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84-424: The first Casiotone keyboards used a sound synthesis technique known as vowel-consonant synthesis to approximate the sounds of other instruments (albeit not very accurately). Most Casiotone keyboards were small, with miniature keys designed for children's fingers, and were not intended for use by professional musicians; they usually contained a rhythm generator, with several user-selectable rhythm patterns, and often

168-445: A wah-wah pedal . He later developed the distinctive "ladder" filter, which was the only item in the synthesizer design that Moog patented , granted on October 28, 1969. Further developments were driven by suggestions from musicians including Richard Teitelbaum , Vladimir Ussachevsky and Wendy Carlos . Carlos suggested the first touch-sensitive keyboard, portamento control and filter bank , which became standard features. There

252-567: A Moog to compose a soundtrack for the televised footage of the Apollo 11 moonwalk , creating a link between electronic music and space in the American popular imagination. ARP synthesizers were used to create sound effects for the 1977 science fiction films Close Encounters of the Third Kind and Star Wars , including the "voice" of the robot R2-D2 . In the 70s and 80s, synthesizers were used in

336-456: A bestselling album of Bach compositions arranged for Moog synthesizer by Wendy Carlos , demonstrated that synthesizers could be more than "random noise machines", taking them to the mainstream. However, debates were held about the appropriateness of synthesizers in baroque music , and according to the Guardian they were quickly abandoned in "serious classical circles". Today, the synthesizer

420-416: A commercially made Moog synthesizer. Moog constructed synthesizers to order. The first order for a complete Moog synthesizer, for which Moog had to design a keyboard and cabinet, came from the composer Eric Siday . With no books and no way to save or share settings, early users had to learn how to use the synthesizer themselves, by word of mouth, or from seminars held by Moog and Deutsch. Moog refined

504-700: A large number of additional packs, covering a wide range of musical genres, were available to purchase separately. The last ROM Pack model was the CT-840, which came out in 1990. The low cost and abundance of Casiotone keyboards made them fairly common fixtures in garage rock bands . Musicians and bands known to use Casiotone keyboards include Alexis Taylor of Hot Chip , TG Miller of Black Camaro , Dan Deacon , Lettie , Maurizio Arcieri of Krisma , Kevin Parker of Tame Impala , Turnstyle , Trio , Ozma , Hedluv , and Chiara Lee of Father Murphy . In 2019, Casio relaunched

588-516: A period, the name Moog became so associated with electronic music that it was sometimes used as a generic term for any synthesizer. Moog liked this, but disapproved of the numerous "cruddy" novelty records released with his name attached, such as Music to Moog By , Moog España and Moog Power . An early use of the Moog synthesizer in rock music came with the 1967 song by the Doors " Strange Days ". In

672-558: A pop staple, used on songs by A-ha , Kenny Loggins , Kool & the Gang . Its "E PIANO 1" preset became particularly famous, especially for power ballads , and was used by artists including Whitney Houston , Chicago , Prince , Phil Collins , Luther Vandross , Billy Ocean , and Celine Dion . Korg M1 presets were widely used in 1990s house music, beginning with Madonna 's 1990 single " Vogue ". Synthesizers are common in film and television soundtracks. In 1969, Mort Garson used

756-656: A restriction negotiated by the American Federation of Musicians (AFM). Robert Moog felt that the AFM had not realized that the synthesizer was an instrument to be learnt and mastered like any other, and instead imagined that "all the sounds that musicians could make somehow existed in the Moog — all you had to do was push a button that said ' Jascha Heifetz ' and out would come the most fantastic violin player". Although customers could choose any combination of modules, Moog sold several standard systems. In 1970, Moog Music released

840-463: A second ADSR envelope. An "envelope modulation" ("env mod") parameter on many synthesizers with filter envelopes determines how much the envelope affects the filter. If turned all the way down, the filter produces a flat sound with no envelope. When turned up the envelope becomes more noticeable, expanding the minimum and maximum range of the filter. The envelope applied on the filter helps the sound designer generating long notes or short notes by moving

924-405: A sound depending on how each module is connected to other modules by patch cables . Moog developed a means of controlling pitch through voltage , the voltage-controlled oscillator . This, along with Moog components such as envelopes , noise generators , filters , and sequencers , became standard components in synthesizers. Around the same period, the American engineer Don Buchla created

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1008-581: A starting price of $ 13,000, its use was limited to universities, studios and wealthy artists. The Roland D-50 (1987) blended Roland's linear arithmetic algorithm with samples, and was the first mass-produced synthesizer with built-in digital effects such as delay , reverb and chorus . In 1988, the Japanese manufacturer Korg released the M1 , a digital synthesizer workstation featuring sampled transients and loops . With more than 250,000 units sold, it remains

1092-574: A synthesized melody. Soft Cell used a synthesized melody on their 1981 hit " Tainted Love ". Nick Rhodes , keyboardist of Duran Duran , used synthesizers including the Roland Jupiter-4 and Jupiter-8 . Chart hits include Depeche Mode 's " Just Can't Get Enough " (1981), the Human League 's " Don't You Want Me " and works by Ultravox . In the 1980s, digital synthesizers were widely used in pop music. The Yamaha DX7, released in 1983, became

1176-539: A theremin, tape recorder, and single-pitch oscillator, a time-consuming process that involved splicing tape . Recognizing the need for more practical and sophisticated equipment, Moog and Deutsch discussed the notion of a "portable electronic music studio". Moog received a grant of $ 16,000 from the New York State Small Business Association and began work in Trumansburg, New York , not far from

1260-765: A variety of ways via patch cords . The modules can also be used to control each other. They do not produce sound until a workable combination of modules are connected. The oscillators produce waveforms of different tones and overtones , such as a "bright, full, brassy" sawtooth wave , a thinner, flute-like triangle wave , a "nasal, reedy" pulse wave and a "whistle-like" sine wave . These waveforms can be modulated and filtered to produce more combinations of sounds ( subtractive synthesis ). The oscillators are difficult to keep in tune, and small temperature changes cause them to drift rapidly. As Moog's early customers were more interested in creating experimental music than playing conventional melodies, Moog did not consider keeping

1344-510: A wave of new software instruments. Propellerhead's Reason , released in 2000, introduced an array of recognizable virtual studio equipment. The market for patchable and modular synthesizers rebounded in the late 1990s. In the 2000s, older analog synthesizers regained popularity, sometimes selling for much more than their original prices. In the 2010s, new, affordable analog synthesizers were introduced by companies including Moog, Korg, Arturia and Dave Smith Instruments . The renewed interest

1428-455: Is a preamp that boosts (amplifies) the electronic signal before passing it on to an external or built-in power amplifier, as well as a means to control its amplitude (volume) using an attenuator . The gain of the VCA is affected by a control voltage (CV), coming from an envelope generator, an LFO, the keyboard or some other source. Voltage-controlled filters (VCFs) "shape" the sound generated by

1512-621: Is as important, and as ubiquitous, in modern music today as the human voice." As electricity became more widely available, the early 20th century saw the invention of electronic musical instruments including the Telharmonium , Trautonium , Ondes Martenot , and theremin . In the late 1930s, the Hammond Organ Company built the Novachord , a large instrument powered by 72 voltage-controlled amplifiers and 146 vacuum tubes . In 1948,

1596-411: Is credited to the appeal of imperfect "organic" sounds and simpler interfaces, and modern surface-mount technology making analog synthesizers cheaper and faster to manufacture. Early synthesizers were viewed as avant-garde , valued by the 1960s psychedelic and counter-cultural scenes for their ability to make new sounds, but with little perceived commercial potential. Switched-On Bach (1968) ,

1680-449: Is one of the most important instruments in the music industry, used in nearly every genre. It is considered by the authors of Analog Days as "the only innovation that can stand alongside the electric guitar as a great new instrument of the age of electricity ... Both led to new forms of music, and both had massive popular appeal." According to Fact in 2016, "The synthesizer is as important, and as ubiquitous, in modern music today as

1764-572: Is the ADSR (attack, decay, sustain, release) envelope: Low-frequency oscillators (LFOs) produce waveforms used to modulate parameters, such as the pitch of oscillators (producing vibrato ). Arpeggiators, included in many synthesizer models, take input chords and convert them into arpeggios . They usually include controls for speed, range and mode (the movement of the arpeggio). Synthesizers are often controlled with electronic or digital keyboards or MIDI controller keyboards, which may be built into

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1848-468: Is to assemble a whole out of parts. Moog initially avoided the word, as it was associated with the RCA synthesizer, and instead described his invention as a "system" of "electronic music modules". After many debates, Moog eventually told the composer Reynold Weidenaar : "It's a synthesizer and that's what it does and we're just going to have to go with it." Moog used the word in print for the first time in 1966. By

1932-404: The American Federation of Musicians (AFM). Robert Moog felt that the AFM had not realized that his instrument had to be studied like any other, and instead imagined that "all the sounds that musicians could make somehow existed in the Moog — all you had to do was push a button that said ' Jascha Heifetz ' and out would come the most fantastic violin player". The musician Walter Sear persuaded

2016-454: The Apollo 11 moonwalk , creating a link between electronic music and space in the American popular imagination. In 1968, Wendy Carlos released Switched-On Bach , an album of Bach compositions arranged for Moog synthesizer. It won three Grammy Awards and was the first classical album certified platinum . The album is credited for popularising the Moog and demonstrating that synthesizers could be more than "random noise machines". For

2100-537: The Beatles . At its height of popularity, it was a staple of 1970s progressive rock , used by acts including Yes , Tangerine Dream and Emerson, Lake & Palmer . With its ability to imitate instruments such as strings and horns, it threatened the jobs of session musicians and was banned from use in commercial work for a period of time in the United States. In 1970, Moog Music released a portable, self-contained model,

2184-513: The Buchla Modular Electronic Music System . Instead of a conventional keyboard , Buchla's system used touchplates which transmitted control voltages depending on finger position and force. However, the Moog's keyboard made it more accessible and marketable to musicians, and keyboards became the standard means of controlling synthesizers. Moog and Buchla initially avoided the word synthesizer for their instruments, as it

2268-466: The Minimoog , a portable, self-contained model, and the modular systems became a secondary part of Moog's business. The Minimoog has been described as the most famous and influential synthesizer in history. After the sale of Moog Music, production of Moog synthesizers stopped in the early 1980s. The patents and other rights to Moog's modular circuits expired in the 1990s. In 2002, after Robert Moog regained

2352-512: The Minimoog . In the early 1960s, electronic music technology was impractical and used mainly by experimental composers to create music with little mainstream appeal. In 1963, the American engineer Robert Moog , a doctoral student at Cornell University who designed and sold theremins , met the composer Herb Deutsch at a New York State School Music Association trade fair in Rochester, New York . Deutsch had been making electronic music using

2436-688: The OB-X (1979). In 1978, the American company Sequential Circuits released the Prophet-5 , the first fully programmable polyphonic synthesizer. Whereas previous synthesizers required users to adjust cables and knobs to change sounds, with no guarantee of exactly recreating a sound, the Prophet-5 used microprocessors to store sounds in patch memory. This facilitated a move from synthesizers creating unpredictable sounds to producing "a standard package of familiar sounds". The synthesizer market grew dramatically in

2520-624: The Roland TR-808 and TR-909 drum machines, became a foundation of electronic dance music genres such as house and techno when producers acquired cheap second-hand units later in the decade. The authors of Analog Days connect the synthesizer's origins in 1960s psychedelia to the raves and British " second summer of love " of the 1980s and the club scenes of the 1990s and 2000s. Gary Numan's 1979 hits " Are 'Friends' Electric? " and " Cars " made heavy use of synthesizers. OMD 's " Enola Gay " (1980) used distinctive electronic percussion and

2604-678: The analog synthesizer concept. The first Moog synthesizers consisted of separate modules which create and shape sounds, which are connected via patch cords . Modules include voltage-controlled oscillators , amplifiers , filters , envelope generators , noise generators , ring modulators , triggers and mixers. The synthesizer can be played using controllers including keyboards , joysticks, pedals and ribbon controllers , or controlled with sequencers . Its oscillators produce waveforms , which can be modulated and filtered to shape their sounds ( subtractive synthesis ) or used to control other modules ( low-frequency oscillation ). Robert Moog developed

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2688-479: The voltage-controlled oscillator (VCO), which generated a waveform whose pitch could be adjusted by changing the voltage. Moog designed his synthesizer around a standard of one volt per octave . Similarly, he used voltage to control loudness with voltage-controlled amplifiers (VCAs). Moog developed a prototype with two VCOs and a VCA. As the VCOs themselves could output voltage, one could be used to modulate

2772-407: The "Moog sound". The synthesizer can be played using controllers including keyboards , joysticks, pedals and ribbon controllers. The ribbon controller allows users to control pitch similarly to moving a finger along a violin string. New Scientist described the Moog as the first commercial synthesizer. It was much smaller than previous synthesizers, and much cheaper, at US$ 10,000 compared to

2856-511: The "dotcom" or "5U" format, are still available but have been superseded as the dominant synthesizer format by Eurorack . Since 2020, Behringer has manufactured clones of Moog modules in the Eurorack format, also sold in configurations based on the original Moog systems. The Moog synthesizer has been emulated in software synthesizers such as the Arturia Modular V. In 2016, Moog released

2940-762: The 1970s, "synthesizer" had become the standard term for such instruments. Most of the Moog modules were finalized by the end of the 1960s, and remained mostly unchanged until Moog Music ceased trading in the 1980s. Moog had pursued the development of his synthesizer as a hobby; he stressed that he was not a businessman, and had not known what a balance sheet was. He likened the experience to riding theme park amusements: "You know you're not going to get hurt too badly because nobody would let you do that, but you're not quite in control." The Moog synthesizer consists of separate modules – such as oscillators , amplifiers , envelope generators , filters , noise generators , triggers and mixers – which can be connected in

3024-479: The 1970s, at the height of its popularity, the Moog was used by progressive rock bands such as Yes , Tangerine Dream and Emerson, Lake & Palmer . Keith Emerson was the first major rock musician to perform live with the Moog, and it became a trademark of his performances. According to Analog Days , the likes of Emerson "did for the keyboard what Jimi Hendrix did for the guitar". Almost every element of Donna Summer 's 1977 influential song " I Feel Love "

3108-518: The 1980s. 1982 saw the introduction of MIDI , a standardized means of synchronizing electronic instruments; it remains an industry standard. An influential sampling synthesizer , the Fairlight CMI , was released in 1979, with the ability to record and play back samples at different pitches. Though its high price made it inaccessible to amateurs, it was adopted by high-profile pop musicians including Kate Bush and Peter Gabriel . The success of

3192-409: The 21st century, analog synthesizers returned to popularity with the advent of cheaper manufacturing. Synthesizers were initially viewed as avant-garde , valued by the 1960s psychedelic and countercultural scenes but with little perceived commercial potential. Switched-On Bach (1968) , a bestselling album of Bach compositions arranged for synthesizer by Wendy Carlos , took synthesizers to

3276-474: The AFM that the synthesizer demanded skill, and the category of "synthesizer player" was accepted into the union/ However, players were subject to "suspicion and hostility" for years. In 1982, following a tour by Barry Manilow using synthesizers instead of an orchestra, the British Musicians' Union attempted to ban synthesizers, attracting controversy. That decade, a few musicians skilled at programming

3360-682: The Canadian engineer Hugh Le Caine completed the electronic sackbut , a precursor to voltage-controlled synthesizers , with keyboard sensitivity allowing for vibrato , glissando , and attack control. In 1957, Harry Olson and Herbert Belar completed the RCA Mark II Sound Synthesizer at the RCA laboratories in Princeton, New Jersey. The instrument read punched paper tape that controlled an analog synthesizer containing 750 vacuum tubes. It

3444-724: The Cornell campus. At the time, synthesizer-like instruments filled rooms. Moog hoped to build a more compact instrument that would appeal to musicians. Learning from his experience building a prohibitively expensive guitar amplifier , he believed that practicality and affordability were the most important parameters. Previous synthesizers, such as the RCA Mark II , had created sound from hundreds of vacuum tubes . Instead, Moog used recently available silicon transistors — specifically, transistors with an exponential relationship between input voltage and output current . With these, he created

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3528-726: The Fairlight drove competition, improving sampling technology and lowering prices. Early competing samplers included the E-mu Emulator in 1981 and the Akai S-series in 1985. In 1983, Yamaha released the first commercially successful digital synthesizer , the Yamaha DX7 . Based on frequency modulation (FM) synthesis developed by the Stanford University engineer John Chowning , the DX7

3612-788: The Minimoog, Pro-One , and TB-303 , and drum machines such as the TR-808 . Other synthesizer clones include the MiniMOD (a series of Eurorack modules based on the Minimoog), the Intellijel Atlantis (based on the SH-101 ), and the x0x Heart (based on the TB-303). Creating clones of older hardware is legal where the patents have expired. In 1997, Mackie lost their lawsuit against Behringer as copyright law in

3696-497: The Moog synthesizer, with its dramatically new sounds, arrived at a time in American history when, in the wake of the Vietnam War , "nearly everything about the old order was up for revision". Session musicians felt synthesizers, with their ability to imitate instruments such as strings and horns, threatened their jobs. For a period, the Moog was banned from use in commercial work in the US,

3780-584: The PT-87 (which is basically the same as the PT-82) which was again sold as Casiotone. Some models sold from 1983 onwards included a cartridge bay to accept Casio ROM Packs which contained sheet music in a digital format. The keyboards could play the notes automatically, or (with the exception of the PT-50) illuminate LEDs above each key to teach the user how to play the song. Most keyboards came with one ROM Pack as standard, but

3864-423: The United States did not cover their circuit board designs. Moog synthesizer The Moog synthesizer ( / ˈ m oʊ ɡ / MOHG ) is a modular synthesizer invented by the American engineer Robert Moog in 1964. Moog's company, R. A. Moog Co. (later known as Moog Music), produced numerous models from 1965 to 1981, and again from 2014. It was the first commercial synthesizer and established

3948-500: 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 1964, is credited for pioneering concepts such as voltage-controlled oscillators , envelopes, noise generators , filters, and sequencers. In 1970, the smaller, cheaper Minimoog standardized synthesizers as self-contained instruments with built-in keyboards, unlike

4032-483: The Yamaha DX7 found employment creating sounds for other acts. Synthesizers generate audio through various forms of analog and digital synthesis. Oscillators produce waveforms (such as sawtooth , sine , or pulse waves ) with different timbres . Voltage-controlled amplifiers (VCAs) control the volume or gain of the audio signal. VCAs can be modulated by other components, such as LFOs and envelopes. A VCA

4116-469: The amateur electronics market, such as a design published in Practical Electronics in 1973. By the mid-1970s, ARP was the world's largest synthesizer manufacturer, though it closed in 1981. Early synthesizers were monophonic , meaning they could only play one note at a time. Some of the earliest commercial polyphonic synthesizers were created by the American engineer Tom Oberheim , such as

4200-472: The bestselling synthesizer in history. The advent of digital synthesizers led to a downturn in interest in analog synthesizers in the following decade. 1997 saw the release of ReBirth by Propellerhead Software and Reality by Seer Systems , the first software synthesizers that could be played in real time via MIDI. In 1999, an update to the music software Cubase allowed users to run software instruments (including synthesizers) as plug-ins , triggering

4284-627: The electronic music studio at the University of Toronto . After the presentation impressed the composers, Moog was invited by the Audio Engineering Society to present at their annual convention in New York City that October. Though he had not planned to sell synthesizers there, some customers placed orders at the show, and the choreographer Alwin Nikolais became the first person to purchase

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4368-450: The emergence of synth-pop from the late 1970s to the early 1980s. The work of German krautrock bands such as Kraftwerk and Tangerine Dream , British acts such as John Foxx , Gary Numan and David Bowie , African-American acts such as George Clinton and Zapp , and Japanese electronic acts such as Yellow Magic Orchestra and Kitaro were influential in the development of the genre. The Roland TB-303 (1981), in conjunction with

4452-685: The first string synthesizer , designed to emulate string sections . After retail stores started selling synthesizers in 1971, other synthesizer companies were established, including ARP in the US and EMS in the UK. ARP's products included the ARP 2600 , which folded into a carrying case and had built-in speakers, and the Odyssey , a rival to the Minimoog. The less expensive EMS synthesizers were used by European art rock and progressive rock acts including Brian Eno and Pink Floyd . Designs for synthesizers appeared in

4536-457: The first album on the West Coast to use the Moog synthesizer, The Zodiac: Cosmic Sounds (1967). Moog attended a recording session for the album, which helped convince him of the synthesizer's commercial potential. Garson also used the Moog to write jingles and soundtracks, which helped make its sounds ubiquitous. In 1969, Garson used the Moog to compose a soundtrack for the televised footage of

4620-577: The heads of a drum kit ; touchplates, which send signals depending on finger position and force; controllers designed for microtonal tunings ; touchscreen devices such as tablets and smartphones ; and fingerpads. Synthesizer clones are unlicensed recreations of previous synthesizers, often marketed as affordable versions of famous musical equipment. Clones are available as physical instruments and software. Companies that have sold software clones include Arturia and Native Instruments . Behringer manufactures equipment modelled on instruments including

4704-592: The human voice." The Moog was adopted by 1960s rock acts including the Doors , the Grateful Dead , the Rolling Stones , the Beatles , and Keith Emerson . Emerson was the first major rock musician to perform with the Moog and it became a trademark of his performances, helping take his band Emerson, Lake & Palmer to global stardom. According to Analog Days , the likes of Emerson, with his Moog performances, "did for

4788-466: The keyboard what Jimi Hendrix did for the guitar". String synthesizers were used by 1970s progressive rock bands including Camel , Caravan , Electric Light Orchestra , Gentle Giant and Renaissance . The portable Minimoog (1970), much smaller than the modular synthesizers before it, made synthesizers more common in live performance. Early synthesizers could only play one note at a time , making them suitable for basslines, leads and solos. With

4872-489: The larger modular synthesizers before it. In 1978, Sequential Circuits released the Prophet-5 , which used microprocessors to allow users to store sounds for the first time. MIDI, a standardized means of synchronizing electronic instruments, was introduced in 1982 and remains an industry standard. The Yamaha DX7 , launched in 1983, was a major success and popularized digital synthesis . Software synthesizers now can be run as plug-ins or embedded on microchips . In

4956-503: The mainstream. They were adopted by electronic acts and pop and rock groups in the 1960s and 1970s and were widely used in 1980s music. Sampling , introduced with the Fairlight synthesizer in 1979, has influenced genres such as electronic and hip hop music. Today, the synthesizer is used in nearly every genre of music and is considered one of the most important instruments in the music industry. According to Fact in 2016, "The synthesizer

5040-494: The means to automatically play accompaniments. The original Casiotone keyboards came in three distinct families, separated by the method of synthesis. The later, more professional range of keyboards, the CZ series (1984–1986), used phase distortion synthesis , which is mathematically almost identical to Yamaha 's frequency modulation synthesis , although implemented slightly differently in order to avoid patent infringement. After

5124-460: The notion of voltage control and Moog's circuit designs were not original, Moog's innovations were in drawing the elements together, realizing that the problem of exponential conversion could be solved using transistor circuitry and building such circuits and making them work in a way that was of interest to musicians." Moog features such as voltage-controlled oscillator , envelopes , noise generators , filters and sequencers became standards in

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5208-521: The oscillators in the frequency domain, often under the control of an envelope or LFO. These are essential to subtractive synthesis. Filters are particularly important in subtractive synthesis , being designed to pass some frequency regions (or "bands") through unattenuated while significantly attenuating ("subtracting") others. The low-pass filter is most frequently used, but band-pass filters , band-reject filters and high-pass filters are also sometimes available. The filter may be controlled with

5292-428: The oscillators stable a priority. The Moog's 24db low-pass filter is particularly distinctive, with a "rich", "juicy", "fat" sound. The filter, based on pairs of transistors connected by capacitors arranged in a ladder-like layout, attenuates frequencies above a level set by the user, and boosts the frequencies around the cut-off frequency. When overdriven, the filter produces a distinctive distortion described as

5376-412: The output of another , creating effects such as vibrato and tremolo . According to Moog, when Deutsch saw this, he became excited and immediately began making music with the prototype, attracting the interest of passersby: "They would stand there, they'd listen and they'd shake their heads ... What is this weird shit coming out of the basement?" In 1964, Moog and Deutsch demonstrated the synthesizer at

5460-423: The parameters up and down such as decay, sustain and finally release. For instance by using a short decay with no sustain, the sound generated is commonly known as a stab . Sound designers may prefer shaping the sound with a filter instead of volume. Envelopes control how sounds change over time. They may control parameters such as amplitude (volume), filters (frequencies), or pitch. The most common envelope

5544-650: The release of the Casio SK-1 in 1985, gradually PCM sample-based tone generators became dominant in Casio's keyboards line. After the 1990s, most Casio keyboards utilized PCM tone generator or its variants. Some early 1980s models in the PT series of keyboards, such as the PT-30, PT-50, PT-80 and PT-82, were not marketed under the Casiotone name. The name was revived again later for models such as

5628-719: The rights to the Moog brand and bought the company, Moog released the Minimoog Voyager , an updated version. Moog released several Minimoog reissues, with some changes, starting from 2016. In 2018, Moog released the Grandmother , followed by the Matriarch in 2019; parts of the circuitry used in these instruments were inspired by the Moog synthesizer. After production of the original Moog synthesizers stopped in 1980, some manufacturers, such as Synthesizers.com , created their own modules and clones of Moog modules. Moog modules, known as

5712-450: The rise of polyphonic synthesizers in the 70s and 80s, "the keyboard in rock once more started to revert to the background, to be used for fills and atmosphere rather than for soloing". Some acts felt that using synthesizers was "cheating"; Queen wrote in their album liner notes that they did not use them. The Minimoog took a place in mainstream African-American music , most notably in the work of Stevie Wonder , and in jazz , such as

5796-516: The same year, the Monkees used a Moog on their album Pisces, Aquarius, Capricorn & Jones Ltd. In 1969, George Harrison released an album of Moog recordings, Electronic Sound , and the Beatles used the Moog on several tracks on their album Abbey Road . Other rock bands who adopted the Moog include the Grateful Dead and the Rolling Stones . It was also adopted by jazz musicians including Herbie Hancock , Jan Hammer and Sun Ra . In

5880-546: The scores for thrillers and horror films including A Clockwork Orange (1971), Apocalypse Now (1979), The Fog (1980) and Manhunter (1986). Brad Fiedel used a Prophet synthesizer to record the soundtrack for The Terminator (1984), and the filmmaker John Carpenter used them extensively for his soundtracks. Synthesizers were used to create themes for television shows including Knight Rider (1982) , Twin Peaks (1990) and Stranger Things (2016). The rise of

5964-874: The series with three new Casiotone keyboards. Sound synthesis A synthesizer (also synthesiser or synth ) 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

6048-542: The six-figure sums of other synthesizers. Whereas the RCA Mark II was programmed with punchcards , Moog's synthesizer could be played in real time via keyboard, making it attractive to musicians. According to the Guardian , Moog's 1964 paper Voltage-Controlled Music Modules , in which he proposed the Moog synthesizer modules, invented the modern concept of the analog synthesizer . The authors of Analog Days wrote: "Though

6132-449: The synthesizer in response to demand for more practical and affordable electronic music equipment, guided by suggestions and requests from composers including Herb Deutsch , Richard Teitelbaum , Vladimir Ussachevsky and Wendy Carlos . Moog's principal innovation was voltage-control, which uses voltage to control pitch . He also introduced fundamental synthesizer concepts such as modularity and envelope generators. The Moog synthesizer

6216-412: The synthesizer in response to requests from musicians and composers. For example, after Deutsch suggested Moog find a way to fade notes in and out, Moog invented an envelope module, using a doorbell button as a prototype. At the suggestion of the composer Gustav Ciamaga , Moog developed a filter module, a means of removing frequencies from waveforms. His first filter design created a sound similar to

6300-399: The synthesizer led to major changes in music industry jobs, comparable to the earlier arrival of sound in film , which put live musicians accompanying silent films out of work. With its ability to imitate instruments such as strings and horns, the synthesizer threatened the jobs of session musicians . For a period, the Moog was banned from use in commercial work, a restriction negotiated by

6384-503: The synthesizer market. The ladder filter has been replicated in hardware synthesizers, digital signal processors , field-programmable gate arrays and software synthesizers. Most Moog synthesizers were owned by universities or record labels, and used to create soundtracks or jingles . By 1970, only 28 were owned by musicians. The Moog was first used by experimental composers including Richard Teitelbaum , Dick Hyman , and Perrey and Kingsley . The composer Mort Garson recorded

6468-509: The synthesizer unit or attached via connections such as CV/gate , USB , or MIDI . Keyboards may offer expression such as velocity sensitivity and aftertouch, allowing for more control over the sound. Other controllers include ribbon controllers , which track the movement of the finger across a touch-sensitive surface; wind controllers , played similarly to woodwind instruments ; motion-sensitive controllers similar to video game motion controllers ; electronic drum pads , played similarly to

6552-519: The work of Sun Ra . In the late 1970s and the early 1980s, the Minimoog was widely used in the emerging disco genre by artists including Abba and Giorgio Moroder . Sampling, introduced with the Fairlight synthesizer in 1979, has influenced all genres of music and had a major influence on the development of electronic and hip hop music. In the 1970s, electronic music composers such as Jean Michel Jarre and Isao Tomita released successful synthesizer-led instrumental albums. This influenced

6636-647: Was acquired by the Columbia-Princeton Electronic Music Center and used almost exclusively by Milton Babbitt , a composer at Princeton University . The authors of Analog Days define "the early years of the synthesizer" as between 1964 and the mid-1970s, beginning with the debut of the Moog synthesizer . Designed by the American engineer Robert Moog , the instrument was a modular synthesizer system composed of numerous separate electronic modules, each capable of generating, shaping, or controlling

6720-487: Was associated with the RCA synthesizer; however, by the 1970s, it had become the standard term. In 1970, Moog launched a cheaper, smaller synthesizer, the Minimoog . It was the first synthesizer sold in music stores, and was more practical for live performance. It standardized the concept of synthesizers as self-contained instruments with built-in keyboards. In the early 1970s, the British composer Ken Freeman introduced

6804-417: Was brought to the mainstream by Switched-On Bach (1968), a bestselling album of Bach compositions arranged for Moog synthesizer by Wendy Carlos. Mort Garson used the Moog to soundtrack the televised Apollo 11 moonwalk, associating synthesizers with space in the popular imagination. In the late 1960s, it was adopted by rock and pop acts including the Doors , the Grateful Dead , the Rolling Stones and

6888-559: Was characterized by its "harsh", "glassy" and "chilly" sounds, compared to the "warm" and "fuzzy" sounds of analog synthesis. The DX7 was the first synthesizer to sell more than 100,000 units and remains one of the bestselling in history. It was widely used in 1980s pop music. Digital synthesizers typically contained preset sounds emulating acoustic instruments, with algorithms controlled with menus and buttons. The Synclavier , made with FM technology licensed from Yamaha, offered features such as 16-bit sampling and digital recording. With

6972-504: Was created with a Moog synthesizer, with the producers aiming to create a futuristic mood. Robert Moog was critical, saying the sequenced bassline had a "certain sterility" and that Summer sounded like she was "fighting the sequencer". In later decades, hip hop groups such as the Beastie Boys and rock bands including They Might Be Giants and Wilco "revived an interest in the early Moog synthesizer timbres". The Guardian wrote that

7056-434: Was debate as to the role of the keyboard in synthesizers. Some, such as the composer Vladimir Ussachevsky and Moog's competitor Don Buchla , felt they were restrictive. However, Moog recognized that most customers wanted keyboards and found they made the instrument more approachable. Including keyboards in photographs helped users understand that the synthesizer was for making music. The classical meaning of "to synthesize"

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