive growth of <a href="/facts/Electronic_dance_music/5KDaMNG8">electronic dance music</a> and its various subgenres, driven by the accessibility of digital music production tools and the rise of computer-based software synthesizers.

<h2 id="education">Education</h2>
<h3>Professional training</h3>
See also: <a href="/facts/Audio_engineer/eRJkg89Q">Audio engineer</a> and Category:Audio engineering schools
Courses in music technology are offered at many different universities as part of degree programs focusing on performance, composition, music research at the undergraduate and graduate level. The study of music technology is usually concerned with the creative use of technology for creating new sounds, performing, <a href="/facts/Sound_recording_and_reproduction/BMbpAWkE">recording</a>, <a href="/facts/Programming_(music)/xWD7z2z0">programming</a> <a href="/facts/Music_sequencer/VhLzSPhr">sequencers</a> or other music-related electronic devices, and manipulating, mixing and reproducing music. Music technology programs train students for careers in "...sound engineering, computer music, audio-visual production and post-production, mastering, scoring for film and multimedia, audio for <a href="/facts/Video_games/vmTdNASJ">games</a>, software development, and multimedia production."<a class="footnote-ref" id="fnref:5" href="#fn:5">5</a> Those wishing to develop new music technologies often train to become an <a href="/facts/Audio_engineers/eRJkg89Q">audio engineer working in research and development</a>.<a class="footnote-ref" id="fnref:6" href="#fn:6">6</a> Due to the increasing role of interdisciplinary work in music technology, individuals developing new music technologies may also have backgrounds or training in <a href="/facts/Electrical_engineering/YYXW1KLW">electrical engineering</a>, <a href="/facts/Computer_programming/QmSsFnu0">computer programming</a>, <a href="/facts/Computer_hardware/8jSjsCNv">computer hardware</a> design, <a href="/facts/Acoustics/2GpQUymy">acoustics</a>, <a href="/facts/Record_producer/RcLFfQKL">record producing</a> or other fields.

<h3>Use of music technology in education</h3>

Digital music technologies are widely used to assist in <a href="/facts/Music_education/N3bTkPXr">music education</a> for training students in the home, elementary school, middle school, high school, college and university music programs. <a href="/facts/Electronic_keyboard/4FvTm22U">Electronic keyboard</a> labs are used for cost-effective beginner group piano instruction in high schools, colleges, and universities. Courses in music notation software and basic manipulation of audio and MIDI can be part of a student's core requirements for a music degree. Mobile and desktop applications are available to aid the study of <a href="/facts/Music_theory/BoekvflP">music theory</a> and <a href="/facts/Ear_training/PFw9GG2b">ear training</a>. Some <a href="/facts/Digital_piano/yGp7lHRI">digital pianos</a> provide interactive lessons and games using the built-in features of the instrument to teach music fundamentals.<a class="footnote-ref" id="fnref:7" href="#fn:7">7</a>

<h4>Analog Synthesizers</h4>
Classic analog synthesizers include the <a href="/facts/Moog_Minimoog/baQtRQ4V">Moog Minimoog</a>, <a href="/facts/ARP_Odyssey/nTM1RAFP">ARP Odyssey</a>, <a href="/facts/Yamaha_CS-80/qXt8fm4N">Yamaha CS-80</a>, <a href="/facts/Korg_MS-20/voYtP2J7">Korg MS-20</a>, <a href="/facts/Sequential_Circuits_Prophet-5/V2gR3RIN">Sequential Circuits Prophet-5</a>, <a href="/facts/Roland_TB-303/gVfqQy0h">Roland TB-303</a>, <a href="/facts/Roland_Alpha_Juno/JfavDEy4">Roland Alpha Juno</a>.<a class="footnote-ref" id="fnref:8" href="#fn:8">8</a> One of the most iconic synthesizers is the <a href="/facts/Roland_TB-303/gVfqQy0h">Roland TB-303</a>, was widely used in <a href="/facts/Acid_house_music/Vz3Sme1F">acid house music</a>.

<h3>Digital synthesizer history</h3>
Classic digital synthesizers include the <a href="/facts/Fairlight_CMI/RzeKLXHU">Fairlight CMI</a>, <a href="/facts/PPG_Wave/WHqu3vds">PPG Wave</a>, <a href="/facts/Nord_Modular/slSgwpc6">Nord Modular</a> and <a href="/facts/Korg_M1/4vPbUwU3">Korg M1</a>.<a class="footnote-ref" id="fnref:9" href="#fn:9">9</a>

<h3>Computer music history</h3>
<h4>Max Mathews</h4>
Computer and synthesizer technology joining together changed the way music is made and is one of the fastest-changing aspects of music technology today. <a href="/facts/Max_Mathews/oBCBqPYK">Max Mathews</a>, an acoustic researcher<a class="footnote-ref" id="fnref:10" href="#fn:10">10</a> at <a href="/facts/Bell_Telephone_Laboratories/fKP5Gk0H">Bell Telephone Laboratories</a>' Acoustic and Behavioural Research Department, is responsible for some of the first digital music technology in the 1950s. Mathews also pioneered a cornerstone of music technology; <a href="/facts/Analog-to-digital_conversion/8YYNsMFg">analog-to-digital conversion</a>.<a class="footnote-ref" id="fnref:11" href="#fn:11">11</a>
At Bell Laboratories, Matthews conducted research to improve the telecommunications quality for long-distance phone calls. Owing to long-distance and low-bandwidth, audio quality over phone calls across the United States was poor. Thus, Matthews devised a method in which sound was synthesized via computer on the distant end rather than transmitted. Matthews was an amateur violinist, and during a conversation with his superior, John Pierce at Bell Labs, Pierce posed the idea of synthesizing music through a computer. Since Matthews had already synthesized speech, he agreed and wrote a series of programs known as MUSIC. MUSIC consisted of two files: an orchestra file containing data telling the computer how to synthesize sound, and a score file instructing the program what notes to play using the instruments defined in the orchestra file. Matthews wrote five iterations of MUSIC, calling them MUSIC I-V respectively. Subsequently, as the program was adapted and expanded to run on various platforms, its name changed to reflect its new changes. This series of programs became known as the <a href="/facts/MUSIC-N/MqIaLX5w">MUSIC-N</a> paradigm. The concept of the MUSIC now exists in the form of <a href="/facts/Csound/SWFhJBnw">Csound</a>.<a class="footnote-ref" id="fnref:12" href="#fn:12">12</a>
Later <a href="/facts/Max_Matthews/oBCBqPYK">Max Matthews</a> worked as an advisor to <a href="/facts/IRCAM/oe5oKl4I">IRCAMin</a> the late 1980s. There, he taught <a href="/facts/Miller_Puckette/I6veAHqc">Miller Puckette</a>, a researcher. Puckette developed a program in which music could be programmed graphically. The program could transmit and receive MIDI messages to generate interactive music in real-time. Inspired by Matthews, Puckette named the program Max. Later, a researcher named David Zicarelli visited IRCAM, saw the capabilities of Max and felt it could be developed further. He took a copy of Max with him when he left and eventually added capabilities to process audio signals. Zicarelli named this new part of the program MSP after Miller Puckette. Zicarelli developed the commercial version of <a href="/facts/MaxMSP/3RaJECeF">MaxMSP</a> and sold it at his company, <a href="/facts/Cycling_%252774/kF6JYDdh">Cycling '74</a>, beginning in 1997. The company has since been acquired by <a href="/facts/Ableton/HXreG0GP">Ableton</a>.<a class="footnote-ref" id="fnref:13" href="#fn:13">13</a>

<h4>Later history</h4>
The first generation of professional commercially available computer music instruments, or <a href="/facts/Workstation/h5tK4hTt">workstations</a> as some companies later called them, were very sophisticated elaborate systems that cost a great deal of money when they first appeared. They ranged from $25,000 to $200,000.<a class="footnote-ref" id="fnref:14" href="#fn:14">14</a> The two most popular were the <a href="/facts/Fairlight_CMI/RzeKLXHU">Fairlight</a>, and the <a href="/facts/Synclavier/6fwfDWwH">Synclavier</a>.
It was not until the advent of <a href="/facts/MIDI/tblhmeFV">MIDI</a> that <a href="/facts/General-purpose_computer/SQe1aK05">general-purpose computers</a> started to play a role in music production. Following the widespread adoption of MIDI, computer-based <a href="/facts/Comparison_of_MIDI_editors_and_sequencers/cofutrdH">MIDI editors and sequencers</a> were developed. MIDI-to-<a href="/facts/CV%2fGate/UE97WhJC">CV/Gate</a> converters were then used to enable <a href="/facts/Analog_synthesizer/eCK0cf3U">analog synthesizers</a> to be controlled by a <a href="/facts/MIDI_sequencer/VhLzSPhr">MIDI sequencer</a>.<a class="footnote-ref" id="fnref:15" href="#fn:15">15</a>

<h3>MIDI</h3>
At the <a href="/facts/NAMM_Show/ENy017Pu">NAMM Show</a> of 1983 in Los Angeles, MIDI was released. A demonstration at the convention showed two previously incompatible <a href="/facts/Analog_synthesizer/eCK0cf3U">analog synthesizers</a>, the <a href="/facts/Sequential_Circuits/3YBIqh07">Prophet 600</a> and <a href="/facts/Roland_Jupiter-6/6EAyTgeB">Roland Jupiter-6</a>, communicating with each other, enabling a player to play one keyboard while getting the output from both of them. This development immediately allowed synths to be accurately layered in live shows and studio recordings. MIDI enables different electronic instruments and <a href="/facts/Electronic_music/zfGNfUvR">electronic music</a> devices to communicate with each other and with computers. The advent of MIDI spurred a rapid expansion of the sales and production of electronic instruments and music software.
In 1985, several of the top keyboard manufacturers created the <a href="/facts/MIDI_Manufacturers_Association/Eg53PzUN">MIDI Manufacturers Association</a> (MMA). This newly founded association standardized the MIDI protocol by generating and disseminating all the documents about it. With the development of the MIDI file format specification by <a href="/facts/Opcode/UaLMp56C">Opcode</a>, every music software company's MIDI sequencer software could read and write each other's files.
Since the 1980s, <a href="/facts/Personal_computer/koaYfNce">personal computers</a> became the ideal system for utilizing the vast potential of MIDI. This has created a large consumer market for software such as MIDI-equipped <a href="/facts/Electronic_keyboard/4FvTm22U">electronic keyboards</a>, MIDI sequencers and <a href="/facts/Digital_audio_workstation/suXVXzKT">digital audio workstations</a>. With universal MIDI protocols, electronic keyboards, sequencers, and drum machines can all be connected together.

<h3>Vocal synthesis history until 1980s</h3>
<h4>VODER</h4>
Coinciding with the history of computer music is the history of vocal synthesis. Prior to Max Matthews synthesizing speech with a computer, analog devices were used to recreate speech. In the 1930s, an engineer named <a href="/facts/Homer_Dudley/CGjP8Jfx">Homer Dudley</a> invented the Voice Operated Demonstrator (VODER), an electro-mechanical device which generated a sawtooth wave and white-noise. Various parts of the frequency spectrum of the waveforms could be filtered to generate the sounds of speech. Pitch was modulated via a bar on a wrist strap worn by the operator.<a class="footnote-ref" id="fnref:16" href="#fn:16">16</a> In the 1940s Dudley, invented the <a href="/facts/Voice_Operated_Coder/sSymnRBU">Voice Operated Coder</a> (VOCODER). Rather than synthesizing speech from scratch, this machine operated by accepting incoming speech and breaking it into its spectral components. In the late 1960s and early 1970s, bands and solo artists began using the VOCODER to blend speech with notes played on a synthesizer.<a class="footnote-ref" id="fnref:17" href="#fn:17">17</a>

<h4>Singing computer</h4>
See also: <a href="/facts/Articulatory_synthesis/mUrUf8jR">Articulatory synthesis</a>
At Bell Laboratories, Max Matthews worked with researchers Kelly and Lochbaum to develop a model of the vocal tract to study how its properties contributed to speech generation. Using the model of the vocal tract,—a method, which would come to be known as <a href="/facts/Physical_modeling_synthesis/vkEbmbKm">physical modeling synthesis</a>, in which a computer estimates the formants and spectral content of each word based on information about the vocal model, including various applied filters representing the vocal tract—to make a computer (an IBM 704) sing for the first time in 1962. The computer performed a rendition of "Daisy Bell".<a class="footnote-ref" id="fnref:18" href="#fn:18">18</a>

<h4>CHANT at IRCAM</h4>
At IRCAM in France, researchers developed software called CHANT (French for "sing"), the first version of which ran between 1979 and 1983.<a class="footnote-ref" id="fnref:19" href="#fn:19">19</a> CHANT was based FOF (Fomant ond Formatique) synthesis, in which the peak frequencies of a sound are created and shaped using granular synthesis—as opposed to filtering frequencies to create speech.<a class="footnote-ref" id="fnref:20" href="#fn:20">20</a>

<h4>Concatenation synthesis using MIDI</h4>
Through the 1980s and 1990s as MIDI devices became commercially available, speech was generated by mapping MIDI data to samples of the components of speech stored in sample libraries.<a class="footnote-ref" id="fnref:21" href="#fn:21">21</a>

<h3>Vocal synthesis after 2010s</h3>
In the 2010s, Singing synthesis technology has taken advantage of the recent advances in artificial intelligence—deep listening and machine learning to better represent the nuances of the human voice. New high fidelity sample libraries combined with digital audio workstations facilitate editing in fine detail, such as shifting of formats, adjustment of vibrato, and adjustments to vowels and consonants. Sample libraries for various languages and various accents are available. With today's advancements in vocal synthesis, artists sometimes use sample libraries in lieu of backing singers.<a class="footnote-ref" id="fnref:22" href="#fn:22">22</a>

<h2 id="synthesizers-and-drum-machines">Synthesizers and drum machines</h2>
<h3>Synthesizers</h3>
Main article: <a href="/facts/Synthesizer/NrmdVrPa">Synthesizer</a>

A <a href="/facts/Synthesizer/NrmdVrPa">synthesizer</a> is an <a href="/facts/Electronic_musical_instrument/dQSuuYtF">electronic musical instrument</a> that generates electric signals that are converted to sound through <a href="/facts/Instrument_amplifier/6bUxdUwf">instrument amplifiers</a> and <a href="/facts/Loudspeaker/tqEjnJ2z">loudspeakers</a> or <a href="/facts/Headphones/hLd5e4Kv">headphones</a>. Synthesizers may either imitate existing sounds (instruments, vocal, natural sounds, etc.), or generate new electronic <a href="/facts/Timbres/lVXB949E">timbres</a> or sounds that did not exist before. They are often played with an electronic <a href="/facts/Musical_keyboard/Mz0FGAe4">musical keyboard</a>, but they can be controlled via a variety of other input devices, including sequencers, <a href="/facts/MIDI_controller/UEc2I36l">instrument controllers</a>, fingerboards, <a href="/facts/Guitar_synthesizer/oSKKlAef">guitar synthesizers</a>, <a href="/facts/Wind_controller/m8V13WQ3">wind controllers</a>, and <a href="/facts/Electronic_drum/LWRuY2E5">electronic drums</a>. Synthesizers without built-in controllers are often called <a href="/facts/Sound_modules/MbbRzeTp">sound modules</a>, and are controlled using a controller device.
Synthesizers use various methods to generate a signal. Among the most popular waveform synthesis techniques are <a href="/facts/Subtractive_synthesis/2Kk3TqUE">subtractive synthesis</a>, <a href="/facts/Additive_synthesis/N8bbwbEg">additive synthesis</a>, <a href="/facts/Wavetable_synthesis/aCNfYYXt">wavetable synthesis</a>, <a href="/facts/Frequency_modulation_synthesis/9wALwfgD">frequency modulation synthesis</a>, <a href="/facts/Phase_distortion_synthesis/EoduK3pM">phase distortion synthesis</a>, <a href="/facts/Physical_modeling_synthesis/vkEbmbKm">physical modeling synthesis</a> and <a href="/facts/Sample-based_synthesis/t9CB2b9E">sample-based synthesis</a>. Other less common synthesis types include <a href="/facts/Subharmonic_synthesizer/RqKaVrGP">subharmonic synthesis</a>, a form of additive synthesis via subharmonics (used by <a href="/facts/Mixtur-Trautonium/mDg0Mtwm">Mixtur-Trautonium</a>), and <a href="/facts/Granular_synthesis/DYc6ajEw">granular synthesis</a>, sample-based synthesis based on grains of sound, generally resulting in <a href="/facts/Soundscape/K9GCIJRk">soundscapes</a> or <a href="/facts/Cloud_(music)/rGaBTvzu">clouds</a>. In the 2010s, synthesizers are used in many genres of <a href="/facts/Pop_music/kgshFE5B">pop</a>, <a href="/facts/Rock_music/zBM2guyQ">rock</a> and <a href="/facts/Dance_music/MsDMMnvz">dance music</a>. Contemporary <a href="/facts/Classical_music/oglVXmSb">classical music</a> <a href="/facts/Composer/6zrz16FN">composers</a> from the 20th and 21st century write compositions for synthesizer.

<h3>Drum machines</h3>
Main article: <a href="/facts/Drum_machine/ltR2xFt3">Drum machine</a>

A <a href="/facts/Drum_machine/ltR2xFt3">drum machine</a> is an <a href="/facts/Electronic_musical_instrument/dQSuuYtF">electronic musical instrument</a> designed to imitate the <a href="/facts/Sound/DlKXlPuF">sound</a> of <a href="/facts/Drum_kit/XsmopoW9">drums</a>, <a href="/facts/Cymbal/URddskPF">cymbals</a>, other <a href="/facts/Percussion_instrument/YojwA7VR">percussion instruments</a>, and often <a href="/facts/Basslines/u1QJeCos">basslines</a>. Drum machines either play back prerecorded samples of drums and cymbals or synthesized re-creations of drum/cymbal sounds in a rhythm and tempo that is programmed by a musician. Drum machines are most commonly associated with <a href="/facts/Electronic_dance_music/5KDaMNG8">electronic dance music</a> genres such as <a href="/facts/House_music/2UFwER68">house music</a>, but are also used in many other genres. They are also used when <a href="/facts/Session_musician/Belq3KCo">session drummers</a> are not available or if the production cannot afford the cost of a professional drummer. In the 2010s, most modern drum machines are sequencers with a sample playback (<a href="/facts/Rompler/owMWPdRx">rompler</a>) or <a href="/facts/Synthesizer/NrmdVrPa">synthesizer</a> component that specializes in the reproduction of drum <a href="/facts/Timbre/lVXB949E">timbres</a>. Though features vary from model to model, many modern drum machines can also produce unique sounds, and allow the user to compose unique <a href="/facts/Drum_beat/UNL4ygxp">drum beats</a> and patterns.
Electro-mechanical drum machines were first developed in 1949, with the invention of the <a href="/facts/Chamberlin/XNt87W0l">Chamberlin Rhythmate</a>. Transistorized electronic drum machines <a href="/facts/Seeburg_Corporation/UKbL5eLV">Seeburg</a> Select-A-Rhythm appeared in 1964.<a class="footnote-ref" id="fnref:23" href="#fn:23">23</a><a class="footnote-ref" id="fnref:24" href="#fn:24">24</a><a class="footnote-ref" id="fnref:25" href="#fn:25">25</a><a class="footnote-ref" id="fnref:26" href="#fn:26">26</a>
Classic drum machines include the <a href="/facts/Korg_Mini_Pops/mQkvmoLJ">Korg Mini Pops 120</a>, <a href="/facts/PAiA_Electronics/aQSzHjAq">PAiA</a> Programmable Drum Set, <a href="/facts/Roland_CR-78/EduBGKJw">Roland CR-78</a>, <a href="/facts/LinnDrum/MQY6bYs8">LinnDrum</a>, <a href="/facts/Roland_TR-909/cVXjY5JQ">Roland TR-909</a>, <a href="/facts/Oberheim_DMX/mFAbxH0z">Oberheim DMX</a>, <a href="/facts/E-mu/eRkWsQaL">E-MU SP-12</a>, <a href="/facts/Alesis/95eS6JYR">Alesis HR-16</a>, and <a href="/facts/Elektron_(company)/Qm05ID9k">Elektron</a> SPS1 Machinedrum (in chronological order).<a class="footnote-ref" id="fnref:27" href="#fn:27">27</a>

<h4>Drum machines in Japan</h4>

In the late 1970s and 1980s, Japanese manufacturers, including <a href="/facts/Roland_Corporation/S6FG8UfS">Roland</a> and <a href="/facts/Korg/VDBkJD0p">Korg</a>, assumed pivotal roles in the transformation of the musical landscape. Roland's <a href="/facts/Roland_TR-808/5dSMxNdg">TR-808</a> and <a href="/facts/Roland_TR-909/cVXjY5JQ">TR-909</a> significantly changed the landscape of rhythm production. shaping genres like hip-hop and electronic dance music. Korg's KPR-77 and DDD-1 also made an impact. These drum machines were known for their distinctive sound and affordability. Over time, Japanese companies continued to innovate, producing increasingly sophisticated and user-friendly drum machines, such as the Roland TR-8 and <a href="/facts/Korg_Volca/Fa7WvUrU">Korg Volca</a> Beats. These instruments continue to influence contemporary music production and remain integral to the electronic music landscape worldwide.<a href="/facts/Sly_and_the_Family_Stone/k6K0ET7e">Sly and the Family Stone</a>'s 1971 album <a href="/facts/There%2527s_a_Riot_Goin%2527_On/q21V0GEW">There's a Riot Goin' On</a> helped to popularize the sound of early drum machines, along with <a href="/facts/Timmy_Thomas/H1C2kbmx">Timmy Thomas</a>' 1972 <a href="/facts/Rhythm_and_blues/UT5v5rXb">R&B</a> hit "<a href="/facts/Why_Can%2527t_We_Live_Together/Ep3Ezhrk">Why Can't We Live Together</a>" and <a href="/facts/George_McCrae/w5xDTHyt">George McCrae</a>'s 1974 <a href="/facts/Disco/BQu4rHxV">disco</a> hit "<a href="/facts/Rock_Your_Baby/q150msyt">Rock Your Baby</a>" which used early Roland rhythm machines.<a class="footnote-ref" id="fnref:28" href="#fn:28">28</a>
Early drum machines sounded drastically different than the drum machines that gained their peak popularity in the 1980s and defined an entire decade of pop music. The most iconic drum machine was the <a href="/facts/Roland_TR-808/5dSMxNdg">Roland TR-808</a>, widely used in <a href="/facts/Hip_hop/7HjAPIEh">hip hop</a> and <a href="/facts/Dance_music/MsDMMnvz">dance music</a>.

<h2 id="sampling-technology-after-1980s">Sampling technology after 1980s</h2>
See also: <a href="/facts/Sampler_(musical_instrument)/BVGHPATc">Sampler (musical instrument)</a>
Digital sampling technology, introduced in the 1970s,<a class="footnote-ref" id="fnref:29" href="#fn:29">29</a><a class="footnote-ref" id="fnref:30" href="#fn:30">30</a><a class="footnote-ref" id="fnref:31" href="#fn:31">31</a><a class="footnote-ref" id="fnref:32" href="#fn:32">32</a><a class="footnote-ref" id="fnref:33" href="#fn:33">33</a> has become a staple of <a href="/facts/Music_production/RcLFfQKL">music production</a> in the 2000s. Devices that use <a href="/facts/Sampler_(musical_instrument)/BVGHPATc">sampling</a>, record a sound digitally (often a musical instrument, such as a <a href="/facts/Piano/lRI60lQK">piano</a> or <a href="/facts/Flute/sux7paa7">flute</a> being played), and replay it when a key or pad on a controller device (e.g., an <a href="/facts/Electronic_keyboard/4FvTm22U">electronic keyboard</a>, <a href="/facts/Electronic_drum/LWRuY2E5">electronic drum</a> pad, etc.) is pressed or triggered. Samplers can alter the sound using various <a href="/facts/Effects_unit/XhTKhJQC">audio effects</a> and audio processing. Sampling has its roots in France with the sound experiments carried out by <a href="/facts/Musique_concr%25C3%25A8te/NkJW91oM">musique concrète</a> practitioners.
In the 1980s, when the technology was still in its infancy, digital samplers cost tens of thousands of dollars and they were only used by the top <a href="/facts/Recording_studio/zlGNwv0g">recording studios</a> and musicians. These were out of the price range of most musicians. Early samplers include the 8-bit <a href="/facts/Sampler_(musical_instrument)/BVGHPATc">Electronic Music Studios MUSYS-3</a> circa 1970, <a href="/facts/Sampler_(musical_instrument)/BVGHPATc">Computer Music Melodian</a> in 1976, <a href="/facts/Fairlight_CMI/RzeKLXHU">Fairlight CMI</a> in 1979, <a href="/facts/Emulator_I/xSYqRujE">Emulator I</a> in 1981, <a href="/facts/Synclavier/6fwfDWwH">Synclavier II</a> Sample-to-Memory (STM) option circa 1980, <a href="/facts/Ensoniq_Mirage/vuwtU1ol">Ensoniq Mirage</a> in 1984, and <a href="/facts/Akai/VohmepgV">Akai S612</a> in 1985. The latter's successor, the <a href="/facts/Emulator_II/xSYqRujE">Emulator II</a> (released in 1984), listed for $8,000.<a class="footnote-ref" id="fnref:34" href="#fn:34">34</a> Samplers were released during this period with high price tags, such as the <a href="/facts/Kurzweil_Music_Systems/2rzz41yq">K2000</a> and <a href="/facts/K2500/d2IkEWsP">K2500</a>.
Some important hardware samplers include the <a href="/facts/Kurzweil_K250/hLTLY4vM">Kurzweil K250</a>, <a href="/facts/Akai_MPC60/hhWw9UCH">Akai MPC60</a>, <a href="/facts/Ensoniq_Mirage/vuwtU1ol">Ensoniq Mirage</a>, <a href="/facts/Ensoniq_ASR-10/h04P9U6x">Ensoniq ASR-10</a>, <a href="/facts/Akai_S1000/XegoTjKX">Akai S1000</a>, <a href="/facts/E-mu_Emulator/xSYqRujE">E-mu Emulator</a>, and <a href="/facts/Fairlight_CMI/RzeKLXHU">Fairlight CMI</a>.<a class="footnote-ref" id="fnref:35" href="#fn:35">35</a>
One of the biggest uses of sampling technology was by <a href="/facts/Hip-hop_music/0lsHpwAD">hip-hop music</a> <a href="/facts/DJ/5YYYRqPB">DJs</a> and performers in the 1980s. Before affordable sampling technology was readily available, DJs would use a technique pioneered by <a href="/facts/Grandmaster_Flash/fDRAtgMX">Grandmaster Flash</a> to manually repeat certain parts in a song by juggling between two separate turntables. This can be considered as an early precursor of sampling. In turn, this <a href="/facts/Turntablism/4fboh9Hz">turntablism</a> technique originates from Jamaican <a href="/facts/Dub_music/Pb0wQdUK">dub music</a> in the 1960s and was introduced to American hip hop in the 1970s.
In the 2000s, most professional recording studios use digital technologies. In recent years, many samplers have only included digital technology. This new generation of digital samplers are capable of reproducing and manipulating sounds. Digital sampling plays an integral part in some genres of music, such as hip-hop and trap. Advanced sample libraries have made complete performances of <a href="/facts/Orchestra/C5Ha0d0G">orchestral</a> compositions possible that sound similar to a live performance.<a class="footnote-ref" id="fnref:36" href="#fn:36">36</a> Modern sound libraries allow musicians to have the ability to use the sounds of almost any instrument in their productions.

<h3>Sampling technology in Japan</h3>
Early samplers include the 12-bit <a href="/facts/Toshiba/QHRaw8Tr">Toshiba</a> LMD-649 [ja] in 1981.<a class="footnote-ref" id="fnref:37" href="#fn:37">37</a>
The first affordable sampler in Japan was the <a href="/facts/Ensoniq_Mirage/vuwtU1ol">Ensoniq Mirage</a> in 1984. Also the <a href="/facts/Akai/VohmepgV">AKAI S612</a> became available in 1985, retailed for US$895. Other companies soon released affordable samplers, including <a href="/facts/Oberheim_Electronics/1G9AyTBU">Oberheim DPX-1</a> in 1987, and more by <a href="/facts/Korg/VDBkJD0p">Korg</a>, <a href="/facts/Casio/yFj9XMgC">Casio</a>, <a href="/facts/Yamaha_Corporation/VaulfF9U">Yamaha</a>, and <a href="/facts/Roland_Corporation/S6FG8UfS">Roland</a>. Some important hardware samplers in Japan include the <a href="/facts/Akai/VohmepgV">Akai Z4/Z8</a>, Roland V-Synth, <a href="/facts/Casio_FZ-1/5qm10Bv2">Casio FZ-1</a>.<a class="footnote-ref" id="fnref:38" href="#fn:38">38</a>

<h2 id="midi">MIDI</h2>

<a href="/facts/MIDI/tblhmeFV">MIDI</a> has been the musical instrument industry standard interface since the 1980s through to the present day.<a class="footnote-ref" id="fnref:39" href="#fn:39">39</a> It dates back to June 1981, when <a href="/facts/Roland_Corporation/S6FG8UfS">Roland Corporation</a> founder <a href="/facts/Ikutaro_Kakehashi/Ss0w9Lsh">Ikutaro Kakehashi</a> proposed the concept of standardization between different manufacturers' instruments as well as computers, to <a href="/facts/Oberheim_Electronics/1G9AyTBU">Oberheim Electronics</a> founder <a href="/facts/Tom_Oberheim/tn7A1qAR">Tom Oberheim</a> and <a href="/facts/Sequential_Circuits/3YBIqh07">Sequential Circuits</a> president <a href="/facts/Dave_Smith_(engineer)/vctwMKS1">Dave Smith</a>. In October 1981, Kakehashi, Oberheim and Smith discussed the concept with representatives from <a href="/facts/Yamaha_Corporation/VaulfF9U">Yamaha</a>, <a href="/facts/Korg/VDBkJD0p">Korg</a> and <a href="/facts/Kawai_Musical_Instruments/2t6mCBu1">Kawai</a>.<a class="footnote-ref" id="fnref:40" href="#fn:40">40</a> In 1983, the MIDI standard was unveiled by Kakehashi and Smith.<a class="footnote-ref" id="fnref:41" href="#fn:41">41</a><a class="footnote-ref" id="fnref:42" href="#fn:42">42</a>
Some universally accepted varieties of MIDI software applications include music instruction software, MIDI sequencing software, music notation software, <a href="/facts/Hard_disk/kekLSGSE">hard disk</a> recording/editing software, patch editor/sound library software, computer-assisted composition software, and <a href="/facts/Software_synthesizer/1dale4sj">virtual instruments</a>. Current developments in computer hardware and specialized software continue to expand MIDI applications.

<h2 id="computers-in-music-technology-after-1980s">Computers in music technology after 1980s</h2>
Following the widespread adoption of MIDI, computer-based MIDI editors and sequencers were developed. MIDI-to-<a href="/facts/CV%2fGate/UE97WhJC">CV/Gate</a> converters were then used to enable <a href="/facts/Analogue_synthesizer/eCK0cf3U">analogue synthesizers</a> to be controlled by a MIDI sequencer.<a class="footnote-ref" id="fnref:43" href="#fn:43">43</a>
Reduced prices in <a href="/facts/Personal_computer/koaYfNce">personal computers</a> caused the masses to turn away from the more expensive <a href="/facts/Workstation/h5tK4hTt">workstations</a>. Advancements in technology have increased the speed of hardware processing and the capacity of memory units. Software developers write new, more powerful programs for sequencing, recording, notating, and mastering music.
Digital audio workstation software, such as <a href="/facts/Pro_Tools/0dASXmcx">Pro Tools</a>, <a href="/facts/Logic_Pro/QEwxny8W">Logic</a>, and many others, have gained popularity among the vast array of contemporary music technology in recent years. Such programs allow the user to record acoustic sounds with a <a href="/facts/Microphone/7YWGlXCl">microphone</a> or software instrument, which may then be layered and organized along a timeline and edited on a <a href="/facts/Flat-panel_display/jw0LWETN">flat-panel display</a> of a <a href="/facts/Computer/SQe1aK05">computer</a>. Recorded segments can be copied and duplicated ad infinitum, without any loss of fidelity or added noise (a major contrast from <a href="/facts/Analog_recording/1Ggd37l0">analog recording</a>, in which every copy leads to a loss of fidelity and added noise). Digital music can be edited and processed using a multitude of audio effects. <a href="/facts/Contemporary_classical_music/KuzN3elz">Contemporary classical music</a> sometimes uses computer-generated sounds—either pre-recorded or generated and manipulated live—in conjunction or juxtaposed on classical <a href="/facts/Acoustic_music/DK2gYoTt">acoustic instruments</a> like the cello or violin. Music is scored with commercially available <a href="/facts/Scorewriter/KVVCI1xX">notation</a> software.<a class="footnote-ref" id="fnref:44" href="#fn:44">44</a>
In addition to the digital audio workstations and music notation software, which facilitate the creation of fixed media (material that does not change each time it is performed), software facilitating interactive or generative music continues to emerge. Composition based on conditions or rules (algorithmic composition) has given rise to software which can automatically generate music based on input conditions or rules. Thus, the resulting music evolves each time conditions change. Examples of this technology include software designed for writing music for video games—where music evolves as a player advances through a level or when certain characters appear—or <a href="/facts/Music_and_artificial_intelligence/P2dTb8n7">music generated from artificial intelligence</a> trained to convert biometrics like EEG or ECG readings into music.<a class="footnote-ref" id="fnref:45" href="#fn:45">45</a> Because this music is based on user interaction, it will be different each time it is heard. Other examples of generative music technology include the use of sensors connected to computer and artificial intelligence to generate music based on captured data, such as environmental factors, the movements of dancers, or physical inputs from a digital device such as a mouse or game controller. Software applications offering capabilities for generative and interactive music include SuperCollider, MaxMSP/Jitter, and Processing. Interactive music is made possible through physical computing, where the data from the physical world affects a computer's output and vice versa.<a class="footnote-ref" id="fnref:46" href="#fn:46">46</a>

<h2 id="timeline">Timeline</h2>

Main article: <a href="/facts/Timeline_of_music_technology/RqYcKuy4">Timeline of music technology</a>
<ul><li>1917 : <a href="/facts/Leon_Theremin/hLrsbHh2">Leon Theremin</a> invented the prototype of the <a href="/facts/Theremin/qygjqB7S">Theremin</a></li>
<li>1944 : <a href="/facts/Halim_El-Dabh/eHDsx1pT">Halim El-Dabh</a> produces earliest <a href="/facts/Electroacoustic_music/EUNo602A">electroacoustic tape music</a><a class="footnote-ref" id="fnref:47" href="#fn:47">47</a><a class="footnote-ref" id="fnref:48" href="#fn:48">48</a></li>
<li>1952 : <a href="/facts/Harry_F._Olson/YaqvXw9V">Harry F. Olson</a> and Herbert Belar invent the <a href="/facts/RCA_Synthesizer/RgdC4qND">RCA Synthesizer</a></li>
<li>1952 : Osmand Kendal develops the <a href="/facts/Composer-Tron/XaKt5ANK">Composer-Tron</a> for the Marconi Wireless Company</li>
<li>1956 : <a href="/facts/Raymond_Scott/TgqPAQvm">Raymond Scott</a> develops the <a href="/facts/Clavivox/uuMF4Q83">Clavivox</a></li>
<li>1958 : <a href="/facts/Yevgeny_Murzin/1XzoUC1l">Yevgeny Murzin</a> along with several colleagues create the <a href="/facts/ANS_synthesizer/DqHGprQY">ANS synthesizer</a></li>
<li>1959 : <a href="/facts/Wurlitzer/bVJ1vYcc">Wurlitzer</a> manufactures The Sideman, the first commercial electro-mechanical <a href="/facts/Drum_machine/ltR2xFt3">drum machine</a></li>
<li>1963 : The <a href="/facts/Mellotron/3rYof9Lg">Mellotron</a> starts to be manufactured in <a href="/facts/London/KozCCsy9">London</a></li>
<li>1964 : The <a href="/facts/Moog_synthesizer/I6EkoW5J">Moog synthesizer</a> is released<a class="footnote-ref" id="fnref:49" href="#fn:49">49</a></li>
<li>1968 : <a href="/facts/King_Tubby/FhuerHvX">King Tubby</a> pioneers <a href="/facts/Dub_music/Pb0wQdUK">dub music</a>, an early form of popular <a href="/facts/Electronic_music/zfGNfUvR">electronic music</a><a class="footnote-ref" id="fnref:50" href="#fn:50">50</a></li>
<li>1970 : <a href="/facts/ARP_2600/khHxUkM3">ARP 2600</a> is manufactured</li>
<li>1982 : <a href="/facts/Sony/7x4tCtBd">Sony</a> and <a href="/facts/Philips/Xp4uczGg">Philips</a> introduce <a href="/facts/Compact_disc/g51GRloc">compact disc</a></li>
<li>1982 : Introduction of MIDI<a class="footnote-ref" id="fnref:51" href="#fn:51">51</a><a class="footnote-ref" id="fnref:52" href="#fn:52">52</a></li>
<li>1986 : The first <a href="/facts/Digital_mixing_console/BF8RAxFJ">digital consoles</a> appear</li>
<li>1987 : <a href="/facts/Digidesign/fFlknC93">Digidesign</a> markets <a href="/facts/Sound_Tools/0dASXmcx">Sound Tools</a></li></ul>
<h3>Timeline in Japan</h3>

<ul><li>1963 : Keio Electronics (later <a href="/facts/Korg/VDBkJD0p">Korg</a>) produces the <a href="/facts/DA-20/CVMKktWu">DA-20</a></li>
<li>1964 : <a href="/facts/Ikutaro_Kakehashi/Ss0w9Lsh">Ikutaro Kakehashi</a> debuts <a href="/facts/Ace_Tone/EvrddUFS">Ace Tone</a> R-1 Rhythm Ace, the first <a href="/facts/Electronic_drum/LWRuY2E5">electronic drum</a><a class="footnote-ref" id="fnref:53" href="#fn:53">53</a><a class="footnote-ref" id="fnref:54" href="#fn:54">54</a><a class="footnote-ref" id="fnref:55" href="#fn:55">55</a></li>
<li>1965 : <a href="/facts/Nippon_Columbia/BJgUsYpP">Nippon Columbia</a> patents an early electronic <a href="/facts/Drum_machine/ltR2xFt3">drum machine</a><a class="footnote-ref" id="fnref:56" href="#fn:56">56</a></li>
<li>1966 : <a href="/facts/Korg/VDBkJD0p">Korg</a> releases <a href="/facts/Korg_Mini_Pops/mQkvmoLJ">Donca-Matic DE-20</a>, an early electronic drum machine<a class="footnote-ref" id="fnref:57" href="#fn:57">57</a></li>
<li>1967 : <a href="/facts/Ace_Tone/EvrddUFS">Ace Tone</a> releases FR-1 Rhythm Ace, the first drum machine to enter <a href="/facts/Popular_music/Q5yhxIwY">popular music</a><a class="footnote-ref" id="fnref:58" href="#fn:58">58</a></li>
<li>1967 : First <a href="/facts/PCM/5gdfjtH3">PCM</a> recorder developed by <a href="/facts/NHK/3tUvzAQV">NHK</a><a class="footnote-ref" id="fnref:59" href="#fn:59">59</a></li>
<li>1969 : <a href="/facts/Panasonic/TqkBQmgj">Matsushita</a> engineer Shuichi Obata invents first <a href="/facts/Direct-drive_turntable/3KIc7DDT">direct-drive turntable</a>, <a href="/facts/Technics_(brand)/cdQ32YSk">Technics SP-10</a><a class="footnote-ref" id="fnref:60" href="#fn:60">60</a></li>
<li>1973 : <a href="/facts/Yamaha_Corporation/VaulfF9U">Yamaha</a> release <a href="/facts/Yamaha_GX-1/MbrQ8x5c">Yamaha GX-1</a>,<a class="footnote-ref" id="fnref:61" href="#fn:61">61</a> the first <a href="/facts/Polyphonic_synthesizer/55jLEj0X">polyphonic synthesizer</a><a class="footnote-ref" id="fnref:62" href="#fn:62">62</a></li>
<li>1974 : Yamaha build first <a href="/facts/Digital_synthesizer/9IxIlvFf">digital synthesizer</a><a class="footnote-ref" id="fnref:63" href="#fn:63">63</a></li>
<li>1977 : <a href="/facts/Roland_Corporation/S6FG8UfS">Roland</a> release <a href="/facts/Roland_MC-8_Microcomposer/c3I3IbtV">MC-8</a>, an early microprocessor-driven <a href="/facts/CV%2fGate/UE97WhJC">CV/Gate</a> digital sequencer<a class="footnote-ref" id="fnref:64" href="#fn:64">64</a><a class="footnote-ref" id="fnref:65" href="#fn:65">65</a></li>
<li>1978 : Roland releases <a href="/facts/Roland_CR-78/EduBGKJw">CR-78</a>, the first microprocessor-driven <a href="/facts/Drum_machine/ltR2xFt3">drum machine</a><a class="footnote-ref" id="fnref:66" href="#fn:66">66</a></li>
<li>1979 : <a href="/facts/Casio/yFj9XMgC">Casio</a> releases <a href="/facts/Casio_VL-1/qlJPqA5b">VL-1</a>,<a class="footnote-ref" id="fnref:67" href="#fn:67">67</a> the first commercial <a href="/facts/Digital_synthesizer/9IxIlvFf">digital synthesizer</a><a class="footnote-ref" id="fnref:68" href="#fn:68">68</a></li>
<li>1980 : Roland releases <a href="/facts/Roland_TR-808/5dSMxNdg">TR-808</a>, the most widely used drum machine in popular music<a class="footnote-ref" id="fnref:69" href="#fn:69">69</a></li>
<li>1980 : Roland introduces <a href="/facts/Digital_Control_Bus/xDYKJF1a">DCB</a> protocol and <a href="/facts/DIN_sync/5yB4HEog">DIN</a> interface with TR-808</li>
<li>1980 : <a href="/facts/Yamaha_Corporation/VaulfF9U">Yamaha</a> releases GS-1, the first <a href="/facts/FM_synthesis/9wALwfgD">FM</a> <a href="/facts/Digital_synthesizer/9IxIlvFf">digital synthesizer</a></li>
<li>1980 : Kazuo Morioka creates Firstman SQ-01, the first <a href="/facts/Bass_synth/NrmdVrPa">bass synth</a> with a sequencer<a class="footnote-ref" id="fnref:70" href="#fn:70">70</a><a class="footnote-ref" id="fnref:71" href="#fn:71">71</a><a class="footnote-ref" id="fnref:72" href="#fn:72">72</a></li>
<li>1981 : Roland releases <a href="/facts/TB-303/gVfqQy0h">TB-303</a>, a <a href="/facts/Bass_synthesizer/NrmdVrPa">bass synthesizer</a> that lays foundations for <a href="/facts/Acid_house/Vz3Sme1F">acid</a> <a href="/facts/House_music/2UFwER68">house music</a><a class="footnote-ref" id="fnref:73" href="#fn:73">73</a></li>
<li>1981 : <a href="/facts/Toshiba/QHRaw8Tr">Toshiba</a>'s LMD-649 [ja], the first <a href="/facts/PCM/5gdfjtH3">PCM</a> digital <a href="/facts/Sampler_(musical_instrument)/BVGHPATc">sampler</a> in Japan, introduced with <a href="/facts/Yellow_Magic_Orchestra/SBT8oPno">Yellow Magic Orchestra</a>'s <a href="/facts/Technodelic/4amqK4lW">Technodelic</a><a class="footnote-ref" id="fnref:74" href="#fn:74">74</a></li>
<li>1982 : First MIDI <a href="/facts/Synthesizer/NrmdVrPa">synthesizers</a> released, <a href="/facts/Roland_Jupiter-6/6EAyTgeB">Roland Jupiter-6</a> and <a href="/facts/Sequential_Circuits/3YBIqh07">Prophet 600</a><a class="footnote-ref" id="fnref:75" href="#fn:75">75</a></li>
<li>1983 : Roland releases MSQ-700, the first MIDI sequencer<a class="footnote-ref" id="fnref:76" href="#fn:76">76</a></li>
<li>1983 : Roland releases <a href="/facts/Roland_TR-909/cVXjY5JQ">TR-909</a>, the first MIDI <a href="/facts/Drum_machine/ltR2xFt3">drum machine</a><a class="footnote-ref" id="fnref:77" href="#fn:77">77</a></li>
<li>1983 : Yamaha releases <a href="/facts/Yamaha_DX7/lKyT53wH">DX7</a>, the first commercially successful <a href="/facts/Digital_synthesizer/9IxIlvFf">digital synthesizer</a><a class="footnote-ref" id="fnref:78" href="#fn:78">78</a></li>
<li>1985 : <a href="/facts/Akai/VohmepgV">Akai</a> releases the <a href="/facts/Akai_S900/HD7xs86x">Akai S612</a>, a digital <a href="/facts/Sampler_(musical_instrument)/BVGHPATc">sampler</a></li>
<li>1988 : Akai introduces the <a href="/facts/Akai_MPC/hhWw9UCH">Akai MPC 60</a>, the first of Akai's MPC series of sampler workstations<a class="footnote-ref" id="fnref:79" href="#fn:79">79</a></li>
<li>1994 : Yamaha releases the ProMix 01 digital mixing console<a class="footnote-ref" id="fnref:80" href="#fn:80">80</a></li></ul>
<h2 id="see-also">See also</h2>
<ul><li><a href="/facts/Comparison_of_free_software_for_audio/qb0xqtut">Comparison of free software for audio</a></li>
<li><a href="/facts/List_of_music_software/rFHHUh3w">List of music software</a></li></ul>

<h2 id="further-reading">Further reading</h2>
<ul><li>Cunningham, Mark (1998). Good Vibrations: a History of Record Production. London: Sanctuary Publishing.</li>
<li>Taylor, Timothy (2001). <a href="https://archive.org/details/strangesoundsmus00tayl">Strange Sounds</a>. New York: <a href="/facts/Routledge/aSwcES11">Routledge</a>.</li>
<li>Weir, William (21 November 2011). <a href="http://www.slate.com/blogs/browbeat/2011/11/21/drum_machines_40_years_in_popular_music.html">"How the Drum Machine Changed Pop Music"</a>. <a href="/facts/Slate_(magazine)/wtt6BaeF">Slate</a>. Retrieved December 9, 2015.</li>
<li><a href="http://www.aes.org/aeshc/docs/audio.history.timeline.html">"An Audio Timeline"</a>. <a href="/facts/Audio_Engineering_Society/SgW7IJ9f">Audio Engineering Society</a>. Retrieved December 8, 2015.</li></ul>

<h2 id="references">References</h2>

<ol>
<li id="fn:1">m:tech educational services. "What is Music Technology?". Archived from the original on 24 January 2011. Retrieved 20 June 2013. <a href="https://web.archive.org/web/20110124001102/http://www.mtechonline.co.uk/schools/what-is-music-technology.html" target="_blank">https://web.archive.org/web/20110124001102/http://www.mtechonline.co.uk/schools/what-is-music-technology.html</a> <a href="#fnref:1" class="footnote-back-ref">↩</a></li>
<li id="fn:2">"The 'Telharmonium' or 'Dynamophone' Thaddeus Cahill, USA 1897". 120 Years of Electronic Music. 2013-09-20. Retrieved 2024-04-12. <a href="https://120years.net/the-telharmonium-thaddeus-cahill-usa-1897/" target="_blank">https://120years.net/the-telharmonium-thaddeus-cahill-usa-1897/</a> <a href="#fnref:2" class="footnote-back-ref">↩</a></li>
<li id="fn:3">"Switched-On Bach: How the World Met Moog". www.moogmusic.com. Retrieved 2024-04-12. <a href="https://www.moogmusic.com/media/switched-bach-how-world-met-moog" target="_blank">https://www.moogmusic.com/media/switched-bach-how-world-met-moog</a> <a href="#fnref:3" class="footnote-back-ref">↩</a></li>
<li id="fn:4">Pinch, T. J.; Bijsterveld, Karin (July 2003). ""Should One Applaud?" Breaches and Boundaries in the Reception of New Technology in Music". Technology and Culture. 44 (3): 536–559. doi:10.1353/tech.2003.0126. S2CID 132403480. By the time the first commercially successful digital instrument, the Yamaha DX7 (lifetime sales of two hundred thousand), appeared in 1983 ... (Note: the above sales number seems about whole DX series) <a href="/wiki/Karin_Bijsterveld" target="_blank">/wiki/Karin_Bijsterveld</a> <a href="#fnref:4" class="footnote-back-ref">↩</a></li>
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<li id="fn:14">Kettlewell, Ben (2002). Electronic Music Pioneers. USA: Pro Music Press. <a href="#fnref:14" class="footnote-back-ref">↩</a></li>
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<li id="fn:22">Bruno, Chelsea A (2014-03-25). Vocal Synthesis and Deep Listening (Master of Music Music thesis). Florida International University. doi:10.25148/etd.fi14040802. <a href="http://digitalcommons.fiu.edu/etd/1245" target="_blank">http://digitalcommons.fiu.edu/etd/1245</a> <a href="#fnref:22" class="footnote-back-ref">↩</a></li>
<li id="fn:23">"Vintage Seeburg Rhythm Prince Drum Machine". MatrixSynth. 2 February 2011. <a href="http://m.matrixsynth.com/2011/02/vintage-seeburg-rhythm-prince-drum.html" target="_blank">http://m.matrixsynth.com/2011/02/vintage-seeburg-rhythm-prince-drum.html</a> <a href="#fnref:23" class="footnote-back-ref">↩</a></li>
<li id="fn:24">US patent 3358068, Richard H. Campbell Jr., Gilford, N.H. (Seeburg Corporation), "Musical Instruments", issued 1967-12-12  — When this patent was filed in 1964-06-26, also Automatic Rhythm Device, Automatic Repetitive Rhythm Instrument Timing Circuitry, and its sound circuits Snare Drum Instrument and Cow Bell Instrument were filed at the same time. <a href="https://worldwide.espacenet.com/textdoc?DB=EPODOC&IDX=US3358068" target="_blank">https://worldwide.espacenet.com/textdoc?DB=EPODOC&IDX=US3358068</a> <a href="#fnref:24" class="footnote-back-ref">↩</a></li>
<li id="fn:25">Seeburg Portable Select-A-Rhythm Service Manual (PDF). Seeburg Sales Corporation. Archived from the original (PDF) on 25 April 2012. — rhythm patterns were fully electronically generated by 48-step binary counter using 6-stage flip-flops <a href="https://web.archive.org/web/20120425233730/http://ericarcher.net/wp-content/uploads/2009/11/seeburg-sar-1-select-a-rhythm-service-manual.pdf" target="_blank">https://web.archive.org/web/20120425233730/http://ericarcher.net/wp-content/uploads/2009/11/seeburg-sar-1-select-a-rhythm-service-manual.pdf</a> <a href="#fnref:25" class="footnote-back-ref">↩</a></li>
<li id="fn:26">"Seeburg Select-a-Rhythm Vintage Drum Machine". MatrixSynth. 3 May 2011. <a href="http://m.matrixsynth.com/2011/05/seeburg-select-rhythm-vintage-drum.html" target="_blank">http://m.matrixsynth.com/2011/05/seeburg-select-rhythm-vintage-drum.html</a> <a href="#fnref:26" class="footnote-back-ref">↩</a></li>
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<li id="fn:28">Mike Collins (2014), In the Box Music Production: Advanced Tools and Techniques for Pro Tools, page 320, CRC Press <a href="https://books.google.com/books?id=tdEABAAAQBAJ&pg=PA320" target="_blank">https://books.google.com/books?id=tdEABAAAQBAJ&pg=PA320</a> <a href="#fnref:28" class="footnote-back-ref">↩</a></li>
<li id="fn:29">Cockerell, David (1 October 2013), Interview – David Cockerell, archived from the original on 21 October 2017on These Hopeful Machines, archived from the original on 21 October 2017as a corner of radio program Sound Lounge, Radio New Zealand, [Q] ...Chronometer [3], as I understand it, the sounds of the clock mechanisms and all the rest of it were effectively sampled by an ADC, stored and manipulated by the computer and then spat out again. What was the breakthrough ... [A] Peter kept buying the latest computers that came out and of course the memory increased. Then I built him a hard disc recorder so that one could store some of the sounds on this hard disc. ... <a href="http://www.radionz.co.nz/concert/programmes/hopefulmachines/audio/201812323/interview-david-cockerell" target="_blank">http://www.radionz.co.nz/concert/programmes/hopefulmachines/audio/201812323/interview-david-cockerell</a> <a href="#fnref:29" class="footnote-back-ref">↩</a></li>
<li id="fn:30">Hall, Tom (2015), "Before The Mask: Birtwistle's electronic music collaborations with Peter Zinovieff", in Beard, David; Gloag, Kenneth; Jones, Nicholas (eds.), Harrison Birtwistle Studies, Cambridge University Press, pp. 63–94, ISBN 978-1-107-09374-4, archived from the original on 20 December 2017 <a href="978-1-107-09374-4" target="_blank">978-1-107-09374-4</a> <a href="#fnref:30" class="footnote-back-ref">↩</a></li>
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According to Cockerell 2013, this piece was "realised in 1971–72 by Peter Zinovieff at the Putney studio".
 <a href="/wiki/Harrison_Birtwistle" target="_blank">/wiki/Harrison_Birtwistle</a> <a href="#fnref:31" class="footnote-back-ref">↩</a></li>
<li id="fn:32">Preve, Francis (1 June 2010). "Sampler Evolution". Keyboard Magazine. Archived from the original on 18 September 2016. 1976 / COMPUTER MUSIC MELODIAN / Based on a DEC PDP-8 computer, it had then-unheard-of 12-bit/22kHz resolution. <a href="http://www.keyboardmag.com/gear/1183/sampler-evolution/27797" target="_blank">http://www.keyboardmag.com/gear/1183/sampler-evolution/27797</a> <a href="#fnref:32" class="footnote-back-ref">↩</a></li>
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<li id="fn:39">The life and times of Ikutaro Kakehashi, the Roland pioneer modern music owes everything to, Fact <a href="http://www.factmag.com/2017/04/02/ikutaro-kakehashi-life/" target="_blank">http://www.factmag.com/2017/04/02/ikutaro-kakehashi-life/</a> <a href="#fnref:39" class="footnote-back-ref">↩</a></li>
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<li id="fn:41">"Technical GRAMMY Award: Ikutaro Kakehashi And Dave Smith". 29 January 2013. <a href="http://www.grammy.com/news/technical-grammy-award-ikutaro-kakehashi-and-dave-smith" target="_blank">http://www.grammy.com/news/technical-grammy-award-ikutaro-kakehashi-and-dave-smith</a> <a href="#fnref:41" class="footnote-back-ref">↩</a></li>
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<li id="fn:60">Billboard, May 21, 1977, page 140 <a href="/wiki/Billboard_(magazine)" target="_blank">/wiki/Billboard_(magazine)</a> <a href="#fnref:60" class="footnote-back-ref">↩</a></li>
<li id="fn:61">Peter Manning, Electronic and Computer Music, page 264, Oxford University Press <a href="https://books.google.com/books?id=ryet1i-8OlYC&pg=PA264" target="_blank">https://books.google.com/books?id=ryet1i-8OlYC&pg=PA264</a> <a href="#fnref:61" class="footnote-back-ref">↩</a></li>
<li id="fn:62">Yamaha GX-1, Vintage Synth Explorer <a href="http://www.vintagesynth.com/yamaha/gx1.php" target="_blank">http://www.vintagesynth.com/yamaha/gx1.php</a> <a href="#fnref:62" class="footnote-back-ref">↩</a></li>
<li id="fn:63">"[Chapter 2] FM Tone Generators and the Dawn of Home Music Production". Yamaha Synth 40th Anniversary – History. Yamaha Corporation. 2014. Archived from the original on 2014-10-23. <a href="https://web.archive.org/web/20141023140056/http://usa.yamaha.com/products/music-production/synthesizers/synth_40th/history/chapter02/" target="_blank">https://web.archive.org/web/20141023140056/http://usa.yamaha.com/products/music-production/synthesizers/synth_40th/history/chapter02/</a> <a href="#fnref:63" class="footnote-back-ref">↩</a></li>
<li id="fn:64">Reid, Gordon (2004), "The History Of Roland Part 1: 1930–1978", Sound on Sound (November), retrieved 19 June 2011 <a href="http://www.soundonsound.com/sos/nov04/articles/roland.htm" target="_blank">http://www.soundonsound.com/sos/nov04/articles/roland.htm</a> <a href="#fnref:64" class="footnote-back-ref">↩</a></li>
<li id="fn:65">Russ, Martin (2012). Sound Synthesis and Sampling. CRC Press. p. 192. ISBN 978-1136122149. Retrieved 26 April 2017. <a href="978-1136122149" target="_blank">978-1136122149</a> <a href="#fnref:65" class="footnote-back-ref">↩</a></li>
<li id="fn:66">Reid, Gordon (2004), "The History Of Roland Part 1: 1930–1978", Sound on Sound (November), retrieved 19 June 2011 <a href="http://www.soundonsound.com/sos/nov04/articles/roland.htm" target="_blank">http://www.soundonsound.com/sos/nov04/articles/roland.htm</a> <a href="#fnref:66" class="footnote-back-ref">↩</a></li>
<li id="fn:67">Mark Vail, The Synthesizer: A Comprehensive Guide to Understanding, Programming, Playing, and Recording the Ultimate Electronic Music Instrument, page 277, Oxford University Press <a href="/wiki/Oxford_University_Press" target="_blank">/wiki/Oxford_University_Press</a> <a href="#fnref:67" class="footnote-back-ref">↩</a></li>
<li id="fn:68">Igoudin, Alex; Acoustics, Stanford University Center for Computer Research in Music and; Music, Stanford University Dept of (17 April 1997). "Impact of MIDI on electroacoustic art music". CCRMA, Department of Music, Stanford University. Retrieved 17 April 2018 – via Google Books. <a href="https://books.google.com/books?id=Zo0XAQAAIAAJ" target="_blank">https://books.google.com/books?id=Zo0XAQAAIAAJ</a> <a href="#fnref:68" class="footnote-back-ref">↩</a></li>
<li id="fn:69">Wells, Peter (2004), A Beginner's Guide to Digital Video, AVA Books, p. 18, ISBN 2-88479-037-3, retrieved 2011-05-20 <a href="2-88479-037-3" target="_blank">2-88479-037-3</a> <a href="#fnref:69" class="footnote-back-ref">↩</a></li>
<li id="fn:70">"Firstman International". SYNRISE (in German). Archived from the original on 2003-04-20. FIRSTMAN existiert seit 1972 und hat seinen Ursprung in Japan. Dort ist die Firma unter dem Markennamen HILLWOOD bekannt. HILLWOOD baute dann auch 1973 den quasi ersten Synthesizer von FIRSTMAN. Die Firma MULTIVOX liess ihre Instrumente von 1976 bis 1980 bei HILLWOOD bauen. SQ-10 / mon syn kmi ? (1980) / Monophoner Synthesizer mit wahrscheinlich eingebautem Sequenzer. Die Tastatur umfasst 37 Tasten. Die Klangerzeugung beruht auf zwei VCOs. <a href="https://web.archive.org/web/20030420170643/http://www.synrise.de/docs/types/f/firstman.htm" target="_blank">https://web.archive.org/web/20030420170643/http://www.synrise.de/docs/types/f/firstman.htm</a> <a href="#fnref:70" class="footnote-back-ref">↩</a></li>
<li id="fn:71">Mark Jenkins (2009), Analog Synthesizers, pp. 107–108, CRC Press <a href="https://books.google.com/books?id=iI77AwAAQBAJ&pg=PA107" target="_blank">https://books.google.com/books?id=iI77AwAAQBAJ&pg=PA107</a> <a href="#fnref:71" class="footnote-back-ref">↩</a></li>
<li id="fn:72">"A Tale of Two String Synths", Sound on Sound, July 2002 <a href="https://web.archive.org/web/20050308154533/http://www.soundonsound.com/sos/Jul02/articles/retrozone0702.asp" target="_blank">https://web.archive.org/web/20050308154533/http://www.soundonsound.com/sos/Jul02/articles/retrozone0702.asp</a> <a href="#fnref:72" class="footnote-back-ref">↩</a></li>
<li id="fn:73">Vine, Richard (15 June 2011). "Tadao Kikumoto invents the Roland TB-303". The Guardian. Retrieved 9 July 2011. <a href="https://www.theguardian.com/music/2011/jun/15/tadao-kikumoto-roland" target="_blank">https://www.theguardian.com/music/2011/jun/15/tadao-kikumoto-roland</a> <a href="#fnref:73" class="footnote-back-ref">↩</a></li>
<li id="fn:74">Rockin'f [nl], March 1982, pp. 140–141 <a href="/w/index.php?title=Rockin%27f&action=edit&redlink=1" target="_blank">/w/index.php?title=Rockin%27f&action=edit&redlink=1</a> <a href="#fnref:74" class="footnote-back-ref">↩</a></li>
<li id="fn:75">Russ, Martin (2004). Sound synthesis and sampling. Taylor & Francis. p. 66. ISBN 9780240516929. <a href="9780240516929" target="_blank">9780240516929</a> <a href="#fnref:75" class="footnote-back-ref">↩</a></li>
<li id="fn:76">"Roland – Company – History – Our History". <a href="https://www.roland.com/ca/company/history/" target="_blank">https://www.roland.com/ca/company/history/</a> <a href="#fnref:76" class="footnote-back-ref">↩</a></li>
<li id="fn:77">Russ, Martin (2004). Sound synthesis and sampling. Taylor & Francis. p. 66. ISBN 9780240516929. <a href="9780240516929" target="_blank">9780240516929</a> <a href="#fnref:77" class="footnote-back-ref">↩</a></li>
<li id="fn:78">Pinch, T. J.; Bijsterveld, Karin (July 2003). ""Should One Applaud?" Breaches and Boundaries in the Reception of New Technology in Music". Technology and Culture. 44 (3): 536–559. doi:10.1353/tech.2003.0126. S2CID 132403480. By the time the first commercially successful digital instrument, the Yamaha DX7 (lifetime sales of two hundred thousand), appeared in 1983 ... (Note: the above sales number seems about whole DX series) <a href="/wiki/Karin_Bijsterveld" target="_blank">/wiki/Karin_Bijsterveld</a> <a href="#fnref:78" class="footnote-back-ref">↩</a></li>
<li id="fn:79">"A Brief History of the Akai MPC". reverb.com. 2017-02-22. Retrieved 2025-04-01. <a href="https://reverb.com/news/a-brief-history-of-the-akai-mpc" target="_blank">https://reverb.com/news/a-brief-history-of-the-akai-mpc</a> <a href="#fnref:79" class="footnote-back-ref">↩</a></li>
<li id="fn:80">Hawken, Dominic (January 1995). "Yamaha Promix 01". Sound On Sound. Retrieved 2025-04-01.{{cite web}}: CS1 maint: url-status (link) <a href="/wiki/Dominic_Hawken" target="_blank">/wiki/Dominic_Hawken</a> <a href="#fnref:80" class="footnote-back-ref">↩</a></li>
</ol>

Music technology (electronic and digital) open-in-new

Music technology (electronic and digital)