added introduction
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facharbeit.lyx
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facharbeit.lyx
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@ -345,47 +345,12 @@ tableofcontents
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\end_layout
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\begin_layout Chapter*
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About this paper
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\begin_layout Chapter
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Introduction
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\end_layout
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\begin_layout Section*
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Description
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\end_layout
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\begin_layout Standard
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This paper describes an attempt to design and assemble a basic monophonic
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synthesizer prototype consisting of some standard modules that are to be
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found in virtually every classical synthesizer device, such as an oscillator,
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an envelope, and a filter.
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\end_layout
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\begin_layout Standard
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The first sections represent the research on the history and theoretical
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background of analog synthesizers in general and modular systems in particular.
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These findings are applied to building an experimental device.
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First, different circuit concepts will be introduced for each module, so
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that the most suitable ones can be identified, whereby comprehensibility
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and prices of electronic components play a significant role in the choice
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of a circuit design.
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The process of building the prototype includes working with an oscilloscope
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to examine and verify the shape of various waveforms before and after modulatio
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n.
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\end_layout
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\begin_layout Standard
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To make it playable with a keyboard, a MIDI input module is added.
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It features an Arduino microprocessor to convert digital MIDI messages
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into control voltage outputs that other modules can connect to.
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It is the only digital component of the synthesizer, while tone generation
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and processing are analog.
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\end_layout
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\begin_layout Section*
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Motivation and Goal
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Motivation
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\end_layout
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\begin_layout Standard
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@ -410,17 +375,56 @@ citealp{Fjellestad:movie}}
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, a documentary about Dr.
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Robert Moog, electronic instrument pioneer and inventor.
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Its goal is to attain a better understanding of the working of electronic
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components and circuits as well as their influence on audio signals.
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Another goal is to create a functional synthesizer that is fun to play
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and experiment with and therefore obtain some practical experience in the
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field of artificial sound generation.
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Its goal is to convey an understanding of the inner workings of electronic
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synthesizers and their components.
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The reader is guided through the process of creating a small but functional
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modular synthesizer setup that is fun to play and experiment with.
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The intention was to investigate the possibilities and limits in designing
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and building an analog sound device for someone, who had not been in contact
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with analog synthesizers, let alone building electronics devices before.
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\end_layout
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\begin_layout Section*
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Chapter Overview
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\end_layout
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\begin_layout Standard
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The first chapter represents the research on the historical background of
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analog synthesizers since the beginning of the twentieth century.
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It was tried to outline important milestones in the historic development
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from the first electronic sound generating devices until a point in time
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when manufacturers of modular synthesizers have developed a profitable
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market.
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\end_layout
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\begin_layout Standard
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Subsequently the most important concepts of subtractive synthesis are summarized.
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A general overview over common sound generation and processing methods
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is given, whereby all concepts are applicable to both analog and digital
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synthesis.
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In chapter three these concepts are taken one step further and discussed
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in the context of electronic circuitry.
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Lastly the process of building an electronic synthesizer prototype is described.
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\end_layout
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\begin_layout Standard
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\begin_inset Note Note
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status open
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status collapsed
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\begin_layout Plain Layout
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try get focus on researches, bring in a bit of a guide line for self builders
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The process of building the prototype includes working with an oscilloscope
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to examine and verify the shape of various waveforms before and after modulatio
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n.
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\end_layout
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\begin_layout Plain Layout
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To make it playable with a keyboard, a MIDI input module is added.
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It features an Arduino microprocessor to convert digital MIDI messages
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into control voltage outputs that other modules can connect to.
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It is the only digital component of the synthesizer, while tone generation
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and processing are analog.
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\end_layout
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\end_inset
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@ -428,12 +432,51 @@ try get focus on researches, bring in a bit of a guide line for self builders
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\end_layout
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\begin_layout Chapter
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Introduction
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\begin_layout Standard
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\begin_inset ERT
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status open
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\begin_layout Plain Layout
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\backslash
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pagebreak
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\end_layout
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\end_inset
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\end_layout
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\begin_layout Section*
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A Personal Journey
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\end_layout
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\begin_layout Standard
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concepts from chapter two are applicable to digital and
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As a trained programmer and web application developer the field of electronic
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engineering always seemed appealing to me.
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Hence the assignment for a research paper during the audio engineering
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course at SAE Institute seemed like a welcome opportunity to dive into
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the realm of building electronic devices in the context of sound generation
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and modification.
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\end_layout
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\begin_layout Standard
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The process of writing this paper has been an unexpectedly rewarding and
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inspiring experience, pushing the boundaries of my own musical and technical
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understanding.
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Most notably the concepts of free composition - meaning allowing randomness
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and therefore putting oneself in the position of reacting to a musical
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system, influencing it in terms of tendencies, rather than controlling
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it with a predetermed mindset - has been something that really changed
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my perseption of musical creativity.
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This for me seems much more attainable in the analog world, where electrical
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components can be streched to certain limits, where it is uncertain what
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exactly will happen to the audio signal.
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That is where sound exploration begins, which is a totally different experience
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than knowing what will happen.
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Virtual digital environments, which I was familiar with however, seem to
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tend persuade the user to feel in control at all times.
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\end_layout
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\begin_layout Chapter
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@ -754,7 +797,8 @@ In 1955 the laboratories of the Radio Corporation of America (RCA) introduced
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It combined many means of tone generation and sound modification known
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at the time and is considered the first synthesizer.
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Mark I was built with the specific intention of imitating traditional instrumen
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t sounds for the production of popular music.
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t sounds and to reduce the costs of the production of popular music by replacing
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musicians.
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However, the machine proved unsuitable for its original intent and was
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later used completely for electronic music experimentation and composition
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@ -776,8 +820,16 @@ citealp[p.~15-16]{Dunn1992}}
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The synthesizer could not be played in the conventional sense in real time.
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Instead musical information had to be pre programmed as punched holes in
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a large paper tape.
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Olson and Belar produced an improved Mark II (nicknamed Victor) in 1957
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Harry Olson and Herbert Belar produced an improved Mark II Synthesizer
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in 1957, which the nickname
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\emph on
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Victor
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\emph default
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was given
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\emph on
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\emph default
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\begin_inset ERT
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status open
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@ -838,10 +890,43 @@ citealp[p.~20]{Dunn1992}}
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\end_inset
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.
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\end_layout
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\begin_layout Standard
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In 1963 Robert Moog was selling kits of transistorized Theremins.
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\begin_inset ERT
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status open
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\begin_layout Plain Layout
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\backslash
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pagebreak
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\end_layout
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\end_inset
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\end_layout
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\begin_layout Standard
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In 1963 Robert Moog, a passionate inventor from Ithaca, New York, was selling
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kits of transistorized Theremins
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\begin_inset ERT
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status open
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\begin_layout Plain Layout
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\backslash
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citetext{
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\backslash
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citealp[p.~20]{Dunn1992}}
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\end_layout
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\end_inset
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.
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As he states in the movie about him
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\begin_inset ERT
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status open
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@ -857,43 +942,177 @@ citealp{Fjellestad:movie}}
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\end_inset
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, he had been completely obsessed with building Theremins since the age
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of 15.
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He and the german composer Herbert Deutsch, who was using one of his instrument
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s, began to discuss the possibilities in designing new instruments and systems
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using solid state technology.
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This led Moog to the completion of the first prototype of his modular synthesiz
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er at the end of 1964.
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, he had been completely obsessed with building and later designing Theremins
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since the age of 14.
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A year later he built a transistor based voltage-controlled oscillator
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and amplifier for the composer Herbert Deutsch.
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This led moog to the presentation of a paper entitled
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\begin_inset Quotes eld
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\end_inset
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Voltage-Controlled Electronic Music Modules
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\begin_inset Quotes erd
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\end_inset
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at the sixteenth annual convention of the Audio Engineering Society, which
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had stimulated widespread interest
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\begin_inset ERT
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status open
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\begin_layout Plain Layout
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\backslash
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citetext{
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\backslash
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citealp[p.~117-118]{Manning1985}}
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\end_layout
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\end_inset
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.
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\end_layout
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\begin_layout Standard
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(Switched on Bach carlos wendy, popcorn, volts per octave - combine other
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systems)
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Similar developments had been taking place at the west coast of the united
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states.
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Morton Subotnick and Ramon Sender started their carreer in electronic music
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experimentation, and became increasingly dissatisfied with the severe limitatio
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ns of traditional equipment at the San Francisco Tape Music Center, where
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they were working.
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They sought out to hire a competent engineer and met Donald Buchla
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\begin_inset ERT
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status open
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\begin_layout Plain Layout
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\backslash
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citetext{
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\backslash
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citealp[p.~117-118]{Manning1985},
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\backslash
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citealp[p.~22]{Dunn1992}}
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\end_layout
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\end_inset
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.
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Their discussions resulted in the concept of a modular voltage-controlled
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system.
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Buchla's design approach differed significantly from Moog.
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He rejected the idea of a synthesizing familiar sounds and resisted the
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word
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\begin_inset Quotes eld
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\end_inset
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synthesizer
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\begin_inset Quotes erd
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\end_inset
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ever since.
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It seemed much more interesting to emphasize new timbral possibilities
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and stress the complexity that could arise from randomness.
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At the same time Buchla was fascinated with designing control devices other
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than the standard keyboard, which Moog decided to use for playing
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\begin_inset ERT
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status open
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\begin_layout Plain Layout
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\backslash
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citetext{
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\backslash
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citealp[p.~20]{Dunn1992}}
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\end_layout
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\end_inset
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.
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\end_layout
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\begin_layout Standard
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Buchla
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In 1966 Bob Moogs first production model was available from the business
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R.A.
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Moog Co.
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that he had founded
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\begin_inset ERT
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status open
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\begin_layout Plain Layout
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\backslash
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citetext{
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\backslash
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citealp[p.~20]{Dunn1992}}
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\end_layout
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\end_inset
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.
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At this time Walter Carlos, an audio engineer from New York who adviced
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Bob Moog while perfecting his system, worked with Benjamin Folkman to produce
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an album of titles by Johann Sebastian Bach interpreted only with Moog
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synthesizers.
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With the title
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\begin_inset Quotes eld
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\end_inset
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Switched-on Bach
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\begin_inset Quotes erd
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\end_inset
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they demonstrated the performance of the system so convincingly, that they
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hit the popmusic charts and sold a million LP's
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\begin_inset ERT
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status open
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\begin_layout Plain Layout
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\backslash
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citetext{
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\backslash
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citealp[p.~45]{Ruschkowski1990}}
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\end_layout
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\end_inset
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.
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\end_layout
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\begin_layout Standard
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ARP
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By the end of the decade two other manufactrurers entered the market: ARP
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in America and EMS Ltd.
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in England.
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They had become major rivals for Moog and Buchla.
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Synthesizer production was dominated by these four companies for several
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years, whereby each firm struggled for a major share of a highly lucrative,
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rapidly expanding market
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\begin_inset ERT
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status open
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\begin_layout Plain Layout
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\backslash
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citetext{
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\backslash
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citealp[p.~118]{Manning1985}}
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\end_layout
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\begin_layout Standard
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Polyphonics
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\end_layout
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\end_inset
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\begin_layout Section
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The Digital Age
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\end_layout
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\begin_layout Standard
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Yamaha DX7
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.
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\end_layout
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\begin_layout Chapter
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Theory of subtractive synthesis
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Theory of Subtractive Synthesis
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\end_layout
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\begin_layout Section
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@ -930,11 +1149,11 @@ Wave Oscillation
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\begin_layout Standard
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At the root of every artificial tone generating system there is an element
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that produces a vibration.
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that produces an oscillation.
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This element is mostly described as the oscillator, which represents the
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very source of what can be heard eventually.
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The oscillator produces a periodic wave, that oscillates between an amplitude-m
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inima and -maxima.
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The oscillator produces a periodic wave, that moves between an amplitude-minima
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and -maxima.
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Its waveform (shape of the wave) determines the overtone structure and
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therefore the timbre of this basic source sound.
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Oscillators often provide several waveforms between which it is possible
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@ -1372,7 +1591,7 @@ A modular synthesizer is an electronic instrument, where sound generators,
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\end_layout
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\begin_layout Chapter
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Analog synthesis
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Analog Synthesis
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\end_layout
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\begin_layout Section
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@ -1424,7 +1643,7 @@ Output
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\end_layout
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\begin_layout Chapter
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Building a modular synthesizer
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Building a Modular Synthesizer
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\end_layout
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\begin_layout Section
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