Search results
Results from the WOW.Com Content Network
Computer performance of music was born in 1957 when an IBM 704 in NYC played a 17 second composition on the Music I program which I wrote. The timbres and notes were not inspiring, but the technical breakthrough is still reverberating. Music I led me to Music II through V. A host of others wrote Music 10, Music 360, Music 15, Csound and Cmix ...
Popular home computers of the period [clarification needed] were fitted with various types of network interfaces [clarification needed] to allow sharing of files, large disk drives, and printers, and often allowed a teacher to interact with a student, supervise the system usage, and carry out administrative tasks from a host computer.
The term music centre came into common use when all-in-one integrated systems, also known as shelf stereos or mini component systems, became popular. "Midi"-style systems (mimicking the appearance of a stacked component-based system) were popular during the 1980s. These typically included a record deck, tuner, dual cassette deck, amplifier and ...
Computer music systems and approaches are now ubiquitous, and so firmly embedded in the process of creating music that we hardly give them a second thought: computer-based synthesizers, digital mixers, and effects units have become so commonplace that use of digital rather than analog technology to create and record music is the norm, rather ...
MUSIC-N refers to a family of computer music programs and programming languages descended from or influenced by MUSIC, a program written by Max Mathews in 1957 at Bell Labs. [1] MUSIC was the first computer program for generating digital audio waveforms through direct synthesis.
Automated teller machines, industrial robots, CGI in film and television, electronic music, bulletin board systems, and video games all fueled what became the zeitgeist of the 1980s. Millions of people purchased home computers, making household names of early personal computer manufacturers such as Apple, Commodore, and Tandy.
When it launched on June 1, 1999, the peer-to-peer music sharing service responded to a real need. It also heralded a troubling new ethic in tech that still shapes our world today.
In 1980, on National Public Radio, Mendell was interviewed about the "Computer Music Melodian", his digital sampling synthesizer. [2] This consisted of a small computer attached to a synthesizer, an amplifier, and a tape deck; Mendell commented, "It can take any sound, and it can store that sound in its memory, and then it can sound like whatever you entered into it.