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Synthesizer: A Comprehensive Guide to Understanding, Programming, Playing, and Recording the Ultimate Electronic Music Instrument [Hardback]

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  • Formāts: Hardback, 428 pages, height x width x depth: 221x279x25 mm, weight: 1245 g, over 371 illustrations
  • Izdošanas datums: 27-Mar-2014
  • Izdevniecība: Oxford University Press Inc
  • ISBN-10: 019539481X
  • ISBN-13: 9780195394818
  • Hardback
  • Cena: 152,25 €
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  • Formāts: Hardback, 428 pages, height x width x depth: 221x279x25 mm, weight: 1245 g, over 371 illustrations
  • Izdošanas datums: 27-Mar-2014
  • Izdevniecība: Oxford University Press Inc
  • ISBN-10: 019539481X
  • ISBN-13: 9780195394818
Electronic music instruments weren't called synthesizers until the 1950s, but their lineage began in 1919 with Russian inventor Lev Sergeyevich Termen's development of the Etherphone, now known as the Theremin. From that point, synthesizers have undergone a remarkable evolution from prohibitively large mid-century models confined to university laboratories to the development of musical synthesis software that runs on tablet computers and portable media devices.

Throughout its history, the synthesizer has always been at the forefront of technology for the arts. InThe Synthesizer: A Comprehensive Guide to Understanding, Programming, Playing, and Recording the Ultimate Electronic Music Instrument, veteran music technology journalist, educator, and performer Mark Vail tells the complete story of the synthesizer: the origins of the many forms the instrument takes; crucial advancements in sound generation, musical control, and composition made with instruments that may have become best sellers or gone entirely unnoticed; and the basics and intricacies of acoustics and synthesized sound. Vail also describes how to successfully select, program, and play a synthesizer; what alternative controllers exist for creating electronic music; and how to stay focused and productive when faced with a room full of instruments. This one-stop reference guide on all things synthesizer also offers tips on encouraging creativity, layering sounds, performance, composing and recording for film and television, and much more.

Recenzijas

Synthesizers are wonderful musical instruments that cover a very wide range of implementations and uses. Mark Vails The Synthesizer is a must-read for anyone who has interest in learning about these engineering marvels. It is a great introduction if you are new to synths, but also very informative and up-to-date for the seasoned synth player. * Dave Smith, Dave Smith Instruments * A hugely detailed, exhaustively researched and splendidly idiosyncratic work which nails its extensive subject matter. Mark Vail enthusiastically charts the development of the synthesizer from the Trautonium to the latest software instruments, and also gives us valuable insights and tips from leading electronic composers, including legendary synth pioneer Wendy Carlos. * Dave Stewart, Keyboardist * In the past few decades, the synthesizer has finally come of age. Mark Vail's extensive work documents this journey from its austere and rarified beginnings to its present technologically sophisticated state. His well-illustrated book is filled with anecdotes and insights, amazing successes and ridiculous flops, expert advice on how to roll your own, lots of commentary on artists, their gear and their methodology, and finally, a guide to recording and disseminating your own musical masterpieces. Stash this volume where its easy to get to; you'll be using it a lot. * Don Buchla, Composer and Instrument Designer, Berkeley, California * Mark Vail is the best explainer and historian of music synthesizers that I know. I highly recommend this book, which is a whole lot of fun to read. * Roger Linn, Roger Linn Design *

Foreword ix
Michelle Moog-Koussaix
Preface xi
About the Companion Website xv
1 Trendsetting All-Stars 3(127)
Control
4(29)
No Touch Required
4(4)
For The Birds
8(2)
Waggling Keyboard
10(1)
Timbral Flowage
11(2)
Tape-to-Electronics Transition
13(4)
Voltage and Digital (Fingertip) Control
17(7)
Synth Italia
24(2)
Armand Pascetta's Pratt-Reed Polyphony
26(2)
Heavyweight Polyphony and Control
28(1)
Multitimbral Polyphony
29(1)
Physical Modeling
29(2)
Finger-Controlled Speech
31(2)
Sound
33(34)
Quantized Note Selection
34(2)
Polyphonic Progenitor
36(2)
Polyphony from an Expander
38(3)
Switched-On Additive Synthesis
41(4)
Groundbreaking German Digital Synthesizers
45(2)
Realizing John Chowning's Linear FM Synthesis
47(3)
Phase Distortion
50(3)
Linear Arithmetic
53(2)
Vector Synthesis
55(3)
MultiSynthesis and Processing Environment
58(3)
Open Architecture
61(2)
Virtual Analog
63(1)
Neural Modeling
64(3)
Performance
67(21)
Keyboard-Controlled Tape Player
68(1)
Optical Sonics, Part 1
69(2)
Optical Sonics, Part 2
71(1)
Digital-Sampling Trailblazer from Down Under
72(1)
More Affordable Digital Sampling
73(2)
The Volksampler
75(1)
Multitimbral Sample Playback, Sampling Optional
76(3)
Direct-from-Disk Sample Playback
79(1)
First Programmable Polysynth
80(2)
Classic Beat Boxes
82(3)
First Programmable Sample-Playback Drum Machine
85(1)
Small-Scale Improvisation Instrument
86(2)
Interface
88(25)
Patchboard-Matrix British Synths
88(3)
Educational Instruments that Went Well Beyond
91(3)
Unique Improvisation Machine
94(1)
Multitasking Pre-MIDI Wonder Workstation
95(4)
Original Resynthesizer
99(1)
Hybrid Modular
100(2)
Early Electronic Music Applications from Max Mathews
102(1)
Barry Vercoe's Long-Lived Synthesis and Processing Software
102(1)
Personal Computer with a Built-In Synth Chip
103(1)
Graphically Programmable Computer Music Language
104(1)
"Obsolete" and Ever-Evolving Sonic Software
104(3)
Premier Softsynths for Discriminating Enthusiasts
107(2)
DIY Softsynth Apps and Their Potent Offspring
109(3)
Reliable Softsynth Platform for the Road
112(1)
Composition
113(16)
The First Synthesizer
114(1)
Room-Filling Automated Composition Machine
114(3)
Photo-Optic Instrument from Russia
117(1)
Instantaneous Composing/Performance Machine
118(1)
Hybrid Music Workstation that Arrived Too Late
119(2)
Gigabuck Digital Audio System
121(2)
Economical Multitimbral Sequencing Synth
123(1)
Musical Playstation for the Masses
124(2)
Instrument that Launched Hip-Hop
126(1)
Multipurpose Environment for Composition and Performance
127(2)
Beyond
129(1)
2 Acoustics and Synthesis Basics 130(80)
Real-World Acoustics
131(1)
Types of Synthesis
132(5)
Audio Sources: Oscillators, Noise, and More
137(13)
VCAs, Envelopes, and LFOs
150(6)
Envelope Followers and Pitch-to-Voltage Converters
156(1)
Filters
157(9)
EQs and Filter Banks
166(6)
Analog Sequencers
172(8)
Arpeggiators
180(2)
Reverb
182(5)
Analog Delay
187(6)
Digital Delay
193(4)
Loopers
197(3)
Other Effects
200(10)
3 Choosing Your Synthesizer(s) 210(100)
Options
213(32)
What's Your Budget?
213(1)
Musical Tastes and Goals
213(3)
Hardware vs. Software
216(5)
Portability and Power
221(2)
Programmability: Pros and Cons
223(1)
Expandability
223(1)
As Others Have Done
224(20)
Perspective
244(1)
Modular Synthesizers in the Twenty-first Century
245(21)
An Overview
245(9)
Modular Synth Shopping
254(8)
More on Eurorack Modular
262(3)
More on FracRak Modular
265(1)
More on Serge Modular
265(1)
Connectivity
266(10)
Convincing Analog and MIDI Synths to Coexist
266(1)
MIDI-to-CV Conversion
267(6)
CV-to-MIDI Conversion
273(3)
Controllers
276(30)
Synths and Controllers with Keyboards
276(7)
Alternative Controllers
283(1)
Wind Controllers
284(2)
Touch Controllers
286(15)
Hand-Held Controllers
301(1)
Struck Controllers
302(3)
Controllers for Microtonal Tunings
305(1)
Noise Toys
306(4)
4 Composition, Programming, and Performance Techniques 310(42)
Composition
310(11)
Scoring to Picture
310(6)
Composing for Living Art
316(1)
Following Through on a Thought
317(1)
Sage Advice from a Master
318(1)
Scoring with Intent, Even When Intimidated
319(2)
Patching, aka Programming
321(18)
Encouraging Synthesists' Creativity
321(1)
When and How to Experiment with Sounds
322(5)
The Good and Bad of Non-Programmability
327(2)
Programming for Progress
329(2)
Fun with Modular Synths
331(3)
Layering Synth Sounds
334(4)
Programming for Expression
338(1)
Performance
339(13)
Tools of the Trade
339(3)
Dependence on the Tried and True, but Moving Forward
342(3)
Modular Apparitions
345(4)
Defying the Dependence on Visuals
349(3)
5 Recording the Synthesizer 352(15)
As It Was and How It's Become for the Switched-On Innovator
352(1)
Serial vs. Random-Access Media
353(1)
Strategies for Recording Film and TV Scores
354(5)
Harnessing the Power of Modular Synths with Ableton Live
359(1)
Automated Mixing
360(1)
Outboard Processing: Preparing Audio for Recording
361(3)
Recording Direct and Expanding for Surround-Sound
364(3)
Appendices 367(18)
Appendix A. Selected Bibliography, Films, and Museums
369(6)
Appendix B. Manufacturers, Forums, Blogs, Dealers, and Stores
375(10)
Index 385
Building on his life-long interest in music, Mark Vail discovered synthesizers in 1973 and bought his first in 1976. After earning an MFA in electronic music in 1983, he served on the editorial staff at Keyboard magazine from 1988 to 2001. The author of Vintage Synthesizers and The Hammond Organ: Beauty in the B, Mark is internationally acknowledged as a foremost authority on synthesizers.