The original design and development of the Synclavier prototype occurred at Dartmouth College with the collaboration of Jon Appleton, Professor of Digital Electronics, Sydney A. Alonso, and Cameron Jones, a software programmer and student at Dartmouth's Thayer School of Engineering.
Synclavier I
First released in 1977–78,[2][3] it proved to be highly influential among both electronic music composers and music producers, including Mike Thorne, an early adopter from the commercial world, due to its versatility, its cutting-edge technology, and distinctive sounds.
The Synclavier architecture was based on additive synthesis, with the output of multiple digital sine wave oscillators blended to form complex timbres.[4] The oscillators formed the fundamental frequency along with harmonics or partials. The loudness and envelope of each oscillator could be adjusted using front panel controls. New England Digital Corporation (NED) designed their own 16-bit central processor called Able, a kind of minicomputer.[5] Such an advanced computer was required because digital additive synthesis is computationally expensive. The audible result of additive synthesis was somewhat thin, suitable for steady-state sounds such as vibrating strings: violin, harp, guitar, etc. It was not good at generating percussive sounds with fast transients.[4] To fix this problem, NED also designed sample-based synthesis into the Synclavier, calling it "timbre frame synthesis", and allowed for an optional FM synthesis module. The sampler recorded an external sound and saved it as a sound file. Most of the standard Synclavier timbres were obtained by sampling acoustic instruments or human voices. Four layers of sound files or partial timbres could be blended to make a more complex sound, for instance by adding a percussion sample to three brass instrument samples to get a sharper attack. If the FM synthesis module was purchased, a separate harmonic envelope feature was engaged, and a more dynamic sound could be produced.[6]
Only about 20 Synclavier I models were built.[7] These were sold mostly to universities. The initial models had only a computer and synthesis modules; later models added a musical keyboard and control panel.
The system evolved in its next generation of product, the Synclavier II, which was released in early 1980 with the strong influence of music producer Denny Jaeger of Oakland, California. It was originally Jaeger's suggestion that the FM synthesis concept be extended to allow four simultaneous channels or voices of synthesis to be triggered with one key depression to allow the final synthesized sound to have much more harmonic series activity. This change greatly improved the overall sound design of the system and was very noticeable. 16-bit user sampling (originally in mono only) was added as an option in 1982. This model was succeeded by the ABLE Model C computer-based PSMT in 1984 and then the Mac-based 3200, 6400 and 9600 models, all of which used the VPK keyboard.
Keyboard controller
Display and control wheel on VPK (1984)
Synclavier II models used an on/off type keyboard (retroactively called the ORK) while later models, labeled simply Synclavier, used a weighted velocity- and pressure-sensitive keyboard (called the VPK) that was licensed from Sequential Circuits and used in their Prophet-T8 synthesizer.
The company evolved the system continuously through the early 1980s to integrate the first 16-bit digital sampling system to magnetic disk, and eventually a 16-bit polyphonic sampling system to memory, as well. The company's product was the only digital sampling system that allowed sample rates to go as high as 100kHz.
Ultimately, the system was referred to as the Synclavier Digital Recording Tapeless Studio system among many professionals. It was a pioneering system in revolutionizing movie and television sound effects and Foley effects methods of design and production starting at Glen Glenn Sound. Although pricing made it inaccessible for most musicians (a Synclavier could cost anywhere from $25,000 to $200,000),[8][9] it found widespread use among producers and professional recording studios, competing at times in this market with high-end production systems such as the Fairlight CMI.
Technological achievements
When the company launched and evolved its technology, there were no off-the-shelf computing systems, integrated software, or sound cards. Consequently, all of the hardware from the company's main real-time CPU, all input and output cards, analog-to-digital and digital-to-analog cards and its memory cards were developed internally, as well as all of the software. The hardware and software of the company's real-time capability were used in other fields completely remote to music, such as the main Dartmouth College campus computing node computers for one of the USA's first campus-wide computing networks, and in medical data acquisition research projects.[citation needed]
End of manufacture
New England Digital ceased operations in 1993. According to Jones, "The intellectual property was bought up by a bank—then it was owned by a Canadian company called Airworks—and I bought the intellectual property and the trademark back from a second bank which had foreclosed on it from Airworks."
Reincarnations
In 2019, Jones released an iOS version of the Synclavier dubbed Synclavier Go! using much of the original code base.[10] Jones has also worked with Arturia to bring the Synclavier V software version of the instrument to their V Collection plugin suite.
In 2022, Synclavier Digital released and started production on the Regen, a desktop FM synthesizer. [11]
ABLE computer (1975): an early product of New England Digital, was a 16-bit minicomputer on two cards, using a transport-triggered architecture.[12][13] It used a variant of XPL called Scientific XPL for programming.[14] Early applications of the ABLE were for laboratory automation, data collection, and device control. The commercial version of the Dartmouth Digital Synthesizer, the Synclavier, was built on this processor.[15]
Digital synthesis cards
The waveforms are produced by the Synclavier Synthesizer cards (named SS1 through SS5). Each set of these five cards produced 8 mono voices (later variants supported stereo). The processor handles sending start-stop-setPitch-setParameter commands to the SS card set(s), as well as handling scanning of the keyboard and control panel. There is little public documentation available on these cards, as their design was the unique asset of the Synclavier. However, their structure was similar to other digital synthesizers of the mid-late 1970s realized in Medium Scale Integration (MSI) hardware, such as the Bell Labs Digital Synthesizer.[16]
Synclavier II (1980): 8-bit additive synthesis with sampling and FM synthesis, 32-track memory recorder, and ORK keyboard. Earlier models were entirely controlled via ORK keyboard with buttons and wheel; a VT100 terminal was subsequently introduced for editing performances. Later models had a VT640 graphic terminal for graphical audio analysis (described below).[15]
Original Keyboard (ORK, c.1979): original musical keyboard controller in a wooden chassis, with buttons and silver control wheel on the panel.[15]
Sample-to-Disk (STD, c.1982): a first commercial hard disk streaming sampler, with 16-bit sampling at up to 50kHz.[15]
Sample-to-Memory (STM): later option to sample sounds and edit them in computer memory.[17]
Direct-to-Disk (DTD, c.1984): an early commercial hard disk recording system.
Synclavier PSMT (1984): a faster ABLE Model C processor-based system, with a new 'Multi-Channel-Distribution' real-time digitally controlled analog signal routing technology, and 16-bit RAM-based stereo sampling subsystem. The monaural FM voice card was doubled up and enabling software panning for stereo output was introduced.[15]
Velocity/Pressure Keyboard (VPK, c.1984): a weighted velocity/after-pressure sensitive musical keyboard controller, was introduced. This had a black piano lacquer finished chassis, a larger display, additional buttons and a silver control wheel.[15]
Pat Metheny playing guitar synthesizer; in the 1980s, he played Synclavier with this guitar controller (Roland G-303), in addition to an early Synclavier guitar controller.
Neil Rolnick, Joel Chadabe, and Jon Appleton himself are among those who have performed with it frequently.[20]
Christopher Boyes, supervising sound editor/sound designer for the 2009 film Avatar, used the Synclavier for blending or layering different sound effects and matching pitches.[23]
Joel Chadabe: composer/founder of Electronic Music Foundation. In September 1977 he bought the first Synclavier without musical keyboard (ORK) and wrote custom software to control the Synclavier via various devices.[3]
Suzanne Ciani used a Synclavier to design sounds for the Bally Xenon pinball game released in 1980.[24]
Robert Henke: composer, musician and software engineer. Often recording under the moniker Monolake, Henke renovated a Synclavier II and used it on various releases.[36]
Michael Jackson: particularly on his 1982 album Thriller, programming by Steve Porcaro, Brian Banks, and Anthony Marinelli. The gong sound at the beginning of "Beat It" comes courtesy of the Synclavier.[40] The Synclavier was extensively used on Jackson's 1987 album Bad and on its accompanying tour, programmed and played by Christopher Currell.[41] The Synclavier was also used by Andrew Scheps to slice and edit Jackson's beatboxing on his 1995 album HIStory.[42]
Kraftwerk acquired one in the early to mid 1980s and initially used it to re work the material later released as Electric Cafe / Techno Pop, and also on live performances in the 1990s.[47]
Kashif Saleem, American post-disco and contemporary R&B record producer, multi-instrumentalist, also a creative consultant[55] with the New England Digital Corporation: Bass synthesizer music pioneer and an early Synclavier II avid user who used Synclavier in production, for instance, of his Grammy-nominated instrumental piece "The Mood" (1983). His innovating vocalist-related sampling methods (created using Synclavier) are still in use.[56][57]
Howard Shore, film score composer: pictured with a Synclavier on the cover of Berklee Today, Fall 1997.[58]
Paul Simon: on Simon's 1983 album Hearts and Bones, Tom Coppola is credited for Synclavier for "When Numbers Get Serious", "Think Too Much (b)", "Song About the Moon", and "Think Too Much (a)"; and Wells Christie is credited with Synclavier on "Rene And Georgette Magritte With Their Dog After The War".[60] On his 1986 album Graceland, Simon is credited under "Synclavier" for "I Know What I Know" and "Gumboots".[61]
Gerald Strang, the American composer and Schoenberg protégé, used the Synclavier II at Long Beach City College in Los Angeles for his Synclavions series of four pieces, composed in 1984 at the very end of his life.[63]
James Stroud: producer who used a Synclavier II on many hit albums he produced.[64]
Benny Andersson: his personal studio room is still (as of 2011) centered around a Synclavier system — he has four systems. He’s been using it since Chess in 1985.[65]
Tangerine Dream: used a Synclavier on several of their studio albums including Exit in 1981.[66]
↑ Lurie, Robert Dean (2009). No Certainty Attached: Steve Kilbey and The Church. Portland OR: Verse Chorus Press. p.182. ISBN978-1-89124-122-2.
↑ Darter, Tom; Doerschuk, Bob (2008). "The state of the artist". In Ernie Rideout (ed.). Keyboard Presents the Best of the '80s: The Artists, Instruments, and Techniques of an Era. Hal Leonard Corporation. pp.15–19. ISBN978-0-87930-930-5.
↑ Droney, Maureen (September 1, 2001). "Dave Hard Drive Pensado". Mix. Los Angeles: Penton Media. Archived from the original on April 14, 2011. Retrieved September 8, 2010.
↑ "The Third Dimension". SPIN. Vol.7, no.4. SPIN Media LLC. July 1991. p.26. ISSN0886-3032. Christopher Currell, the Los Angeles-based Synclavier performer and engineer on Michael Jackson's Bad album
↑ "United States". Keyboard. Vol.13, no.7~12. GPI Publications. 1987. p.30. ISSN0730-0158. Nashville synthesist Shane Keister, using a Fairlight and Synclavier, scored Ernest Goes To Camp, the just-released ...[verification needed]
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