Analogue to Digital Converters ..

Synthesising Analogue and Digital Computational Methods towards Performance-oriented Design’.

CMX605 - Digital-to-Analogue, POTS ..

Building on the success of the KX-TDA100 and 200, Panasonic are proud to announce their new KX-TDA30 system, which allows a convergence of technology.

Here is a selection of recordings that I think were created by people who understood the unique beauty of the analogue synthesiser:

Convoluted Flesh: A synthetic approach to analogue …

But the amazing thing is that all this time later it is the very first synthesiser sounds that have stood the test of time. Later synthesisers that began to sound like 'real' instruments or that introduced 'innovative' digital architectures (like the Yamaha DX synths) have either faded into a general impression of naffness, or into obscurity as they didn't stand out enough to be noticed. The original Moog-style sounds are still there, still sound startling, and can be modelled perfectly using computers.

Synthesising analogue and digital methods of design into the discipline of Landscape Architecture

I became aware of the music synthesiser. To me the word “synthesiser” conjured up a vivid impression of the sound and look of the instrument, and still does. I imagined that synthesisers were so expensive, futuristic and exotic that they probably had to be borrowed from government research establishments. The idea that they could produce an infinite variety of sounds enabling the lucky user to play effectively any musical instrument was exciting beyond belief. Gradually I began to understand how they worked and that they were attainable by mere mortals, and as a teenager I experimented with analogue Moog-style instruments myself. Later, computerised instruments like the Fairlight CMI became the objects I lusted after, and now three decades on, like everyone else I can realise any instrument I like using free software on a standard PC.

Novation have gone to great lengths to innovate with both digital and analogue ..

Voice networks, Voice Over IP, IP Telephony - Rhys Haden

The complete instrumentation comprises a high-level software design tool operating on a conventional desktop or notebook PC and a separate hardware unit incorporating a powerful real-time digital signal processor unit, operating at 275 million multiplication-accumulations per second (MMACs) and a dual channel 24-bit codec with a maximum output rate of 200 kilo-samples per second.

HNC Electrical & Electronics Modules (Edexcel) « …

Furse’s next project was an all-digital synthesiser, which he named the Qasar M8 (Multimode 8) synthesiser. In addition to a keyboard, Furse had developed a graphics display which, with the use of a light pen, allowed the operator to create an instrument or voice using waveforms. After having made a deal with the large American electronics company, Motorola to use their programme development system, Furse was able to develop the MUSEQ 8 sequence playing system. The idea was that the MUSEQ 8 system, when used in conjunction with his M8, could be used by composers of all kinds of music, not just electronic, for the composition and the performance of music. Another major innovation with the M8 synthesiser was Furse’s use of two 8-bit Motorola 6800 microprocessors in an unusual parallel configuration which greatly speeded up data input and output.

HNC – Electrical & Electronic – Edexcel

The large and expensive Qasar M8 CMI was eventually discontinued in 1979, many of the features of the M8 being incorporated into the Fairlight CMI digital synthesiser/sampler.

MB-1 SDR Transceiver for shortwave, 6m and 2m …

In 1972 Furse set up his own company ‘ 8-bit Motorola 6800 microprocessors in an unusual parallel configuration. The Qasar II was capable of digitally synthesising waveforms but couldn’t output harmonic partials so the sounds that it produced were fairly static. The expensive microprocessor based Qasar II failed to go into production being unable to compete with the much cheaper transistor based Moog Modular, released around the same time.

This course focuses on practical project work

Hello Ray – and thank you for yet another ‘class act’, or should it be ‘classy act’ we wonder. Anyway, a fine read on a topic that interest us greatly here at OLC. We conducted a small poll here about our favourite performances from the era that fascinates us as much as it does you. We have taken a slight liberty and included those on the cusp between analogue instruments and digital. Here they are in no particular order: