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Digital music technology encompasses the use of digital instruments to produce, perform or . These instruments vary, including , electronic , , and equipment. Digital music technology is used in , playback, recording, composition, mixing, analysis and editing of music, by professions in all parts of the .

History
In the late 19th century, introduced the , which is commonly considered the first electromechanical musical instrument. In the early 20th century, created the , an early electronic instrument played without physical contact, creating a new form of sound creation.

In the mid-20th century, sampling emerged, with artists like and Karlheinz Stockhausen manipulating recorded sounds on tape to create entirely new compositions. This laid the foundation for future electronic music production techniques.

In the 1960s, the , invented by , popularized analog synthesis. Musician demonstrated Robert's invention with the album , which consisted of works composed by Johann Sebastian Bach interpreted with the . Meanwhile, tape-based studios, like the BBC Radiophonic Workshop, were at the forefront of electronic sound design.

The 1980s saw a major shift towards digital technology with the development of the Musical Instrument Digital Interface () standard. This allowed electronic instruments to communicate with computers and each other, transforming music production. Digital synthesizers, such as the Yamaha DX7, became widely popular. (Note: the above sales number seems about whole DX series)

The 1990s and 2000s witnessed the explosive growth of electronic dance music and its various subgenres, driven by the accessibility of digital music production tools and the rise of computer-based software synthesizers.

Education
Professional training
Courses in music technology are offered at many different universities as part of degree programs focusing on performance, composition, music research at the undergraduate and graduate level. The study of music technology is usually concerned with the creative use of technology for creating new sounds, performing, recording, programming or other music-related electronic devices, and manipulating, mixing and reproducing music. Music technology programs train students for careers in "...sound engineering, computer music, audio-visual production and post-production, mastering, scoring for film and multimedia, audio for , software development, and multimedia production." Those wishing to develop new music technologies often train to become an audio engineer working in research and development. Due to the increasing role of interdisciplinary work in music technology, individuals developing new music technologies may also have backgrounds or training in electrical engineering, computer programming, computer hardware design, , or other fields.

Use of music technology in education
Digital music technologies are widely used to assist in for training students in the home, elementary school, middle school, high school, college and university music programs. Electronic keyboard labs are used for cost-effective beginner group piano instruction in high schools, colleges, and universities. Courses in music notation software and basic manipulation of audio and MIDI can be part of a student's core requirements for a music degree. Mobile and desktop applications are available to aid the study of and . Some provide interactive lessons and games using the built-in features of the instrument to teach music fundamentals.

Analog Synthesizers
Classic analog synthesizers include the , , Yamaha CS-80, Korg MS-20, Sequential Circuits Prophet-5, Roland TB-303, Roland Alpha Juno. One of the most iconic synthesizers is the Roland TB-303, was widely used in acid house music.

Digital synthesizer history
Classic digital synthesizers include the , , and Korg M1.

Computer music history
Max Mathews
Computer and synthesizer technology joining together changed the way music is made and is one of the fastest-changing aspects of music technology today. , an acoustic researcher at Bell Telephone Laboratories' Acoustic and Behavioural Research Department, is responsible for some of the first digital music technology in the 1950s. Mathews also pioneered a cornerstone of music technology; analog-to-digital conversion.

At Bell Laboratories, Matthews conducted research to improve the telecommunications quality for long-distance phone calls. Owing to long-distance and low-bandwidth, audio quality over phone calls across the United States was poor. Thus, Matthews devised a method in which sound was synthesized via computer on the distant end rather than transmitted. Matthews was an amateur violinist, and during a conversation with his superior, John Pierce at Bell Labs, Pierce posed the idea of synthesizing music through a computer. Since Matthews had already synthesized speech, he agreed and wrote a series of programs known as MUSIC. MUSIC consisted of two files: an orchestra file containing data telling the computer how to synthesize sound, and a score file instructing the program what notes to play using the instruments defined in the orchestra file. Matthews wrote five iterations of MUSIC, calling them MUSIC I-V respectively. Subsequently, as the program was adapted and expanded to run on various platforms, its name changed to reflect its new changes. This series of programs became known as the paradigm. The concept of the MUSIC now exists in the form of .

Later worked as an advisor to the late 1980s. There, he taught , a researcher. Puckette developed a program in which music could be programmed graphically. The program could transmit and receive MIDI messages to generate interactive music in real-time. Inspired by Matthews, Puckette named the program Max. Later, a researcher named David Zicarelli visited IRCAM, saw the capabilities of Max and felt it could be developed further. He took a copy of Max with him when he left and eventually added capabilities to process audio signals. Zicarelli named this new part of the program MSP after Miller Puckette. Zicarelli developed the commercial version of and sold it at his company, Cycling '74, beginning in 1997. The company has since been acquired by .

Later history
The first generation of professional commercially available computer music instruments, or as some companies later called them, were very sophisticated elaborate systems that cost a great deal of money when they first appeared. They ranged from $25,000 to $200,000. The two most popular were the , and the .

It was not until the advent of that general-purpose computers started to play a role in music production. Following the widespread adoption of MIDI, computer-based MIDI editors and sequencers were developed. MIDI-to-CV/Gate converters were then used to enable analog synthesizers to be controlled by a .

MIDI
At the of 1983 in Los Angeles, MIDI was released. A demonstration at the convention showed two previously incompatible analog synthesizers, the Prophet 600 and Roland Jupiter-6, communicating with each other, enabling a player to play one keyboard while getting the output from both of them. This development immediately allowed synths to be accurately layered in live shows and studio recordings. MIDI enables different electronic instruments and devices to communicate with each other and with computers. The advent of MIDI spurred a rapid expansion of the sales and production of electronic instruments and music software.

In 1985, several of the top keyboard manufacturers created the MIDI Manufacturers Association (MMA). This newly founded association standardized the MIDI protocol by generating and disseminating all the documents about it. With the development of the MIDI file format specification by , every music software company's MIDI sequencer software could read and write each other's files.

Since the 1980s, personal computers became the ideal system for utilizing the vast potential of MIDI. This has created a large consumer market for software such as MIDI-equipped electronic keyboards, MIDI sequencers and digital audio workstations. With universal MIDI protocols, electronic keyboards, sequencers, and drum machines can all be connected together.

Vocal synthesis history until 1980s
VODER
Coinciding with the history of computer music is the history of vocal synthesis. Prior to Max Matthews synthesizing speech with a computer, analog devices were used to recreate speech. In the 1930s, an engineer named invented the Voice Operating Demonstrator (VODER), an electro-mechanical device which generated a sawtooth wave and white-noise. Various parts of the frequency spectrum of the waveforms could be filtered to generate the sounds of speech. Pitch was modulated via a bar on a wrist strap worn by the operator. In the 1940s Dudley, invented the Voice Operated Coder (VOCODER). Rather than synthesizing speech from scratch, this machine operated by accepting incoming speech and breaking it into its spectral components. In the late 1960s and early 1970s, bands and solo artists began using the VOCODER to blend speech with notes played on a synthesizer.

Singing computer
At Bell Laboratories, Max Matthews worked with researchers Kelly and Lochbaum to develop a model of the vocal tract to study how its properties contributed to speech generation. Using the model of the vocal tract,—a method, which would come to be known as physical modeling synthesis, in which a computer estimates the formants and spectral content of each word based on information about the vocal model, including various applied filters representing the vocal tract—to make a computer (an IBM 704) sing for the first time in 1962. The computer performed a rendition of "Daisy Bell".

CHANT at IRCAM
At IRCAM in France, researchers developed software called CHANT (French for sing), the first version of which ran between 1979 and 1983. CHANT was based FOF () synthesis, in which the peak frequencies of a sound are created and shaped using granular synthesis—as opposed to filtering frequencies to create speech.

Concatenation synthesis using MIDI
Through the 1980s and 1990s, as MIDI devices became commercially available, speech was generated by mapping MIDI data to samples of the components of speech stored in sample libraries.

Vocal synthesis after 2010s
In the 2010s, singing synthesis technology took advantage of the advances in artificial intelligence, deep listening and machine learning, to better represent the nuances of the human voice. New high-fidelity sample libraries combined with digital audio workstations facilitate editing in fine detail, such as shifting of formats, adjustment of vibrato, and adjustments to vowels and consonants. Sample libraries for various languages and various accents are available. With advancements in vocal synthesis, artists sometimes use sample libraries in lieu of backing singers.

Synthesizers and drum machines
Synthesizers
A is an electronic musical instrument that generates electric signals that are converted to sound through instrument amplifiers and or . Synthesizers may either imitate existing sounds (instruments, vocal, natural sounds, etc.), or generate new electronic or sounds that did not exist before. They are often played with an electronic , but they can be controlled via a variety of other input devices, including sequencers, , fingerboards, guitar synthesizers, , and . Synthesizers without built-in controllers are often called , and are controlled using a controller device.

Synthesizers use various methods to generate a signal. 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 or a variant, granular synthesis. Synthesizers are used in many genres of , and . Contemporary classical music composers from the 20th and 21st centuries write compositions for synthesizer.

Drum machines
A is an electronic musical instrument designed to imitate the of , , other percussion instruments, and often . Drum machines either play back prerecorded samples of drums and cymbals or synthesized re-creations of drum/cymbal sounds in a rhythm and tempo that is programmed by a musician. Drum machines are most commonly associated with electronic dance music genres such as , but are also used in many other genres. They are also used when are not available or if the production cannot afford the cost of a professional drummer. In the 2010s, most modern drum machines are sequencers with a sample playback () or component that specializes in the reproduction of drum . Though features vary from model to model, many modern drum machines can also produce unique sounds, and allow the user to compose unique and patterns.

Electro-mechanical drum machines were first developed in 1949, with the invention of the . Transistorized electronic drum machines Seeburg Select-A-Rhythm appeared in 1964.
— When this patent was filed in 1964-06-26, also , , and its sound circuits and were filed at the same time. — rhythm patterns were fully electronically generated by 48-step binary counter using 6-stage flip-flops

Classic drum machines include the Korg Mini Pops 120, Programmable Drum Set, Roland CR-78, , Roland TR-909, , , , and Elektron SPS1 Machinedrum (in chronological order).

Drum machines in Japan
In the late 1970s and 1980s, Japanese manufacturers, including Roland and , assumed pivotal roles in the transformation of the musical landscape. Roland's TR-808 and TR-909 significantly changed the landscape of rhythm production. shaping genres like hip-hop and electronic dance music. Korg's KPR-77 and DDD-1 also made an impact. These drum machines were known for their distinctive sound and affordability. Over time, Japanese companies continued to innovate, producing increasingly sophisticated and user-friendly drum machines, such as the Roland TR-8 and Beats. These instruments continue to influence contemporary music production and remain integral to the electronic music landscape worldwide.Sly and the Family Stone's 1971 album There's a Riot Goin' On helped to popularize the sound of early drum machines, along with ' 1972 R&B hit "Why Can't We Live Together" and 's 1974 hit "Rock Your Baby" which used early Roland rhythm machines.Mike Collins (2014), In the Box Music Production: Advanced Tools and Techniques for Pro Tools, page 320,

Early drum machines sounded drastically different than the drum machines that gained their peak popularity in the 1980s and defined an entire decade of pop music. The most iconic drum machine was the Roland TR-808, widely used in and .

Sampling technology after 1980s
Digital sampling technology, introduced in the 1970s,
on
as a corner of radio program 
on  ([https://www.youtube.com/watch?v=hmi3PT6-Tvo video]  on YouTube)
  • According to , this piece was " realised in 1971–72 by Peter Zinovieff at the Putney studio". 

(see also [http://www.upenn.edu/gazette/0913/images/0913arts_mendell03.gif a photograph]  of the Computer Music Melodian and Harry Mendell)
"''...Mendell's pursuit of innovation, which brought some rather momentous results during his undergraduate years at Penn. / It was then, in the mid-1970s, that Mendell invented the world's first digital sampling synthesizer at an electronic-music laboratory that had been set up in the Annenberg Center. ... / Mendell licensed the Melodian technology to Yamaha, which used it to make a chip for commercial purposes. He also worked with Commodore. ... / A few days after our meeting, Mendell sends an email with the subject line "Exactly what I had in mind (in 1975)!"...''"
Devices that use sampling, record a sound digitally (often a musical instrument, such as a or being played), and replay it when a key or pad on a controller device (e.g., an electronic keyboard, pad, etc.) is pressed or triggered. Samplers can alter the sound using various and audio processing. Sampling has its roots in France with the sound experiments carried out by musique concrète practitioners.

In the 1980s, when the technology was still in its infancy, digital samplers cost tens of thousands of dollars and they were only used by the top and musicians. These were out of the price range of most musicians. Early samplers include the 8-bit Electronic Music Studios MUSYS-3 circa 1970, Computer Music Melodian in 1976, in 1979, in 1981, Synclavier II Sample-to-Memory (STM) option circa 1980, in 1984, and Akai S612 in 1985. The latter's successor, the (released in 1984), listed for $8,000. Samplers were released during this period with high price tags, such as the K2000 and K2500.

Some important hardware samplers include the Kurzweil K250, Akai MPC60, , Ensoniq ASR-10, Akai S1000, , and .

One of the biggest uses of sampling technology was by DJs and performers in the 1980s. Before affordable sampling technology was readily available, DJs would use a technique pioneered by Grandmaster Flash to manually repeat certain parts in a song by juggling between two separate turntables. This can be considered as an early precursor of sampling. In turn, this technique originates from Jamaican in the 1960s and was introduced to American hip hop in the 1970s.

In the 2000s, most professional recording studios use digital technologies. In recent years, many samplers have only included digital technology. This new generation of digital samplers are capable of reproducing and manipulating sounds. Digital sampling plays an integral part in some genres of music, such as hip-hop and trap. Advanced sample libraries have made complete performances of compositions possible that sound similar to a live performance. Modern sound libraries allow musicians to have the ability to use the sounds of almost any instrument in their productions.

Sampling technology in Japan
Early samplers include the 12-bit in 1981. , March 1982, pp. 140–141

The first affordable sampler in Japan was the in 1984. Also the became available in 1985, retailed for US$895. Other companies soon released affordable samplers, including Oberheim DPX-1 in 1987, and more by , , Yamaha, and Roland. Some important hardware samplers in Japan include the , Roland V-Synth, Casio FZ-1.

MIDI
has been the musical instrument industry standard interface since the 1980s through to the present day. The life and times of Ikutaro Kakehashi, the Roland pioneer modern music owes everything to, Fact It dates back to June 1981, when Roland Corporation founder Ikutaro Kakehashi proposed the concept of standardization between different manufacturers' instruments as well as computers, to Oberheim Electronics founder and Sequential Circuits president Dave Smith. In October 1981, Kakehashi, Oberheim and Smith discussed the concept with representatives from Yamaha, and Kawai. In 1983, the MIDI standard was unveiled by Kakehashi and Smith.

Some universally accepted varieties of MIDI software applications include music instruction software, MIDI sequencing software, music notation software, recording/editing software, patch editor/sound library software, computer-assisted composition software, and virtual instruments. Current developments in computer hardware and specialized software continue to expand MIDI applications.

Computers in music technology after 1980s
Following the widespread adoption of MIDI, computer-based MIDI editors and sequencers were developed. MIDI-to-CV/Gate converters were then used to enable analogue synthesizers to be controlled by a MIDI sequencer.
(2025). 9781136122149 , . .

Reduced prices in personal computers caused the masses to turn away from the more expensive . Advancements in technology have increased the speed of hardware processing and the capacity of memory units. Software developers write new, more powerful programs for sequencing, recording, notating, and mastering music.

Digital audio workstation software, such as , , and many others, have gained popularity among the vast array of contemporary music technology in recent years. Such programs allow the user to record acoustic sounds with a or software instrument, which may then be layered and organized along a timeline and edited on a flat-panel display of a . Recorded segments can be copied and duplicated ad infinitum, without any loss of fidelity or added noise (a major contrast from , in which every copy leads to a loss of fidelity and added noise). Digital music can be edited and processed using a multitude of audio effects. Contemporary classical music sometimes uses computer-generated sounds—either pre-recorded or generated and manipulated live—in conjunction or juxtaposed on classical like the cello or violin. Music is scored with commercially available software.

In addition to the digital audio workstations and music notation software, which facilitate the creation of fixed media (material that does not change each time it is performed), software facilitating interactive or generative music continues to emerge. Composition based on conditions or rules (algorithmic composition) has given rise to software which can automatically generate music based on input conditions or rules. Thus, the resulting music evolves each time conditions change. Examples of this technology include software designed for writing music for video games—where music evolves as a player advances through a level or when certain characters appear—or music generated from artificial intelligence trained to convert biometrics like EEG or ECG readings into music. Because this music is based on user interaction, it will be different each time it is heard. Other examples of generative music technology include the use of sensors connected to computer and artificial intelligence to generate music based on captured data, such as environmental factors, the movements of dancers, or physical inputs from a digital device such as a mouse or game controller. Software applications offering capabilities for generative and interactive music include SuperCollider, MaxMSP/Jitter, and Processing. Interactive music is made possible through physical computing, where the data from the physical world affects a computer's output and vice versa.

Timeline

Timeline in Japan
  • 1967 : releases FR-1 Rhythm Ace, the first drum machine to enter Russell Hartenberger (2016), The Cambridge Companion to Percussion, page 84, Cambridge University Press
  • 1967 : First recorder developed by
  • 1969 : engineer Shuichi Obata invents first direct-drive turntable, Technics SP-10 Billboard, May 21, 1977, page 140
  • 1973 : Yamaha release Yamaha GX-1,Peter Manning, Electronic and Computer Music, page 264, Oxford University Press the first polyphonic synthesizer Yamaha GX-1, Vintage Synth Explorer
  • 1974 : Yamaha build first digital synthesizer
  • 1977 : Roland release MC-8, an early microprocessor-driven CV/Gate digital sequencer
  • 1978 : Roland releases CR-78, the first microprocessor-driven
  • 1979 : releases VL-1,Mark Vail, The Synthesizer: A Comprehensive Guide to Understanding, Programming, Playing, and Recording the Ultimate Electronic Music Instrument, page 277, Oxford University Press the first commercial digital synthesizer
  • 1980 : Roland releases TR-808, the most widely used drum machine in popular music
  • 1980 : Roland introduces DCB protocol and interface with TR-808
  • 1980 : Yamaha releases GS-1, the first digital synthesizer
  • 1980 : Kazuo Morioka creates Firstman SQ-01, the first with a sequencerMark Jenkins (2009), Analog Synthesizers, pp. 107–108, "A Tale of Two String Synths", Sound on Sound, July 2002
  • 1981 : Roland releases TB-303, a that lays foundations for
  • 1981 : 's , the first digital sampler in Japan, introduced with Yellow Magic Orchestra's
  • 1982 : First MIDI released, Roland Jupiter-6 and Prophet 600
  • 1983 : Roland releases MSQ-700, the first MIDI sequencer
  • 1983 : Roland releases TR-909, the first MIDI
    (2025). 9780240516929, Taylor & Francis. .
  • 1983 : Yamaha releases DX7, the first commercially successful digital synthesizer
  • 1985 : releases the Akai S612, a digital sampler
  • 1988 : Akai introduces the , the first of Akai's MPC series of sampler workstations
  • 1994 : Yamaha releases the ProMix 01 digital mixing console

See also
  • Comparison of free software for audio
  • List of music software

Further reading
: , , , ,
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