A digital synthesizer is a synthesizer that uses digital signal processing (DSP) techniques to make musical sounds, in contrast to older analog synthesizers, which produce music using analog electronics, and samplers, which play back digital recordings of acoustic, electric, or electronic instruments. Some digital synthesizers emulate analog synthesizers, while others include sampling capability in addition to digital synthesis.
An electronic musical instrument or electrophone is a musical instrument that produces sound using electronic circuitry. Such an instrument sounds by outputting an electrical, electronic or digital audio signal that ultimately is plugged into a power amplifier which drives a loudspeaker, creating the sound heard by the performer and listener.
Digital music technology encompasses the use of digital instruments to produce, perform or record music. These instruments vary, including computers, electronic effects units, software, and digital audio equipment. Digital music technology is used in performance, playback, recording, composition, mixing, analysis and editing of music, by professions in all parts of the music industry.
A music sequencer is a device or application software that can record, edit, or play back music, by handling note and performance information in several forms, typically CV/Gate, MIDI, or Open Sound Control, and possibly audio and automation data for digital audio workstations (DAWs) and plug-ins.
The Fairlight CMI is a digital synthesizer, music sampler, and digital audio workstation introduced in 1979 by Fairlight. It was based on a commercial licence of the Qasar M8 developed by Tony Furse of Creative Strategies in Sydney, Australia. It was one of the earliest electronic music workstations with an embedded sampler and is credited for coining the term sampling in music. It rose to prominence in the early 1980s and competed with the Synclavier from New England Digital.
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.
A music workstation is an electronic musical instrument providing the facilities of:
A sampler is an electronic musical instrument that records and plays back samples. Samples may comprise elements such as rhythm, melody, speech, sound effects or longer portions of music.
An orchestra hit, also known as an orchestral hit, orchestra stab, or orchestral stab, is a synthesized sound created through the layering of the sounds of a number of different orchestral instruments playing a single staccato note or chord. The orchestra hit sound was propagated by the use of early samplers, particularly the Fairlight CMI where it was known as the ORCH2 sample. The sound is used in pop, hip hop, jazz fusion, techno, and video game genres to accentuate passages of music.
The Ensoniq Mirage is one of the earliest affordable sampler-synths, introduced in 1984 as Ensoniq's first product. Introduced at a list price of $1,695 with features previously only found on more expensive samplers like the Fairlight CMI, the Mirage sold nearly 8,000 units in its first year - more than the combined unit sales of all other samplers at that time. The Mirage sold over 30,000 units during its availability.
Ensoniq Corp. was an American electronics manufacturer, best known throughout the mid-1980s and 1990s for its musical instruments, principally samplers and synthesizers.
The Emulator is a series of digital sampling synthesizers using floppy-disk storage that was manufactured by E-mu Systems from 1981 until 2002. Although it was not the first commercial sampler, the Emulator was innovative in its integration of computer technology and was among the first samplers to find widespread usage among musicians. While costly, its price was considerably lower than those of its early competitors, and its smaller size increased its portability and, resultantly, practicality for live performance. The line was discontinued in 2002.
The Kurzweil K250, manufactured by Kurzweil Music Systems, was an early electronic musical instrument which produced sound from sampled sounds compressed in ROM, faster than common mass storage such as a disk drive. Acoustic sounds from brass, percussion, string and woodwind instruments as well as sounds created using waveforms from oscillators were utilized. Designed for professional musicians, it was invented by Raymond Kurzweil, founder of Kurzweil Computer Products, Inc., Kurzweil Music Systems and Kurzweil Educational Systems with consultation from Stevie Wonder; Lyle Mays, an American jazz pianist; Alan R. Pearlman, founder of ARP Instruments Inc.; and Robert Moog, inventor of the Moog synthesizer.
E-mu Systems was a software synthesizer, audio interface, MIDI interface, and MIDI keyboard manufacturer. Founded in 1971 as a synthesizer maker, E-mu was a pioneer in samplers, sample-based drum machines and low-cost digital sampling music workstations.
In sound and music, sampling is the reuse of a portion of a sound recording in another recording. Samples may comprise elements such as rhythm, melody, speech, or sound effects. A sample can be brief and only incorporate a single musical note, or it can consist of longer portions of music, and may be layered, equalized, sped up or slowed down, repitched, looped, or otherwise manipulated. They are usually integrated using electronic music instruments (samplers) or software such as digital audio workstations.
Peter Vogel is an Australian inventor and technologist known for developing the Fairlight CMI.
Bruce Robert Jackson was an Australian audio engineer who co-founded JANDS, an Australian audio, lighting and staging company. He joined American touring audio engineer Roy Clair and mixed concert stage monitors for Elvis Presley in the 1970s. With Clair Brothers, a concert sound company, Jackson designed audio electronics including a custom mixing console. Beginning in 1978, Jackson toured as Bruce Springsteen's band engineer for a decade, using Clair Brothers sound systems. A business interest in Fairlight CMI in Sydney introduced Jackson to digital audio, and he subsequently founded the digital audio company Apogee Electronics in Santa Monica, California, where he lived at the time. After selling his share of Apogee, Jackson co-founded with Roy and Gene Clair a joint venture which produced the Clair iO, a loudspeaker management system for control of complex concert sound systems. Jackson turned the venture commercial with the help of Dave McGrath's Lake Technology. Dolby Laboratories bought the technology and formed Dolby Lake with Jackson as vice president, then in 2009 Lab.gruppen acquired the brand. Jackson was honoured with the Parnelli Innovator Award in 2005 for his inventive loudspeaker controller.
Blackmagic Design is an Australian digital cinema company and manufacturer based in Port Melbourne, Victoria, Australia. It designs and produces broadcast and cinema-grade hardware; notably, high-end digital movie cameras, and also develops video editing software, such as the DaVinci Resolve and Blackmagic Fusion applications.
Kim Ryrie is an Australian synthesiser inventor who founded the audio technology company Fairlight with Peter Vogel.
