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1304:–27, Armand Pascetta's Pratt-Reed Polyphony, "The musician/technician Armand Pascetta was among the first to tackle synthesizer polyphony. Doing business as Electro Group, Pascetta wired Pratt-Reed keyboards to a unique processor (before microprocessors were commonly available) ... develop keyboards that responded to note velocity, release velocity, and aftertouch, and also allowed advanced functionality including keyboard splits and polyphony portamento. By the mid-1970s he's created pre-MIDI keyboard controllers capable of transmitting more than twelve separate channels of gate and voltage-control data and handling multiple synth modules, even across multiple networked keyboards."
520:
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1181:... Introduced in 1975, the GX-1 was ... In 1973, Yamaha completed development work on a prototype codenamed the GX-707. Based on cluster voltage control, this instrument could be regarded as the predecessor of the Electone GX-1. ... As the flagship model in the Electone lineup, however, this prototype was conceived of as a theatre model for use on the concert stage. With a console weighing in excess of 300 kg and a separate board required for editing tones, it was not well suited for sale to the general public, and to this day is still considered a niche instrument.
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two of the three design concepts (the microprocessor keyboard, and the analogue chip voice card). All that remained was the microprocessor control of patches. ... Whilst Dave Rossum developed the operating system and oversaw the analog circuit design, Dave Smith focused on making patches programmable and designing the control surface. ... Emu agreed a royalty from
Sequential that provided strong revenues once the Prophet 5 took off like a rocket in late 1978 and 1979.
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with other projects, when he decided to get into a synthesizer, he came over and basically started picking our brains from the beginning, which was an intelligent thing to do. We did some specific circuit designs for the
Prophet 5,reviewed virtually everything in it, and gave him access to lots of E-mu documentation. Again, we had a royalty arrangement, the product went over well, and we made a lot of money...
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Towards the fall of that same year he visited E-mu to see our prototype polyphonic keyboard, and decided that he liked that design too. He felt that it too was patentable, and wanted to use it in a product. So we worked out an arrangement whereby he'd pay us royalties, and could use the circuit, and we would share in them benefits of the patent.
1342:... I'm not the kind of circuit design expert that Bob Moog was. ... When I did Oberheim, I didn't consider myself a great circuit guy, so I had help. In one case part of the Oberheim module was designed by an engineer at ARP, and another was designed by an engineer at E-mu, by the guy who started E-mu ...
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can also be doubled for polyphony. There are two types of double recorder; drone and polyphonic. In the drone type, one tube is tuned exactly like a regular recorder with a range of approximately two octaves, and the other tube is a drone and plays the tonic note of the scale. The polyphonic recorder
860:. These instruments feature a complete sound-generating mechanism for each key in the keybed (e.g., a piano has a string and hammer for every key, and an organ has at least one pipe for each key.) When any key is pressed, the note corresponding to that key will be heard as the mechanism is activated.
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Description: Custom-built modular synthesizer system consisting of a three-manual controller with a pedalboard, ... Produced: Schematics completed
December 20, 1974, assembly began in '75, and system finished in May '77. ... Manufacture: Don Lewis. Pre-MIDI 4-channel polyphonic keyboard designed by
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It was thus clear that new control technology would be required in order to use a limited number of circuits in a more effective manner. ... This type of device was known as a key assigner, and it can rightly be called the predecessor of today's dynamic voice allocation (DVA) technology. Back in the
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are manufactured in a number of varieties, including double, triple, and quadruple ocarinas, which use multiple chambers to extend the ocarina's otherwise limited range, but also enable the musician to play more than one note simultaneously. Harmonic ocarinas are specifically designed for polyphony,
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Therefore, even though the violin family of instruments are misleadingly considered (when bowing) by general untrained musicians to be primarily monophonic, it can be polyphony by both pizzicato (plucking) and bowing techniques for standard trained soloists and orchestra players. The evidence can be
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and pickups), and it sends a large number of audio outputs to a mixer. The stops or drawbars on the organ modify the signal sent from the audio-generating system, and the keyboard switches the mixer's channels on and off. Those channels which are switched on are heard as notes corresponding to the
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There were two parts that led to the development of the
Prophet-5. One was I already had a background in microprocessors, so I knew how they worked. In my day job, I was using microprocessors, so it was a real obvious thing to me to use a microprocessor to make a programmable polyphonic synth. The
1272:
Features Armand
Pascetta, a technician who developed the first polyphonic keyboard in the U.S. Reason behind the development of a content-addressable memory; List of clients of Pascetta, including synthesist Malcolm Cecil; Views of musician Don Lewis on playing the Pascetta keyboard again during a
1243:
Dave Smith, ... He called in at the Emu office in the summer of 1977 to discuss product ideas, and the advice was clear the killer product everyone was looking for at the time was an affordable programmable polyphonic analogue synth. Emu were already working towards such a synth, and had pioneered
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A "sound" (also called a "timbre" or "patch") may be generated by more than one oscillator or sound-source to allow more complicated sounds to be produced. A synthesizer with 16 oscillators may be capable of 16-note polyphony only when simple, single-oscillator sounds are produced. If a particular
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JL: Your influence in the design of both the
Prophet 5 and the equipment of Oberheim Electronics have been grossly overlooked. Would you care to comment on what you've done for both companies? / DR: ... The involvement with the Prophet 5 was very similar. Dave Smith had come to us for design help
1426:
JL: Your influence in the design of both the
Prophet 5 and the equipment of Oberheim Electronics have been grossly overlooked. Would you care to comment on what you've done for both companies? / DR: Let me talk first about Tom Oberheim, , whom I met at an AES convention in the spring of 1974. ...
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modules together with just a simple digital keyboard and have the first polyphonic synthesizer. And so I designed this module, it was already in existence when I made this decision, so it took me about six weeks to design this machine. ... a few months later showed it at the NAMM show, and the
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Even with only ten fingers, it is possible to play more than ten notes at once. Notes may continue to sound even after a key is released. The synthesizer's resources may still be in use to produce the sound of the previously struck notes tapering off, especially when a sustain pedal is
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to trigger the oscillators. However, multiple oscillators working independently are a considerable challenge to implement. To double the polyphony, not only must the number of oscillators be doubled but the electronics must also function as a switch connecting keys to free oscillators
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In classical music, a definition of polyphony does not only mean just playing multiple notes at once but an ability to make audiences perceive multiple lines of independent melodies. Playing multiple notes as a whole, such as a rhythm from a chord pattern, is not polyphony but
327:, were designed to play multiple pitches at the same time by using multiple oscillators, but with a common filter and/or amplifier circuit shared among all the voices. The result is a synthesizer that can play chords, provided all the notes start and end at the same time (
391:. The additional notes are generated by dividing down the outputs of these oscillators. To produce a note one octave lower, the frequency of the oscillator is divided by two. Polyphony is achieved so long as only one of each note in the scale is played simultaneously.
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With a few exceptions, electric organs consist of two parts: an audio-generating system and a mixing system. The audio-generating system may be electronic (consisting of oscillators and octave dividers) or it may be electromechanical (consisting of
682:. Multitimbral instruments are always polyphonic but polyphonic instruments are not necessarily multitimbral. Some multitimbral instruments have a feature which allows the user to specify the amount of polyphony reserved or allowed for each timbre.
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signals for the lowest- and highest-note. When two or more keys are pressed simultaneously, the lowest- and highest-note will be heard. When only one key is pressed, both oscillators are assigned to one note, possibly with a more complex sound.
724:, priority is based on the order in which keys are played. When new notes are triggered while all voices are playing, the synthesizer frees up polyphony by ending the earliest played sounding note. This is the default mode on most synthesizers.
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other thing is, we knew the people from E-mu systems, ... I had heard that they were involved with developing a new chip set where they had an oscillator integrated circuit, they had a filter circuit, and they had an envelope and a VCA. ...
177:, on which the player plays different melody lines with the left and the right hand - depending on music style and composition, these may be musically tightly interrelated or may even be totally unrelated to each other, like in parts of
662:, 16-voice polyphony became standard by the late 1980s. 64-voice polyphony was common by the mid-1990s and 128-note polyphony arrived shortly after. There are several reasons for providing such large numbers of simultaneous notes:
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A classical violin has multiple strings and indeed is polyphonic but harder for some beginners to play multiple strings by bowing. One needs to control the pressure, speed and angle well for one note before having an ability to
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and in these instruments the ranges of the chambers usually overlap to some extent (typically at the unison, third, fourth, fifth, seventh or octave). Cross-fingering enables a single chamber to span an entire octave or more.
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is a synthesizer that produces only one note at a time, making it smaller and cheaper than a polyphonic synthesizer which can play multiple notes at once. This does not necessarily refer to a synthesizer with a single
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Some clavichords do not have a string for each key. Instead, they will have a single string which will be fretted by several different keys. Out of the keys that share a single string, only one may sound at a time.
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has two tubes with a range of one major sixth. With overblowing, some notes can be played an octave higher, but it is not possible to achieve the range of an entire octave in one tube with these instruments.
731:, earlier notes are not cut off to make room for later ones, and once maximum polyphony has been reached, the person playing the instrument must stop playing one or more notes in order to trigger new ones.
1374:... 1975. Tom subsequently licensed the polyphonic scanning keyboard developed by E-mu's Dave Rossum and paired it with multiple SEMs. By June 1975 he'd completed his Two Voice and Four Voice synths
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Armand
Pascetta. Richard Bates served as chief engineer; ... The "Pascetta parts" of LEO — four Oberheim SEMs and two ARP 2600s controlled by Armand Pascetta's custom-designed keyboard ...
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The first step was to use the new logic chips for monophonic, and then polyphonic keyboards. This was a major advance thanks to the use of digital scanning circuitry ... Tom
Oberheim
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that decides which notes are turned off if the maximum number of notes is already sounding when an additional key is pressed. There are several ways to implement this:
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is a property of musical instruments that means that they can play multiple independent melody lines simultaneously. Instruments featuring polyphony are said to be
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early seventies, when tone generators still relied on analog technology, digital circuitry was already being put to use in these key assigners.
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built in the 1970s and 1980s respectively, have a capability to independently play two pitches at a time. These synthesizers have at least two
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rely on the same principles to achieve polyphonic operation. An electric piano has a separate hammer, vibrating metal tine and electrical
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The
Synthesizer: A Comprehensive Guide to Understanding, Programming, Playing, and Recording the Ultimate Electronic Music Instrument
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Emu first applied the new technology to keyboard and sequencer design with the 4060 Polyphonic Keyboard and Sequencer of March 1977
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Voice allocation technology was used to assign the limited 8-voices per manual into the notes. It was succeeded by the portable
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The earliest polyphonic synthesizers were built in the late-1930s, but the concept did not become popular until the mid-1970s.
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Patchable polyphonic synthesizer consists with three synths per key (totally 144 synthesizers), based on octave divider.
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CS80 could almost be thought of as two polyphonic synths, because there are two independent 8-voice sections available.
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with total 18 voice polyphony, released in 1973. Six-voice polyphony was standard by the mid-1980s. With the advent of
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In 1974, E-mu developed the polyphonic technologies, and in 1977, released the 4060 Polyphonic Keyboard and Sequencer.
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The electric guitar, just like the classical guitar, is polyphonic, as are various guitar derivatives (including the
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can be used with many regular wind instruments to produce two or more notes at once, although this is considered an
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Polyphonic ensemble keyboard consists with one synth per key (totally 60 synthesizers), based on octave divider
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Oberheim Four-Voice polyphonic synthesizer. ... in January 1975, I got the idea to put four or eight of these
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which can generate only one tone (frequency) at a time, except when played by extraordinary musicians.
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Analog Synthesizers: Understanding, Performing, Buying: from the Legacy of Moog to Software Synthesis
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Each key on an acoustic piano is connected to its own hammer-and-string sound-producing mechanism.
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was independently developed by several engineers and musical instrument manufacturers, including
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One of the most popular polyphonic synth featuring patch memories, also used E-mu's technology.
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Turn off the first note sounded and use the newly freed oscillator to play the new note. With
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patch requires four oscillators, then the synthesizer is only capable of four-note polyphony.
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design as the basis for his Four Voice and Eight Voice polyphonic analogue synths of 1974.
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that has both a drone pipe and two pipes capable of polyphony, for a total of three pipes.
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Using an octave divider a synthesizer needs only 12 oscillators – one for each note in the
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technology to generate polyphony, and about 1,000 Novachords were manufactured until 1942.
331:). For example, playing a new note on top of notes already held might retrigger the volume
569:(1976), which was successful and became one of the most popular polyphonic analog synths.
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may use additional, multiple, or user-configurable criteria to decide which notes sound.
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for the entire sound. Monophonic synthesizers with more than one oscillator (such as the
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An intuitively understandable example for a polyphonic instrument is a (classical)
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seen in compositions since the 17th century such as Bach sonatas and partitas for
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released in 1978, had five-voice polyphony. Another notable polyphonic synth, the
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that are separately controllable, and a duophonic keyboard that can generate two
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to generate the electric signal that forms the basis of the sound, often with a
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is a monophonic synthesizer with two oscillators and programmable note priority.
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Almost all classical keyboard instruments are polyphonic. Examples include the
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1510:"LEO, the Live Electronic Orchestra - Pre-MIDI Multitimbral Synth System"
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1470:"The World's most desirable and valuable synthesizers and drum machines"
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It was developed under the collaboration with E-mu Systems.
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works in the same way, but cuts notes from the highest down.
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Synthesizers may be configured to produce multiple timbres (
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A forefather of octave divider synth and electronic organs.
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Octave divider technology similar to Novachord was used.
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released in 1976, had eight-voice polyphony, as did the
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were both developed in collaboration with E-mu Systems.
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1164:"[Chapter 1] Origins of the Yamaha Synthesizer"
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162:. Instruments that are not capable of polyphony are
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59:. Unsourced material may be challenged and removed.
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919:at acceptable quality expected by the composers.
181:music. An example for monophonic instruments is a
1262:. Vol. 32, no. 5. May 2006. p. 68.
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612:LEO used Armand Pascetta's polyphonic keyboard (
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271:Well-known monosynths include the Minimoog, the
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1085:. New York: Experimental Television Center Ltd.
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646:One notable early polyphonic synthesizer, the
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1610:"30 Years of Emu: The History Of Emu Systems"
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1185:Why digital technology in an analog synth?
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1068:"Polyphony, Paraphony and Multitimbrality"
965:can easily produce several notes at once.
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822:Learn how and when to remove this message
119:Learn how and when to remove this message
1015:Electronic musical instrument: Polyphony
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619:) to control the multiple synthesizers.
68:"Polyphony and monophony in instruments"
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1115:"Introduction to the Hammond Novachord"
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1168:History, Yamaha Synth 40th Anniversary
727:Ignore the newly depressed note. With
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1544:. No. July 1995. Archived from
1350:Oberheim synthesizer world was born.
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800:adding citations to reliable sources
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375:and polyphonic synthesizer. It uses
291:Duophonic synthesizers, such as the
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1635:. No. November/December 1981.
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1536:"Yamaha CS80 - Polysynth (Retro)"
1042:Musical instrument classification
991:) also exist, native to southern
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1495:"The Schmidt synth and the CS80"
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1256:"The Armand Pascetta Keyboard".
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1117:. novachord.com. Archived from
1099:. novachord.com. Archived from
506:Oberheim Polyphonic Synthesizer
488:In the early-to-mid-1970s, the
224:Typical duophonic synthesizer:
44:needs additional citations for
1608:Keeble, Rob (September 2002).
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1629:"Interview of Dave Rossum"
319:synthesizers, such as the
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1551:CS80 was launched in 1976
1497:. Synthtopia. 2011-04-07.
1020:Monophonic (synthesizers)
925:unaccompanied solo violin
602:Live Electronic Orchestra
494:digital keyboard scanning
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18:Monophonic (synthesizers)
1149:. No. January 2001.
1141:"Synth secrets, part 21"
748:Modern synthesizers and
508:and Sequential Circuits
373:frequency divider organs
363:polyphonic synthesizer.
134:Technical specifications
1083:"Harald Bode biography"
917:play the multiple notes
1583:Jenkins, Mark (2007).
1398:Red Bull Music Academy
1326:Red Bull Music Academy
1174:. 2014. Archived from
1097:"Novachord Schematics"
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321:Solina String Ensemble
249:monophonic synthesizer
902:Classical instruments
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736:highest note priority
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369:Hammond Organ Company
1591:Taylor & Francis
897:Stringed instruments
835:Keyboard instruments
796:improve this section
742:Lowest note priority
660:digital synthesizers
624:Sequential Circuits
53:improve this article
1640:Vail, Mark (2014).
729:first note priority
575:E-mu Modular System
1633:Polyphony Magazine
1280:"EBSCO Publishing"
1172:Yamaha Corporation
1081:Rhea, Tom (2004).
956:extended technique
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722:last note priority
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1651:978-0-19-539489-4
1627:Lee, Jay (1981).
1600:978-0-240-52072-8
931:Newer instruments
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1624:
1622:on 2015-12-26.
1615:Sound on Sound
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1541:Sound on Sound
1527:
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1322:Barcelona 2008
1318:"Tom Oberheim"
1306:
1290:
1286:on 2017-04-27.
1248:
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1146:Sound on Sound
1131:
1106:
1103:on 2008-01-01.
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884:for each key.
874:electric piano
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697:Korg Monologue
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377:octave divider
352:
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281:Korg Monologue
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1332:on 2018-05-07
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1324:(interview).
1323:
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1303:
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1294:
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1277:(quoted from
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1139:Gordon Reid.
1135:
1121:on 2009-09-12
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1070:. 2015-01-08.
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961:The standard
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781:This section
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606:by Don Lewis
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389:musical scale
380:
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325:Korg Poly-800
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277:Korg Prophecy
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273:Roland TB-303
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70: –
69:
65:
64:Find sources:
58:
54:
48:
47:
42:This article
40:
36:
31:
30:
27:
19:
1669:Synthesizers
1641:
1632:
1620:the original
1613:
1585:
1577:Bibliography
1568:Jenkins 2007
1563:
1554:
1550:
1549:
1546:the original
1539:
1530:
1520:
1519:
1513:
1508:Vail, Mark.
1503:
1489:
1478:. Retrieved
1476:. 2013-09-30
1473:
1464:
1458:Jenkins 2007
1453:
1445:
1425:
1402:
1401:
1393:
1390:"Dave Smith"
1373:
1348:
1345:
1341:
1340:
1334:. Retrieved
1330:the original
1321:
1293:
1284:the original
1271:
1265:
1257:
1251:
1242:
1221:
1217:
1214:
1211:
1188:
1184:
1180:
1179:
1176:the original
1167:
1144:
1134:
1123:. Retrieved
1119:the original
1109:
1101:the original
1091:
1076:
1062:
997:
982:
975:
967:
960:
952:Multiphonics
950:
934:
921:
913:
905:
886:
871:
862:
843:
818:
809:
794:Please help
782:
747:
741:
735:
728:
721:
702:
676:multitimbral
652:Yamaha CS-80
645:
633:
623:
611:
601:
596:
587:
582:
573:
567:Yamaha CS-80
564:
555:
502:E-mu Systems
489:
487:
474:
468:Korg PS-3300
462:
449:
436:
386:
376:
360:
354:
315:
290:
270:
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246:
172:
159:
155:
154:
149:Input/output
139:
115:
106:
96:
89:
82:
75:
63:
51:Please help
46:verification
43:
26:
1644:. OUP USA.
1442:Rossum 1981
1422:Rossum 1981
1239:Keeble 2002
1208:Keeble 2002
987:(a type of
850:harpsichord
705:oscillators
656:Yamaha GX-1
617: 1975
561:(1973/1975)
557:Yamaha GX-1
357:Harald Bode
301:oscillators
293:ARP Odyssey
238:Synthesizer
227:ARP Odyssey
189:Synthesizer
1480:2014-11-12
1394:Tokyo 2014
1368:, p.
1336:2017-04-27
1300:, p.
1125:2010-03-23
1055:References
890:tonewheels
858:clavichord
812:March 2011
351:Polyphonic
317:Paraphonic
312:Paraphonic
279:, and the
258:oscillator
243:Monophonic
236:See also:
168:paraphonic
164:monophonic
160:polyphonic
109:March 2011
79:newspapers
1298:Vail 2014
1030:Paraphony
999:Launeddas
985:zhaleikas
977:Recorders
963:harmonica
909:homophony
783:does not
714:algorithm
680:sequenced
648:Prophet 5
626:Prophet-5
510:Prophet-5
430:Novachord
365:Novachord
329:homophony
287:Duophonic
266:intervals
253:monosynth
156:Polyphony
140:Polyphony
1663:Category
1515:Keyboard
1266:abstract
1259:Keyboard
1009:See also
1003:Sardinia
989:hornpipe
970:ocarinas
939:and the
937:harpejji
878:clavinet
750:samplers
709:keyboard
457:PE-1000
443:Polymoog
428:Hammond
337:ARP 2600
333:envelope
262:Minimoog
208:Minimoog
983:Double
804:removed
789:sources
275:, the
183:trumpet
93:scholar
1648:
1597:
1372:-41, "
993:Russia
882:pickup
630:(1978)
608:(1977)
593:(1975)
579:(1974)
498:Yamaha
471:(1977)
459:(1976)
446:(1975)
433:(1939)
260:; the
95:
88:
81:
74:
66:
854:organ
846:piano
667:used.
604:(LEO)
441:Moog
206:Moog
175:piano
144:1-128
100:JSTOR
86:books
1646:ISBN
1595:ISBN
1553:", "
1366:Vail
1344:", "
1220:", "
1187:...
1183:", "
876:and
872:The
856:and
787:any
785:cite
695:The
455:Korg
343:and
295:and
179:Jazz
72:news
1444:, "
1424:, "
1241:, "
1210:, "
943:).
911:.
798:by
734:In
367:by
345:VCA
341:VCF
323:or
251:or
166:or
55:by
1665::
1631:.
1612:.
1593:.
1589:.
1518:.
1472:.
1434:^
1412:^
1400:.
1392:.
1381:^
1370:39
1358:^
1339:.
1320:.
1309:^
1302:26
1268::
1229:^
1198:^
1170:.
1166:.
1155:^
1143:.
995:.
927:.
852:,
848:,
614:c.
500:,
347:.
283:.
247:A
170:.
1654:.
1603:.
1483:.
1429:"
1376:"
1288:)
1275:"
1270:"
1246:"
1224:"
1128:.
825:)
819:(
814:)
810:(
806:.
792:.
122:)
116:(
111:)
107:(
97:·
90:·
83:·
76:·
49:.
20:)
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