|
Quasimidi Sirius
The Sirius is a keyboard "groove-synth," featuring a subtractive hybrid-tone-generation synthesizer referred to as DTE ('Difficult To Explain') synthesis introduced in 1997 by Quasimidi. The unit featured both real-time and step sequencers with pattern- and song-modes, capable of acting basic drum machine, groove-box, or sound-module. The unit is thus 7x multitimbral and has 28-voice polyphony across its 7 tracks, with track selecting a (track-specific) sound within 96 sounds (per bank) of preset- or user-writeable sounds. Track/voice structure was organized as follows: # Kick drum - 1 voice sample through synthesis chain # Snare drum - 1 voice sample through synthesis chain # Hi-Hat - 2 voice samples (open/closed) through synthesis chain # Percussion drum kit - 12 samples through common synthesis chain # (chromatic) Synth 1 # (chromatic) Synth 2 # (chromatic) Synth 3 ...where the first 4 tracks can only load patches from 2 banks (1 ROM and 1 User) of 96 User patches of that i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Front Panel
A front panel was used on early electronic computers to display and allow the alteration of the state of the machine's internal registers and memory. The front panel usually consisted of arrays of indicator lamps, digit and symbol displays, toggle switches, dials, and push buttons mounted on a sheet metal face plate. In early machines, CRTs might also be present (as an oscilloscope, or, for example, to mirror the contents of Williams–Kilburn tube memory). Prior to the development of CRT system consoles, many computers such as the IBM 1620 had console typewriters. Usually the contents of one or more hardware registers would be represented by a row of lights, allowing the contents to be read directly when the machine was stopped. The switches allowed direct entry of data and address values into registers or memory. Details On some machines, certain lights and switches were reserved for use under program control. These were often referred to as ''sense indicators'', '' ... [...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] |
Access Virus
The Access Virus is a virtual analog synthesizer made by the German company Access Music GmbH. It was first produced in 1997 and has since been upgraded frequently, with the company releasing new models about every two years. Early models include the Virus A, Virus B, and Virus C series, each available in various hardware configurations. In November 2005, the Virus TI series was released, including the 61-key Virus TI Keyboard and the 37-key Virus TI Polar. A small desktop model was released in February 2008 called the Virus TI Snow. A revision of the TI series called TI2 came out in March 2009, featuring faster digital signal processing (DSP) controllers, additional polyphony, more effects in the effect section and a slightly changed design. The Virus series also has come out with two software plugin versions: TDM for Pro Tools and VST for TC Electronic Powercore series. The term ''Access Virus'' can be used to refer to any one of these synthesizers. Technical details The ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Roland JX-305
The Roland JX-305 Groovesynth synthesizer was produced in 1998 by Roland. It is very similar to a Roland MC-505 with an additional set of 61 keys. The keyboard is sensitive to velocity and has channel aftertouch. This keyboard was aimed at producers of dance and trance music and was during the late 90s also popular for live performances. The synth has 9 MIDI control knobs and a 2 line LCD display. Specifications Keyboard 61 keys (with velocity & channel aftertouch) Maximum Polyphony 64 voices Patches Presets: 640 User: 256 Card: 512 Rhythm Sets Preset: 32 User: 20 Card: 20 Effects Reverb Delay Multi-effect Sequencer Tracks: 8 + Mute Control Track Resolution: 96 ticks per quarter note Tempo: 20.0 - 240.0 Songs: 50 Patterns Presets: 274 RPS: 494 User: 200 (maximum) Card: 200 (maximum) Maximum Note Storage Internal: approximately 75,000 notes Card (option 2mb): approximately 220,000 notes Card (option 4mb): approximately 440,000 notes Quantize Grid Shuffle Groove (71 t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Quasimidi Rave-O-Lution 309
The Quasimidi Rave-O-Lution 309 is a stand-alone groovebox produced by Quasimidi in 1996. It features an onboard sequencer and has the ability to mute parts during playback making this unit ideal for live performances. The machine features two oscillators for sound generation, (pulse, pulse variable, saw down, saw up, square, and triangle.) Sounds The Rave-O-Lution 309 contains analogue, electronic drum and bass synth sounds. Sequencer The unit features 100 preset and 100 user patterns. Effects The effects included with this machine are: * Modulation * Delay * Reverb Controls Notable users * Apollo 440 * Nine Inch Nails * KMFDM KMFDM (originally Kein Mehrheit Für Die Mitleid, loosely translated by the band as "no pity for the majority") is a multinational industrial band from Hamburg led by Sascha Konietzko, who founded the band in 1984 as a performance art project. ... References Further reading * * *{{cite magazine, title=Quasimidi Rave-O-Lution, page=37, ma ... [...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 reson ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Virtual Analog Synthesizer
An analog modeling synthesizer is a synthesizer that generates the sounds of traditional analog synthesizers using DSP components and software algorithms. Analog modeling synthesizers simulate the behavior of the original electronic circuitry in order to digitally replicate their tone. This method of synthesis is also referred to as ''virtual analog'' or VA. Analog modeling synthesizers can be more reliable than their true analog counterparts since the oscillator pitch is ultimately maintained by a digital clock, and the digital hardware is typically less susceptible to temperature changes. While analog synthesizers need an oscillator circuit for each voice of polyphony, analog modeling synthesizers do not face this problem. This means that many of them, especially the more modern models, can produce as many polyphonic voices as the CPU on which they run can handle. Modeling synths also provide patch storage capabilities and MIDI support not found on most true analog instruments. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Periodic Function
A periodic function is a function that repeats its values at regular intervals. For example, the trigonometric functions, which repeat at intervals of 2\pi radians, are periodic functions. Periodic functions are used throughout science to describe oscillations, waves, and other phenomena that exhibit periodicity. Any function that is not periodic is called aperiodic. Definition A function is said to be periodic if, for some nonzero constant , it is the case that :f(x+P) = f(x) for all values of in the domain. A nonzero constant for which this is the case is called a period of the function. If there exists a least positive constant with this property, it is called the fundamental period (also primitive period, basic period, or prime period.) Often, "the" period of a function is used to mean its fundamental period. A function with period will repeat on intervals of length , and these intervals are sometimes also referred to as periods of the function. Geometrically, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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. ... [...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] |
