Ensoniq Fizmo
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Ensoniq Fizmo
The Ensoniq Fizmo was Ensoniq's last attempt at creating the perfect synthesizer. Developed in 1998, the Fizmo uses a Digital Acoustic simulation Transwave with 4 MB of ROM, up to four voices per preset, each voice with two oscillators, independent LFOs and FX: 48 voices maximum, with three separate fx units (24-bit VLSI effects with 41 algorithms) built in for further sound sculpting. The Fizmo featured 61 keys, and responded to velocity, channel aftertouch, as well as allowing the sounds to be split by velocity and keyboard position (note). The name F-I-Z-M-O was mapped across five control knobs just above the keyboard keys, allowing real-time modulation of the waves for more user controlled evolving sounds than a usual synthesizer could provide, as well as also having 17 dedicated Sound and Effect editing knobs for further sound design and editing. The F-I-Z-M-O knobs did the following: • F: Effect modulation. • I: Wave modulation. • Z: Filter cutoff. • M: O ...
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Ensoniq
Ensoniq Corp. was an American electronics manufacturer, best known throughout the mid-1980s and 1990s for its musical instruments, principally Sampler (musical instrument), samplers and synthesizers. Company history In spring 1983, former MOS Technology engineers Robert Yannes, Robert "Bob" Yannes, Bruce Crockett, Charles Winterble, David Ziembicki, and Al Charpentier formed Peripheral Visions. The team had designed the Commodore 64, and hoped to build another computer. To raise funds, Peripheral Visions agreed to build a computer keyboard for the Atari 2600, but the video game crash of 1983 canceled the project and Commodore sued the new company, claiming that it owned the keyboard project. Renaming itself as Ensoniq, the new company instead designed a music synthesizer. Ensoniq grew rapidly over the next few years with the success of the Mirage and the ESQ-1. The plant in Great Valley, Pennsylvania employed nearly 200 people and housed the manufacturing facility. A number ...
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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 ...
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MIDI
MIDI (; Musical Instrument Digital Interface) is a technical standard that describes a communications protocol, digital interface, and electrical connectors that connect a wide variety of electronic musical instruments, computers, and related audio devices for playing, editing, and recording music. The specification originates in the paper ''Universal Synthesizer Interface'' published by Dave Smith and Chet Wood of Sequential Circuits at the 1981 Audio Engineering Society conference in New York City. A single MIDI cable can carry up to sixteen channels of MIDI data, each of which can be routed to a separate device. Each interaction with a key, button, knob or slider is converted into a MIDI event, which specifies musical instructions, such as a note's pitch, timing and loudness. One common MIDI application is to play a MIDI keyboard or other controller and use it to trigger a digital sound module (which contains synthesized musical sounds) to generate sounds, wh ...
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Synthesizer
A synthesizer (also spelled synthesiser) is an electronic musical instrument that generates audio signals. Synthesizers typically create sounds by generating waveforms through methods including subtractive synthesis, additive synthesis and frequency modulation synthesis. These sounds may be altered by components such as filters, which cut or boost frequencies; envelopes, which control articulation, or how notes begin and end; and low-frequency oscillators, which modulate parameters such as pitch, volume, or filter characteristics affecting timbre. Synthesizers are typically played with keyboards or controlled by sequencers, software or other instruments, and may be synchronized to other equipment via MIDI. Synthesizer-like instruments emerged in the United States in the mid-20th century with instruments such as the RCA Mark II, which was controlled with punch cards and used hundreds of vacuum tubes. The Moog synthesizer, developed by Robert Moog and first sol ...
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Arpeggiator
A synthesizer (also spelled synthesiser) is an electronic musical instrument that generates audio signals. Synthesizers typically create sounds by generating waveforms through methods including subtractive synthesis, additive synthesis and frequency modulation synthesis. These sounds may be altered by components such as filters, which cut or boost frequencies; envelopes, which control articulation, or how notes begin and end; and low-frequency oscillators, which modulate parameters such as pitch, volume, or filter characteristics affecting timbre. Synthesizers are typically played with keyboards or controlled by sequencers, software or other instruments, and may be synchronized to other equipment via MIDI. Synthesizer-like instruments emerged in the United States in the mid-20th century with instruments such as the RCA Mark II, which was controlled with punch cards and used hundreds of vacuum tubes. The Moog synthesizer, developed by Robert Moog and first sold in 196 ...
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Vocoder
A vocoder (, a portmanteau of ''voice'' and ''encoder'') is a category of speech coding that analyzes and synthesizes the human voice signal for audio data compression, multiplexing, voice encryption or voice transformation. The vocoder was invented in 1938 by Homer Dudley at Bell Labs as a means of synthesizing human speech. This work was developed into the channel vocoder which was used as a voice codec for telecommunications for speech coding to conserve bandwidth in transmission. By encrypting the control signals, voice transmission can be secured against interception. Its primary use in this fashion is for secure radio communication. The advantage of this method of encryption is that none of the original signal is sent, only envelopes of the bandpass filters. The receiving unit needs to be set up in the same filter configuration to re-synthesize a version of the original signal spectrum. The vocoder has also been used extensively as an electronic musical instrument. ...
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Roland JP-8000
The Roland JP-8000 is an analog modeling synthesizer released by the Roland Corporation in 1996. Overview The Roland JP-8000 was released in early 1997 as part of the first wave of virtual analog modeling synthesizers (VA synths). Others from that period included the Clavia Nord Lead (1995), Korg Prophecy (1995), Access Virus (1997) and Yamaha AN1x (1997). VA synths had the goal of recreating the sound, functionality and user interface of classic analog synthesizers. The JP-8000 was viewed at the time as the modern digital incarnation of the classic Roland Jupiter-8, from 1981. The programming interface, synthesis options and general tone is very similar to Roland's Jupiter-6 as well. The JP-8000 sought to digitally reproduce the warm analog tonalities and sheer power of its analog predecessors. Although it lacked somewhat in analog warmth due to its early digital architecture, it added many new features, such as RPS (Realtime Phrase Sequencing), which allowed short sequenc ...
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Eat Static
Eat Static is an electronic music project from Frome, Somerset, England formed in 1989 by Merv Pepler and Joie Hinton. Hinton left the group in February 2008 after 18 years to spend more time with his family. History Merv Pepler and Joie Hinton met as drummer and keyboard player (respectively) for Ozric Tentacles, a long-standing psychedelic rock band from Somerset. Although Ozric Tentacles incorporated elements of electronic music, Pepler and Hinton were drawn towards the rave-oriented dance music. In 1988 they collaborated on a project under the name of Wooden Baby which hinted at early rave and acid house sounds as well as numerous other styles, and by 1990, the project had evolved into Eat Static. Pepler explained: "There we were in Ozrics doing all this technically impressive, weird music with mad timings, and getting really involved with it, and this experiment that became Eat Static was a good excuse to ignore all that, get the synths out, and be as stupid as we could!" ...
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The Faint
The Faint is an American indie rock band. Formed in Omaha, Nebraska, the band consists of Todd Fink, Graham Ulicny, Dapose and Clark Baechle. The Faint was originally known as Norman Bailer and included Conor Oberst (of Bright Eyes, with whom The Faint toured in 2005). He quit shortly after the band was formed,The Faint // Profile
''The Faint'', (2005-01-27). Retrieved 2008-05-09.
though the Faint continued to share a spot with Bright Eyes on .


History

Growing up, Fink, Petersen, and Baechle skateboarded in their free time, until ...
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