Foreword |
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Preface |
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xi | |
About the Companion Website |
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xv | |
1 Trendsetting All-Stars |
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3 | (127) |
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4 | (29) |
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4 | (4) |
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8 | (2) |
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10 | (1) |
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11 | (2) |
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Tape-to-Electronics Transition |
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13 | (4) |
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Voltage and Digital (Fingertip) Control |
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17 | (7) |
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24 | (2) |
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Armand Pascetta's Pratt-Reed Polyphony |
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26 | (2) |
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Heavyweight Polyphony and Control |
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28 | (1) |
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29 | (1) |
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29 | (2) |
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31 | (2) |
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33 | (34) |
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34 | (2) |
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36 | (2) |
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Polyphony from an Expander |
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38 | (3) |
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Switched-On Additive Synthesis |
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41 | (4) |
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Groundbreaking German Digital Synthesizers |
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45 | (2) |
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Realizing John Chowning's Linear FM Synthesis |
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47 | (3) |
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50 | (3) |
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53 | (2) |
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55 | (3) |
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MultiSynthesis and Processing Environment |
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58 | (3) |
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61 | (2) |
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63 | (1) |
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64 | (3) |
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67 | (21) |
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Keyboard-Controlled Tape Player |
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68 | (1) |
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69 | (2) |
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71 | (1) |
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Digital-Sampling Trailblazer from Down Under |
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72 | (1) |
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More Affordable Digital Sampling |
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73 | (2) |
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75 | (1) |
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Multitimbral Sample Playback, Sampling Optional |
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76 | (3) |
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Direct-from-Disk Sample Playback |
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79 | (1) |
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First Programmable Polysynth |
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80 | (2) |
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82 | (3) |
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First Programmable Sample-Playback Drum Machine |
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85 | (1) |
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Small-Scale Improvisation Instrument |
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86 | (2) |
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88 | (25) |
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Patchboard-Matrix British Synths |
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88 | (3) |
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Educational Instruments that Went Well Beyond |
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91 | (3) |
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Unique Improvisation Machine |
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94 | (1) |
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Multitasking Pre-MIDI Wonder Workstation |
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95 | (4) |
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99 | (1) |
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100 | (2) |
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Early Electronic Music Applications from Max Mathews |
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102 | (1) |
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Barry Vercoe's Long-Lived Synthesis and Processing Software |
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102 | (1) |
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Personal Computer with a Built-In Synth Chip |
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103 | (1) |
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Graphically Programmable Computer Music Language |
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104 | (1) |
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"Obsolete" and Ever-Evolving Sonic Software |
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104 | (3) |
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Premier Softsynths for Discriminating Enthusiasts |
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107 | (2) |
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DIY Softsynth Apps and Their Potent Offspring |
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109 | (3) |
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Reliable Softsynth Platform for the Road |
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112 | (1) |
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113 | (16) |
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114 | (1) |
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Room-Filling Automated Composition Machine |
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114 | (3) |
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Photo-Optic Instrument from Russia |
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117 | (1) |
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Instantaneous Composing/Performance Machine |
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118 | (1) |
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Hybrid Music Workstation that Arrived Too Late |
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119 | (2) |
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Gigabuck Digital Audio System |
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121 | (2) |
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Economical Multitimbral Sequencing Synth |
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123 | (1) |
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Musical Playstation for the Masses |
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124 | (2) |
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Instrument that Launched Hip-Hop |
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126 | (1) |
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Multipurpose Environment for Composition and Performance |
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127 | (2) |
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129 | (1) |
2 Acoustics and Synthesis Basics |
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130 | (80) |
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131 | (1) |
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132 | (5) |
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Audio Sources: Oscillators, Noise, and More |
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137 | (13) |
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VCAs, Envelopes, and LFOs |
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150 | (6) |
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Envelope Followers and Pitch-to-Voltage Converters |
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156 | (1) |
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157 | (9) |
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166 | (6) |
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172 | (8) |
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180 | (2) |
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182 | (5) |
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187 | (6) |
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193 | (4) |
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197 | (3) |
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200 | (10) |
3 Choosing Your Synthesizer(s) |
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210 | (100) |
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213 | (32) |
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213 | (1) |
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213 | (3) |
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216 | (5) |
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221 | (2) |
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Programmability: Pros and Cons |
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223 | (1) |
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223 | (1) |
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224 | (20) |
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244 | (1) |
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Modular Synthesizers in the Twenty-first Century |
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245 | (21) |
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245 | (9) |
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254 | (8) |
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262 | (3) |
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265 | (1) |
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265 | (1) |
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266 | (10) |
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Convincing Analog and MIDI Synths to Coexist |
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266 | (1) |
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267 | (6) |
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273 | (3) |
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276 | (30) |
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Synths and Controllers with Keyboards |
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276 | (7) |
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283 | (1) |
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284 | (2) |
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286 | (15) |
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301 | (1) |
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302 | (3) |
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Controllers for Microtonal Tunings |
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305 | (1) |
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306 | (4) |
4 Composition, Programming, and Performance Techniques |
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310 | (42) |
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310 | (11) |
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310 | (6) |
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316 | (1) |
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Following Through on a Thought |
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317 | (1) |
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Sage Advice from a Master |
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318 | (1) |
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Scoring with Intent, Even When Intimidated |
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319 | (2) |
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Patching, aka Programming |
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321 | (18) |
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Encouraging Synthesists' Creativity |
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321 | (1) |
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When and How to Experiment with Sounds |
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322 | (5) |
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The Good and Bad of Non-Programmability |
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327 | (2) |
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329 | (2) |
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331 | (3) |
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334 | (4) |
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Programming for Expression |
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338 | (1) |
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339 | (13) |
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339 | (3) |
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Dependence on the Tried and True, but Moving Forward |
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342 | (3) |
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345 | (4) |
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Defying the Dependence on Visuals |
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349 | (3) |
5 Recording the Synthesizer |
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352 | (15) |
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As It Was and How It's Become for the Switched-On Innovator |
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352 | (1) |
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Serial vs. Random-Access Media |
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353 | (1) |
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Strategies for Recording Film and TV Scores |
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354 | (5) |
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Harnessing the Power of Modular Synths with Ableton Live |
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359 | (1) |
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360 | (1) |
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Outboard Processing: Preparing Audio for Recording |
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361 | (3) |
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Recording Direct and Expanding for Surround-Sound |
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364 | (3) |
Appendices |
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367 | (18) |
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Appendix A. Selected Bibliography, Films, and Museums |
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369 | (6) |
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Appendix B. Manufacturers, Forums, Blogs, Dealers, and Stores |
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375 | (10) |
Index |
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385 | |