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done some extensive history writing

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Logsol 2013-03-27 20:32:09 +01:00
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@ -15,6 +15,7 @@
% Important for page numbering
\pagestyle{plain}
% CHAPTER TITLE
% \titleformat command shape format label sep before after
\titleformat
@ -148,7 +149,7 @@ end{textblock*}
\backslash
begin{textblock*}{
\backslash
paperwidth}(21mm,215mm)
paperwidth}(30mm,235mm)
\end_layout
\begin_layout Plain Layout
@ -326,6 +327,13 @@ contentsname{}
\begin_layout Plain Layout
\backslash
vspace*{-8.5em}
\end_layout
\begin_layout Plain Layout
\backslash
tableofcontents
\end_layout
@ -371,6 +379,7 @@ To make it playable with a keyboard, a MIDI input module is added.
into control voltage outputs that other modules can connect to.
It is the only digital component of the synthesizer, while tone generation
and processing are analog.
\end_layout
\begin_layout Section*
@ -382,6 +391,21 @@ The project was inspired by the film
\emph on
moog
\emph default
\begin_inset ERT
status open
\begin_layout Plain Layout
\backslash
citetext{
\backslash
citealp{Fjellestad:movie}}
\end_layout
\end_inset
, a documentary about Dr.
Robert Moog, electronic instrument pioneer and inventor.
Its goal is to attain a better understanding of the working of electronic
@ -389,6 +413,17 @@ moog
Another goal is to create a functional synthesizer that is fun to play
and experiment with and therefore obtain some practical experience in the
field of artificial sound generation.
\begin_inset Note Note
status open
\begin_layout Plain Layout
try get focus on researches, bring in a bit of a guide line for self builders
\end_layout
\end_inset
\end_layout
\begin_layout Chapter
@ -601,24 +636,109 @@ citealp[p.~3]{Manning1985}}
\end_layout
\begin_layout Standard
\begin_inset ERT
status open
\begin_layout Plain Layout
\backslash
pagebreak
\end_layout
\end_inset
\end_layout
\begin_layout Standard
The german engineer Harald Bode contributed to the design of several new
instruments from the 1930's on, like the warbo formant organ (1937) or
later the Melochord (1949).
He was primarily interested in providing tools for a wide range of musicians,
which is why his contributions straddled between the two major design tradition
s of new sounds versus imitation of traditional ones.
He turned out to be one of central figures in the history of electronic
music, since he was also one of the primary engineers in establishing the
classic tape music studio in europe
\begin_inset ERT
status open
\begin_layout Plain Layout
\backslash
citetext{
\backslash
citealp[p.~9]{Dunn1992}}
\end_layout
\end_inset
.
\end_layout
\begin_layout Standard
Bode was one of the first engineers to grasp the significance of the invention
of the solid state transistor for sound synthesis.
In an article published in 1961 he draws particular attention to the advanteges
of modular design.
\begin_inset Quotes eld
\end_inset
The versatility of transistor-based electronics made it possible to design
any number of devices which could be controlled by a common set of voltage
characteristics.
\begin_inset Quotes erd
\end_inset
\begin_inset ERT
status open
\begin_layout Plain Layout
\backslash
citetext{
\backslash
citealp[p.~117]{Manning1985}}
\end_layout
\end_inset
.
But it was not until the early 1960's that major advances in electronic
design took shape
\begin_inset ERT
status open
\begin_layout Plain Layout
\backslash
citetext{
\backslash
citealp[p.~19]{Dunn1992}}
\end_layout
\end_inset
.
\end_layout
\begin_layout Standard
\begin_inset Note Note
status open
\begin_layout Plain Layout
Sakbutt (1948) Hugh LeCaine
\end_layout
\begin_layout Standard
Melochord (1949) and warbo formant organ (1937) H.
Bode
\end_layout
\end_inset
\begin_layout Section
Influencial Electronic Music Projects of the Fifties
\end_layout
\begin_layout Standard
Elektronische Musik Cologne (1952) Eimert (Stockhausen)
\end_layout
\begin_layout Standard
Poem Electronique (1958) World Fair Brussels
\end_layout
\begin_layout Section
@ -626,15 +746,140 @@ The First Synthesizers
\end_layout
\begin_layout Standard
RCA Synthesizer (1955)
In 1955 the laboratories of the Radio Corporation of America (RCA) introduced
a new and very advanced machine to the public named the Olson-Belar Sound
Synthesizer, later known as the RCA Mark I Music Synthesizer.
It combined many means of tone generation and sound modification known
at the time and is considered the first synthesizer.
Mark I was built with the specific intention of imitating traditional instrumen
t sounds for the production of popular music.
However, the machine proved unsuitable for its original intent and was
later used completely for electronic music experimentation and composition
\begin_inset ERT
status open
\begin_layout Plain Layout
\backslash
citetext{
\backslash
citealp[p.~15-16]{Dunn1992}}
\end_layout
\end_inset
.
The synthesizer could not be played in the conventional sense in real time.
Instead musical information had to be pre programmed as punched holes in
a large paper tape.
Olson and Belar produced an improved Mark II (nicknamed Victor) in 1957
\begin_inset ERT
status open
\begin_layout Plain Layout
\backslash
citetext{
\backslash
citealp{Bear:website}}
\end_layout
\end_inset
.
\end_layout
\begin_layout Standard
First modular synthesizers (1945)
Around the same time the outstanding guitarist and inventor Les Paul became
famous with his multitrack guitar recordings.
He stimulated many innovators not only with the success of his multitrack
recorder, but also with his methods of electronic sound processing.
Harald Bode was so impressed and inspired by his work, that he built a
system consisting of a number of electronic modules for sound modification
in late 1959 through 1960.
His system featured ring modulator devices, envelope followers and generators,
voltage-controlled amplifiers, filters, mixers and others
\begin_inset ERT
status open
\begin_layout Plain Layout
\backslash
citetext{
\backslash
citealp[p.~733]{Bode1984}}
\end_layout
\end_inset
.
The modular concept of his device had proven attractive due to its versatility
and predicted the more powerful modular synthesizers that emerged in the
early 1960's
\begin_inset ERT
status open
\begin_layout Plain Layout
\backslash
citetext{
\backslash
citealp[p.~20]{Dunn1992}}
\end_layout
\end_inset
.
\end_layout
\begin_layout Standard
Moog Synthesizer (1964)
In 1963 Robert Moog was selling kits of transistorized Theremins.
As he states in the movie about him
\begin_inset ERT
status open
\begin_layout Plain Layout
\backslash
citetext{
\backslash
citealp{Fjellestad:movie}}
\end_layout
\end_inset
, he had been completely obsessed with building Theremins since the age
of 15.
He and the german composer Herbert Deutsch, who was using one of his instrument
s, began to discuss the possibilities in designing new instruments and systems
using solid state technology.
This led Moog to the completion of the first prototype of his modular synthesiz
er at the end of 1964.
\end_layout
\begin_layout Standard
(Switched on Bach carlos wendy, popcorn, volts per octave - combine other
systems)
\end_layout
\begin_layout Standard
Buchla
\end_layout
\begin_layout Standard
ARP
\end_layout
\begin_layout Standard
Polyphonics
\end_layout
\begin_layout Section
@ -642,7 +887,7 @@ The Digital Age
\end_layout
\begin_layout Standard
Text about it.
Yamaha DX7
\end_layout
\begin_layout Chapter
@ -650,7 +895,7 @@ Theory of subtractive synthesis
\end_layout
\begin_layout Section
Sound Sources
Sources
\end_layout
\begin_layout Standard
@ -710,7 +955,7 @@ citealp[p.~124]{Friesecke2007}}
\end_inset
.
The output signal of can later be processed and modulated in several ways.
The output signal can later be processed and modulated in several ways.
\end_layout
\begin_layout Standard
@ -719,8 +964,8 @@ Oscillators that swing at an infrasonic frequency - meaning a frequency
(LFO).
They are used to control parameters of different components of the synthesizer
periodically.
For example to slightly influence the pitch of another oscillator to get
a vibrato - or the amplitude to get a tremolo effect.
For example to influence the pitch of another oscillator to get a vibrato
- or the amplitude to get a tremolo effect.
Some oscillators frequencies range from very low to very high, in which
case a distinction between oscillator and LFO is unnecessary.
\end_layout
@ -790,8 +1035,17 @@ triangle Composed of only odd harmonics, the triangle wave has a much softer,
\begin_layout Labeling
\labelwidthstring 00.00.0000
square Also known as rectangle, the square wave also consists of odd harmonics
only.
square Also known as rectangle,
\begin_inset Note Note
status open
\begin_layout Plain Layout
clearify difference to triangle
\end_layout
\end_inset
the square wave also consists of odd harmonics only.
Its timbre reminds of woodwind instruments
\begin_inset ERT
status open
@ -1163,10 +1417,6 @@ Amplifier
Envelope Generator
\end_layout
\begin_layout Subsection
Midi Input / Note Source
\end_layout
\begin_layout Subsection
Output
\end_layout
@ -1222,7 +1472,7 @@ befaco
\begin_layout Standard
\begin_inset Note Note
status open
status collapsed
\begin_layout Plain Layout
Befaco, help, how well it is documented is important, why the filter was
@ -1259,6 +1509,14 @@ For tuned modules it is important to consider whether they use a volts per
octave or volts per hertz characteristic.
\end_layout
\begin_layout Standard
Audio Signals ±5Volts
\end_layout
\begin_layout Standard
Buffering 1:10 impedance ratio
\end_layout
\begin_layout Section
Building and Testing
\end_layout
@ -1361,6 +1619,17 @@ The panels for all modules were made from pre-cut aluminum plates with a
Once the panel is dried, the holes for the knobs, switches, etc.
can be prepunched and drilled.
Lastly all borholes are deburred.
\begin_inset Note Note
status open
\begin_layout Plain Layout
foto vom frontpanel ohne stecker
\end_layout
\end_inset
\end_layout
\begin_layout Section
@ -1394,6 +1663,31 @@ When turning resonance up, at one point the filter begins to self-resonate
The amount of distortion is visually represented by a red LED.
\end_layout
\begin_layout Standard
\begin_inset Note Note
status open
\begin_layout Plain Layout
beispiel patch mit foto und beschreibung
\end_layout
\end_inset
\end_layout
\begin_layout Section
Midi Input
\end_layout
\begin_layout Standard
Note Source
\end_layout
\begin_layout Section
Output
\end_layout
\begin_layout Chapter
Conclusion
\end_layout
@ -1413,7 +1707,7 @@ tweaking knobs to borders where the outcome is on a threshold resulting
Thanks to Eddi, Derek, Befaco, Richard, David
\end_layout
\begin_layout Chapter*
\begin_layout Section*
List of figures
\end_layout
@ -1421,7 +1715,7 @@ List of figures
\begin_inset CommandInset bibtex
LatexCommand bibtex
bibfiles "synth_bibliography"
options "plainnat"
options "karls-bib"
\end_inset
@ -1432,9 +1726,33 @@ options "plainnat"
Declaration of academic honesty
\end_layout
\begin_layout Standard
I hereby declare that in the attached submission I have not presented anyone
else’s work, in whole or in part, as my own using only the admitted resources.
Where I have taken advantage of the work of others, I have given full acknowled
gement.
\end_layout
\begin_layout Chapter*
Appendix
\end_layout
\begin_layout Standard
\begin_inset Note Note
status open
\begin_layout Plain Layout
urs hegemann
\end_layout
\begin_layout Plain Layout
future audio workshop - cycle oder circle synthe
\end_layout
\end_inset
\end_layout
\end_body
\end_document