Electronic music This article or section has multiple issues. Please help improve the article or discuss these issues on the talk page. • It needs additional references or sources for verification. Tagged since May 2008. • It may contain original research or unverifiable claims. Tagged since May 2008. • It needs to be expanded. Tagged since June 2008. For other uses, see Electronic music (disambiguation). For electronic musical instruments, see Electronic musical instrument. Electronic music is music that employs electronic musical instruments and electronic music technology in its production. [1] In general a distinction can be made between sound produced using electromechanical means and that produced using electronic technology.[2] Examples of electromechanical sound producing devices include the telharmonium, Hammond organ, and the electric guitar. Purely electronic sound production can be achieved using devices such as the Theremin, sound synthesizer, and computer.[3] Electronic music was once associated almost exclusively with Western art music but from the late 1960s on the availability of affordable music technology meant that music produced using electronic means became increasingly common in the popular domain.[4] Today electronic music includes many varieties and ranges from experimental art music to popular forms such as electronic dance music. Contents [hide] • 1 History • 1.1 Late 19th century to early 20th century • 1.1.1 "New Aesthetic of Music" • 1.1.2 The Futurists • 1.1.3 The 1920–1930s • 1.2 Developments from 1945 to 1960 • 1.2.1 Musique concrète • 1.2.2 Elektronische Musik • 1.2.3 American electronic music • 1.2.4 Columbia-Princeton • 1.2.5 Stochastic music • 1.2.6 Mid to late 1950s • 1.3 The 1960s • 1.3.1 Computer music • 1.3.2 Live electronics • 1.4 1970s • 1.4.1 Affordable synthesisers • 1.4.2 IRCAM • 1.4.3 Rise of popular electronic music • 1.5 1980s • 1.5.1 Birth of MIDI • 1.5.2 Affordable digital synthesis • 1.5.3 Rise of electronic dance music • 1.6 1990s • 1.6.1 Advancements • 1.6.2 Growth of popular electronic music • 1.7 The 2000s • 1.7.1 Circuit Bending • 2 See also • 3 References • 4 Further reading • 5 Footnotes • 6 External links Telharmonium, Thaddeus Cahill, 1897. The ability to record sounds is often connected to the production of electronic music, but not absolutely necessary for it. The earliest known sound recording device was the phonautograph, patented in 1857 by Édouard-Léon Scott de Martinville. It could record sounds visually, but was not meant to play them back.[5] In 1878, Thomas A. Edison patented the phonograph, which used cylinders similar to Scott's device. Although cylinders continued in use for some time, Emile Berliner developed the disc phonograph in 1887.[6] A significant invention, which was later to have a profound effect on electronic music, was Lee DeForest's triode audion. This was the first thermionic valve, or vacuum tube, invented in 1906, which led to the generation and amplification of electrical signals, radio broadcasting, and electronic computation, amongst other things. Before electronic music, there was a growing desire for composers to use emerging technologies for musical purposes. Several instruments were created that employed electromechanical designs and they paved the way for the later emergence of electronic instruments. An electromechanical instrument called the Teleharmonium (or Telharmonium) was developed by Thaddeus Cahill in the years 1898-1912. However, simple inconvenience hindered the adoption of the Teleharmonium, due to its immense size. The first electronic instrument is often viewed to be the Theremin, invented by Professor Leon Theremin circa 1919–1920.[citation needed] Another early electronic instrument was the Ondes Martenot, which was most famously used in the Turangalîla-Symphonie by Olivier Messiaen as well as other works by him. It was also used by other, primarily French, composers such as Andre Jolivet.[citation needed] [edit] "New Aesthetic of Music" Main article: Ferruccio Busoni Just a year later, another significant contribution was made to the advent of experimental music. This was the 1907 publication of Ferruccio Busoni's Sketch of a New Esthetic of Music, which discussed the use of electrical and other new sound sources in future music. He wrote of the future of microtonal scales in music, made possible by Cahill's Dynamophone: Only a long and careful series of experiments, and a continued training of the ear, can render this unfamiliar material approachable and plastic for the coming generation, and for Art.[7] Also in the Sketch of a New Esthetic of Music, Busoni states: Music as an art, our so-called occidental music, is hardly four hundred years old; its state is one of development, perhaps the very first stage of a development beyond present conception, and we—we talk of "classics" and "hallowed traditions"! And we have talked of them for a long time! We have formulated rules, stated principles, laid down laws;—we apply laws made for maturity to a child that knows nothing of responsibility! Young as it is, this child, we already recognize that it possesses one radiant attribute which signalizes it beyond all its elder sisters. And the lawgivers will not see this marvelous attribute, lest their laws should be thrown to the winds. This child—it floats on air! It touches not the earth with its feet. It knows no law of gravitation. It is wellnigh incorporeal. Its material is transparent. It is sonorous air. It is almost Nature herself. It is—free! But freedom is something that mankind have never wholly comprehended, never realized to the full. They can neither recognize nor acknowledge it. They disavow the mission of this child; they hang weights upon it. This buoyant creature must walk decently, like anybody else. It may scarcely be allowed to leap—when it were its joy to follow the line of the rainbow, and to break sunbeams with the clouds.[8] Through this writing, as well as personal contact, Busoni had a profound effect on many musicians and composers, perhaps most notably on his pupil, Edgard Varèse, who said: Together we used to discuss what direction the music of the future would, or rather, should take and could not take as long as the straitjacket of the tempered system. He deplored that his own keyboard instrument had conditioned our ears to accept only an infinitesimal part of the infinite gradations of sounds in nature. He was very much interested in the electrical instruments we began to hear about, and I remember particularly one he had read of called the Dynamophone. All through his writings one finds over and over again predictions about the music of the future which have since come true. In fact, there is hardly a development that he did not foresee, as for instance in this extraordinary prophecy: 'I almost think that in the new great music, machines will also be necessary and will be assigned a share in it. Perhaps industry, too, will bring forth her share in the artistic ascent.[9] [edit] The Futurists Main article: Futurism Luigi Russolo with his assistant Ugo Piatti and their Intonarumori (noise machines) In Italy, the Futurists were coming at the changing aesthetic from a different angle, but one that also affected the world of classical music. A major thrust of the Futurist philosophy was to value "noise," and to place artistic and expressive value on sounds that had previously not been considered even remotely musical. Balilla Pratella's "Technical Manifesto of Futurist Music" (1911) states that their credo is: To present the musical soul of the masses, of the great factories, of the railways, of the transatlantic liners, of the battleships, of the automobiles and airplanes. To add to the great central themes of the musical poem the domain of the machine and the victorious kingdom of Electricity.|[10] In 1914, futurist Luigi Russolo held the first "art-of-noises" concert in Milan on April 21. This used his Intonarumori, described by Russolo as "acoustical noise-instruments, whose sounds (howls, roars, shuffles, gurgles, etc.) were hand-activated and projected by horns and megaphones."[11] In June, similar concerts were held in Paris. [edit] The 1920–1930s This decade brought a wealth of early electronic instruments. Along with the Theremin, there is the presentation of the Ondes Martenot[12], which was designed to reproduce the microtonal sounds found in Hindu music,[citation needed] and the Trautonium. Maurice Martenot invented the Ondes Martenot in 1928, and soon demonstrated it in Paris. Another development, which aroused the interest of many composers, occurred in 1919–1920. In Leningrad, Leon Theremin (actually Lev Termen) built and demonstrated his Etherophone, which was later renamed the Theremin. This led to the first compositions for electronic instruments, as opposed to noisemakers and re-purposed machines. In 1929, Joseph Schillinger composed First Airphonic Suite for Theremin and Orchestra, premièred with the Cleveland Orchestra with Leon Theremin as soloist. In 1924, Ottorino Respighi composed The Pines of Rome, which calls for the use of a phonograph recording of nightingales. However, at the time of composition, phonograph players were acoustical, not electric, and this is actually more along the lines of using a sound effect, and therefore cannot be considered an electroacoustic element in the composition. The following year, Antheil first composed for mechanical devices, electrical noisemakers, motors and amplifiers in his unfinished opera, Mr. Bloom, as a response to the "art of noises" of Luigi Russolo, Marinetti and the other Futurists.[citation needed] And just one year later in 1926, was the première of Antheil's Ballet Mécanique, using car horns, airplane propellers, saws, and anvils (but no electronics). Recording of sounds made a leap in 1927, when American inventor J. A. O'Neill developed a recording device that used magnetically coated ribbon. However, this was a commercial failure. Two years later, Laurens Hammond established his company for the manufacture of electronic instruments. He went on to produce the Hammond organ, which was based on the principles of the Telharmonium, along with other developments including early reverberation units.[13][citation needed] The method of photo-optic sound recording used in cinematography made it possible to obtain a visible image of a sound wave, as well as to realize the opposite goal—synthesizing a sound from an artificially drawn sound wave. The research work by the Russian optical engineer Evgeny Murzin[citation needed] taken from 1937 to 1957[citation needed] made it possible to create a photoelectric synthesizer—a musical instrument that combined three processes: creation, recording, and playback of music. Murzin named his invention in honour of the composer Alexander Nikolayevich Scriabin (“ANS”).[citation needed] [edit] Developments from 1945 to 1960 [edit] Musique concrète Main article: Musique concrète See also: Acousmatic music The tape recorder had been developed in Germany during the early 1930s. Whereas Wire recorders had been in use since 1898, the first practical tape recorder was called the Magnetophon (Angus 1984.)[citation needed] It wasn't long before composers used the tape recorder to develop a new technique for composition called Musique concrète. This technique involved editing together recorded fragments of natural and industrial sounds.[14] The first pieces of musique concrète were written by Pierre Schaeffer, who later worked together with Pierre Henry. On 5 October 1948, Radiodiffusion Française (RDF) broadcast composer Pierre Schaeffer's Etude aux chemins de fer. This was the first "movement" of Cinq études de bruits, and marked the beginning of studio realizations and musique concrète (or acousmatic music). Schaeffer employed a disk-cutting lathe, four turntables, a four-channel mixer, filters, an echo chamber, and a mobile recording unit. Not long after this, Pierre Henry began collaborating with Schaeffer, a collaboration that was to have profound and lasting affects on the progression of electronic music. Also associated with Schaeffer, Edgard Varèse began work on Déserts for chamber orchestra and tape. The tape parts were created at Pierre Schaeffer's studio, and were later revised at Columbia University. In 1950, Schaeffer gave the first public (non-broadcast) concert of musique concrète at the Ecole Normale de Musique de Paris. "Schaeffer used a PA system, several turntables, and mixers. The performance did not go well, as creating live montages with turntables had never been done before."[15] Later that same year, Pierre Henry collaborated with Schaeffer on Symphonie pour un homme seul (1950) the first major work of musique concrete. In Paris in 1951, in what was to become an important worldwide trend, RTF established the first studio for the production of electronic music. Also in 1951, Schaeffer and Henry produced an opera, Orpheus, for concrete sounds and voices. [edit] Elektronische Musik Karlheinz Stockhausen worked briefly in Schaeffer's studio in 1952, and afterward for many years at the WDR Cologne's Studio for Electronic Music. In Cologne, what would become the most famous electronic music studio in the world was officially opened at the radio studios of the NWDR in 1953, though it had been in the planning stages as early as 1950 and early compositions were made and broadcast in 1951.[16][citation needed] The brain child of Werner Meyer-Eppler, Robert Beyer, and Herbert Eimert (who became its first director), the studio was soon joined by Karlheinz Stockhausen and Gottfried Michael Koenig. Meyer-Eppler's conception was to synthesize music entirely from electronically produced signals; in this way, elektronische Musik was sharply differentiated from French musique concrète, which used sounds recorded from acoustical sources.[17][citation needed] With Stockhausen and Mauricio Kagel in residence, it became a year-round hive of charismatic avante-gardism [sic]" [18] on two occasions combining electronically generated sounds with relatively conventional orchestras—in Mixtur (1964) and Hymnen, dritte Region mit Orchester (1967).[19][citation needed] Stockhausen stated that his listeners had told him his electronic music gave them an experience of "outer space," sensations of flying, or being in a "fantastic dream world"[20] More recently, Stockhausen turned to producing electronic music in his own studio in Kürten, his last work in the genre being Cosmic Pulses (2007). [edit] American electronic music In the United States, sounds were being created electronically and used in composition, as exemplified in a piece by Morton Feldman called Marginal Intersection. This piece is scored for winds, brass, percussion, strings, 2 oscillators, and sound effects of riveting, and the score uses Feldman's graph notation. The Music for Magnetic Tape Project was formed by members of the New York School (John Cage, Earle Brown, Christian Wolff, David Tudor, and Morton Feldman),[21] and lasted three years until 1954. Cage wrote of this collaboration, In this social darkness, therefore, the work of Earle Brown, Morton Feldman, and Christian Wolff continues to present a brilliant light, for the reason that at the several points of notation, performance, and audition, action is provocative.|[22] Cage completed Williams Mix in 1953 while working with the Music for Magnetic Tape Project.[23] The group had no permanent facility, and had to rely on borrowed time in commercial sound studios, including the studio of Louis and Bebe Barron. [edit] Columbia-Princeton Main article: Vladimir Ussachevsky Also in the U.S., in the same year, significant developments were happening in New York City. Columbia University purchased its first tape recorder—a professional Ampex machine—for the purpose of recording concerts. Vladimir Ussachevsky, who was on the music faculty of Columbia University, was placed in charge of the device, and almost immediately began experimenting with it. Herbert Russcol writes: "Soon he was intrigued with the new sonorities he could achieve by recording musical instruments and then superimposing them on one another."[24] Ussachevsky said later: "I suddenly realized that the tape recorder could be treated as an instrument of sound transformation."[24][citation needed] On Thursday, May 8, 1952, Ussachevsky presented several demonstrations of tape music/effects that he created at his Composers Forum, in the McMillin Theatre at Columbia University. These included Transposition, Reverberation, Experiment, Composition, and Underwater Valse. In an interview, he stated: "I presented a few examples of my discovery in a public concert in New York together with other compositions I had written for conventional instruments."[24] Otto Luening, who had attended this concert, remarked: "The equipment at his disposal consisted of an Ampex tape recorder . . . and a simple box-like device designed by the brilliant young engineer, Peter Mauzey, to create feedback, a form of mechanical reverberation. Other equipment was borrowed or purchased with personal funds."[25] Just three months later, in August 1952, Ussachevsky traveled to Bennington, Vermont at Luening's invitation to present his experiments. There, the two collaborated on various pieces. Luening described the event: "Equipped with earphones and a flute, I began developing my first tape-recorder composition. Both of us were fluent improvisors and the medium fired our imaginations."[25] They played some early pieces informally at a party, where "a number of composers almost solemnly congratulated us saying, 'This is it' ('it' meaning the music of the future)."[25] Word quickly reached New York City. Oliver Daniel telephoned and invited the pair to "produce a group of short compositions for the October concert sponsored by the American Composers Alliance and Broadcast Music, Inc., under the direction of Leopold Stokowski at the Museum of Modern Art in New York. After some hesitation, we agreed. . . . Henry Cowell placed his home and studio in Woodstock, New York, at our disposal. With the borrowed equipment in the back of Ussachevsky's car, we left Bennington for Woodstock and stayed two weeks. . . . In late September, 1952, the travelling laboratory reached Ussachevsky's living room in New York, where we eventually completed the compositions."[25] Two months later, on October 28, Vladimir Ussachevsky and Otto Luening presented the first Tape Music concert in the United States. The concert included Luening's Fantasy in Space (1952)—"an impressionistic virtuoso piece"[25] using manipulated recordings of flute—and Low Speed (1952), an "exotic composition that took the flute far below its natural range."[25] Both pieces were created at the home of Henry Cowell in Woodstock, NY. After several concerts caused a sensation in New York City, Ussachevsky and Luening were invited onto a live broadcast of NBC's Today Show to do an interview demonstration—the first televised electroacoustic performance. Luening described the event: "I improvised some [flute] sequences for the tape recorder. Ussachevsky then and there put them through electronic transformations."[26] 1954 saw the advent of what would now be considered authentic electric plus acoustic compositions—acoustic instrumentation augmented/accompanied by recordings of manipulated and/or electronically generated sound. Three major works were premiered that year: Varèse's Déserts, for chamber ensemble and tape sounds, and two works by Luening and Ussachevsky: Rhapsodic Variations for the Louisville Symphony and A Poem in Cycles and Bells, both for orchestra and tape. Because he had been working at Schaeffer's studio, the tape part for Varèse's work contains much more concrete sounds than electronic. "A group made up of wind instruments, percussion and piano alternates with mutated sounds of factory noises and ship sirens and motors, coming from two loudspeakers."[27] Déserts was premiered in Paris in the first stereo broadcast on French Radio. At the German premiere in Hamburg, which was conducted by Bruno Maderna, the tape controls were operated by Karlheinz Stockhausen.[27] The title Déserts, suggested to Varèse not only, "all physical deserts (of sand, sea, snow, of outer space, of empty streets), but also the deserts in the mind of man; not only those stripped aspects of nature that suggest bareness, aloofness, timelessness, but also that remote inner space no telescope can reach, where man is alone, a world of mystery and essential loneliness."[28] [edit] Stochastic music This section does not cite any references or sources. Please help improve this section by adding citations to reliable sources. Unverifiable material may be challenged and removed. (June 2007) Main articles: Iannis Xenakis and Stochastic music#Music An important new development was the advent of computers for the purpose of composing music, as opposed to manipulating or creating sounds. Iannis Xenakis began what is called "musique stochastique," or "stochastic music," which is a method of composing that employs mathematical probability systems. Different probability algorithms were used to create a piece under a set of parameters. Xenakis used graph paper and a ruler to aid in calculating the velocity trajectories of glissandi for his orchestral composition Metastasis (1953–54), but later turned to the use of computers to compose pieces like ST/4 for string quartet and ST/48 for orchestra (both 1962). [edit] Mid to late 1950s In 1954, Stockhausen composed his Elektronische Studie II—the first electronic piece to be published as a score. In 1955, more experimental and electronic studios began to appear. Notable were the creation of the Studio de Fonologia (already mentioned), a studio at the NHK in Tokyo founded by Toshiro Mayuzumi, and the Phillips studio at Eindhoven, the Netherlands, which moved to the University of Utrecht as the Institute of Sonology in 1960. The score for Forbidden Planet, by Louis and Bebe Barron,[29] was entirely composed using custom built electronic circuits in 1956. The impact of computers continued in 1956. Lejaren Hiller and Leonard Isaacson composed Iliac Suite for string quartet, the first complete work of computer-assisted composition using algorithmic composition. "... Hiller postulated that a computer could be taught the rules of a particular style and then called on to compose accordingly."[30] That same year Stockhausen composed Gesang der Jünglinge, the first major work of the Cologne studio, based on a text from the Book of Daniel. An important technological development of that year was the invention of the Clavivox synthesizer by Raymond Scott with subassembly by Robert Moog. Two new electronic instruments made their debut in 1957. Unlike the earlier Theremin and Ondes Martenot, these instruments were hard to use, required extensive programming, and neither could be played in real time. The first of these electronic instruments was the computer when Max Mathews used a program called Music 1, later users were Edgard Varèse, and Iannis Xenakis. The other electronic instrument that appeared that year was the first electronic synthesizer. Called the RCA Mark II Sound Synthesizer, it used vacuum tube oscillators and incorporated the first electronic music sequencer. It was designed by RCA and installed at the Columbia-Princeton Electronic Music Center where it remains to this day.[citation needed] In 1957, MUSIC, one of the first computer programs to play electronic music, was created by Max Mathews at Bell Laboratories. Later, Milton Babbitt, influenced in his student years by Schoenberg's "revolution in musical thought" began applying serial techniques to electronic music.[citation needed] From 1950 to 1960 the vocabulary of tape music shifted from the fairly pure experimental works which characterized the classic Paris and Cologne schools to more complex and expressive works which explored a wide range of compositional styles. More and more works began to appear by the mid-1950s which addressed the concept of combining taped sounds with live instruments and voices. There was also a tentative interest, and a few attempts, at incorporating taped electronic sounds into theatrical works.|[31][citation needed] The public remained interested in the new sounds being created around the world, as can be deduced by the inclusion of Varèse's Poeme Electronique, which was played over four hundred loudspeakers at the Phillips Pavilion of the 1958 Brussels World Fair. That same year, Mauricio Kagel, an Argentinean composer, composed Transición II, the first piece to call for live tape recorder as part of performance.[citation needed] The work was realized at the WDR studio in Cologne. Two musicians perform on a piano, one in the traditional manner, the other playing on the strings, frame, and case. Two other performers use tape to unite the presentation of live sounds with the future of prerecorded materials from later on and its past of recordings made earlier in the performance. [edit] The 1960s These were fertile years for electronic music—not for academia, and for independent artists as synthesizer technology became more accessible. By this time, a strong community of composers and musicians working with new sounds and instruments was well established, and growing. 1960 witnessed the composition of Luening's Gargoyles for violin and tape as well as the premiere of Stockhausen's Kontakte for electronic sounds, piano, and percussion. This piece existed in two versions—one for 4-channel tape, and the other for tape with human performers. "In Kontakte, Stockhausen abandoned traditional musical form based on linear development and dramatic climax. This new approach, which he termed 'moment form,' resembles the 'cinematic splice' techniques in early twentieth century film."[32] The first of these synthesizers to appear was the Buchla. Appearing in 1963, it was the product of an effort spearheaded by musique concrète composer Morton Subotnick. In 1962, working with a grant from the Rockefeller Foundation, Subotnick and business partner Ramon Sender hired electrical engineer Don Buchla to build a "black box" for composition.[citation needed] The theremin, an exceedingly difficult instrument to play, was even used in some popular music.[citation needed] One influential pioneer and artist in this period was Delia Derbyshire of the BBC Radiophonic Workshop, who added a keen musical ear to mere technological prowess. Milton Babbitt composed his first electronic work using the synthesizer—his Composition for Synthesizer—which he created using the RCA synthesizer at CPEMC. For Babbitt, the RCA synthesizer was a dream come true for three reasons. First, the ability to pinpoint and control every musical element precisely. Second, the time needed to realize his elaborate serial structures were brought within practical reach. Third, the question was no longer "What are the limits of the human performer?" but rather "What are the limits of human hearing?|[33] The collaborations also occurred across oceans and continents. In 1961, Ussachevsky invited Varèse to the Columbia-Princeton Studio (CPEMC). Upon arrival, Varese embarked upon a revision of Déserts. He was assisted by Mario Davidovsky and Bülent Arel.[34] The intense activity occurring at CPEMC and elsewhere inspired the establishment of the San Francisco Tape Music Center in 1963 by Morton Subotnick, with additional members Pauline Oliveros, Ramon Sender, Terry Riley, and Anthony Martin. The center soon incorporated a voltage-controlled synthesizer based around automated sequencing by Don Buchla, and used in album-length Subotnick pieces such as Silver Apples of the Moon (1967) and The Wild Bull (1968). Later, the Center moved to Mills College, directed by Pauline Oliveros, where it is today known as the Center for Contemporary Music.[35][36] Back across the Atlantic, in Czechoslovakia, 1964, the First Seminar of Electronic Music was held at the Radio Broadcast Station in Plzen. Four government-sanctioned electroacoustic music studios were later established in the 1960s under the auspices of extant radio and television stations. New instruments continued to develop. In 1964, the first fully-developed Moog synthesizer was completed. Moog Music introduced a smaller synthesizer with a built-in keyboard and hardwired signal path called The Minimoog, which was introduced to many composers, universities and popular musicians. A well-known example of the use of Moog's full-sized Moog Modular synthesizer is the Switched-On Bach album by Wendy Carlos. This decade saw construction of more than 50 electronic music studios in the USA, mostly in universities.[citation needed] [edit] Computer music Main article: Computer music See also: Music-N and Algorithmic composition One of the first major public demonstrations of computer music was a pre-recorded national radio broadcast on the NBC radio network program Monitor on February 10, 1962. In 1961, LaFarr Stuart programmed Iowa State University's CYCLONE computer (a derivative of the Illiac) to play simple, recognizable tunes through an amplified speaker that had been attached to the system originally for administrative and diagnostic purposes. An interview with Mr. Stuart accompanied his computer music. The 1960s also saw the development of large mainframe computer synthesis. Max Mathews of Bell Labs perfected MUSIC V, a direct digital synthesis language.[citation needed] [edit] Live electronics See also: electroacoustic improvisation In America, live electronics were pioneered in the early 1960s by members of Milton Cohen's Space Theater in Ann Arbor, Michigan, including Gordon Mumma and Robert Ashley, by individuals such as David Tudor around 1965, and The Sonic Arts Union, founded in 1966 by Gordon Mumma, Robert Ashley, Alvin Lucier, and David Behrman. ONCE Festivals, featuring multimedia theater music, were organized by Robert Ashley and Gordon Mumma in Ann Arbor between 1958 and 1969. In 1960, John Cage composed Cartridge Music, one of the earliest live-electronic works. In Europe in 1964, Karlheinz Stockhausen composed Mikrophonie I for tam-tam, hand-held microphones, filters, and potentiometers, and Mixtur for orchestra, for four sine-wave generators, and four ring modulators. In 1965 he composed Mikrophonie II for choir, Hammond organ, and ring modulators. In 1966-67 Reed Ghazala discovered and began to teach "circuit bending"—the application of the creative short circuit, a process of chance short-circuiting, creating experimental electronic instruments, exploring sonic elements mainly of timbre and with less regard to pitch or rhythm, and influenced by John Cage’s aleatoric music concept.[37] [edit] 1970s Please help improve this section by expanding it. Further information might be found on the talk page or at requests for expansion. (June 2008) In 1970, Charles Wuorinen composed Time's Encomium, the first Pulitzer Prize winner for an entirely electronic composition [edit] Affordable synthesisers See also: Minimoog, Modular synthesizer, Buchla, ARP Instruments, Inc., and Korg Released in 1970 by Moog Music the Mini-Moog was among the first widely available, portable and relatively affordable synthesizers. It became the most widely used synthesizer in both popular and electronic art music.[38] [edit] IRCAM Main article: IRCAM (Paris) became a major center for computer music research and realization and development of the Sogitec 4X computer system[39], featuring then revolutionary real-time digital signal processing. Pierre Boulez's Repons (1981) for 24 musicians and 6 soloists used the 4X to transform and route soloists to a loudspeaker system. [edit] Rise of popular electronic music See also: Kraftwerk, Krautrock, Space rock, Synthpop, New Order, Depeche Mode, Human League, and Ultravox Throughout the seventies bands such as The Residents and Can spearheaded an experimental music movement that incorporated electronic sounds. Can were one of the first bands to use tape loops for rhythm sections and The Residents created their own custom built drum machine. In 1979, UK recording artist Gary Numan helped to bring electronic music into the wider marketplace of pop music with his hit "Cars" from the album The Pleasure Principle. Arguably[weasel words] the biggest hit single of the 80s "Blue Monday" by New Order released in 1983 from the "Power, Corruption and Lies" album solidified electronic music in the mainstream for good and paved the way for today's modern electronic music.[citation needed] Other influential artists in the 1970s and early 80s, who composed primarily electronic instrumental music and managed to reach beyond the academic sphere and into the popular realm, were Jean Michel Jarre, Tangerine Dream, Klaus Schulze, Vangelis, Yello, Ray Buttigieg and Art of Noise. [edit] 1980s [edit] Birth of MIDI Main article: MIDI In 1980, a group of musicians and music merchants met to standardize an interface by which new instruments could communicate control instructions with other instruments and the prevalent microcomputer. This standard was dubbed MIDI (Musical Instrument Digital Interface). A paper was authored by Dave Smith of Sequential Circuits and proposed to the Audio Engineering Society in 1981. Then, in August 1983, the MIDI Specification 1.0 was finalized. The advent of MIDI technology allows a single keystroke, control wheel motion, pedal movement, or command from a microcomputer to activate every device in the studio remotely and in synchrony, with each device responding according to conditions predetermined by the composer. MIDI instruments and software made powerful control of sophisticated instruments easily affordable by many studios and individuals. Acoustic sounds became reintegrated into studios via sampling and sampled-ROM-based instruments. Miller Puckette developed graphic signal-processing software for 4X called Max (after Max Mathews) and later ported it to Macintosh (with Dave Zicarelli extending it for Opcode [40]) for real-time MIDI control, bringing algorithmic composition availability to most composers with modest computer programming background. [edit] Affordable digital synthesis See also: Digital synthesizer and Sampling (music) In 1983, Yamaha introduced the first stand-alone digital synthesizer, the DX-7. It used frequency modulation synthesis (FM synthesis), first experimented with by John Chowning at Stanford during the late sixties.[41] Barry Vercoe describes one of his experiences with early computer sounds: At IRCAM in Paris in 1982, flutist Larry Beauregard had connected his flute to DiGiugno's 4X audio processor, enabling real-time pitch-following. On a Guggenheim at the time, I extended this concept to real-time score-following with automatic synchronized accompaniment, and over the next two years Larry and I gave numerous demonstrations of the computer as a chamber musician, playing Handel flute sonatas, Boulez's Sonatine for flute and piano and by 1984 my own Synapse II for flute and computer—the first piece ever composed expressly for such a setup. A major challenge was finding the right software constructs to support highly sensitive and responsive accompaniment. All of this was pre-MIDI, but the results were impressive even though heavy doses of tempo rubato would continually surprise my Synthetic Performer. In 1985 we solved the tempo rubato problem by incorporating learning from rehearsals (each time you played this way the machine would get better). We were also now tracking violin, since our brilliant, young flutist had contracted a fatal cancer. Moreover, this version used a new standard called MIDI, and here I was ably assisted by former student Miller Puckette, whose initial concepts for this task he later expanded into a program called MAX.[42] [edit] Rise of electronic dance music Main article: Electronic dance music See also: Italo disco, Euro disco, New romantic, Electro music, Techno, House music, Acid house, and Rave music Please help improve this section by expanding it. Further information might be found on the talk page or at requests for expansion. (June 2008) [edit] 1990s Please help improve this section by expanding it. Further information might be found on the talk page or at requests for expansion. (June 2008) [edit] Advancements In the 1990s, interactive computer-assisted performance started to become possible, with one example describes as follows: Automated Harmonization of Melody in Real Time: An interactive computer system, developed in collaboration with flutist/composer Pedro Eustache, for realtime melodic analysis and harmonic accompaniment. Based on a novel scheme of harmonization devised by Eustache, the software analyzes the tonal melodic function of incoming notes, and instantaneously performs an orchestrated harmonization of the melody. The software was originally designed for performance by Eustache on Yamaha WX7 wind controller, and was used in his composition Tetelestai, premiered in Irvine, California in March 1999.|[43] Other recent developments included the Tod Machover (MIT and IRCAM) composition Begin Again Again for "hypercello," an interactive system of sensors measuring physical movements of the cellist. Max Mathews developed the "Conductor" program for real-time tempo, dynamic and timbre control of a pre-input electronic score. Morton Subotnick released a multimedia CD-ROM All My Hummingbirds Have Alibis. [edit] Growth of popular electronic music A live performance with electronic instruments. See also: Intelligent dance music, electronica, and List of electronic music genres Please help improve this section by expanding it. Further information might be found on the talk page or at requests for expansion. (June 2008) [edit] The 2000s In recent years, as computer technology has become more accessible and music software has advanced, interacting with music production technology is now possible using means that bear no relationship to traditional musical performance practices:[44] for instance, laptop performance (laptronica)[45] and live coding.[46] In the last decade a number of software-based virtual studio environments have emerged, with products such as Propellerhead's Reason and Ableton Live finding popular appeal.[47] Such tools provide viable and cost-effective alternatives to typical hardware-based production studios, and thanks to advances in microprocessor technology, it is now possible to create high quality music using little more than a single laptop computer. Such advances have, for better or for worse, democratized music creation,[48] leading to a massive increase in the amount of home-produced electronic music available to the general public via the internet. Artists can now also individuate their production practice by creating personalized software synthesizers, effects modules, and various composition environments. Devices that once existed exclusively in the hardware domain can easily have virtual counterparts. Some of the more popular software tools for achieving such ends are commercial releases such as Max/Msp and Reaktor and freeware packages such as Pure Data, SuperCollider, and ChucK. [edit] Circuit Bending Probing for "bends" using a jeweler's screwdriver and alligator clips. Main article: Circuit bending A practice originally pioneered by Reed Ghazala in the 1960s; it has recently found significant popular appeal. Circuit bending is the creative short-circuiting of low voltage, battery-powered electronic audio devices such as guitar effects, children's toys and small synthesizers to create new musical instruments and sound generators.[citation needed] Emphasizing spontaneity and randomness, the techniques of circuit bending have been commonly associated with noise music, though many more conventional contemporary musicians and musical groups have been known to experiment with "bent" instruments.[citation needed] [edit] See also • Computer Music • Acousmatic music • Electroacoustic music • NIME • Noise music • Sound sculpture • Sound installation • Sound art • Progressive electronic music • Video game music • Winter Music Conference • Schaffel music • Raymond Scott • Spectral music • Live PA • Musique concrète [edit] References • Angus, Robert. 1984. "History of Magnetic Recording, Part One". Audio Magazine (August): 27–33. • Anonymous. 1972. Liner notes to The Varese Album. Columbia Records MG 31078. • Bassingthwaighte, Sarah Louise. 2002. "Electroacoustic Music for the Flute". DMA dissertation. Seattle: University of Washington. • Bayly, Richard. 1982–83. "Ussachevsky on Varèse: An Interview April 24, 1979 at Goucher College," Perspectives of New Music 21 (Fall-Winter 1982 and Spring-Summer 1983):145–51. • Brick, Howard. 2000. Age of Contradiction: American Thought and Culture in the 1960s. Ithaca: Cornell University Press. ISBN 0801487005 (Originally published: New York: Twayne, 1998) • Busoni, Ferruccio. 1962. '"Sketch of a New Esthetic of Music". Translated by Dr. Th. Baker and originally published in 1911 by G. Schirmer. Reprinted in Three Classics in the Aesthetic of Music: Monsieur Croche the Dilettante Hater, by Claude Debussy; Sketch of a New Esthetic of Music, by Ferruccio Busoni; Essays before a Sonata, by Charles E. Ives, 73–102. New York: Dover Publications, Inc. • Chadabe Joel. 1997. Electric Sound: The Past and Promise of Electronic Music. Upper Saddle River, New Jersey: Prentice Hall. • Chadabe, Joel. 2004. "Electronic Music and Life". Organised Sound 9, no. 1: 3–6. • Chowning, John. 1973. "The Synthesis of Complex Audio Spectra by Means of Frequency Modulation". Journal of the Audio Engineering Society 21, no. 7:526–34. • Collins, Nick. 2003. "Generative Music and Laptop Performance". Contemporary Music Review 22, no. 4:67-79. • Dobrian, Christopher. 2002. "Current Research Projects". Accessed 29 June 2007. • Donhauser, Peter. 2007. Elektrische Klangmaschinen. Vienna: Boehlau. • Dunn, David. 1992 "A History of Electronic Music Pioneers", in catalog accompanying the exhibition Eigenwelt der Apparatewelt: Pioneers of Electronic Art, curated by Woody and Steina Vasulka and presented as part of Ars Electronica 1992, in Linz, Austria. • Eimert, Herbert. 1958. "What Is Electronic Music?" Die Reihe 1 (English edition): 1–10. • Eimert, Herbert. 1972. "How Electronic Music Began." Musical Times 113, no. 1550 (April): 347 & 349. (First published in German in Melos 39 (Jan.-Feb. 1972): 42–44.) • Emmerson, Simon. 1986. The Language of Electroacoustic Music. London: Macmillan. • Emmerson, Simon (ed.). 2000. Music, Electronic Media, and Culture. Aldershot (Hants.), Burlington (VT): Ashgate. ISBN 0754601099 • Emmerson, Simon. 2007. Living Electronic Music. Aldershot (Hants.), Burlington (VT): Ashgate. ISBN 0754655466 (cloth) ISBN 0754655482 (pbk) • Gard, Stephen. 2004. "Nasty Noises: ‘Error’ as a Compositional Element". Sydney Conservatorium of Music, Sydney eScholarship Repository. • Griffiths, Paul. 1995. Modern Music and After: Directions Since 1945. Oxford and New York: Oxford University Press. ISBN 0198165781 (cloth) ISBN 0198165110 (pbk) • Holmes, Thomas B. 2002. Electronic and Experimental Music: Pioneers in Technology and Composition. Second edition. London: Routledge Music/Songbooks. ISBN 0415936438 (cloth) ISBN 0415936446 (pbk) • Kurtz, Michael. 1992. Stockhausen: A Biography. Trans. by Richard Toop. London: Faber and Faber. ISBN 0571143237 • Johnson, Steven. 2002. The New York Schools of Music and Visual Arts: John Cage, Morton Feldman. New York: Routledge. ISBN 0415936942 • Lebrecht, Norman. 1996. The Companion to 20th-Century Music. Da Capo Press. ISBN 0306807343 (pbk) • Luening, Otto. 1964. "Some Random Remarks About Electronic Music", Journal of Music Theory 8, no. 1 (Spring): 89–98. • Luening, Otto. 1968. "An Unfinished History of Electronic Music". Music Educators Journal 55, no. 3 (November): 42–49, 135–42, 145. • Macon, Edward L. 1997. Rocking the Classics: English Progressive Rock and the Counterculture. Oxford and New York: Oxford University Press. ISBN 0195098870 • Morawska-Büngeler, Marietta. 1988. Schwingende Elektronen: Eine Dokumentation über das Studio für Elektronische Musik des Westdeutschen Rundfunk in Köln 1951–1986. Cologne-Rodenkirchen: P. J. Tonger Musikverlag. • Norman, Katharine. 2004. Sounding Art: Eight Literary Excursions through Electronic Music. Aldershot: Ashgate Publishing, Ltd. ISBN 0754604268 • Peyser, Joan. 1995. The Music of My Time. White Plains, N.Y.: Pro/AM Music Resources Inc.; London: Kahn and Averill. ISBN 0912483997; ISBN 1871082579 • Roads, Curtis. 1996. The Computer Music Tutorial. Cambridge, MA: MIT Press. ISBN 0262181584 (cloth) ISBN 0262680823 (pbk) • Rosen, Jody. 2008. "Researchers Play Tune Recorded before Edison". New York Times (27 March). • Russcol, Herbert. 1972. The Liberation of Sound: An Introduction to Electronic Music. Englewood Cliffs, New Jersey: Prentice-Hall. • Schwartz, Elliott. 1975. Electronic Music New York: Praeger. • Snyder, Jeff. [n.d.]. "Pierre Schaeffer: Inventor of Musique Concrete". Accessed May 2002. • Ungeheuer, Elena. 1992. Wie die elektronische Musik "erfunden" wurde: Quellenstudie zu Werner Meyer-Epplers musikalischem Entwurf zwischen 1949 und 1953. Kölner Schriften zur neuen Musik 2. Mainz and New York: Schott. ISBN 3795718910 • Vercoe, Barry. 2000. "Forward," in The Csound Book: Perspectives in Software Synthesis, Sound Design, Signal Processing, and Programming, edited by Richard Boulanger, xxvii–xxx. Cambridge, Mass.: MIT Press. • Watson, Scott. 2005. "A Return to Modernism". Music Education Technology Magazine (February) • Weidenaar, Reynold. 1995. Magic Music from the Telharmonium: The Story of the First Music Synthesizer. Metuchen, NJ: Scarecrow Press, Inc.. ISBN 0-8108-2692-5 • Zimmer, Dave. 2000. Crosby, Stills, and Nash: The Authorized Biography. Photography by Henry Diltz. New York: Da Capo Press. ISBN 0-306-80974-5 [edit] Further reading • Bogdanov, Vladimir, Chris Woodstra, Stephen Thomas Erlewine, and John Bush (editors). 2001. The All Music Guide to Electronica: The Definitive Guide to Electronic Music. AMG All Music Guide Series. San Francisco: Backbeat Books. ISBN 0-87930-628-9 • Cummins, James. (2008) Ambrosia: About a Culture - An Investigation of Electronic Music and Party Culture. Toronto, ON: Clark-Nova Books. ISBN 978-0-978489-21-2 • Heifetz, Robin J. (ed.). 1989. "On The Wires of Our Nerves: The Art of Electroacoustic Music". Cranbury, NJ: Associated University Presses. ISBN 0838751555 • Kahn Douglas. 1999. Noise, Water, Meat: A History of Sound in the Arts. Cambridge, MA: MIT Press. ISBN 0262112434 New edition 2001, ISBN 0262611724 • Kettlewell, Ben. 2001. Electronic Music Pioneers. [N.p.]: Course Technology, Inc. ISBN 1-931140-17-0 • Licata, Thomas (ed.). (2002). Electroacoustic Music: Analytical Perspectives. Westport, CT: Greenwood Press. ISBN 0313314209 • Manning, Peter. 2004. Electronic and Computer Music. Revised and expanded edition. Oxford and New York: Oxford University Press. ISBN 0195144848 (cloth) ISBN 0195170857 (pbk) • Prendergast, Mark. 2001. The Ambient Century: From Mahler to Trance: The Evolution of Sound in the Electronic Age. Forward [sic] by Brian Eno. New York: Bloomsbury. ISBN 0-7475-4213-9, ISBN 1-58234-134-6 (hardcover eds.) ISBN 1-58234-323-3 (paper) • Reynolds, Simon. 1998. Energy Flash: A Journey Through Rave Music and Dance Culture. London: Pan Macmillan. ISBN 0-330-35056-0 (US title, Generation Ecstasy: Into the World of Techno and Rave Culture. Boston: Little, Brown, 1998 ISBN 0316741116; New York: Routledge, 1999 ISBN 0-415-92373-5) • Schaefer, John. 1987. New Sounds: A Listener's Guide to New Music. New York: Harper Collins. ISBN 0-06-097081-2 • Shapiro, Peter (editor). 2000. Modulations: a History of Electronic Music: Throbbing Words on Sound. New York: Caipirinha Productions ISBN 1-891024-06-X • Sicko, Dan. 1999. Techno Rebels: The Renegades of Electronic Funk. New York: Billboard Books. ISBN 0-8230-8428-0 • Stockhausen, Karlheinz. 1978. Texte zur Musik 4. Cologne: DuMont Buchverlag. ISBN 3-7701-1078-1 [edit] Footnotes 1. ^ "The novelty of making music with electronic instruments has long worn off. The use of electronics to compose, organize, record, mix, color, stretch, randomize, project, perform, and distribute music is now intimately woven into the fabric of modern experience" (Holmes 2002, 1). 2. ^ "The stuff of electronic music is electrically produced or modified sounds. ... two basic definitions will help put some of the historical discussion in its place: purely electronic music versus electroacoustic music" (Holmes 2002, 6). 3. ^ "Electroacoustic music uses electronics to modify sounds from the natural world. The entire spectrum of worldly sounds provides the source material for this music. This is the domain of microphones, tape recorders and digital samplers... can be associated with live or recorded music. During live performances, natural sounds are modified in real time using electronics. The source of the sound can be anything from ambient noise to live musicians playing conventional instruments" (Holmes 2002, 8). 4. ^ "Electronically produced music is part of the mainstream of popular culture. Musical concepts that were once considered radical—the use of environmental sounds, ambient music, turntable music, digital sampling, computer music, the electronic modification of acoustic sounds, and music made from fragments of speech-have now been subsumed by many kinds of popular music. Record store genres including new age, rap, hip-hop, electronica, techno, jazz, and popular song all rely heavily on production values and techniques that originated with classic electronic music" (Holmes 2002, 1). "By the 1990s, electronic music had penetrated every corner of musical life. It extended from ethereal sound-waves played by esoteric experimenters to the thumping syncopation that accompanies every pop record" (Lebrecht 1996, 106). 5. ^ Rosen 2008 6. ^ Russcol 1972, 67. 7. ^ Busoni 1962, 95. 8. ^ Busoni 1962, 76–77. 9. ^ Russcol 1972, 35-36. 10. ^ Quoted in Russcol 1972, 40. 11. ^ Russcol 1972, 68. 12. ^ Composers using the instrument ultimately include Boulez, Honneger, Jolivet, Koechlin, Messiaen, Milhaud, Tremblay, and Varèse. In 1937, Messiaen wrote Fête des belles eaux for 6 ondes Martenot, and wrote solo parts for it in Trois petites liturgies de la Présence Divine (1943–44) and the Turangalîla Symphonie (1946–48/90). 13. ^ Russcol 1972, 70. 14. ^ "Musique Concrete was created in Paris in 1948 from edited collages of everyday noise" (Lebrecht 1996, 107). 15. ^ Snyder [n.d.] Pierre Schaeffer: Inventor of Musique Concrète. 16. ^ Eimert 1972, 349. 17. ^ Eimert 1958, 2; Ungeheuer 1992, 117. 18. ^ (Lebrecht 1996, 75). "... at Northwest German Radio in Cologne (1953), where the term 'electronic music' was coined to distinguish their pure experiments from musique concrete..." (Lebrecht 1996, 107). 19. ^ Stockhausen 1978, 73–76, 78–79. 20. ^ "In 1967, just following the world premiere of Hymnen, Stockhausen said this about the electronic music experience: '... Many listeners have projected that strange new music which they experienced—especially in the realm of electronic music—into extraterrestrial space. Even though they are not familiar with it through human experience, they identify it with the fantastic dream world. Several have commented that my electronic music sounds "like on a different star," or "like in outer space." Many have said that when hearing this music, they have sensations as if flying at an infinitely high speed, and then again, as if immobile in an immense space. Thus, extreme words are employed to describe such experience, which are not "objectively" communicable in the sense of an object description, but rather which exist in the subjective fantasy and which are projected into the extraterrestrial space'" (Holmes 2002, 145). 21. ^ Johnson 2002, 2. 22. ^ Johnson 2002, 4 23. ^ "Carolyn Brown [Earle Brown's wife] was to dance in Cunningham's company, while Brown himself was to participate in Cage's 'Project for Music for Magnetic Tape.'... funded by Paul Williams (dedicatee of the 1953 Williams Mix), who—like Robert Raushenberg—was a former student of Black Mountain College, which Cage and Cunnigham had first visited in the summer of 1948" (Johnson 2002, 20). 24. ^ a b c Russcol 1972, 92. 25. ^ a b c d e f Luening 1968, 48. 26. ^ Luening 1968, 49. 27. ^ a b Kurtz 1992, 75-76. 28. ^ Anonymous 1972. 29. ^ "From at least Louis and Bebbe Barron's soundtrack for 'The Forbidden Planet" onwards, electronic music - in particular synthetic timbre - has impersonated alien worlds in film" (Norman 2004, 32). 30. ^ Schwartz 1975, 347. 31. ^ Dunn 1992, 17. 32. ^ Kurtz 1992, 1. 33. ^ Schwartz 1975, 124. 34. ^ Bayly 1982–83, 150. 35. ^ "A central figure in post-war electronic art music, [Pauline] Oliveros [b. 1930] is one of the original members of the San Francisco Tape Music Center (along with Morton Subotnick, Ramon Sender, Terry Riley, and Anthony Martin), which was the resource on the U.S. west coast for electronic music during the 1960s. The Center later moved to Mills College, where she was its first director, and is now called the Center for Contemporary Music." from CD liner notes, "Accordion & Voice," Pauline Oliveros, Record Label: Important, Catalog number IMPREC140: 793447514024. 36. ^ Rappaport, Scott (2007-04-02). "Digital arts and new media grad students collaborate musically across three time zones". UC Santa Cruz Online. "A central figure in electronic art music and a pioneer in Internet musical collaboration, Oliveros has written four books and released numerous recordings on the subject." 37. ^ Yabsley, Alex (2007-02-03). "Back to the 8 bit: A Study of Electronic Music Counter-culture". Dot.AY. "This element of embracing errors is at the centre of Circuit Bending, it is about creating sounds that are not supposed to happen and not supposed to be heard (Gard, 2004). In terms of musicality, as with electronic art music, it is primarily concerned with timbre and takes little regard of pitch and rhythm in a classical sense. ... . In a similar vein to Cage’s aleatoric music, the art of Bending is dependent on chance, when a person prepares to bend they have no idea of the final outcome." 38. ^ Montanaro, Larisa Katherine (May, 2004). "A Singer’s Guide to Performing Works for Voice and Electronics, PhD thesis Doctor of Musical Arts". The University of Texas at Austin. "In 1969, a portable version of the studio Moog, called the Minimoog, became the most widely used synthesizer in both popular music and electronic art music" 39. ^ wikiC/2.06: Sogitec 4X 40. ^ Max at Opcode 41. ^ Chowning 1973. 42. ^ Vercoe 2000, xxviii–xxix. 43. ^ Dobrian 2002, Automated Harmonization of Melody in Real Time 44. ^ Emmerson 2007, 111–13. 45. ^ Emmerson 2007, 80-81. 46. ^ Emmerson 2007, 115; Collins 2003. 47. ^ 23rd Annual International Dance Music Awards: Best Audio Editing Software of the Year - 1st Abelton Live , 4th Reason. Best Audio DJ Software of the Year - Abelton Live. 48. ^ Chadabe 2004,[citation needed]. 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Password dimenticata?Naviga per marca SelezionaAbletonAccessADAM Professional AudioAhlborn OrgansAKAI ProfessionalAKG AcousticsAlesisAllen & HeathAltoAntaresApogeeApogeoAppleApplied Acoustic SystemArturiaAshdownAsk VideoAudio InnovateAudio TechnicaAudio ToolsBachBasement ArtsBasixBehringerBelkinBest ServiceBirchwood CaseyBlue MicrophonesBontempiBornemarkBossBrian May GuitarsBugeraCarbostickCarischCasioCelestionClaviaCME Master KeyboardsCoffin CaseCortexCreamwareD'AddarioDanelectroDB TechnologiesDBXDean MarkleyDenon DJDeSalvoDigidesignDigitechDikomDiMarzioDR StringsDunlopDW DrumsDynaudio AcousticsE-Mu SystemsEast WestEcho Digital AudioEdirolEditors KeysEdizioni CurciEko GuitarsEKSElektronEmpire MediaEngl-AmpsEpiphoneErnie BallEsarcESI ProfessionalESS Electronic Sound SoluEuphonixEventFaderfoxFatarFBTFenderFishmanFocusriteFostexFreeFloatFrontier DesignGarritanGatorGemini DJGenelecGeneral MusicGHS StringsGibraltarGibsonGlaresoftGMedia MusicGodinGrassiGretschHartkeHartmannHerculesHidersineHoepliHohnerIbanezIk MultimediaIMAGE LINEION AudioIstanbulJK AudioKAMKarmaKorgKRKLa BellaLaneyLatin PercussionLee OskarLEMLevy'sLexiconLine6Logic KeyboardM-AudioM-LiveMackieMagixMagmaMake MusicMarkbassMarshallMartinMartin & Co.MeinlMesa BoogieMidiplusMontarboMoog MusicMorleyMotuMusic ManMussida Musica EditoreNative InstrumentsNeumannNomad FactoryNotation TechnologiesNovationNumarkOmnitronicOrtofonOvationPaganiniPaistePanasonicParkerPhonicPioneer DJPresonusPro Music SoftwarePro-MarkProdipeProelProel Die HardProject LeadPropellerheadQuiklokRadialRadikal technologiesRadio DeejayRaneRed SoundRemoRMERode MicrophonesRolandRollRollsRoy BensonSabianSavarezSChERtLERsE ElectronicsSefourSennheiserSGMShadowShureSibeliusSlappaSM Pro AudioSolid State LogicSontronicsSonySony PicturesSoundcraftSpacetekSpectrasonicsStanton DJSteinbergStingerSuperluxSxSynthogyTakamineTamaTamburoTascamTC ElectronicTC HeliconTechnicsTensonTerraTecTerraTec ProducerThomastik InfeldTocaTomboToontrackUDG Ultimate DJ GearUeberschallUltimate SoundBankUltimate SupportUltrasoneUniversal AudioUS BlasterVandorenVestaxVic FirthVicousticVoxWaldorfWarwickWave PanelsWavesWharfedale ProWittnerXLN AudioYamahaZero-GZildjianZoom Scegli un reparto ChitarreBassiPianoforti Tastiere e SynthBatterie e PercussioniAmplificazioneEffetti e ProcessoriFlight Case e AccessoriStrumenti DidatticiStrumenti A FiatoSpartiti e MetodiSoftware Audio PC-MACHardware Audio PC-MACProdotti per DJVideo e LightingGadgetTerratec Shop Vuoi trovare un'idea REGALO?Prezzo da:a: Categoria Tutte le categorieChitarre Chitarre Classiche Chitarre Elettriche Chitarre Acustiche Folk Chitarre Elettroacustiche Chitarre Semiacustiche Chitarre Silent Mandolini Amplificatori per Chitarra Testata e Cassa per Chitarr Multieffetto per Chitarra Effetti a Pedale per Chitar Accordatori e Metronomi Custodie per Chitarra Schede Audio per Chitarrist Software per Chitarristi Corde per Chitarra Corde per Chita Corde per Chita Corde per Chita Corde per Mando Fasce per Chitarra Pickup per Chitarra Accessori per Chitarra Cavi Audio ed Adattatori Adattatori Jack Adattatori XLR Adattatori RCA Cavi Jack Cavi XLR - 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Cano Cavi RCA Cavi di Aliment Cavi Speakon Cavi MIDI Cavi Ottici e B Connettori Cavo a Metro Cavi Multipli Stage Box Tester per CaviFlight Case e Accessori Mobili da Studio Flight Case Accessori rack 19" Aste Microfoniche Supporti per Tastiera Leggii Supporti per Casse Supporti per Chitarra e Bas Sgabelli e Panchette Carrelli Prese Multiple Box CD e LP Cuffie Accordatori Metronomi Cavi Audio ed Adattatori Adattatori Jack Adattatori XLR Adattatori RCA Cavi Jack Cavi XLR - Cano Cavi RCA Cavi di Aliment Cavi Speakon Cavi MIDI Cavi Ottici e B Connettori Cavo a Metro Cavi Multipli Stage Box Tester per Cavi Alimentatori Altri AccessoriStrumenti Didattici Flauti Dolci Diamonica Pianica Tastiere Mini Violini Quaderni di Musica Metronomi Lavagne PentagrammateStrumenti A Fiato Armoniche a Bocca Sax - Sassofoni Trombe Flauti Tromboni Corni e Filicorni Clarinetti Accessori per Armonica Accessori per FiatiSpartiti e Metodi Spartiti Musicali Testi e Accordi Canzonieri DVD e Videocorsi Guide e Metodi Didattici e Tecnici Quaderni PentagrammatiSoftware Audio PC-MAC Produzione Audio e MIDI Editing e Mastering Virtual Instruments Campionatori Software Notazione Musicale Plug in Altri Software Musicali Espansioni e Librerie di Su Tutorial e Didattici Home Recording BundleHardware Audio PC-MAC DAW Digital Audio Workstati Microfoni da Studio Monitor da Studio Schede Audio PCI Schede Audio USB Schede Audio Firewire Schede Audio PCMCIA Espansioni per Schede Audio Interfacce e Cavi MIDI Tastiere MIDI per PC e MAC Superfici di Controllo MIDI Mixer per Home Studio Schede e Processori DSP Preamplificatori Pannelli Trattamento Acusti Tutorial e Didattici Accessori per PC e MAC Cavi Audio ed Adattatori Adattatori Jack Adattatori XLR Adattatori RCA Cavi Jack Cavi XLR - 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Spille Tazze - Bicchieri Altri GadgetTerratec Shop Schede Audio Schede TV Serie PHASE Video Editing Home Entertainment Serie SINE Serie AXON Accessori Includi sottocategorieMarca Tutte le marcheAbletonAccessADAM Professional AudioAhlborn OrgansAKAI ProfessionalAKG AcousticsAlesisAllen & HeathAltoAntaresApogeeApogeoAppleApplied Acoustic SystemArturiaAshdownAsk VideoAudio InnovateAudio TechnicaAudio ToolsBachBasement ArtsBasixBehringerBelkinBest ServiceBirchwood CaseyBlue MicrophonesBontempiBornemarkBossBrian May GuitarsBugeraCarbostickCarischCasioCelestionClaviaCME Master KeyboardsCoffin CaseCortexCreamwareD'AddarioDanelectroDB TechnologiesDBXDean MarkleyDenon DJDeSalvoDigidesignDigitechDikomDiMarzioDR StringsDunlopDW DrumsDynaudio AcousticsE-Mu SystemsEast WestEcho Digital AudioEdirolEditors KeysEdizioni CurciEko GuitarsEKSElektronEmpire MediaEngl-AmpsEpiphoneErnie BallEsarcESI ProfessionalESS Electronic Sound SolutionEuphonixEventFaderfoxFatarFBTFenderFishmanFocusriteFostexFreeFloatFrontier DesignGarritanGatorGemini DJGenelecGeneral MusicGHS StringsGibraltarGibsonGlaresoftGMedia MusicGodinGrassiGretschHartkeHartmannHerculesHidersineHoepliHohnerIbanezIk MultimediaIMAGE LINEION AudioIstanbulJK AudioKAMKarmaKorgKRKLa BellaLaneyLatin PercussionLee OskarLEMLevy'sLexiconLine6Logic KeyboardM-AudioM-LiveMackieMagixMagmaMake MusicMarkbassMarshallMartinMartin & Co.MeinlMesa BoogieMidiplusMontarboMoog MusicMorleyMotuMusic ManMussida Musica EditoreNative InstrumentsNeumannNomad FactoryNotation TechnologiesNovationNumarkOmnitronicOrtofonOvationPaganiniPaistePanasonicParkerPhonicPioneer DJPresonusPro Music SoftwarePro-MarkProdipeProelProel Die HardProject LeadPropellerheadQuiklokRadialRadikal technologiesRadio DeejayRaneRed SoundRemoRMERode MicrophonesRolandRollRollsRoy BensonSabianSavarezSChERtLERsE ElectronicsSefourSennheiserSGMShadowShureSibeliusSlappaSM Pro AudioSolid State LogicSontronicsSonySony PicturesSoundcraftSpacetekSpectrasonicsStanton DJSteinbergStingerSuperluxSxSynthogyTakamineTamaTamburoTascamTC ElectronicTC HeliconTechnicsTensonTerraTecTerraTec ProducerThomastik InfeldTocaTomboToontrackUDG Ultimate DJ GearUeberschallUltimate SoundBankUltimate SupportUltrasoneUniversal AudioUS BlasterVandorenVestaxVic FirthVicousticVoxWaldorfWarwickWave PanelsWavesWharfedale ProWittnerXLN AudioYamahaZero-GZildjianZoom Assistenza Clienti Per assistenza, informazioni su ordini, reclami: Dal lunedì al venerdi orari: 9.30-13.30 e 15.00-18.00 E-MAIL: info@strumentimusicali.net Modalità di pagamento ContrassegnoBollettino PostaleBonifico bancarioCarta di creditoPayPalPagamento rateale Informazioni Pagamento e consegna Garanzia Post vendita La vostra privacy Diritto di Recesso Informazioni Legali Ultimi CommentiIBANEZ TBX30R Amplificatore per chitarra 30W c/riverberoProdotto stupendo!!! ha un suono magnifico!! Poi faccio i complimenti a strumentimusicali [...]Voto: Empire Media Tutte le categorieAccessori per PC e MACMonitor da StudioMonitor da Studio Prodotto Prezzo EMPIRE R1000 TCN (coppia) COPPIA DI MONITOR ATTIVI Speaker a 2 vie ad alte performance con cabinet in legno e 2 ingressi audio di linea di tipo RCA (un [...] - cod. 1308 €49,00 EMPIRE R3800 Subwoofer + 2 satelliti 62W RMS SISTEMA AUDIO 2.1 Con i suoi 62 Watt RMS di potenza totale ed un design estremamente elegante e raffinato, il sistema Empir [...] - cod. 4625 €99,00 €75,00 EMPIRE PS2050 Platinum Series (coppia) MONITOR DA STUDIO I diffusori PS-2050 si presentano nella classica configurazione 2.0. I cabinet sono in legno MDF imprezio [...] - cod. 5656 €89,00 EMPIRE PS2105 HI-FI Multimedia System 2.1 68W RMS SISTEMA 2.1 68 WATT RMS Il nuovo sistema Empire PS-2105 rappresenta con ogni probabilità uno dei nuovi punti di riferimento [...] - cod. 6491 €89,00 EMPIRE SW1 Sub-Woofer 40W RMS SUBWOOFER ATTIVO 40 WATT Se siete alla ricerca di qualcosa di in grado di cambiare il volto al vostro sistema di monitoring [...] - cod. 6492 €305,00 €99,00 EMPIRE iF330B portable amplified system for iPod SISTEMA DI AMPLIFICAZIONE PORTATILE PER IPOD L’universo iPod è caratterizzato dalla presenza di tantissimi prodotti, molti [...] - cod. 6493 €99,00 EMPIRE R1900 TII Reference Monitor (coppia) MONITOR DA STUDIO ATTIVI I Reference Monitor R-1900 TII sono dotati di amplificazione separata per woofer e tweeter, hanno [...] - cod. 5249 €149,00 €139,00 EMPIRE PS2120D Digital Audio System 2.1 102W RMS SISTEMA AUDIO 2.1 La linea Platinum di Empire si arricchisce con l’ingresso di una nuova punta di diamante... potenza crist [...] - cod. 6410 €229,00 €169,00 Visualizzo da 1 a 8 (su 8 prodotti) Prezzi IVA inclusa. 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MOTU V4HD: nuovo supporto per Apple ProRes 422 Disponibile l'upgrade gratuito a Cubase 4.5 Line 6 digital wireless X2T XDS Plus Korg annuncia la nuova PA588 Definite le date di SHOW! 2008 Rode crea la Rode University [Altre news...]Vuoi le news aggiornate in tempo reale sul tuo sito?Suggerimenti Inviaci un tuo consiglioCorrieriGuida in linea Glossario Centri Assistenza FAQ mercoledì 08 ottobre, 2008 Strumenti Musicali .net Mappa del sito | Indice prodotti | Tutti i marchi | Banner | Suggerisci un sito | Links | Leggi i commenti sui prodotti Fai di StrumentiMusicali.net la tua pagina iniziale - Aggiungi ai PreferitiStrumentiMusicali.net S.a.s. - Via Niceforo Foca, 28 - 74100 Taranto - REA CCIAA n.150473 - P.I. e C.F. 02502030733 Tutti i nomi dei prodotti, i logotipi, i marchi ed i simboli sono di proprietà delle rispettive società Copyright © 2003-2008 Funkin - All rights reserved - E' vietata la riproduzione anche parziale Strumenti Musicali - Musical Instruments + about us + contact us + advertising + page bookmark home | articles | music | latest releases | artists | downloads | software | hardware | events | forum ELECTRONIC MUSIC Writing electronic music may seem like an easy task at first. All who have tried have realised that there is a difference between writing a piece that sounds either amateurish or too commercial and creating something truly unique. Electronic music is supposed to be opening new horizons towards melodic and rhythmic structures that are not limited by physical properties of natural instruments and its musicians. One can argue though, that the removal of all such intermediaries brings the composer a step closer to the ultimate barrier. Of course, we’re talking about inspiration. There are a plenty of audio samples and software packages out there, in fact maybe too many. Machines are increasingly fast and humans increasingly impatient which inevitably leads to a path where machines will be able to interface with the composer on almost an organic level and reward the musician with an instant result. Unfortunately we’re not quite there yet and it will be some time until we reach that level. But let’s reflect on this exciting time where technology and science flourish and draw our inspiration from this dynamic and uplifting era. ELECTRONIC MUSIC RADIO Here are shortcuts to your favorite electronic music styles from one of the most prominent internet radio stations dedicated to electronic music DI.FM: Trance Vocal Trance Chillout Soulful House Hard Dance Techno Hard Techno DJ Mixes Lounge Ambient Breaks Gabber Euro Dance House Progressive Goa-Psy Trance Drum 'n' Bass Electronica Listen to live DJ mixes on electronic music radio KrankyDigital MULTIMEDIA Giant Stars Motion Graphics: Brad Schwede Music, Script, SEO: Dejan Petrovic Sound Design: Warren Wright Voice over: Jaala Webster High Definition Quicktime (26MB HD mp4) Large Quicktime (20MB 720p mp4) Pulse 6: Crystal by Blue Planet Cooperation - In-depth track review Ethereal - Motion Graphics Harmonic Distortions - 3D animation Advanced C64 implementation - It's still alive! Festival of Electronic Music and Digital Art by: Giovanni De Angelis Acid Trip Flash Movie - Artist under the influence of drugs. Acid Trip Flash Movie - Download links. Stock Photography - Free images for your designs RUBBER JOHNNY - Chris Cunningham & Aphex Twin Production Tetra Vaal - Amazingly realistic 3D robot (Video) Qrio Robot Video - Real life-like moving robot footage Balloon Head - Balloon Face Girl (Flash Game) Quest for the Rest - by Jakub Dvorsky (Flash game) Samorost - by Jakub Dvorsky (Flash game) Psyride - Psy Trance track video (Flash animation) Plantage - Extraordinary clip (Flash animation) FEATURED ARTICLE Music file compressed 1,000 times smaller than mp3 Researchers at the University of Rochester have digitally reproduced music in a file nearly 1,000 times smaller than a regular MP3 file. The music, a 20-second clarinet solo, is encoded in less than a single kilobyte, and is made possible by two innovations: recreating in a computer both the real-world physics of a clarinet and the physics of a clarinet player. Robot as a superstar? Ladies and gentlemen, welcome to the future. by Dejan Petrovic When Analogik crew were just kids we all wondered about the future and what the world would be like in the 21 st century. Although flying cars are still in their most experimental stage, there is no teleportation or inter-stellar space travel, there are a few quite exciting things around that are gradually making their way into our lives. Some technologies have been on a slow evolutionary infiltration path and some… well, some have arrived with a bang! FORUM HIGHLIGHTS Lunar: "I don't really know how to describe my music ... Could anyone give me ideas and advice to push it forward a bit more?" CLICK HERE SUBMIT MUSIC / ARTIST PROFILE If you are writing electronic music and would like the rest of the world know about you let us know and your artist profile could be included in our spotlight section visited by thousands of people every month. NEWS It's time to introduce one of our commercial electronic music projects. This one is very interesting as for us there was no composition involved, but something completely different. Hypnosurf is a concept by Les Foster which essentially involves practice of hypnosis in order to improve one's focus, concentration and coordination skills. His first release is targeted at surfers; this is not a surprise as Les is an experience surfer himself. [ read more ] The Coolest D'n'B Video... Ever! This is why the Internet was invented for. Turn up the volume and take a flight in our latest ROFL-copter! D'n'B: CHRIS.SU & JADE @ StepInn 12 July 2008 Check out the latest gig gallery here. Event review coming soon! Win $20 by guessing the title of the song! Mystery Song [Reason 4 | also available in mp3] Sounds familiar doesn't it? Tell us what it is if you think you know. First Analogik reader to answer correctly will receive a $20 eBay item of their choice or transferof money to their PayPal account. Send us your answer here. Promoting an event or your band? Here's how... Sign up and leave your promo article here. Anything we consider valuable will also be added to Analogik pages. Any content related to electronic music is more than welcome. The Coolest Drum Machine Robot EVER! Just click on the play above and enjoy. There are no words to describe our joy for finding this splendid little electronic creature whose aim in life is to find stuff and drum on it. I have to praise you like I should... When we read comments like this, all our hard work and keeping this website going seems well justified. We hope there are many more of you who find Analogik useful and inspirational when it comes to your electronic music journey. Thank you Excalibur! Giant Stars - Flash animation that compares Earth and our closest star, the Sun to some of the largest stars in the known universe. Want to download stuff? This is a very exciting forum thread and a collection of electronic music mp3 downloads: http://analogik.com/forum3/forum_posts.asp?TID=157 2211 [also available in mp3] - Tribal trance track improvisation, currently not fully sequenced. Heavy bass kick, manipulated guitar sounds like washed out future-tech sound with lovely tribal tabla percussions. Subtractor Track - Un sequenced track written completely in Subtractor, including drums, bass and the synth sound. Written on 10 April 2008 by Analogik. Halloween Music - Get spine-tingling sounds for your next Halloween Bash World loses one more electronic music pioneer "Tristram Ogilvie Cary (born Oxford 14 May 1925, died Adelaide, Australia 24 April 2008) was a pioneering British composer. Cary was educated at Westminster School in London, England and is the son of a pianist and the novelist, Joyce Cary, author of Mister Johnson. While working as a radar engineer for the Royal Navy during World War II, he independently developed his own conception of electronic and tape music, and is regarded as amongst the earliest pioneers of these musical forms." More info: http://en.wikipedia.org/wiki/Tristram_Cary Sir Arthur C. Clarke dies at 90. "Any sufficiently advanced technology is indistinguishable from magic." is the famous quote by the author of the epic science fiction novels "2001: A Space Odyssey" and "Rendezvous with Rama". Clarke has been an inspiration for many electronic music composers and virtually immortalised by his invaluable literature and scientific contributions. German Content [ Deutsche ] PHASE AUDIOPHILE FIVE "Phase Audiophile, wie schon allein der Name sagt, ist das edelste was die Firma Phase Evolution zu bieten hat. Das System wird in einer schönen Holzkiste geliefert, welche einem beim Öffnen ein breites Grinsen im Gesicht verleiht: Neben den Tiefmittelton- und Hochtonchassis, sind vier Frequenzweichen und versilberte “oxygene-free” Kupferlitzen kabel beinhaltet." Review by: business hub Electronic Music Events [ Submit Event ] - [ Report an Error ] - [ Report Spam ] 08 January 2008, England - Submitted by Business Directory: Contemporary Art in London - The world's interactive art gallery. 12 January 2008, France - Submitted by Analogik: Multiphonies 2008: GRM 50 Years Francois Bayle: Univers Nerveux + music by Jean-Francois Allouis, Christine Groult, others Salle Olivier Messiaen, Maison de Radio France, 116 avenue du Président Kennedy, Paris http://www.ina.fr/actualites/rendez-vous/multiphonies.html 15 January 2008, Germany - Submitted by Car Hifi Angebote: Systems Quartet - Axel Dörner, Rudi Mahall, Adam Linson, Paul Lytton Improvisations with acoustic instruments and electronics B-Flat, Rosenthaler Strasse 13, Berlin-Mitte http://b-flat-berlin.de/ 16 January 2008, USA - Submitted by Industriefirmen: Wordless Music: Music by John Adams, Gavin Bryars, Jonny Greenwood Wenesday, January 16 & Thursday, January 17, 8pm Church of St. Paul the Apostle, Columbus Avenue & West 60th Street. Email contact for the event: words@wordlessmusic.org 18 January 2008, Germany - Submitted by Golf Shop: Jean-Claude Eloy: Gaku-No-Michi 7pm talk by composer, 8pm concert Music Room of the University of Cologne, Hauptgebäude, Albertus-Magnus-Platz, Köln erbe@uni-koeln.de - Tickets: Kaufe & Verkaufe Konzert, Sport & Theater Tickets 20 January 2008, Spain - Submitted by Analogik: Barry Schrader's Lost Atlantis MEDITERRÀNIA(ES) Exhibit Centre d'Art la Panera, Pl. de la Panera, 2, Lleida [ mailto:apanera@paeria.cat ] http://www.lapanera.cat/home.php?op=10&module=programacio&cad =2&item=34 15 February 2008, India - Submitted by best western hotel munich: CeC & CaC 2008: 3rd Carnival of e-Creativity & Change-agents Conclave Lawrence Casserley, Curtis Bahn, Tomie Hahn, many others February 15-18 India International Centre (IIC), New Delhi http://www.theaea.org/cec_cac/ceccac08/ [ Submit Event ] - [ Report an Error ] - [ Report Spam ] RAVES, DRUGS & Organiser should foot bill ~ council Annalise Walliker - January 05, 2008 12:00am, Australia Emergency services officials have asked the organisers of the troubled Kryal Castle raves to foot the bill for dealing with drug users and overdoses. The request comes as organiser Ritchie McNeill, director of Totem Industries, urged drug users to take ecstasy rather than GHB at his raves, saying it caused fewer overdoses. Mr McNeill's comments, posted on a dance music website, have outraged the Ballarat Base Hospital, which treated more than two dozen overdoses from the last two Kryal Castle raves. Reader Comment: Techno of Vukovar 11:02pm January 17, 2008 Like someone mentioned, banning drugs and alcohol does only half the job. I believe that organisers of raves found liable for drug encouragement and lack of control of illegal substances in their events should be not only made to pay the cost of the emergency treatment but also for the cost of drug rehab programmes to help the kids with the source of the problem, not just the addiction. Via: NEWS.COM.AU Classic astroturfing is the practice of disguising an orchestrated campaign as a spontaneous upwelling of public opinion. Some say the pharmaceutical industry's funding of patient support groups in the US comes perilously close to this ( New Scientist , 27 October 2006, p 18). These groups offer patients information about available treatments and campaign for them to be paid for by publicly funded health insurance programmes. Pharmaceutical companies would clearly have much to gain by filtering their marketing messages through such organisations. Source: NewScientist - "The word: Astroturfing - 10 February 2007 " (http://www.newscientist.com/channel/opinion/mg19325902.300-the-word- astroturfing.html) REASON TRACKS More files available in our downloads area. OPTRONIX vs Maxx Klaxon (Reason 2.5) - This is a Remix of the song "Internationale 2000" By Maxx Klaxon. It is my current entry in a Remix contest. The original can be heard at http://klaxon.tv/i2k_remix_contest . Rather than a Re-mix I have actually re-written the whole track to sound like a new song, using only minimal samples from the original, and some of the vocals. Please feel free to Enter the contest your self, it ends on July 29th, 2006. I will let the file do the rest of the explaining for me. Enjoy!! Refills Used: Impulse, In Full Effect. SUMMER NIGHT 2072 Peek into the year 2072 with this slightly melancholic track. Minimal, clean and well balanced for your listening enjoyment, tweaking, inspiration or your next multimedia presentation. Overall a very mature loop suitable for techno veterans. [ sample wav ] CONSTRICTOR Just another fine techno loop, mapped to your midi controller knobs - ideal for live performances and jamming. [ sample wav ] NEUTRINO THEME Futuristic sounding techno loop. Clean four stage beat and a well tuned malstrom synthesizer will make a good base for your next track. [ sample wav ] LOONAR EXPRESS Fine techno loop with futuristic mood. It uses two voice samples as an illustration. Feel free to play with filters and track arrangement. Refills used: 109dB The DNB, e|A - Art of Voiceover, NuHouse, Vince Clarke, Lucky Bastard [sample mp3] DODECAHEDRON Very hard schranz track with a punchy cowbell. Completely un sequenced but mapped to standard midi controls + PC keyboard. [ view image ] [ sample mp3 ] ORIENT 2100 Pleasant and balanced electronic break loop with retro synth sound and futuristic feeling. [ wav loop ] Click here and download music - Download mp3 music legally, download all your favorite artists from thousands of popular names and mixes! Did you know? Analogik Domain: Analogik.com domain has been registered for 100 years and will expire in 2105. And just like every month, here are a few online resources. An interesting site we spotted was for the home entertainment enthusiasts from HP - Home Entertainment - Create a custom home entertainment experience with breakthrough technology from HP. Send us your view of what the world will be like in the year 2105 and the best answer will receive a free .com, .net or .org domain of their choice if available of course. Fore more information click here. Quote of the month "After silence, that which comes nearest to expressing the inexpressible is music". Aldous Huxley (1894 - 1963), "Music at Night", 1931 ANALOGIK ON RADIO C64 Take-away podcast by Jan Lund Thomsen (Copenhagen, Denmark) Extracted Bit | Analogik Article What is Techno? by Ryan Lewis Pulse 1330 Radio (US) Topics List: Top 100 electronic music websites Analogik Team World Expeditions Analogik team is gearing up for some unbelivable trips this year. One of them being an expedition to South Georgia (Antarctica). Our representatives Greg and Tatjana Petrovic (Brisbane, Australia) will come back late this year with some amazing photos and videos of their expedition. We're also planning tours and travel to Costa Rica with Hotel Buchen Colibri UmweltReisen, the tour operator is specialized on nature tours worldwide. Costa Rica is the ideal destination for individual tours to the national parks and reserves. This small country is famous for its biodiversity in fauna and flora. In addition to the natural richness, the people are friendly and the beaches are beautiful! But most importantly there is a developed electronic music scene with a wonderful ethnic fusion. Analogik European Tour Live Electronic Music Performance in Croatia EQUIPMENT / GEAR / HARDWARE / INSTRUMENTS POLIVOKS For many years Russian Federation has been an isolated economy. Ministry of Culture, for example, wouldn't allow import of foreign instruments and Soviet musicians at the time didn't have a musical instrument that would offer capabilities and sounds of the equipment available to the rest of the world. This had triggered creation of a completely new and unique instrument. Polivoks was designed by an engineering team lead by Vladimir Kuzmin from the Urals Vector Company later built by Formanta Radio Plant in the early 80's. First commercially available Polivoks was sold in 1982 with the last unit sold in 1990. Polivoks is one of the most popular vintage synths today because of its history and extraordinary industrial look. Many consider its sound capabilities to be comparable to a MiniMoog. [ read more ] Online Shopping: Electronics & More Check out a neat online electronics store abt.com , an online division of a long running family business which started in the sixties selling radios and small electronics. MIDI CONTROLLER RESEARCH PROJECT Between 2003 - 2004 Analogik has been involved in development of a MIDI controller device that will give audio engineers physical control over various PC software synthesis ers such as Reason and Rebirth. Note: This is a research project only and is no longer in development. Credits: Paul Harvey: Electronic Engineering, System Design, Programming & Dejan Petrović: Multimedia, 3D & Concept Design. Link: http://analogik.com/midi/ | University Paper The file is in pdf format (suitable for most printers.) Planning to get our new LCD TV soon for FutureBlast project as a background screen for video interveiws with scientists, artists and futurists. How to get your XBOX to a new level? ARTICLES Analogik Articles a collection of interesting and informative articles in field of electronic music, multimedia, digital arts and many more topics. Blu-ray Disc Format (via blu-ray forum)- Over the past couple of years, a battle has been brewing between the Blu-ray and HD DVD formats, to determine which one will become the defacto standard format for high capacity disks. For those who remember, it is reminiscent of the battle a couple of decades ago between the VHS and Beta video tapes. Robot as a superstar? - Asimo is a robot. Its makers at Honda claim the inspiration came from the legendary fictional character Astroboy and its name is for Advanced Step in I nnovative MObility. The "Mountain" ad was a part of PlayStation® new "fun, anyone?" brand campaign. As always PlayStation® manages to stay in touch with their audience and customers in a way that Coca-Cola, Pepsi, McDonalds and other giants could only imagine. While everyone else is trying to be cool and hip, PlayStation® actively seeks and attempts to tap into all the possible wavelengths of the youth today. Needles to say - their success in this field is immense. German Techno - Who is Marusha? She was born on 18 November 1966 in Nurenberg, made Berlin her home town, and without exaggeration she is the world`s most famous female DJ. Science Behind Electronic Music - Electronic music can be divided into two broad technical categories: analogue and digital. Yes, we’ve heard of these terms many times but what is the difference between the two? Avoiding Cliché Themes in Electronic Music - Apart from the obvious reasons (lack of creativity and commercially safe danceable material) there are software and hardware considerations. Principles of e-Marketing - Overview and context of eMarketing. Analysis of Consumer Behaviour Online This report will outline the most relevant behavioural characteristics of online consumers and examine the ways they find, compare and evaluate product information. An ever changing and evolving entity of sound The idea is; some how creating machines that will produce an eternity of sound that is always different. No more albums or songs! It will be a machine you must fuel and modify. Once you turn it on it will do what you built it to do. Ror-Shak - Deep - Album review by Analogik ”Deep” is artistic and enjoyable throughout its full length – no track skipping or fast-forwarding was necessary. Collaboration of the two unlikely partners, DB and DJ Stakka, has been most fruitful leaving another jewel in the colourful panorama of contemporary electronic music. What went wrong with the techno culture? Article analysing the causes and effects of the techno culture decay and deviation. HrastProgrammer Now, here is something different. HrastProgrammer has brought us back to the original concepts of electronic music with minor outside influences and his free authoring spirit. First contact with electronic music Human brain stores an infinite array of environmental properties such as sound, shape, color and smell. Often, these are associated with a specific time reference and then lost in a cu-de-sac of dormant memory. Album Review: Musetta MUSETTA disk has just arrived, nicely wrapped in a cute- artwork cover. What can I expect, a sugary happy hard core or nu nrg perhaps? I pressed the play button and started writing something and then… ‘Ophelia's Song' started… How to write good electronic music? | Part 2 | Part 3 Inspirational article with a couple of tips on how to reach the wholly grail of electronic music composing. Tips on how to design a good techno album cover | Inspiration A short step-by-step guide from source to finished artwork. We Love Technology Concrete example of utilising technology to improve lifestyle. Audio Gear Upgrade Tips Things that can go wrong with buying and upgrading your music studio. The Future of Electronic Music Editorial piece to tickle the mind World Traveler Adventures is a story about a few devoted artists and their brave mission to deliver electronic music to Bosnia, India and Africa. This is a film that no electronic music lover should miss. KrankyDigital - Online live DJ radio Amusing: Sade About Techno Music: Techno 1 | Techno 3 | Techno 4 PlayStation Ad Reviews: Double Life | Mountain FREE DJ MIXES Ogi Gee Cash was born in 1975 in Belgrade, Serbia. He has been DJing for twenty years and producing high-quality house music for almost nine years in which he has had nearly 150 releases both vinyl and digital. His first progressive release was "Fullbite Session ep" for Minimal Records back in 2001 and was hugely supported by all the top DJs on the globe. Due to his outstanding music production, three major compilations came along: Layo&Bushwacka "All Night Long" with the track Funky Misbehaviour (2003), Saeed&Palash with Beatcox (2004) and Can Costa "Proton Music" with Soul Food (2006). Being the first Dj to establish progressive house in South-Eastern Europe, he reached the heights of his career which culminated during his residency in "Contrast", the first underground club in this part of Europe (Novi Sad, 1997-2000) and his ongoing residency in the famous "Underground" club in Belgrade (since 2001). Ogi's enormous creativity resulted in numerous releases for the well-known labels, such as: Proton, Existence, Baroque, Pure Substance, Carica, Pangea, Play, Segment, Minimal, Dirty Blue, Fiberline Audio, Balistic, Balkan Connection, Fullbite Session, Cue Tip Records and many more. Ogi is also the owner of his own label - Balkan Connection with producer mates Synchronized. READERS LETTERS "Just want to say that I discover your existence recently and realized that ANALOGIK totally fits with al the reasons why I'm doing music. My inspirations are future, science-fiction but my work is a total act of pure creation. So I loved the article : What went wrong with the techno culture?" Email by Marc-Andre Bouchard OUTSIDE ANALOGIK Madonna Tickets Viagogo is an online secondary ticket exchange that allows people to buy and sell live concert tickets. Fashion School If you’ve always imagined a career in the fashion or design industry... Direct TV Deals - DIRECT TV Satellite Television Delivers the Best Value in Satellite TV Entertainment! disclaimer | contact us | analogik banners | advertise on this site | bookmark this site Site by: Dejan Petrovic SEO - Analogik Electronic Music Organisation (c) 1999-2008 Member of Business Hub - Site friends: IV | LPS | CM | Corporate Video Production : analogik.org, analogik.net
