FYP: Desk Synthesis: December 2010

Project Title

Desk Synthesis

In this project, the focus will be more in experimental on human interaction and music. To change the old way of playing music instrument that lacks of interaction and enjoyment. This project aims to change the new way of playing music instrument in full of interaction and applying the latest music technology, graphics and computer vision.

History

The first electric synthesizer was invented in 1876 by Elisha Gray, who is best known for his development of a telephone prototype. In 1920s, Arseny Avraamov developed various systems of graphic sonic art. 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 the 1960s. 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.

The synthesizer had a considerable impact on 20th century music. 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. 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. The sound of the Moog also reached the mass market with The Beatles' Abbey Road and Simon and Garfunkel's Bridge over Troubled Water in 1969, 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.

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. Nick Rhodes, keyboardist of Duran Duran, used Roland Jupiter-4 and Jupiter-8 synthesizers. 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), and The Human League's "Don't You Want Me". English musician Gary Numan's 1979 hits "Are 'Friends' Electric?" and "Cars" used synthesizers heavily Other notable synthpop groups included Visage, Japan, Ultravox, Spandau Ballet, Culture Club, Eurythmics and Blancmange, and synthesizers became one of the most important instruments in the music industry. Other notable users include Giorgio Moroder, Howard Jones, Kitaro, Stevie Wonder, Peter Gabriel, Kate Bush, Frank Zappa, Yellow Magic Orchestra and Devo.

Synthesizer Component

Target Group

Teenager (15-20 years old)

Young adult (21-27 years old)

People who loves music (casual music lovers)

People who are just starting to explore the world of music and sound generation

Software & Hardware

Camera input (web cam, camera dv & security cameras)

Computer

Paper or something (to display the markers)

reacTIVision & Make Markers

Client applications

Java

Specially Designed

For nightclub, studio & attraction places.

Why these places?

Club, studio & attraction places; from the observation, the population of people going to these places are teenagers and young adults. If I put the desk synthesis in the attraction places like shopping malls, they will be attracted to the sounds produced, usually among the young music lovers. While in the club, DJ uses these tools to produce their sound to be presented to the public.

Precedence Studies

From this link Synthesizer, image attached below are the differences.