Roland Jupiter-8
From Wikipedia, the free encyclopedia This article may require cleanup to meet Wikipedia's quality standards. Please improve this article if you can. The talk page may contain suggestions. (April 2010)

Jupiter-8

Roland Jupiter-8
Manufactured by Roland
Dates 1981 - 1985
Price £3995
Technical specifications
Polyphony 8 voices
Timbrality 2
Oscillator 2 VCOs per voice
LFO 1 triangle/square/sawtooth/random
Synthesis type Analog Subtractive
Filter 12&24dB/Oct resonant lowpass,
non-resonant highpass
Aftertouch No
Velocity sensitive No
Memory 64 patches
Effects None
Input/output
Keyboard 61 keys
External control DCB (on later models)


The Jupiter-8, Roland's flagship analog synthesizer of the early 1980s is an eight-voice polyphonic synthesizer.

The Jupiter-8, introduced in the Autumn of 1981, is very user friendly as well as intuitive. Although it lacked the soon-to-be standard of MIDI control, later model Jupiter-8s did include Roland's proprietary DCB interface, and sported advanced features such as "Four On Four" and the ability to split the keyboard into two zones, with a separate patch active on each zone.

The Jupiter-8 was discontinued in 1985. According to Synthmuseum, 2,000 Jupiter-8s were manufactured, but the actual number of units produced is unknown.Contents [hide]
1 Features and architecture
2 Reliability
3 In the present day
4 Jupiter changes and successors
5 Notable users
6 References
7 External links

[edit]
Features and architecture

The Jupiter-8 is an 8-voice polyphonic analog synthesizer. Each voice features two VCOs with cross-modulation and sync, pulse-width modulation, a non-resonant high-pass filter, a resonant Low-pass filter with 2-pole (12 dB/octave) and 4-pole (24 dB/octave) settings, an LFO with variable waveforms and routings, and two envelope generators (one invertible).

Features include adjustable portamento, a hold function for making sound design easier, a versatile arpeggiator with DIN-sync and external analog clock input connectivity, assignable pitch-bender, instrument layer and split modes, robust load and save functionality for its 64-patch memory, a DCB port for attaching an external MIDI interface or other DCB-compatible device, built-in XLR outputs, and—in addition to legato and polyphonic modes—the Jupiter-8 includes a powerful unison mode.

A Z80 CPU was used for managing storage of patches, scanning the keyboard, display, and buttons, port handling, and taking care of the auto-tune function among other things.[1] The VCOs were discrete. The VCF was based on the custom Roland IR3109 IC (also used in the filter circuits of the Jupiter-6, later Jupiter-4, MKS-80 rev 4, Juno-6/Juno-60, SH-101, MC-202, JX-3P and packaged in the 80017a chip used in the Juno-106 and MKS-30 among others). The VCA was the BA662, used also in Juno-6/60/106, JX-3P and TB-303. The envelopes were generated in hardware by the Roland IR3R01 chip (also in the Juno 6/60), and are much faster (1ms attack) than software-generated envelopes used in the later Jupiter-6, Juno-106 and MKS-80 "Super Jupiter".
[edit]
Reliability

Early 12-bit models had unstable tuning, mainly due to their panel slider encoding resolution and main control voltage generation. Later revisions, which employ 14-bit resolution, seldom require manual re-tuning, except in cases where the synth has seen some serious abuse (as baggage on a flight, for example). The soldered-in battery typically lasts ten years or more, ranking these boards among the lowest-maintenance of their generation.
[edit]
In the present day

The wide range of sounds that the Jupiter-8 can produce, efficient front panel layout (each synthesizer sound parameter adjustment had its own dedicated controller), along with its sturdy construction, render it a venerable instrument even today. Units in good condition still fetch more at auction than most new synthesizers, suggesting that the Jupiter-8 will continue to be heard for years to come. While the characteristic sound of the Jupiter-8 can be heard on many songs from the early 1980s onward, its still being recorded to this day. Alicia Keys used it in the studio, and can be seen playing one in the video for the number one hit "No One".

At the 2007 NAMM show, French music software manufacturer Arturia announced, and subsequently released a software Jupiter-8 called "Jupiter-8V".

Additionally, the Roland VariOS will run a mildly successful digital approximation of Jupiter 8 using "Varios-8" software.
[edit]
Jupiter changes and successors

Throughout the production of the JP-8 there were several changes. Starting at serial #171700 the D/A converter on the Interface board was changed from 12-bit to 14-bit. This change was made mainly to improve tuning stability. The problem with the 12-bit digital-to-analog converter on the original JP-8 is that it could cause the autotune to be inaccurate in some instances. Some say to avoid these early JP-8's while others say they haven't experienced tuning problems. Starting at serial #242750 the LEDs of the display were changed to brighter ones. Starting at serial #282880 the JP-8 came standard with a DCB port. These newer JP-8's may be referred to as JP-8A's. DCB, or Digital Control Bus, was Roland's pre-MIDI interface that allowed the JP-8 to talk to other DCB enabled hardware, such as the Roland MC4 and MC8 microcomposers. Previous JP-8's had the option of having the OC-8 retrofit installed to give it DCB capability.

The Jupiter-6 was released 2 years after the JP-8 and was an attempt at more affordable version of Roland's flagship. It features a similar voice architecture and appearance. It stored fewer patches, and had six voices. In order to make it cheaper to manufacture, a move towards integrated circuits (Curtis) was made, to replace discrete circuits used in JP-8's oscillators and amplifiers. The JP-6 is built using CEM3340 chip for its oscillators, and CEM3360 for its voltage controlled amplifiers. These changes imparted a change in sonic character. Additionally, the Jupiter-6 features a true multimode resonant filter, built-in MIDI, unison detune function and ability to make multiple selection of waveforms on its oscillators.

The Roland MKS-80 "Super Jupiter" is a MIDI-controlled, rack-mountable sound module with a similar voice architecture to the Jupiter-8. However, its first released incarnation in 1984 (revision 3 and 4) used hardware identical to its predecessor, Jupiter 6 (combination of Curtis VCO and VCA chips and Roland's own filter). In 1985 out came another revision of MKS-80, known as "Rev 5", that had no ties with any previous Jupiter's hardware, as it used a new generation of both Roland VCO's, VCA's and filter. The Rev 5 filter was also used in JX-8P, JX-10 and MKS-70 synthesizers.

French software company Arturia makes a software version of the Jupiter-8 known as the Jupiter-8V. The instrument is compatible with VST, AU, and RTAS software such as Cubase, Logic, and ProTools, and is a close approximation to the real thing. It includes an arpeggiator that functions similar to the actual one of the Jupiter-8.
[edit]
Notable users This section does not cite any references or sources.
Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2010)

Rob Mounsey - Almost all sounds on Madonna's number one hit "Crazy for You," Phil Collins's number one hit "Against All Odds," many overdubs on Paul Simon's "Graceland," Steely Dan's "Gaucho," Donald Fagen's "Nightfly"
ABBA - 1982 last recording sessions in studio "You Owe Me One", "Just Like That", "I Am the City", "Cassandra", "Under Attack", "The Day Before You Came" & ABBA last performances in Sweden 19 November 1982 on the TV programme "Nöjesmaskinen" and on 11 December 1982 UK Noel Edmonds "The Late, Late Breakfast Show".
Enya - The Celts. She also plays a Jupiter 8 in the BBC documentary about the making of the album.
Duran Duran - "Hungry Like the Wolf", "Save A Prayer"
"Rio" is also said to feature the Jupiter-8, but it was actually the Jupiter-4.
Harold Faltermeyer - "Axel F". Soundtrack for "Beverly Hills Cop".
Michael Jackson - Thriller
Jean Michel Jarre - Chronologie - Oxygene Live in your living room (2007)
Howard Jones - esp. Human's Lib
No Doubt - "Just a Girl" and most songs on Return of Saturn
Giorgio Moroder - Scarface OST (Jupiter-8 sounds in many songs as bass and leads).
Savage - "Don't Cry Tonight"
The Prodigy - "Wind It Up (Rewound)"
Journey on the album Frontiers. It is shown in the music videos for "Separate Ways (Worlds Apart)" and "Chain Reaction".
Lady GaGa Used On Her Hit Album The Fame Monster
Queen - Queen on Fire - Live at the Bowl (1982/2004), The Works (1984), A Kind of Magic (1986)
Radio Gaga's recognisable bassline was created using the Jupiter-8's arpeggiator, and the solo on I Want to Break Free was performed on Jupiter-8 as well
The Cars - Heartbeat City, Door To Door
Toyah - Anthem
Devo - Oh, No! It's Devo
Spliff - "Heut' Nacht"
Freur - "Doot Doot"
Foreigner - "That Was Yesterday" on Agent Provocateur
Go West - "We Close Our Eyes"
Rush - Signals, Grace Under Pressure Notably, the bass line for "Red Sector A"
Tears for Fears - "Head over Heels" and "Shout" on Songs from the Big Chair
Peter Oxendale with John Foxx - "The Hidden Man"
Simple Minds - New Gold Dream and Dont You Forget About Me an most of their Once Upon a Time album
Paul Davis - Singer/Songwriter Used A Roland Jupiter 8, It Was Used Extensively On 1981's Cool Night Album
Wintersun Project (all recordings 2001-2004)
missing credit information
Blancmange
Depeche Mode
James Ting
Legowelt
Meat Beat Manifesto
Moby
Richard Daniel Roman
Roger Joseph Manning Jr.
Shriekback
Überzone
Underworld
Vince Clarke
Visekongene
William Orbit
Frank Farian used the Roland Jupiter 8 On Milli Vanili 1988's Girl You Know It's True
NOVA (electronic music dutch group from the eighties) used it in the 'Quo Vadis' album.
keyboardists
Gabrial McNair Keyboard player for No Doubt
Alicia Keys on "No One"
John Foxx on The Garden
Non-keyboardists
David Bowie[citation needed] - vocalist/performer
Prince[citation needed] - guitarist/vocalist
Endorsers of other manufacturers, etc..
Jan Hammer - "hitlist[citation needed] - known to use Fairlight CMI
Scritti Politti[citation needed] - known to use Fairlight CMI
Tangerine Dream[citation needed] - known to use PPG
Toto - "Africa" and "Rosanna" on Toto IV[citation needed]
Note: It is widely known that brass & steeldrum sound of Toto was played with YAMAHA GS-1, CS-80, etc..
[edit]
References
^ "The Roland Jupiter 8 Analog Synthesizer". Synthtopia. 2009. "A Z80 CPU was used for managing storage of patches, scanning the keyboard, display, and buttons, port handling, and taking care of the auto-tune function among other things."
[edit]
External links
Owner's manual
Sound on Sound retrospective
Vintage Synth entry
Synth Museum entry
Arturia Jupiter V8 software plug-in clone
MP3 demo of the JP-8 and its arpeggiator, by Tomislav Babic
Categories: Roland synthesizers
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Museum : Roland Room : Jupiter-8




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Search the Synthmuseum.com Classifieds for this instrument.
Jupiter-8
Manufacturer:
Roland

Model:
Jupiter-8

Production period:
1980-84

Quantity produced:
2,000



Who played this instrument?





image courtesy of Kevin Lightner

The Jupiter-8 is an 8-voice polyphonic synthesizer with a 61-note (C-C) keyboard. Each voice consists of 2 VCOs. VCO1 is switchable between triangle, sawtooth, pulse, and square waves and can be switched between 4 octaves. VCO2 has the same options except the square wave is replaced by a noise generator switch and it has the same 4 octave range, with a switch to put it into "Low Frequency range". There is a simple mixer that balances the level of the two oscillators. There is a single slider to control the amount of cross-modulation of VCO-1 by VCO-2. Pulse Width Modulation (PWM) is set by a slider to set the level of modulation, and then a switch to select between LFO, ENV-1, or manual PWM. The Jupiter-8 also allows VCO1 to be synced to VCO2. Either or both VCOs can be modulated by either or both of the LFO and ENV1. The LFO features controls for rate, delay, and four waveforms, sine, saw, square, and random (sample-and-hold). LFO2 is triggered by a big white button next to the pitchbend/modulation lever. It is controlled by two switches and two sliders. The switches enable the modulation of the VCO and the VCF and the sliders control the amount of modulation for each destination.

The Jupiter-8 voice has two filters. In addition to its lowpass, resonant VCF it has an adjustable, non-resonant, and non-modulatable highpass filter. Whereas the highpass filter is set by a single slider, the lowpass VCF is much more flexible. The VCF has a switch to choose between 2-pole (12 dB/octave) and 4-pole (24 dB/octave), as well as controls for frequency level and resonance. The VCF can be modulated by one of the envelopes, the LFO, and keyboard tracking, with sliders adjusting the amount of modulation for each of these three sources.

Both envelopes (ENV1 and ENV2) are ADSR (Attack Decay Sustain Release). Key follow may be switched on and off for each envelope. ENV1 can be set to normal or negative polarity. ENV2 is hardwired to control the VCA, with a slider controlling the amount. The bender can affect pitch and/or filter cutoff, each of which has a slider for amount. VCO1 and VCO2 have separate on/off switches for bender modulation. There is also a "wide" bending option, which scales the bender to extreme ranges.

The Jupiter-8's memory can hold 64 patches and 8 "patch presets." Patch presets can store keyboard splits, along with the settings for the arpeggiator, voice assign mode, hold, portamento, as well as many of the modulation settings. The Jupiter-8 features keyboard split or layer. Split allows you to assign a patch to 4 voices above the split key and a patch to the 4 voices below it. Dual creates a keyboard with 4-voice polyphony, having two voices playing separate patches for each note. The balance between both patches in split or a dual mode is controlled by a slider. The arpeggiator is switchable between 1, 2, 3, and 4 octaves and four modes: up, down, up and down, or random. In split mode it works on only the lower split. There is a knob for portamento in the mod section (to the left of the keyboard). It can be switched to off, on and upper only. The Jupiter 8 offers Solo, Unison, Poly 1, and Poly 2 modes. Solo allows you to only play one voice at a time (ie. one 2-oscillator voice). Unison mode plays all of the voices, all of the time, dividing them as evenly as possible between all sounding notes. That means that if you played a single note, you would hear all 8 voices stacked together. Playing two notes would get 4 voices apiece, playing three notes would get 3 voices on the first two notes and 2 voices on the third, playing four notes would get 2 voices apiece, and so on. This offers the flexibility of having a polyphonic keyboard when you need it and the ability to get a fatter sound out of one or two notes. Poly 1 is the normal 8-voice polyphonic mode, and Poly 2 uses normal polyphonic allocation as long as you play legato. Once you lift your hand off the keyboard, any new notes will cut off the releases of all currently sounding notes. This is recommended for use with portamento. "Hold" is equivalent to the sustain pedal, but it is also a programmable parameter - that is, a sound in a Patch Preset can be permanently "held." Hold can be set for either or both sides of a split/layer. Modulation parameters include pitch bend sensitivity, VCO bend range (Wide, Normal, or Off for each of VCO1 and VCO2), aftertouch routing to either filter cutoff or vibrato (from LFO2), and aftertouch sensitivity.

The Jupiter-8 did not come with MIDI, although MIDI retrofit kits were made for it by third-party manufacturers. The Jupiter-8 features external input for control of the VCA and VCF and an input for syncing the arpeggiator to an external clock. The sync input can be set to control 8th notes, triplets, or sixteenth notes in the arpeggiator. There are two sets of 1/4" and balanced XLR outputs, one for each side of the split, or each patch in dual mode.

[information compiled from the archives at Hyperreal]




Who Played This Instrument?

Damon Albarn of Blur, Aurora, 808 State, Alphaville, Banco de Gala, Barclay James Harvest, Steve Beresford of Frank Chickens, Katrina Bihari, Boris Blank of Yello, Blue Nile, Michael Boddicker, Dave Brock, Arthur Brown, Richard Burgess, The Cars, China Crisis, Vince Clarke, Dave Clayton, Cocteau Twins, Colourbox, Martin Cooper of OMD, Lol Creme, Miles Daves, Deacon Blue, Depeche Mode, Devo, Thomas Dolby, D.Ream, Spike Edney of Gueen, Electribe 101, Electronic Dream Planet, Guy Fletcher, John Foxx, Frank Chickens, Russ Gabriel, Steve Gray of Sky, The Grid, A Guy Called Gerald, Jan Hammer, Paul Hardcastle, HIA, Liam Howlett, Human League, Paul Humphreys, It Bites, J-M Jarre, Howard Jones, Journey, Charles Judge of Giorgio Moroder, Brian Kehew and Roger Manning of The Moog Cookbook, Mark Kelly of Marillion, Adrian Lee, Geddy Lee, Thomas Leer, Patrick Leonard, Mike Lindup of Level 42, Stephen Luscombe of Biancmange, Mick MacNeil of Simple Minds, Nick Magnus, Marillion, Meat Beat Manifesto, Ministry, Moby, Motiv8, Mulligan, Chris Newman, Steve Nieve, William Orbit, Orbital, OMC, Peter Oxendale, Alan Pasqua, Steve Porcaro, The Prodigy, Nick Rhodes of Duran Duran (including the random arpeggiating in the song "Rio"), Rhythmatic, Andy Richards, Pet Shop Boys, Ian Ritchie, The Rockets, Shriekback, Simple Minds, Robert Smith of The Cure, Belouis Some, Tim Souster, Startled Insects, Paula K. Stentz of Rumors of the Big Wave, Swing Out Sister, Switzerland, Talk Talk, Tangerine Dream, Tears for Fears, Rod Temperton for Michael Jackson (Thriller), Ultravox, ian Underwood, Tony Visconti, Jessica Zaccaro of See Spot (SF 79-80), Wang Chung, Kim and Rickie Wilde, Nick Wood, Jezz Woodroffe

[Let us know if you have any further additions to this list.]



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Synthesizer
From Wikipedia, the free encyclopedia
(Redirected from Patch (synthesizer))
For other uses, see Synthesizer (disambiguation).
"Synth" redirects here. For other uses, see Synth (disambiguation).
See also: Software synthesizer This article may require cleanup to meet Wikipedia's quality standards. Please improve this article if you can. The talk page may contain suggestions. (April 2010)


Early Minimoog by R.A. Moog Inc. (ca. 1970)

A synthesizer (often abbreviated "synth") is an electronic instrument capable of producing sounds by generating electrical signals of different frequencies. These electrical signals are played through a loudspeaker or set of headphones. Synthesizers can usually produce a wide range of sounds, which may either imitate other instruments ("imitative synthesis") or generate new timbres.

Synthesizers use a number of different technologies or programmed algorithms, each with their own strengths and weaknesses. Among the most popular waveform synthesis techniques are subtractive synthesis, additive synthesis, wavetable synthesis, frequency modulation synthesis, phase distortion synthesis, physical modeling synthesis and sample-based synthesis. Other sound synthesis methods, like subharmonic synthesis or granular synthesis, are not found in music synthesizers.

Synthesizers are often controlled with a piano-style keyboard, leading such instruments to be referred to simply as "keyboards". Several other forms of controller have been devised to resemble violins, guitars (see guitar synthesizer) and wind-instruments. Synthesizers without controllers are often called "modules", and they can be controlled using MIDI or CV/Gate methods.Contents [hide]
1 History
2 Types of synthesis
3 Components
3.1 ADSR envelope
3.2 Filter
3.3 LFO
4 Control interfaces
4.1 Fingerboard controller
4.2 Wind controllers
4.3 Others
4.4 MIDI control
4.5 Arpeggiator
5 Imitative synthesis
6 Patch
7 Synth pad
8 Synth lead
9 Bass synthesizer
10 See also
11 References
12 Further reading
13 External links

[edit]
History
Further information: Electronic music instruments

The first electric synthesizer was invented in 1876 by Elisha Gray, who is best known for his development of a telephone prototype.[1][2] In 1920s, Arseny Avraamov developed various systems of graphic sonic art.[3] The Hammond Novachord was an early but unsuccessful harbinger of synth technology in the 1930s-40s. Robert Moog introduced the first commercially available modern synthesizer in 1964. In the 1970s the development of miniaturized solid-state components allowed synthesizers to become self-contained, portable instruments. By the early 1980s companies were selling compact, modestly priced synthesizers to the public. This, along with the development of Musical Instrument Digital Interface (MIDI), made it easier to integrate and synchronize synthesizers and other electronic instruments for use in musical composition. In the 1990s synthesizers began to appear as computer software, known as software synthesizers. Wendy Carlos - Switched-On Bach (1968)

First Movement (Allegro) of Brandenburg Concerto Number 3 played on synthesizer.
Problems listening to this file? See media help.


The synthesizer had a considerable impact on 20th century music.[4] Micky Dolenz of The Monkees bought one of the first Moog synthesizers. The band was the first to release an album featuring a Moog with Pisces, Aquarius, Capricorn & Jones Ltd. in 1967.[5] It reached #1 on the charts. A few months later, the title track of the Doors' 1967 album Strange Days would also feature a Moog, played by Paul Beaver. Walter (later Wendy) Carlos's Switched-On Bach (1968), recorded using Moog synthesizers, also influenced numerous musicians of that era and is one of the most popular recordings of classical music ever made.[6] The sound of the Moog also reached the mass market with Simon and Garfunkel's Bookends in 1968 and The Beatles' Abbey Road the following year, and hundreds of other popular recordings subsequently used synthesizers. Electronic music albums by Beaver and Krause, Tonto's Expanding Head Band, The United States of America and White Noise reached a sizeable cult audience and progressive rock musicians such as Richard Wright of Pink Floyd and Rick Wakeman of Yes were soon using the new portable synthesizers extensively. Other early users included Emerson, Lake & Palmer's Keith Emerson, Pete Townshend and The Crazy World of Arthur Brown's Vincent Crane.

The Prophet-5 synthesizer of the late 1970s-early 1980s.

During the 1970s Jean Michel Jarre, Larry Fast and Vangelis released successful electronic instrumental albums. The emergence of Synthpop, a sub-genre of New Wave, in the late 1970s can be largely credited to synthesizer technology. The ground-breaking work of all-electronic German bands such as Kraftwerk and Tangerine Dream, via David Bowie during his Berlin period (1976–77), were crucial in the development of the genre.[7] Nick Rhodes, keyboardist of Duran Duran, used Roland Jupiter-4 and Jupiter-8 synthesizers.[8] OMD's "Enola Gay" (1980) used a distinctive electronic percussion and synthesized melody. Soft Cell used a synthesized melody on their 1981 hit "Tainted Love".[9] Other chart hits include Depeche Mode's "Just Can't Get Enough" (1981),[9] and The Human League's "Don't You Want Me".[10] English musician Gary Numan's 1979 hits "Are 'Friends' Electric?" and "Cars" used synthesizers heavily[11] [12] Other notable synthpop groups included Visage, Japan, Ultravox,[7] Spandau Ballet, Culture Club, Eurythmics and Blancmange, and synthesizers became one of the most important instruments in the music industry.[7] Other notable users include Giorgio Moroder, Howard Jones, Kitaro, Stevie Wonder, Peter Gabriel, Kate Bush, Frank Zappa, Yellow Magic Orchestra and Devo.
[edit]
Types of synthesis

Additive synthesis builds sounds by adding together waveforms (which are usually harmonically related). An early analog example of an additive synthesizer is the Hammond organ. Additive synthesis is also the principle of Wavetable synthesis, which is used to implement real-time synthesis with minimum hardware,[13] commonly used in low-end MIDI instruments such as educational keyboards, and low-end sound cards.

Subtractive synthesis is based on filtering harmonically rich waveforms. Due to its simplicity, it is the basis of early synthesizers such as the Moog synthesizer. Subtractive synthesizers use a simple acoustic model that assumes an instrument can be approximated by a simple signal generator (producing sawtooth waves, square waves, etc.) followed by a filter. The combination of simple modulation routings (such as pulse width modulation and oscillator sync), along with the physically unrealistic lowpass filters, is responsible for the "classic synthesizer" sound commonly associated with "analog synthesis" and often mistakenly used when referring to software synthesizers using subtractive synthesis.

FM synthesis is a process that usually involves the use of at least two signal generators (commonly referred to as "oscillators") to create and modify a voice. Often, this is done through the analog or digital generation of a signal that modulates the tonal and amplitude characteristics of a base carrier signal. More sophisticated FM synths can use up to 4 or 6 oscillators per voice and also often use filters and variable amplifier types to alter the signal's characteristics into a sonic voice that either roughly imitates acoustic instruments or creates sounds that are unique.

Phase distortion synthesis is a method implemented on Casio CZ synthesizers.

Granular synthesis is a type of synthesis based on manipulating very small sample slices.

Physical modeling synthesis is the synthesis of sound by using a set of equations and algorithms to simulate a real instrument, or some other physical source of sound. This involves taking up models of components of musical objects and creating systems which define action, filters, envelopes and other parameters over time. The definition of such instruments is virtually limitless, as one can combine any given models available with any amount of sources of modulation in terms of pitch, frequency and contour. For example, the model of a violin with characteristics of a pedal steel guitar and perhaps the action of piano hammer. When an initial set of parameters is run through the physical simulation, the simulated sound is generated. Although physical modeling was not a new concept in acoustics and synthesis, it wasn't until the development of the Karplus-Strong algorithm and the increase in DSP power in the late 1980s that commercial implementations became feasible. Physical modeling on computers gets better and faster with higher processing.

Sample-based synthesis One of the easiest synthesis systems is to record a real instrument as a digitized waveform, and then play back its recordings at different speeds to produce different tones. This is the technique used in "sampling". Most samplers designate a part of the sample for each component of the ADSR envelope, and then repeat that section while changing the volume for that segment of the envelope. This lets the sampler have a persuasively different envelope using the same note.

Analysis/resynthesis is a form of synthesis that uses a series of bandpass filters or Fourier transforms to analyze the harmonic content of a sound. The resulting analysis data is then then used in a second stage to resynthesize the sound using a band of oscillators. The vocoder, linear predictive coding, and some forms of speech synthesis are based on analysis/resynthesis.
[edit]
Components

Some components of a simple analogue synth

Synthesizers generate sound through various analogue and digital techniques. Early synthesizers were analog hardware based but many modern synthesizers use a combination of DSP software and hardware or else are purely software-based (see softsynth). Digital synthesizers often emulate classic analog designs. Sound is controllable by the operator by means of circuits or virtual stages which may include:
Electronic oscillators – create raw sounds with a timbre that depends upon the waveform generated. Voltage-controlled oscillators and digital oscillators may be used. Additive synthesis models sounds directly from pure sine waves, somewhat in the manner of an organ, while Frequency modulation and Phase distortion synthesis use one oscillator to modulate another. Subtractive synthesis depends upon filtering a harmonically rich oscillator waveform. Sample-based and Granular synthesis use one or more digitally recorded sounds in place of an oscillator.
ADSR envelopes - provide envelope modulation to "shape" the volume or harmonic content of the produced note in the time domain. These are used in most forms of synthesis. ADSR control is provided by Envelope Generators.
Voltage-controlled filter (VCF) – "shape" the sound generated by the oscillators in the frequency domain, often under the control of an envelope or LFO. These are essential to subtractive synthesis.
LFO – an oscillator of adjustable frequency that can be used to modulate the sound rhythmically, for example to create tremolo or vibrato or to control a filter's operating frequency. LFOs are used in most forms of synthesis.
Other sound processing effects such as ring modulators may be encountered.
Voltage-controlled amplifier (VCA) – After the signal generated by one (or a mix of more Voltage-controlled oscillators), modified by filters and LFOs, and the signal's waveform is shaped (contoured) by an ADSR Envelope Generator, it then passes on to one or more voltage-controlled amplifiers (VCA) where. The VCA is a preamp that boosts (amplifies) the electronic signal before passing on to an external or built-in power amplifier, as well as a means to control its volume using an attenuator that affects a control voltage (coming from the keyboard or other trigger source), which affects the gain of the VCA.[14]
[edit]
ADSR envelope

Schematic of ADSR

When an acoustic musical instrument produces sound, the loudness and spectral content of the sound change over time in ways that vary from instrument to instrument. The "attack" and "decay" of a sound have a great effect on the instrument's sonic character.[15] Sound synthesis techniques often employ an envelope generator that controls a sound's parameters at any point in its duration. Most often this is an "ADSR" (Attack Decay Sustain Release) envelope, which may be applied to overall amplitude control, filter frequency, etc. The envelope may be a discrete circuit or module, or implemented in software. The contour of an ADSR envelope is specified using four parameters:
Attack time is the time taken for initial run-up of level from nil to peak, beginning when the key is first pressed.
Decay time is the time taken for the subsequent run down from the attack level to the designated sustain level.
Sustain level is the level during the main sequence of the sound's duration, until the key is released.
Release time is the time taken for the level to decay from the sustain level to zero after the key is released.

An early implementation of ADSR can be found on the polyphonic 1938 Hammond Novachord (which predates the first Moog synthesizer by over 25 years). A seven-position rotary knob set ADS for all 72 notes; a footpedal controlled release.[16] The ADSR was specified by Vladimir Ussachevsky (then head of the Columbia-Princeton Electronic Music Center) in 1965 while suggesting improvements for Bob Moog's pioneering work on synthesizers.[17]

A common variation of the ADSR on some synthesizers, such as the Korg MS-20, was ADSHR (attack, decay, sustain, hold, release). By adding a "hold" parameter, the system allowed notes to be held at the sustain level for a fixed length of time before decaying. The General Instruments AY-3-8912 sound chip included a hold time parameter only; the sustain level was not programmable. Another common variation in the same vein is the AHDSR (attack, hold, decay, sustain, release) envelope, in which the "hold" parameter controls how long the envelope stays at full volume before entering the decay phase. Multiple attack, decay and release settings may be found on more sophisticated models.

Certain synthesizers also allow for a "delay" parameter, which would come before the "attack". Modern synthesizers like the Dave Smith Instruments Prophet '08 have DADSR (delay, attack, decay, sustain, release) envelopes. The delay setting determines how long there is silence after a note is hit, before the attack is heard. Some software synthesizers such as Image-Line's 3xOSC (included for free with their DAW FL Studio) have DAHDSR (delay, attack, hold, decay, sustain, release) envelopes.

inverted ADSR envelope

Some electronic musical instruments allow the ADSR envelope to be inverted, which results in opposite behavior compared to the normal ADSR envelope. During the attack phase, the modulated sound parameter fades from the maximum amplitude to zero then, during the decay phase, rises to the value specified by the sustain parameter. After the key has been released the sound parameter rises from sustain amplitude back to maximum amplitude.
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Filter
Main article: Voltage controlled filter

Electronic filters are particularly important in subtractive synthesis, being designed to pass some frequency regions through unattenuated while significantly attenuating ("subtracting") others. The low-pass filter is most frequently used, but band-pass filters, band-reject filters and high-pass filters are also sometimes available.

The filter may be controlled with a second ADSR envelope. An "envelope modulation" ("env mod") parameter on many synthesizers with filter envelopes determines how much the envelope affects the filter. If turned all the way down, the filter will produce a flat sound with no envelope. When turned up the envelope becomes more noticeable, expanding the minimum and maximum range of the filter.
[edit]
LFO

Low-frequency oscillation (LFO) is an electronic signal, usually below 20 Hz, that creates a rhythmic pulse or sweep, often used to create vibrato, tremolo and other effects. The abbreviation is also often used to refer to low-frequency oscillators themselves. In certain genres of electronic music, the LFO filter's cutoff is used to create a wider range of, often darker, sound.
[edit]
Control interfaces

Modern synthesizers often look like small pianos, though with many additional knob and button controls. These are integrated controllers, where the sound synthesis electronics are integrated into the same package as the controller. However many early synthesizers were modular and keyboardless, while most modern synthesizers may be controlled via MIDI, allowing other means of playing such as;
Fingerboards and touchpads
Wind controllers
Guitar-style interfaces
Drum pads
Music sequencers
Non-contact interfaces akin to theremins
[edit]
Fingerboard controller

A ribbon controller or other violin-like user interface may be used to control synthesizer parameters. The ribbon controller has no moving parts. Instead, a finger pressed down and moved along it creates an electrical contact at some point along a pair of thin, flexible longitudinal strips whose electric potential varies from one end to the other. Older fingerboards used a long wire pressed to a resistive plate. A ribbon controller is similar to a touchpad, but a ribbon controller only registers linear motion. Although it may be used to operate any parameter that is affected by control voltages, a ribbon controller is most commonly associated with pitch bending.

Fingerboard-controlled instruments include the Ondes Martenot, Hellertion, Heliophon, Trautonium, Electro-Theremin, Fingerboard-Theremin and The Persephone. A ribbon controller is used as an additional controller in the Yamaha CS-80 and CS-60, the Korg Prophecy and Korg Trinity series, the Kurzweil synthesizers, Moog synthesizers and others.

Rock musician Keith Emerson used it with the Moog modular synthesizer from 1970 onward. In the late 1980s, keyboards in the synth lab at Berklee College of Music were equipped with membrane thin ribbon style controllers that output MIDI. They functioned as MIDI managers, with their programming language printed on their surface, and as expression/performance tools. Designed by Jeff Tripp of Perfect Fretworks Co., they were known as Tripp Strips. Such ribbon controllers can serve as a main MIDI controller instead of a keyboard, as with the Continuum instrument.
[edit]
Wind controllers

Wind controllers are convenient for woodwind or brass players or emulation, being designed along the lines of those instruments. These may be analog or MIDI controllers or may include built-in synthesizers. In addition to a key arrangement the controller has breath-operated pressure transducers, and may have gate extractors, velocity sensors and bite sensors. Saxophone style controllers have included the Lyricon, and products by Yamaha, Akai and Casio. The mouthpieces range from alto clarinet to alto saxophone sizes. Melodica or recorder style controllers have included the Variophon, Martinetta, Tubophon and Joseph Zawinul's custom Korg Pepe. A Harmonica style interfaces was the Millionizer.

Trumpet style controllers have included products by Steiner, Yamaha, Morrison and Akai. A breath controller may be used as an adjunct to a conventional synthesizer. The Steiner Master's Touch and products which interface to the Yamaha Breath Controller are examples.[18][19] Several controllers also provide breath-like articulation capabilities.
[edit]
Others

The Ondes Martenot control touche d’intensité, Theremin, footpedal and lightbeam controllers are examples. Envelope following systems, the most sophisticated being the vocoder, follow the power or amplitude of an audio signial, rather than using pressure transducers. Various companies make accordion controllers that use pressure transducers on bellows for articulation. More direct articulation using the vocal tract without breath is the Talk box.
[edit]
MIDI control
Main article: Musical Instrument Digital Interface

Synthesizers became easier to integrate and synchronize with other electronic instruments and controllers with the introduction of Musical Instrument Digital Interface (MIDI) in 1983.[20] First proposed in 1981 by engineer Dave Smith of Sequential Circuits, the MIDI standard was developed by a consortium now known as the MIDI Manufacturers Association.[21] MIDI is an opto-isolated serial interface and communication protocol.[21] It provides for the transmission from one device or instrument to another of real-time performance data. This data includes note events, commands for the selection of instrument presets (i.e. sounds, or programs or patches, previously stored in the instrument's memory), the control of performance-related parameters such as volume, effects levels and the like, as well as synchronization, transport control and other types of data. MIDI interfaces are now almost ubiquitous on music equipment and are commonly available on personal computers (PCs).[21]

The General MIDI (GM) software standard was devised in 1991 to serve as a consistent way of describing a set of over 200 tones (including percussion) available to a PC for playback of musical scores.[22] For the first time, a given MIDI preset would consistently produce an instrumental sound on any GM-conforming device. The Standard MIDI File (SMF) format (extension .mid) combined MIDI events with delta times - a form of time-stamping - and became a popular standard for exchange of music scores between computers. In the case of SMF playback using integrated synthesizers (as in computers and cell phones), the hardware component of the MIDI interface design is often unneeded.

Open Sound Control (OSC) is a proposed replacement for MIDI, and is designed for online networking. In contrast with MIDI, OSC allows thousands of synthesizers or computers to share music performance data over the Internet in realtime.
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Arpeggiator

An arpeggiator is a feature available on some synthesisers that automatically steps through a sequence of notes based on an input chord, thus creating an arpeggio. The notes can often be transmitted to a MIDI sequencer for recording and further editing. An arpeggiator may have controls to manipulate the order and speed in which the notes play; upwards, downwards, or in a random order. More advanced arpeggiators allow the user to step through a complex sequence of notes or play several arpeggios at once. Some allow a pattern to be sustained even if the keys are released: in this way an arpeggiated pattern may be built up over time by pressing several keys one after the other. Arpeggiators are also commonly found in sequencing software. Some sequencers expand this into a full phrase sequencer, which allows the user to trigger complex, multi-track blocks of sequenced data from a keyboard or input device, typically synchronised with the tempo of the master clock. Sound sample of arpeggiator

A sample of Eurodance synthesiser riff with use of rapid 1/16 notes arpeggiator
Problems listening to this file? See media help.


Arpeggiators grew from hardware sequencers of the late 1960s and 1970s, such as the 16-step ARP Sequencer, and the sequencers of modular synthesisers and were commonly fitted to keyboard instruments through the late 1970s and early 1980s. Notable examples are the Roland Jupiter 8, Oberheim OB-Xa, Roland SH-101, Sequential Circuits Six-Trak and Korg Polysix. A famous example can be heard on Duran Duran's song "Rio", in which the arpeggiator on a Roland Jupiter-4 is heard playing a C minor chord in random mode. They fell out of favour during the 1980s and early 1990s and were absent from the most popular synthesisers of the period but a resurgence of interest in analog synthesisers during the 1990s, and the use of rapid-fire arpeggios in several popular dance hits, brought with it a resurgence.
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Imitative synthesis

Sound synthesis can be used to mimic acoustic sound sources. Generally, a sound that does not change over time will include a fundamental partial or harmonic, and any number of partials. Synthesis may attempt to mimic the amplitude and pitch of the partials in an acoustic sound source.

When natural sounds are analyzed in the frequency domain (as on a spectrum analyzer), the spectra of their sounds will exhibit amplitude spikes at each of the fundamental tone's harmonics corresponding to resonant properties of the instruments (spectral peaks that are also referred to as formants). Some harmonics may have higher amplitudes than others. The specific set of harmonic-vs-amplitude pairs is known as a sound's harmonic content. A synthesized sound requires accurate reproduction of the original sound in both the frequency domain and the time domain. A sound does not necessarily have the same harmonic content throughout the duration of the sound. Typically, high-frequency harmonics will die out more quickly than the lower harmonics.

In most conventional synthesizers, for purposes of re-synthesis, recordings of real instruments are composed of several components representing the acoustic responses of different parts of the instrument, the sounds produced by the instrument during different parts of a performance, or the behavior of the instrument under different playing conditions (pitch, intensity of playing, fingering, etc.)
[edit]
Patch

A synthesizer patch (some manufacturers chose the term program) is a sound setting. Modular synthesizers used cables ("patch cords") to connect the different sound modules together. Since these machines had no memory to save settings, musicians wrote down the locations of the patch cables and knob positions on a "patch sheet" (which usually showed a diagram of the synthesizer). Ever since, an overall sound setting for any type of synthesizer has been known as a patch.

By 1978, patch memory (allowing storage and loading of 'patches' or 'programs') began to appear in synths like the Sequential Circuits Prophet-5. After MIDI was introduced in 1983, more and more synthesizers could import or export patches via MIDI SYSEX commands. When a synthesizer patch is uploaded to a personal computer which has patch editing software installed, the user can alter the parameters of the patch and download it back to the synthesizer. Because there can be no standard patch language it is rare that a patch generated on one synthesizer can be used on a different model. However sometimes manufacturers will design a family of synthesizers to be compatible.
[edit]
Synth pad

A synth pad is a sustained chord or tone generated by a synthesizer, often employed for background harmony and atmosphere in much the same fashion that a string section is often used in acoustic music. Typically, a synth pad plays many whole or half notes, sometimes holding the same note while a lead voice sings or plays an entire musical phrase. Often, the sounds used for synth pads have a vaguely organ, string, or vocal timbre. Much popular music in the 1980s employed synth pads, this being the time of polyphonic synthesizers, as did the then-new styles of smooth jazz and New Age music. One of many well-known songs from the era to incorporate a synth pad is "West End Girls" by the Pet Shop Boys, who were noted users of the technique.

Technically, main feature of synth pad is very long attack time of filter cutoff. Also PWM square wave oscillator is often used for beautiful "vibrating" sound.
[edit]
Synth lead

A synth lead is generally used for playing the main melody of a song, but it is also often used for creating rhythmic or bass effects. Although most commonly heard in electronic dance music, synth leads have been used extensively in hip-hop and rock songs since the 1980s. Most modern music relies heavily on the synth lead to provide a musical hook to sustain the listener's interest throughout an entire song. Heavy use of synth lead is used by artists such as Lil Jon in Snap Yo Fingas and Usher in "Yeah!" as representative of the Crunk music genre.
[edit]
Bass synthesizer

A 1970s-era Moog Taurus synth

The bass synthesizer (or "bass synth") is used to create sounds in the bass range, from simulations of the electric bass or double bass to distorted, buzz-saw-like artificial bass sounds, by generating and combining signals of different frequencies. Bass synth patches may incorporate a range of sounds and tones, including wavetable-style, analog, and FM-style bass sounds, delay effects, distortion effects, envelope filters. A modern digital synthesizer uses a frequency synthesizer microprocessor component to generate signals of different frequencies. While most bass synths are controlled by electronic keyboards or pedalboards, some performers use an electric bass with MIDI pickups to trigger a bass synthesizer.


An example of a classic analog bass synthesizer sound. Four sawtooth bass filter sweeps with gradually increasing resonance.

In the 1970s miniaturized solid-state components allowed self-contained, portable instruments such as the Moog Taurus, a 13-note pedal keyboard which was played by the feet. The Moog Taurus was used in live performances by a range of pop, rock, and blues-rock bands. An early use of bass synthesizer was in 1972, on a solo album by John Entwistle (the bassist for The Who), entitled Whistle Rymes. Stevie Wonder introduced synth bass to a wider audience in the early 1970s, notably on Superstition (1972) and Boogie On Reggae Woman (1974). In 1977 Parliament's funk single Flashlight used the bass synthesizer. Lou Reed, widely considered a pioneer of electric guitar textures, played bass synthesizer on "Families", from his 1979 album The Bells.

When the programmable music sequencer became widely available in the 1980s (e.g., the synclavier), bass synths were used to create highly syncopated rhythms and complex, rapid basslines. Bass synth patches incorporate a range of sounds and tones, including wavetable-style, analog, and FM-style bass sounds, delay effects, distortion effects, envelope filters.

In the 2000s, several companies such as Boss and Akai produced bass synthesizer effect pedals for electric bass players, which simulate the sound of an analog or digital bass synth. With these devices, a bass guitar is used to generate synth bass sounds. The BOSS SYB-3 was one of the early bass synthesizer pedals. The SYB-3 reproduces sounds of analog synthesizers with Digital Signal Processing saw, square, and pulse synth waves and user-adjustable filter cutoff. The Akai bass synth pedal contains a four-oscillator synthesiser with user selectable parameters (attack, decay, envelope depth, dynamics, cutoff, resonance). Bass synthesizer software allows performers to use MIDI to integrate the bass sounds with other synthesizers or drum machines. Bass synthesizers often provide samples from vintage 1970s and 1980s bass synths. Some bass synths are built into an organ style pedalboard or button board.
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See also
Analytic signal
Beauty in the Beast
Computer music
Electronic keyboard
Electronic oscillator
Envelope detector
Guitar synthesizer
Keytar
List of classic synthesizers
List of synthesizer manufacturers
Low-frequency oscillation
Modular synthesizer
Musical instrument
Musitron
Sampler (musical instrument)
Software synthesizer
Vocaloid
[edit]
References
^ Electronic Musical Instrument 1870 - 1990, 2005, retrieved 2007-04-09
^ Chadabe, Joel (February 2000), The Electronic Century Part I: Beginnings, Electronic Musician, pp. 74–89
^ Edmunds, Soviet Music and Society Under Lenin and Stalin, London: Routledge Curzon, 2004
^ Eisengrein, Doug (September 1, 2005), Renewed Vision, Remix Magazine, retrieved 2008-04-16
^ Lefcowitz, Eric (1989), The Monkees Tale, Last Gasp, p. 48, ISBN 0867193786
^ Catchlove, Lucinda (April 1, 2002), Wendy Carlos (electronic musician), Remix Magazine
^ a b c Borthwick, Stuart (2004), Popular Music Genres: An Introduction, Edinburgh University Press, p. 120, ISBN 0748617450
^ Black, Johnny (Jan/Feb 2003), The Greatest Songs Ever! Hungry Like the Wolf, Blender Magazine, retrieved 2008-04-16
^ a b Borthwick (2004), Giorgio Moroder's Flashdance... What a Feeling for Irene Cara in 1983 C129
^ Borthwick (2004), 130
^ George-Warren, Holly (2001), The Rolling Stone Encyclopedia of Rock & Roll, Fireside, pp. 707–734, ISBN 0743201205
^ Robbins, Ira A (1991), The Trouser Press Record Guide, Maxwell Macmillan International, p. 473, ISBN 0020363613
^ Vail, Mark (2000), Vintage Synthesizers: Groundbreaking Instruments and Pioneering Designers of Electronic Music Synthesizers, Backbeat Books, pp. 68–342, ISBN 0879306033
^ Reid, Gordon, "Synth Secrets, Part 9: An Introduction to VCAs", Sound on Sound, January 2000. Retrieved 2010-05-25.
^ Charles Dodge, Thomas A. Jerse, Computer Music. New York: Schirmer Books, 1997, p. 82.
^ discretesynthesizers.com, The Novachord Restoration Project
^ Trevor Pinch and Frank Trocco Analog Days: The Invention and Impact of the Moog Synthesizer.
^ Crumar Steiner Masters Touch CV Breath Controller
^ Yamaha DX100 with BC-1 Breath Controller
^ The Complete MIDI 1.0 Detailed Specification, MIDI Manufacturers Association Inc., retrieved 2008-04-10
^ a b c Rothtein, Joseph (1995), MIDI: A Comprehensive Introduction, A-R Editions, pp. 1–11, ISBN 0895793091, retrieved 2008-05-30
^ Webster, Peter Richard; Williams, David Brian (2005), Experiencing Music Technology: Software, Data, and Hardware, Thomson Schirmer, p. 221, ISBN 0534176720
[edit]
Further reading
Gorges, Peter (2005). Programming Synthesizers, Wizoobooks, Germany, Bremen, ISBN 978-3-934903-48-7.
Schmitz, Reinhard (2005). Analog Synthesis, Wizoobooks, Germany, Bremen, ISBN 978-3-934903-01-2.
Shapiro, Peter (2000). Modulations: A History of Electronic Music: Throbbing Words on Sound, ISBN 1-891024-06-X.
[edit]
External links
Sound Synthesis Theory wikibook
Vintagesynth — Vintage Synth Explorer
Synth Museum — Vintage Synth Resource
SoundProgramming.Net - Synthesizer Manual Repository
120 years of Electronic Music — Machines used from 1870–1990
Principles of Sound Synthesis at Salford University Wikimedia Commons has media related to: Synthesizers
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Music technology



Categories: 1953 introductions | Electronic music instruments | Synthesizers | Contrabass instruments | Hip hop | Bass (sound) | Keyboard instruments
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Hook (music)
From Wikipedia, the free encyclopedia
(Redirected from Musical hook)

A hook is a musical idea, often a short riff, passage, or phrase, that is used in popular music to make a song appealing and to "catch the ear of the listener".[1] The term generally applies to popular music, especially rock music, hip hop, dance music, and pop. In these genres, the hook is often found in, or consists of, the chorus. A hook can, in general, be either melodic or rhythmic, and often incorporates the main motif for a piece of music.Contents [hide]
1 Definitions
2 Use in market research
3 See also
4 References

[edit]
Definitions

One definition of a hook is "a musical or lyrical phrase that stands out and is easily remembered".[2] Definitions typically include some of the following: that a hook is repetitive, attention-grabbing, memorable, easy to dance to, and has commercial potential and lyrics. A hook has been defined as a "part of a song, sometimes the title or key lyric line, that keeps recurring".[3] Alternatively, the term has been defined as“ the foundation of commercial songwriting, particularly hit-single writing", which varies in length from the repetition of "one note or a series of notes...[to] a lyric phrase, full lines, or an entire verse. The hook is 'what you're selling'. Though a hook can be something as insubstantial as a 'sound' (such as da doo ron ron), "ideally should contain one or more of the following: (a) a driving, danceable rhythm; (b) a melody that stays in people's minds; (c) a lyric that furthers the dramatic action, or defines a person or place.[4] ”


It is hard to define what features make a hook appealing to listeners. While some melodic hooks include skips of a third or more to make the line more interesting, a hook can be equally catchy by employing rhythmic syncopation or other devices. A hook may also garner attention from listeners from other factors, such as the vocal timbre or instrumentation, as in the case of the Beach Boys' use of an unusual theremin-like instrument in "Good Vibrations". Some hooks become popular without using any unusual elements. For example, in the song "Be My Baby", performed by The Ronettes, the hook consists of the words "be my baby" over the conventional I-vi-IV-V chord progression of the chorus.[4]
[edit]
Use in market research

The hooks of songs may be used in market research to assist in gauging the popularity of a song by the recognizability of its hook. Often radio stations conduct "call out" either on the Internet, via telephone, or a music test (either online or in an in-person setting) to conduct surveys. Stations may use the services of a professional "hook service" or prepare the materials themselves. Hooks used are typically seven to ten seconds long.
[edit]
See also
Lick
Vamp
Theme
Ostinato
Earworm
[edit]
References
^ Covach, John (2005). "Form in Rock Music: A Primer". In Stein, Deborah. Engaging Music: Essays in Music Analysis. New York: Oxford University Press. p. 71. ISBN 0-19-517010-5.
^ Monaco and Riordan (1980, p. 178). Cited in Burns, Gary (1987). "A Typology of 'Hooks' in Popular Records", Popular Music, Vol. 6, No. 1. (Jan., 1987), pp. 1-20
^ Hurst and Delson 1980, p.58. Cited in Burns, Gary (1987) "A Typology of 'Hooks' in Popular Records", Popular Music, Vol. 6, No. 1. (Jan., 1987), pp. 1-20.
^ a b Kasha and Hirschhorn (1979), p.28-29. Cited in Gary Burns (January 1987). "A Typology of "Hooks" in Popular Records". Popular Music 6 (1): 1–20. doi:10.1017/S0261143000006577.
Categories: Musical techniques
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Musical idea
From Wikipedia, the free encyclopedia

In music, an idea is conception or realization of an idea such as a theme or texture. A complete but not independent musical idea is a section.

The term Idée fixe, or fixed idea, refers to Leitmotif.
[edit]
See also
Motif (music) This music theory article is a stub. You can help Wikipedia by expanding it.

Categories: Music theory | Music theory stubs
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