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Oberheim Matrix Synthesizers
Oberheim Matrix synthesizers were a product line of subtractive synthesis, subtractive analog synthesizers from Oberheim featuring a system of modulation which Oberheim called "Matrix Modulation" as a method of selecting and routing elements that dynamically shape various aspects of the sounds it produces. Matrix synthesizers continue to be popular due to their characteristic late-1980s analog sound and leading patching and filter capabilities. These five products fall into two groups. The Xpander is a six-voice rack-mount synthesizer with voltage-controlled oscillators and very flexible voltage-controlled filters. The Matrix-12 is in effect two Xpander's plus a keyboard. The second group consists of the Matrix-6 synthesizer, with digitally-controlled oscillator, DCOs, and much more standard filter capability. It had two rack-mount variants, the Matrix-6R and Matrix-1000. Models References Further reading * * External links VintageSynth.comhas specifications and photo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Oberheim Matrix-12 Synthesizer
Oberheim is an American synthesizer manufacturer founded in 1969 by Tom Oberheim. History and products Tom Oberheim founded the company in 1969, originally as a designer and contract manufacturer of electronic effects devices for Maestro (most notably the Maestro PS-1A Phase Shifter),, and briefly a retail dealer for ARP Instruments, eventually designing the company's first Oberheim-branded product, the Oberheim DS-2, one of the first digital music sequencers. In 1975 Oberheim introduced the Synthesizer Expander Module (SEM) to complement the DS-2 sequencer and enable a user to play one synthesizer while the DS-2 played a sequence on another. The SEM featured a two-pole filter that could operate as a low-pass, high-pass, band-pass, or band-reject filter, giving it a different sound than the Moog and ARP filters popular at the time. The company later combined multiple SEM modules with a digitally-scanned keyboard and a 2-channel voltage-controlled sequencer to create a series ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Voltage-controlled Oscillator
A microwave (12–18GHz) voltage-controlled oscillator A voltage-controlled oscillator (VCO) is an electronic oscillator whose oscillation frequency is controlled by a voltage input. The applied input voltage determines the instantaneous oscillation frequency. Consequently, a VCO can be used for frequency modulation (FM) or phase modulation (PM) by applying a modulating signal to the control input. A VCO is also an integral part of a phase-locked loop. VCOs are used in synthesizers to generate a waveform whose pitch can be adjusted by a voltage determined by a musical keyboard or other input. A voltage-to-frequency converter (VFC) is a special type of VCO designed to be very linear in frequency control over a wide range of input control voltages. Types VCOs can be generally categorized into two groups based on the type of waveform produced. * ''Linear'' or '' harmonic oscillators'' generate a sinusoidal waveform. Harmonic oscillators in electronics usually consist of a re ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Oberheim Synthesizers
Oberheim is an American synthesizer manufacturer founded in 1969 by Tom Oberheim. History and products Tom Oberheim founded the company in 1969, originally as a designer and contract manufacturer of electronic effects devices for Maestro (most notably the Maestro PS-1A Phase Shifter),, and briefly a retail dealer for ARP Instruments, eventually designing the company's first Oberheim-branded product, the Oberheim DS-2, one of the first digital music sequencers. In 1975 Oberheim introduced the Synthesizer Expander Module (SEM) to complement the DS-2 sequencer and enable a user to play one synthesizer while the DS-2 played a sequence on another. The SEM featured a two-pole filter that could operate as a low-pass, high-pass, band-pass, or band-reject filter, giving it a different sound than the Moog and ARP filters popular at the time. The company later combined multiple SEM modules with a digitally-scanned keyboard and a 2-channel voltage-controlled sequencer to create a series o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Aftertouch
Keyboard expression is the ability of a keyboard instrument, 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 loudness, volume. Tracker pipe organs and some electronic organs are displacement-sensitive—partly dep ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vibrato
Vibrato (Italian language, Italian, from past participle of "wikt:vibrare, vibrare", to vibrate) is a musical effect consisting of a regular, pulsating change of pitch (music), pitch. It is used to add expression to vocal and instrumental music. Vibrato is typically characterised in terms of two factors: the amount of pitch variation ("extent of vibrato") and the speed with which the pitch is varied ("rate of vibrato"). In singing it can occur spontaneously through variations in the larynx. The vibrato of a string instrument and wind instrument is an imitation of that vocal function. Vibrato and tremolo The terms vibrato and tremolo are sometimes incorrectly used interchangeably, although (in the classical world) they are properly defined as separate effects with vibrato defined as a periodic variation in the pitch (frequency) of a musical note, and tremolo as a fast repetition of the same note (usually a semiquaver) in order to produce the audible effect of a longer note, es ... [...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 human heari ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Resonant Filter
Resonance describes the phenomenon of increased amplitude that occurs when the frequency of an applied periodic force (or a Fourier component of it) is equal or close to a natural frequency of the system on which it acts. When an oscillating force is applied at a resonant frequency of a dynamic system, the system will oscillate at a higher amplitude than when the same force is applied at other, non-resonant frequencies. Frequencies at which the response amplitude is a relative maximum are also known as resonant frequencies or resonance frequencies of the system. Small periodic forces that are near a resonant frequency of the system have the ability to produce large amplitude oscillations in the system due to the storage of vibrational energy. Resonance phenomena occur with all types of vibrations or waves: there is mechanical resonance, orbital resonance, acoustic resonance, electromagnetic resonance, nuclear magnetic resonance (NMR), electron spin resonance (ESR) and reson ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Notch Filter
In signal processing, a band-stop filter or band-rejection filter is a filter that passes most frequencies unaltered, but attenuates those in a specific range to very low levels. It is the opposite of a band-pass filter. A notch filter is a band-stop filter with a narrow stopband (high Q factor). Narrow notch filters (optical) are used in Raman spectroscopy, live sound reproduction (public address systems, or PA systems) and in instrument amplifiers (especially amplifiers or preamplifiers for acoustic instruments such as acoustic guitar, mandolin, bass instrument amplifier, etc.) to reduce or prevent audio feedback, while having little noticeable effect on the rest of the frequency spectrum (electronic or software filters). Other names include "band limit filter", "T-notch filter", "band-elimination filter", and "band-reject filter". Typically, the width of the stopband is 1 to 2 decades (that is, the highest frequency attenuated is 10 to 100 times the lowest frequency atten ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Band-pass Filter
A band-pass filter or bandpass filter (BPF) is a device that passes frequencies within a certain range and rejects (attenuates) frequencies outside that range. Description In electronics and signal processing, a filter is usually a two-port circuit or device which removes frequency components of a signal (an alternating voltage or current). A band-pass filter allows through components in a specified band of frequencies, called its ''passband'' but blocks components with frequencies above or below this band. This contrasts with a high-pass filter, which allows through components with frequencies above a specific frequency, and a low-pass filter, which allows through components with frequencies below a specific frequency. In digital signal processing, in which signals represented by digital numbers are processed by computer programs, a band-pass filter is a computer algorithm that performs the same function. The term band-pass filter is also used for optical filters, sh ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
High-pass Filter
A high-pass filter (HPF) is an electronic filter that passes signals with a frequency higher than a certain cutoff frequency and attenuates signals with frequencies lower than the cutoff frequency. The amount of attenuation for each frequency depends on the filter design. A high-pass filter is usually modeled as a linear time-invariant system. It is sometimes called a low-cut filter or bass-cut filter in the context of audio engineering. High-pass filters have many uses, such as blocking DC from circuitry sensitive to non-zero average voltages or radio frequency devices. They can also be used in conjunction with a low-pass filter to produce a bandpass filter. In the optical domain filters are often characterised by wavelength rather than frequency. High-pass and low-pass have the opposite meanings, with a "high-pass" filter (more commonly "long-pass") passing only ''longer'' wavelengths (lower frequencies), and vice versa for "low-pass" (more commonly "short-pass"). Descripti ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Low-pass Filter
A low-pass filter is a filter that passes signals with a frequency lower than a selected cutoff frequency and attenuates signals with frequencies higher than the cutoff frequency. The exact frequency response of the filter depends on the filter design. The filter is sometimes called a high-cut filter, or treble-cut filter in audio applications. A low-pass filter is the complement of a high-pass filter. In optics, high-pass and low-pass may have different meanings, depending on whether referring to frequency or wavelength of light, since these variables are inversely related. High-pass frequency filters would act as low-pass wavelength filters, and vice versa. For this reason it is a good practice to refer to wavelength filters as ''short-pass'' and ''long-pass'' to avoid confusion, which would correspond to ''high-pass'' and ''low-pass'' frequencies. Low-pass filters exist in many different forms, including electronic circuits such as a hiss filter used in audio, anti-aliasing fil ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Digitally-controlled Oscillator
A digitally controlled oscillator or DCO is used in synthesizers, microcontrollers, and software-defined radios. The name is analogous with "voltage-controlled oscillator." DCOs were designed to overcome the tuning stability limitations of early VCO designs. Confusion over terminology The term "digitally controlled oscillator" has been used to describe the combination of a voltage-controlled oscillator driven by a control signal from a digital-to-analog converter, and is also sometimes used to describe numerically controlled oscillators. This article refers specifically to the DCOs used in many synthesizers of the 1980s . These include the Roland Juno-6, Juno-60, Juno-106, JX-3P, JX-8P, and JX-10, the Elka Synthex, the Korg Poly-61, the Oberheim Matrix-6, some instruments by Akai and Kawai, and the recent Prophet '08 and its successor Rev2 by Dave Smith Instruments. Relation to earlier VCO designs Many voltage-controlled oscillators for electronic music are based on a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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