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"Where It's At" is a song by American alternative rock musician Beck, released in May 1996 by DGC and Bong Load as the first single from his fifth album, Odelay (1996). Beck wrote the song in 1995 with its co-producers John King and Michael Simpson , and premiered it at Lollapalooza the same year, [ citation needed ] in a version very similar ...
The MIDI synth portion (both XG and VL) of the YMF chips was actually just hardware assist to a mostly software synth that resided in the device driver (the XG wavetable samples, for instance, were in system RAM with the driver [and could be replaced or added to easily], not in ROM on the sound card). As such, the MIDI synth, especially with VL ...
In sound and music, an envelope describes how a sound changes over time. For example, a piano key, when struck and held, creates a near-immediate initial sound which gradually decreases in volume to zero. An envelope may relate to elements such as amplitude (volume), frequency (with the use of filters) or pitch.
Eric Persing is an American sound designer, professional synthesist, keyboardist, recording artist and music producer based in Los Angeles, California. [1] He is best known as the Founder and Creative Director of the music software and virtual instrument company Spectrasonics®.
The technique is especially useful for evolving synth pads, where the sound changes slowly over time. It is often necessary to 'audition' each position in a wavetable and to scan through it, forwards and backwards, in order to make good use of it, though selecting random wavetables, start positions, end positions and directions of scan can also ...
Therefore, any sound field can be reconstructed, if sound pressure and acoustic velocity are restored on all points of the surface of its volume. This approach is the underlying principle of holophony .
Its popularity was due largely to its relative simplicity. [6] Subtractive synthesis was so prevalent in analog synthesizers that it is sometimes called "analog synthesis". [ 7 ] It was the method of sound production in instruments like the Trautonium (1930), Novachord (1939), Buchla 100 (1960s), EMS VCS 3 (1969), Minimoog (1970), ARP 2600 ...
At the time, re-synthesizing samplers were very expensive, so Roland set out to produce a machine that would be easy to program, sound realistic, and still sound like a synthesizer. Also, Yamaha had previously gained world market lead with their DX7 FM synth , which excelled at metallic, percussive sounds—something that Roland's synths using ...