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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 DX7 was the first synthesizer to sell more than 100,000 units [9]: 57 and remains one of the bestselling in history. [21] [23] It was widely used in 1980s pop music. [24] Digital synthesizers typically contained preset sounds emulating acoustic instruments, with algorithms controlled with menus and buttons. [6]
Yamaha's SY77, its rack-mount equivalent TG77, and successor SY99 introduced Advanced Wave Memory 2 (AWM2), enabling playback and digital filtering of samples.Notably, these also let AWM2 samples be used as transients to Advanced FM (AFM) synth sounds, as looped oscillators in their own right, or even as modulators of AFM carriers.
Synthwave (also called retrowave, or futuresynth [5]) is an electronic music microgenre that is based predominantly on the music associated with the film soundtracks of action films, science fiction films, and horror films of the 1980s. [2]
Hoover sound refers to a particular synthesizer sound in electronic music, commonly used in rave techno, hardcore techno, gabber, breakbeat hardcore, trance, hard house and hard NRG. Originally called the "Mentasm" , the name that stuck was the one likening the sound to that of a vacuum cleaner (often referred to via the genericized trademark ...
The development of inexpensive polyphonic synthesizers, the definition of MIDI and the use of dance beats, led to a more commercial and accessible sound for synth-pop. This, its adoption by the style-conscious acts from the New Romantic movement, together with the rise of MTV, led to success for large numbers of British synth-pop acts in the US ...
The first commercial Moog synthesizer, commissioned by the Alwin Nikolais Dance Theater of NY in 1964. Experiments in tape manipulation or musique concrète, early computer music and early sampling and sound manipulation technologies paved the way for both manipulating and creating new sounds through technology.
Musically, the album has been described as being synth-pop, [16] R&B, [17] [18] dream pop, [19] new wave, [20] and vaporwave. [21] Beck sought to produce a more stripped back sound on Hyperspace. He said he wanted the songs "to be simple, and let them breathe", [22] which is a departure from his historically fuller and maximalist songs.