LEADER 05480nam 2200661 450 001 9910453244503321 005 20200520144314.0 010 $a0-19-933486-2 010 $a0-19-539481-X 010 $a0-19-933485-4 035 $a(CKB)2550000001194440 035 $a(EBL)1602530 035 $a(SSID)ssj0001108847 035 $a(PQKBManifestationID)12482384 035 $a(PQKBTitleCode)TC0001108847 035 $a(PQKBWorkID)11103697 035 $a(PQKB)10160920 035 $a(MiAaPQ)EBC1602530 035 $a(Au-PeEL)EBL1602530 035 $a(CaPaEBR)ebr10831302 035 $a(CaONFJC)MIL571504 035 $a(OCoLC)869096237 035 $a(EXLCZ)992550000001194440 100 $a20140211h20142014 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 14$aThe synthesizer $ea comprehensive guide to understanding, programming, playing, and recording the ultimate electronic music instrument /$fMark Vail 210 1$aNew York, New York :$cOxford University Press,$d2014. 210 4$dİ2014 215 $a1 online resource (908 p.) 300 $aDescription based upon print version of record. 311 $a1-306-40253-0 311 $a0-19-539489-5 320 $aIncludes bibliographical references and index. 327 $aCover; Title Page; Copyright Page; Contents; Foreword by Michelle Moog-Koussa; Preface; About the Companion Website; 1 Trendsetting All-Stars; Control; No Touch Required; For The Birds; Waggling Keyboard; Timbral Flowage; Tape-to-Electronics Transition; Voltage and Digital (Fingertip) Control; Synth Italia; Armand Pascetta's Pratt-Reed Polyphony; Heavyweight Polyphony and Control; Multitimbral Polyphony; Physical Modeling; Finger-Controlled Speech; Sound; Quantized Note Selection; Polyphonic Progenitor; Polyphony from an Expander; Switched-On Additive Synthesis 327 $aGroundbreaking German Digital SynthesizersRealizing John Chowning's Linear FM Synthesis; Phase Distortion; Linear Arithmetic; Vector Synthesis; MultiSynthesis and -Processing Environment; Open Architecture; Virtual Analog; Neural Modeling; Performance; Keyboard-Controlled Tape Player; Optical Sonics, Part; Optical Sonics, Part; Digital-Sampling Trailblazer from Down Under; More Affordable Digital Sampling; The Volksampler; Multitimbral Sample Playback, Sampling Optional; Direct-from-Disk Sample Playback; First Programmable Polysynth; Classic Beat Boxes 327 $aFirst Programmable Sample-Playback Drum MachineSmall-Scale Improvisation Instrument; Interface; Patchboard-Matrix British Synths; Educational Instruments that Went Well Beyond; Unique Improvisation Machine; Multitasking Pre-MIDI Wonder Workstation; Original Resynthesizer; Hybrid Modular; Early Electronic Music Applications from Max Mathews; Barry Vercoe's Long-Lived Synthesis and Processing Software; Personal Computer with a Built-In Synth Chip; Graphically Programmable Computer Music Language; "Obsolete" and Ever-Evolving Sonic Software; Premier Softsynths for Discriminating Enthusiasts 327 $aDIY Softsynth Apps and Their Potent OffspringReliable Softsynth Platform for the Road; Composition; The First Synthesizer; Room-Filling Automated Composition Machine; Photo-Optic Instrument from Russia; Instantaneous Composing/Performance Machine; Hybrid Music Workstation that Arrived Too Late; Gigabuck Digital Audio System; Economical Multitimbral Sequencing Synth; Musical Playstation for the Masses; Instrument that Launched Hip-Hop; Multipurpose Environment for Composition and Performance; Beyond; 2 Acoustics and Synthesis Basics130; Real-World Acoustics; Types of Synthesis 327 $aAudio Sources: Oscillators, Noise, and MoreVCAs, Envelopes, and LFOs; Envelope Followers and Pitch-to-Voltage Converters; Filters; EQs and Filter Banks; Analog Sequencers; Arpeggiators; Reverb; Analog Delay; Digital Delay; Loopers; Other Effects; 3 Choosing Your Synthesizer(s); Options; What's Your Budget?; Musical Tastes and Goals; Hardware vs. Software; Portability and Power; Programmability: Pros and Cons; Expandability; As Others Have Done; Perspective; Modular Synthesizers in the Twenty-first Century; An Overview; Modular Synth Shopping; More on Eurorack Modular; More on FracRak Modular 327 $aMore on Serge Modular 330 $aElectronic music instruments weren't called synthesizers until the 1950s, but their lineage began in 1919 with Russian inventor Lev Sergeyevich Termen's development of the Etherphone, now known as the Theremin. From that point, synthesizers have undergone a remarkable evolution from prohibitively large mid-century models confined to university laboratories to the development of musical synthesis software that runs on tablet computers and portable media devices. Throughout its history, the synthesizer has always been at the forefront of technology for the arts. In The Synthesizer: A Comprehensi 606 $aSynthesizer (Musical instrument)$xInstruction and study 606 $aElectronic music$xInstruction and study 608 $aElectronic books. 615 0$aSynthesizer (Musical instrument)$xInstruction and study. 615 0$aElectronic music$xInstruction and study. 676 $a786.7/419 700 $aVail$b Mark$0965752 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910453244503321 996 $aThe synthesizer$92191275 997 $aUNINA