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Yamaha DX27
The Yamaha DX27 is a full sized key version of the Yamaha DX100. It was released in 1985 and manufactured in Japan. The DX27S is the same synth, with built in speakers, stereo output, chorus fx and internal power supply. Keyboard The DX27 features 61 unweighted full sized keys without velocity or aftertouch. (Synth engine can receive and process velocity data via MIDI IN). Memory The unit features 192 presets, 24 user presets. Sounds The DX27 is most notable for its "solid bass" sound (Patch PB 01). Notable users * Mica Nikolic * Casino Versus Japan See also * Yamaha DX7 The Yamaha DX7 is a synthesizer manufactured by the Yamaha Corporation from 1983 to 1989. It was the first successful digital synthesizer and is one of the best-selling synthesizers in history, selling more than 200,000 units. In the early 1980 ... References External links {{DEFAULTSORT:Yamaha DX27 DX27 Polyphonic synthesizers Digital synthesizers ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pitch Wheel
In electronic music, a pitch wheel, pitch bend or bender is a control on a synthesizer to vary the pitch in a continuously variable manner (portamento). The first synthesizer with a pitch wheel was the Minimoog, in 1970. Alternatively, pitch bend controllers on synthesizers may be implemented as a joystick, knob, or touch-sensitive ribbon. MIDI represents pitch bend as a 14-bit integer, allowing for 16,384 possible values. General MIDI implementations default to a range of ±2 semitones. See also *Glissando In music, a glissando (; plural: ''glissandi'', abbreviated ''gliss.'') is a glide from one pitch to another (). It is an Italianized musical term derived from the French ''glisser'', "to glide". In some contexts, it is distinguished from the co ... References Synthesizers Continuous pitch instruments {{electronic-musical-instrument-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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, which t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Yamaha DX100 (synthesizer)
The Yamaha DX100 is an FM synthesis, FM synthesizer released by Yamaha Corporation, Yamaha in 1986. It offers four operators for each of its eight voices, and has eight algorithms (compared to the Yamaha DX7, DX7's six operators for each of its sixteen voices, and thirty-two algorithms). It has only 49 mini-keys, and no arpeggiator or effects, but is still useful, known in particular for its bass patch #1. It features up to 192 presets, seriously improving the DX7's limited preset capabilities. It can also store 24 user-programmable sounds in RAM. It lacks cartridge support, but voice patches can be saved to and loaded from an external Cassette tape, cassette recorder. It was the cheapest user-programmable FM synthesiser made in the 1980s, leading to its popularity even amongst professional musicians in the 80s and 90s. It's essentially a cut down version of the Yamaha DX21, DX21 and Yamaha DX27, DX27, using the same FM chip. Notable users * Aphex Twin * Juan Atkins * Autechre ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Keyboard Expression
Keyboard expression is the ability of a keyboard musical instrument to change tone or other qualities of the sound in response to velocity, pressure or other variations in how the performer depresses the keys of the musical keyboard. Expression types include: * ''Velocity sensitivity''—how fast the key is pressed * ''Aftertouch'', or ''pressure sensitivity'' — the amount of pressure on a key, once already held down * ''Displacement sensitivity''—distance that a key is pressed down Keyboard instruments offer a range of expression types. Acoustic pianos, such as upright and grand pianos, are velocity-sensitive—the faster the key strike, the harder the hammer hits the strings. Baroque-style clavichords and professional synthesizers are aftertouch-sensitive—applied force on the key after the initial strike produces effects such as vibrato or swells in volume. Tracker pipe organs and some electronic organs are displacement-sensitive—partly depressing a key produces a quiete ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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] |
Casino Versus Japan
Casino Versus Japan or Casino vs. Japan (born Erik Paul Kowalski; May 5, 1973) is a United States-based musician who works in electronic music. Influences As a child, Erik Kowalski was originally heavily influenced by Jan Hammer's music for ''Miami Vice'', as well as Vangelis and Jean-Michel Jarre. Kowalski taught himself piano, guitar and drums in the early '90s while in high school. Early work and releases Recording guitar-based, ambient/experimental music as Radiogate in 1996 and 1997, Kowalski matured in the underground electronic music community in Milwaukee, Wisconsin. He worked at Atomic Records for 14 years and also wrote for the alternative fanzine ''Milk Magazine'' which also informed developments within many styles of innovative music. During this time he interviewed many of his favorite artists and influences. In early 1998, he approached Mike Bailey (d. 2019) of the local electronic label Star Star Stereo with some demo tapes, and shortly thereafter, released ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Yamaha DX7
The Yamaha DX7 is a synthesizer manufactured by the Yamaha Corporation from 1983 to 1989. It was the first successful digital synthesizer and is one of the best-selling synthesizers in history, selling more than 200,000 units. In the early 1980s, the synthesizer market was dominated by analog synthesizers. Frequency modulation synthesis, FM synthesis, a means of generating sounds via frequency modulation, was developed by John Chowning at Stanford University, California. FM synthesis created brighter, "glassier" sounds, and could better imitate acoustic sounds such as brass. Yamaha licensed the technology to create the DX7, combining it with very-large-scale integration chips to lower manufacturing costs. With its complex menus and lack of conventional controls, few learned to program the DX7 in depth. However, its preset sounds became staples of 1980s pop music, used by artists including A-ha, Kenny Loggins, Kool & the Gang, Whitney Houston, Chicago (band), Chicago, Phil Collin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Yamaha Synthesizers
Yamaha may refer to: * Yamaha Corporation, a Japanese company with a wide range of products and services, established in 1887. The company is the largest shareholder of Yamaha Motor Company (below). ** Yamaha Music Foundation, an organization established by the authority of Japanese Ministry of Education for the purpose of promoting music education and music popularization ** Yamaha Pro Audio, a Japanese company specializing in products for the professional audio market * Yamaha Motor Company, a Japanese motorized vehicle-producing company. The company was established in 1955 upon separation from Yamaha Corporation (above), and is currently one of the major shareholders of Yamaha Corporation (See: Cross ownership). ** Yamaha Júbilo, a Japanese rugby team ** Yamaha Stadium is a football stadium located in Iwata City, Shizuoka Prefecture, Japan, owned by Yamaha Motors, next to whose plant it is located, and was purpose-designed for use with soccer and rugby union. It is the hom ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Polyphonic Synthesizers
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 opposed to "su ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
