THE JOURNAL OF THE ACOUSTICAL SOCIETY OF AMERICA

VOLUME 27, NUMBER 3

MAX 7, 1955

Electronic Music Synthesizer

HARRY F. OLSON AND HERBERT BELAR

RCA Laboratories, Princeton, New Jersey (Received January 15, 1955)

The electronic music synthesizer is a machine that produces music from a coded record. The coded record

isproduced bya musician, musical engineer, orcomposer witha fundamental understanding ofthecompositionof sound. Theelectronic music synthesizer provides means for theproduction of a tone withanyfrequency, intensity, growth, duration, decay, portamento, timbre, vibrato, andvariation. If these properties of a tonearespecified, thetone canbecompletely described. Theadvantage of theelectronic music synthesizer is that it canproduce newand radicaltonecomplexes for musical satisfaction andgratification. The newsystem does notdisplace theartistandmusician of today.It does not taketheplace of talentcombined withwork.The electronic music synthesizer provides themusician, musical engineer, andcomposer with a
new musicaltool with no inherentphysicallimitations.

INTRODUCTION

for the production of musical sounds opens an entirely

new field for the productionof recordedmusic. For
complexes and combinations which cannot be achieved

or intelligiblecombinations of tones.The sounds of originalmusicare producedby the human voice or by an instrumentactuatedby a musician.Most music is recorded and translatedinto sounds by meansof a symbolicnotation on paper. The ultimate objective
destination of all musical sounds is the human ear.

USIC isthe artofproducing pleasing, expressive, example, there is the possibility of entirely new tone
in conventional instruments. Furthermore, in the case of conventional instruments, the musician is limited to

theuse of tenfingers, twohands, twofeet,andthelips, eitherseparately or in various combinations, to perform

the different operations. This limitation does not exist in the synthesizer. Conventional instruments

Thus the production of musicconsists of the following processes' The symbolicnotation upon paper by the composer, the translationof the symbolic notationinto musicalsounds by the musician,employingeither his
musical sounds.

produce various noises such as the rushing of wind in wind instruments, bow scratchin the viol family, own voice or a musical instrument or both, and the various clatters and rattles in plucked and struck and mechanism rattle in any actuation of the human hearing mechanismby the string instruments,
are used. These undesirable noises do not exist in the

instrumentin which keys, valves,levers,and shafts

The physicalpropertiesof a soundare frequency, With the advent of the intensity, wave form, and time. The psychological electronicmusic synthesizer. electronic method for the production of musical tones, characteristics of a sound which depend upon the new musical compositions can be written which take physical propertiesare pitch, loudness,timbre, and advantage of the superior characteristics of the electime. Every sound in nature may be describedin tronic musicsynthesizer. terms of these attributes of a sound or tone. It is thepurpose of thispaperto describe an electronic Oncea soundor a tone has beendescribed by means music synthesizer capable of producing any preof the above characteristics, it is possible to generate determined musical tone and any combination of series or producethis tone by electronic means.Thus it will of musical tones combined with a system for translating be seenthat it is possible to generate any toneproduced the symbolic notations of a musical composition into by a voice or a musicalinstrumentby employingan the corresponding tones and means for recording these electronic system. In addition,it is possible to produce sounds on a phonograph record. musicaltoneswhichcannotbe produced by the voiceor conventional instruments. In other words,the process PHYSICAL CHARACTERISTICS OF MUSIC of translatingthe musicalnotation on paper into the The medium of transmission from the musician and corresponding musicalsounds can be accomplished by an electronic system. Furthermore, the electronic musical instrument to the listener is sound waves. A systemcan reproduce or createany soundor combina- toneis a sound wavecapable of exciting an auditory having pitch. The properties of a musical tions of sounds, which have or have not beenproduced, sensation intensity,wave form, and time. that may have any possible musical significance. tone are frequency, to describe the properties of a The electronicsystem for the productionof musical It is moreconvenient of frequency, intensity, growth, duration, sounds hasbeentermedan electronic musicsynthesizer. tonein terms timbre,vibrato, and deviations. If One of the usesfor an electronic musicsynthesizer is decay,portamento, properties or a toneare completely specified, the for the productionof phonograph records.Of course, these the phonograph recordsthus produced can be played H. F. Olson,MusicalEngineering (McGraw-Hill Book Comin the conventionalmanner. The use of a synthesizer pany, Inc., New York, 1952).
595

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596

H.

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BELAR

FREQUENCY

(PITCH)
IOOO ioooo

FREQUENCY

IN CYCLES PER

SECOND

120 --INTENSITY

(LOUD NESS)

_SOl-

Loudness of a soundis the psychological counterpart of intensity. Loudness is the intensity attribute of an auditory sensation,in terms of which soundmay be ordered on a scale extending from softto loud.Loudness. depends primarily upon the intensity of the stimulus, but it alsodepends upon the frequency and wave form
of the stimulus.

Ir
GROWTH

DURATION

STEADY
DECAY

STATE

DURATION
TIME IN SECONDS

In order to take full advantage of the intensity rangeof the human hearingmechanism, the electronic musicsynthesizer shouldcovera volume rangeof 0 to 120decibels (Fig. 1). In general, the lower20 decibels of this range is of little practical significance because soundsin this intensity range are masked by the
ambient noise level which exists in all conventional

living rooms,halls,and theaters.

PORTAM ENTO

Duration
TIME IN SECONDS

TIMBRE

,oo

FREQUENCY IN CYGLES PER

,ooo

SECOND

;&DO

VIBRATO

vl/v
AMP LITUDE MODULATION

VVVV
FR E QUENCY MODULATION

Duration is the length of time that a note persists or lastswithout interruptionor discontinuity in the sound output (Fig. 1). From the standpointof the duration of a tone, musical instrumentsmay be classified as follows: fixed duration, variable but fixed maximum duration, and unlimited duration. The electronicmusic synthesizershouldbe capable of producing all thesevariationsof the durationof a
tone.

Growth and Decay

breakdown of a tone into these characteristics. There-

synthesizer described in this paperis based uponthe timeforthesound to fall to'some fraction oftheoriginal

The growth of a tone involvesthe time requiredfor the soundto build up to somefraction of the ultimate tonecanbe completely described. The electronic music value (Fig. !). The decayof a toneinvolvesthe required

Fro. 1. Properties of a tone.

intensity (Fig. 1). Most of the growth and decay fore, it appears appropriate at this point to definethe characteristics of musicalinstrumentsare exponential properties of a musical tone. functions. Frequency--Pitch
The electronicmusic synthesizer shouldbe capable of producingany desirablegrowth or decay characteristic. The electronicsynthesizer is not limited to an exponential function but can produce almost any type of growthand decaycharacteristic. For example, it appears that linear growthand decaycharacteristics are more pleasing in somecases than the exponential type. This can be achievedby electronicmeansbut not by a natural vibrating system.
Frequency Glide--Portamento

Frequency of a sound waveis the numberof cycles occurring per unit of time. Pitch of a soundwave is the psychological counterpart of frequency. The pitchof a sound is that attribute of auditorysensation in termsof whichsound may be orderedon a scaleextending from low to high, suchas a musical scale. Pitch dependsprimarily upon the

frequency of the sound stimulus, but it alsodepends upon thesound pressure andwave formof thestimulus.

Portamento is a special case of frequency, growth,and In orderto take full advantageof the frequency range decay in which the passage from a tone of one frequency of the human hearing mechanism, the electronic to a tone of another frequencytakes place in a consynthesizer should coverthe entireaudible frequency tinuousglide through all the interveningfrequencies. range of 30 to 15000cycles asshown in Fig. 1. The electronic musicsynthesizer shouldbe capableof glidingfrom onefrequencyto anotherfrequency. Intensity--Loudness
Wave Form--Timbre

The soundintensityin a soundfield in a specified direction at a point is the sound energytransmitted

area normal to this directionat the point.

A complexsoundwave or tone is made up of the

The timbre of a perunit of timein a specified direction through a unit fundamentalfrequencyand overtones.

tone is expressed in the number,intensity,and phase

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ELECTRONI

MUSI

SYNTHESIZER

597

From the precedingsection it is evident that in order to synthesizeany musical tone whatsoever,the synthesizer must provide the following facilities. Low-Frequency Modulation--Vibrato Means for producing a tone with any fundamental frequency within the audio-frequency range;meansfor Vibrato is a term to designate primarilya frequency producinga tone with any overtonestructure; means modulationof a musicaltone (Fig. 1). The vibrato is for producing a tone of any growth,duration,or decay accompanied by an amplitude modulation (Fig. 1). characteristic; means for changing the overtone In somecases the frequency and amplitudemodulation structureat any time; meansfor introducing a vibrato; is accompanied by a variation in the timbre at the meansfor changing the intensity of the tone; meansfor modulation frequency. The vibrato is used as an providing a portamento or glide from a tone of one artistic embellishmentin the voice and in a large frequency to a tone of a differentfrequency; meansfor num k inf,,,of In rreneral the modulation providinga deviationfrom the regular.It is the purpose frequencyis sevencycles. of the section which follows to describe an electronic The electronicmusic synthesizer shouldbe capable musicsynthesizer satisfyingthe aboverequirements. of producingeither or both amplitude or frequency A schematic blockdiagramof an electronic musicsynmodulation of any desiredfrequencyas well as a thesizer with means for producing all the characteristics variation in the timbre. of a musicaltone outlined above is shownin Fig. 2. The codedpaper record controlsall the functionsof Irregular Deviation the electronic musicsynthesizer. The output of the synOne of the beautiful and artistic characteristics of thesizeris recorded on a disk record.The codedpaper sometypesof musicis the lack of a mechanical quality record and the phonographrecorder are driven in of the rendition.Unlessspecific stepsare taken in the synchronismby an interconnecting cable drive. In musicsynthesizer two complete rendition of somemusicalselections by meansof the the completeelectronic electronicmusic synthesizer,the result will be too channels,as shown in Fig. 2, are used and operated regular and, therefore, inartistic. Therefore, means from the single coded paper record. This makes it
of the tone.
CHANNEL I

relationsof the components, that is, the fundamental and overtones. Timbre then may be said to be the instantaneous crosssectionof the tone. For practical considerations timbreis the tonalspectrum. A spectrum graphis shown in Fig. 1. The relativeamplitudes of the components of the resultant tone are depicted as a functionof the frequency.The heightsof the vertical lines are proportionalto the amplitudesof the fundamental and the overtones.The position along the abscissa determines the frequency. The electronic musicsynthesizer shouldbe capable of producinga tone of any spectrumtogether with meansfor changing this spectrum duringthe sounding

must be providedin the synthesizer to obtain a deviation from the regularwhen this is desired. Of course, there are many instances where the performercannot obtain the required mechanical quality which is desired. In thesecases, the synthesizer is, of course, far superior.It can also be superiorfor the caseswhere
random effectsare desired,becausethe resultscan be made even more random than is possibleby human means,as for example,by the useof the randomnature
of thermal noise to control the random effects.
SYNTHESIZER REQUIREMENTS

'Y AND H LP' IJVOLUME IJ FREQUENCY HRE$ON&TOR H TIMBRE

II IIco.,,o i i
TURNTABL
DRIVING CABLE

"

CODED

PAPER

RECORD

CHANNEL

FIG. 2. Schematic diagramof the electronic musicsynthesizer.

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598
TUNING
FORK UNIT

H.

F.

OLSON

AND

H.

BELAR

I I I I
I

SN'

Fro. 3. Circuit diagram of the combination tuning

fork and oscillator. electronic

OUTPUT
+B

possiblefor the coded paper record to set up one channel while the other channelis in operation and producinga tone. Furthermore,one channelcan start playing a tone beforethe other channelstopsplaying a tone. Everything is duplicatedin the second channel exceptthe twelve tuning fork oscillators which supply the tonesin oneoctave.It is the purpose of the sections
which follow to describe the elements of the electronic

to the motion.The input and output coilsof the tuning fork are electronically coupled to a vacuum tube system to provide the resonantelement of the oscillating system. The tuningfork is housed in an evacuated chamberto reducethe dampingeffectswhich would be introduced by surroundingair. The twelve tuning

forkscoverthe octave fromFs to F6.The frequencies

in this octavefor the equally temperedscaleare shown
in Table I.

musicsynthesizer shownin Fig. 2.

FREQUENCY SOURCE

The first requirementin a synthesizer is the generation of the fundamental frequency.The fundamental frequency sourcein the electronicmusic synthesizer consists of twelve electricallydriven tuning forks with frequencies corresponding to an octavein the equally

tempered scale. The useof an electrically driventuning fork makes it possibleto maintain the fundamental frequency to an accuracy of better than onepart in ten thousandor one-eighthof a cent, a cent being one
twelve-hundredth of an octave.

In order to reduce the number of contactsrequired to selectthe proper frequencyin an octave, a binary codingsystemis usedas shownin Fig. 4. This binary codingemploysa relay tree which makes it possible to selectany one of the twelve frequencies by means of four circuits in the master control system. The code for the frequencies in this octave is shown in
Table II.

A schematic circuit diagram of the combination tuning fork and electronic oscillatoris shownin Fig. 3. The tuning fork suppliesthe highly resonantsystem
in the combination mechanical and electronic oscillator.

RELAY

TREE

The tuning fork is set into vibration by the forces generated by the magnetic field of the currentcarrying coil acting upon one of the tines. The motion of the other tine varies the flux linking the other coil and therebyinduces a voltagein the coil whichcorresponds
TA].E I. The frequencies of the octave covered by the twelve tuning fork oscillators.
Note Frequency

OUTPUT

'"
I

I
I

I
I I

Gat,
Ga A at,
a

739.989
783.991 830.609
880.000

_El

F6 i--

Bah Ba
Co

932.328 987.767
1046.502

DoE, Do Eb
E0 F0

1108.731 1174.659 1244.508

1318.510 1396.913

,,.,., B.,_._. PAPER RECORD

,----DRUM
Fro. 4. Schematicdiagram of the frequency selecting systemfor one octave.

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ELECTRONIC

MUSIC

SYNTHESIZER

599

TABLE II. The code for selectingany frequency in an octave.

Note Frequency Code

Fg

Gb
A

G G A b

739.989 783.991 830.609

880.000

2
10 6
14

Ag Bb B5
C6

932.328 987.767
1046.502

1 9 5

Crg Db
D

1108.731
1174.659

13
3 11 7
15
12

Dg, E E6
F
Noise

1244.508 1318.510
1396.913
All

The storagesystem in the electronicmusic synthesizeris a punched papertape record15 inches in width. The punchedpaper record stores all the information on frequency, growth and decay, duration, volume, timbre,vibrato, portamento, and deviations. SeeFig. 5. The two edges of the paperare providedwith sprocket holes whichengage teeth in the metal drivingdrum and thereby insuresa positive drive of the paper record. The drum is driven by the turntable motor so that the drum and turntable move in synchronism. The holesin the paper are punchedby means of the keyboard system shown in Fig. 5. The brushes make contact with the drum through holespunchedin the paper at appropriate locations. The paper may be moved at a speedof from 2 to 8 inchesper second. A detailed description of the codedpaper recordwill be givenin a later section of this paper. In addition to the twelve frequencies in the equally tempered scale, it is possible to employthreeadditional
sound sources in the four circuits in the master control

Fro. 5. Photograph of the punchedpaperrecord,the keyboard punches,the brushes,and the paper drive mechanism.

amplified by a conventional three-stage resistancecoupledamplifier. The frequencyoutput of the noise amplifier is random with a power distribution per cyclewhich is independent of the frequency.
OCTAVE SELECTOR

systemas shownin Fig. 4. One of these sources is a

random noise source.

The tuning fork oscillator covers fundamental frequencies in an octaveof the equallytemperedscale. Frequencydividers and multipliers are used to cover the fundamentalfrequencies of the equally tempered scalein the frequencyrange from F0 to Fs, that is, 23.124cyclesto 5587.65cycles. A schematic diagram showingthe frequencydividers and multipliers and the octave selecting systemis shownin Fig. 7. This system is termedthe octaver.Any of the eight octaves can be selected by meansof three circuitsin the master control system.The codefor selecting any one of the
seven octaves from F0 to F8 is shown in Table III.

Random noiseis usefulas an additionin simulating such instruments as drums, maracas, tambourines, and string and wind instruments.When used with band passfilters with a narrow frequencypassband, the noise sourcecan be used to produceweird and unusual sounds.A schematiccircuit diagram of the random noise sourceis shown in Fig. 6. The source of noise is hot cathode triode gas tube. The supply voltage to the noiseis kept at a constantvalue by the cold cathodegastube. The output of the noisetube is

Schematicdiagramsof the frequencymultipliers are shownin Figs. 8 and 9. The incomingsine wave suppliedby the tuning fork oscillatorsis converted into a rectangularwave having the samefundamental frequency as the sine wave input by the first two vacuumtubes.The next two tubesconvertthe square
wave into a saw tooth wave. A saw tooth wave contains

all the harmonics of the fundamental.The spectrum showing ratios of amplitudesof the harmonics to the
B

6F6

FIG. 6. Circuit diagram

of the random noise source.
OUTPUT

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600

H.

F.

OLSON

AND

H.

BELAR

TA.. III.
RELAY TREE

The code for selecting any one of seven octaves.

Octave Code

INPUT
o

I
I

F0 F F. Fa F4 Fs F6 FT
OUTPUT
o

to F to F. to Fa to F4 to F5 to F6 to F7 to F8

5 1 6 2 4 0 3 7

FREQUENCY

DIVIDERS

I I I

SHAPERS

SHAPERS

BRUSHE. PAPEr RECORD

BRUSHES

FREQUENCY MULTIPLIERS

SHAFRS

---DRUM
Fro. 8. Schematicdiagram of the frequency dividersand multipliers.

Fro. 7. Schematicdiagram of the frequency dividers and multipliersand the octaveselectingsystem.

amplitude of the fundamental for a fundamental range from F0 to F8 containsthe fundamentaland frequencyof 440 cyclesfor a saw tooth wave is shown all the harmonicswith the ratios shown in Fig. 10. of the frequency discriminating systems to be in Fig. 10. Thus it will be seenthat each tone in the By means

6SN71
iP,

1 6SN?

Fro. 9. Schematic circuit diagramof the frequency multipliers and dividers.

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ELECTRONIC

MUSIC

SYNTHESIZER

601

GROWTH,
O ,

DECAY, AND DURATION

CONTROL

by the electronic musicsynthesizer. The combination of the system shown in Figs.4 and 7 makesit possible to select any frequency from F0 to Fs, a total of ninety-sixseparate frequencies by

The time required for a tone to build up to some fraction of its ultimate value varies over a wide range in different musical instruments. For example, in the m -I0 pluckedand struck string instrumentsand practically all types of percussion instrumentsthe buildup time is m .-20 relatively short. On the other hand, the buildup time of an organ pipe is relatively long. The time required -$0 ..... for a toneto fall to some fractionof its originalintensity varies over a wide range in different musical instruments. The growth and decay characteristics of a tone '4010E P' 4 8 I0 $ P' 4 8 I0 4 influences the character of a tone to a very marked R,,,.._Q_ENCY IN CYCLES PER SECOND degree.In practically all conventionalmusical instruFro. 10. Spectrum of a sawtoothwavehavinga fundamental ments the growth and decay characteristics are exfrequencyof 440 cycles. ponentialfunctions. For example, in the growth of a tone, the sound described in a later section,it is possibleto obtain pressure p, in dynes per square centimeter, produced practically anyovertone structure in anytoneproduced by a musicalinstrumentis given by

p=p0(1- e-kt),

wherep0 is the ultimate or steady-state soundpressure, in dynes per square centimeter, k is the constant of means of seven circuits or seven brushes and seven the instrument, and t is the time in seconds. In the rows of holesin the paper record. This showsthe decay of a tone, the soundpressurep, in dynes per advantage of a binary coding system in reducing the squarecentimeter,producedby a musicalinstrument numberof rowsof punched holes requiredin the paper is given by record.For example,in the eighty-eightnote player p=Poe -kt,

piano,eighty-eight rowsof holes in the paperrecord

are used to selectthe frequency.

where po is the soundpressure, in dynes per square

OUTPUT
o

+B

-105

J- 8RUSHIS
o

/ RELAYS
DRUM

Fro. 11. Schematic diagramo the electronic system for producing the growthand decayof a tone.

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602

H.

F.

OLSON

AND

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BELAR

system.In addition,differentvaluesof the growthand decay can be preset in the electrical circuits. The growth and decay is accomplished by varying the
TIME IN SECONDS B TIME IN SECONDS

amplification of the push-pull outputstage by changing the dc bias applied to the grid of the control tubes. The voltagebiasappliedto the gridsduringthe growth steadystateand decayperiods is obtained throughthe application of a network consisting of vacuum tube rectifiers, resistors, and capacitors. A few of the typical growthand decaypatternsobtainable with this system D TIME IN SECONDS C TIME IN SECONDS are shownin Fig. 12.. Fro. 12 Typical growthand decaypatternsobtainable The graphA of Fig. 12 depictsa growthand decay with the systemof Fig. 11. characteristic described by exponentialfunctions.The growth and decayare moderatewith respectto time. centimeter for t-0. In an electronic system it is The graph B of Fig. 12 depictsa very rapid growth possible to obtain growth and decay characteristicscharacteristic. The decaycharacteristic isan exponential whichare exponential functions aswellasall manner of function with a sudden decrease in the decay rate during other functions.This it will be seenthat the possibility the decay period. The graph C of Fig. 12 depicts of new typesof growthand decaycharacteristics in an discrete changes in both the growthand decaycharacelectronic musicsynthesizer opens a new vista of tone teristics during the growth and decay cycles. The possibilities. A schematic diagram of the electronic graphD of Fig. 12 depictsrelativelylong growthand
decay characteristics.
AMPLIFIER

RATOR GENERATOR AMPLIFIER

I FIL

DC

DC

FIG. 13. Schematicdiagram depictingthe elementsof the frequencyglide follower.

The growth,duration,and decaysystemperforms a double function, namely,it opens and closes the synthesizer channeland controlsthe growth, duration, and decay.That is, all the elements of a synthesizer channel are established before the systemis unblockedby the growth system.
FREQUENCY GLIDER

growth, durationand decay systemusedin the elecPortamento is a continuous glide in frequency from tronic music synthesizer is shownin Fig. 11. Eight a tone of one frequencyto a tone of a different fredifferent growth and decay characteristics can be quency. A portamento can be executedby voice,
obtained from three circuits in the master control

trombone,violin, and other instrumentsof the variable

6H6 884

6SH7

884

6H6

V105

T
?

VRI05

TOHEATERS

II
115A
o

i ',
Fro. 14. Schematiccircuit diagram of the frequencyglide follower.
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ELECTRONIC

MUSIC

SYNTHESIZER

603

TIME IN SECONDS

TIME

IN

SECONDS

FIG. 15. Typical frequency glides obtainable from the system of Figs. 13 and 14.

TIME IN SECONDS

to another frequency is shown by the blockdiagramof Fig. 13. A circuit diagram of the frequencyglide followeris shownin Fig. 14. The incoming signalis amplified and converted into a series of negative pulses. The pulsesare sent through an integrator and a low passfilter. The resultantdirect current is amplified and fed to an oscillator in which the frequency is a functionof the directcurrentinput. The output is fed to an amplifierand pulsegenerator. The output of the pulsegeneratoris opposite to that of the pulseof the incoming signal. The system is a comparison system in which the frequency of the oscillator adjustsitself to the input frequency. If the input frequency changes from onefrequency to another different frequency in a discontinuous step,the directcurrentoscillator changes from this frequencyto the new frequencyin a continuous manner. The comparisonsystem can be adjustedso that the glide is accomplished in a smooth transition or in a seriesof approximations by the amountof amplific. ation between the oscillator and the
second pulsegenerator.

The glide systemwill execute a singletype of glide without any outside control.However,if it is desiredto have the glidechange in any part of a musicalselection beingsynthesized, the changes are controlled by means D TIME IN SECONDS of a relay tree actuatedby contactsand a row of holes not usedfor other purposes. pitch type. In one type of portamentothe frequency A few typicalfrequency glides whichmay be obtained transitionoccurs in a singlesmoothglide. In another by meansof the systemshownin Figs. 13 and 14 are type of glide, the second frequency is approached in a shownin Fig. 15. The frequencyglide of Fig. 15A series of successive approximations. depictsa relatively rapid and smoothtransition from The system for obtaininga glidefrom onefrequency one frequency to anotherfrequency. The frequency
6BE6

INPUT
o

i I i

I I I

j o
OUTPUT
o

I
I
6BE6

t
I !

"]'-

!
!
I I
I

!
I
I

I
I
I
I
RELAYS

DRUM

16. Schematicdiagram of the electronicsystemfor controllongthe volume of a tone.

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604

H.

F.

OLSON

AND

H.

BELAR
LOW PASS FILTERS HIGH PASS FILTERS

-I
TIME IN SECONDS

TIME

IN

SECONDS

Fro. 17. Typical volumechange characteristics obtainable with the systemof Fig. 16.

glide of Fig. 15B depictsa relatively slowand smooth transition from one frequency to another frequency. OUT The frequencyglidesof Fig. 15C and D showthat the second frequencyis approached by a series of approximations. All of the frequencyglidesshownin Fig. 15 Fro. 19. Variable high and low passfilter system. can be executedby the voice or by musiciansusing conventional instruments. The type of frequencyglide in the musicsynthesizer. In addition,the volumeof a dependsupon the particular effect that is desiredto tone may be changed during the sounding of the tone. obtain the proper artistic effects. A few of the typical volume changes that may be obtainedby meansof the systemshownin Fig. 16 are VOLUME CONTROL
IN
0

The control of the volume or intensity of a tone is another important requirement in a synthesizer.A schematic diagramof the volumecontrolsystemin the electronicmusic synthesizeris shown in Fig. 16. The amplification of the push-pullamplifieris a functionof the voltage applied to the No. ! grids. This voltage is suppliedfrom the combination of a dc voltage supply, a potentiometer,and a relay tree. In this manner a seriesof fifteen stepsin voltage can be obtained from four circuits in the master control system. The use of the combinationof a potentiometerand a vacuum tube eliminatesthe switchingtransientsand ambiguitiesin the relay tree duringthe actuationcycle.The resistance values of the potentiometerare selectedso that the over-all variation of the systemfollowsan exponential function. Input and output volume controlsare provided for presetting the volume range. The volume controlsystemcontrolsthe over-allvolumeof the tone

shown in Fig. 17.A change in volume of threesuccessive tonesbut no changein volume during the sounding of eachtone is shownin Fig. 17A. A change in volume duringthe sounding of a tone is shown in Fig. 17B. Many variations of the effects depicted in Fig. 17 may be obtainedwith the volumecontrolsystemof Fig. 17.
LOW-FREQUENCY MODULATOR

The vibrato is a complex modulation involving either frequency, amplitude,or wave-formmodulation

or the combination of all three. Tremolo is a term used

to designate amplitudemodulation. In musicalinstruments and the voice the resultant low-frequency

modulation termed "vibrato" or "tremolo" involves

the combinationof amplitude, frequency,and waveform modulation. Therefore, the meansfor producing
the vibrato or tremolo in the music combines all three

INPUT
o

o I
884

OUTPUT
-o

typesof modulation. The circuitdiagramof the system for producingthe vibrato is shown in Fig. 18. The circuit consistingof a gas triode employing a hot cathodegenerates a saw tooth wave. The saw tooth voltageis appliedto the grid of the push-pullcontrol tubes. The amplificationof thesetubes is a function of the bias appliedto the gridsof thesetubes.ThereIc

'302

-20 / , , / ',,./ ', '/,/.

4 8 I0 2 4

8 I0

,,, ,. ',,',,,,,, ,,.,.:.,,.

4 8 IO

FREQUENCY IN CYCLES PER SECOND

Fro. 18. Circuit diagram of the electroniclow-frequency-modu- Fro. 20. Response-frequency characteristics of the variable lation systemfor introducing vibrato and tremolo. high and low passfilter system of Fig. 19.

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ELECTRONIC
A

MUSIC

SYNTHESIZER
B

605

o
-30

4 8 o 3
FR EO NGY

I .
4
ing

o
8 4
-30

Io

o z

8 o

8 o 4

FREQ U E NGY

m. 21. ou spectrums of s oo c

fumc

f:cuccy of

cycles mo;c y c

fore,the over-allamplification of these tubesvariesin at low rate and in a functionwhich approximates a saw tooth. Under these conditions the resultant outputis an amplitude wave-form modulation of the incoming audiowave with a largenumberof sidebandsequally spacedwith respectto frequency.The modulationis of the orderof 6 to 7 cycles per second.
TIMBRE CONTROL

components can be attenuated, thereby accentuating

the fundamental and lower-order harmonics.

The timbre of a tone depends primarily upon the

overtone structure of the tone. In order to obtain tones

of different overtone structures, means mustbeprovided in the synthesizer for varying the overtonestructureof any tone producedby the synthesizer. One of the most effectivefrequencydiscriminators is the combination of a high and low passfilter system with variable cutoff. A schematic diagram of a high and low passfilter systemis shownin Fig. 19. The response frequencycharacteristics obtainablewith this filter systemare shownin Fig. 20. A few typical examplesof the effect of the high and low passfilter systemuponthe spectrum of a sawtooth wave having a fundamental frequency of 440 cyclesis shown in Fig. 21. It will be seenthat the fundamentaland lowfrequency componentscan be attenuated and the effect of the higher order harmonics thereby accentuated. It will also be seen that the high-frequency

In addition to the simple discriminatordescribed above,meansmust be providedin the electronic music synthesizer for accentuating single harmonics or groupof harmonics and attenuating single harmonics or groups of harmonics. This type of accentuation or attenuationcan be accomplished by meansof the resonator chainshown in Fig. 22. The circuit diagram of one elementof the resonator chain is shownin Fig. 23. It will be seenthat this is a vacuum tube amplifier with a shunt resonant electricalnetwork in the plate circuit of the vacuum tube.The two-stage amplifieremploys voltagefeedback so that the voltage output of the secondtube will be practicallyindependent of the impedance of the load. A typical responsefrequency characteristicof this amplifiershown in Fig. 23 is shown in Fig. 24. Employing a chainof theseamplifiers eachtuned to a different frequency, it is possible to obtainall mannerof overtone structures. Two typical examples of the effect of the resonatorchain upon the spectrum of a saw tooth wave having a fundamentalfrequencyof 440 cycles is shownin Fig. 25. It will be seenthat the fundamental, certain harmonics,or groups of harmonics can be eliminated by means of the resonatorchain. This is equivalentto accentuating other harmonics or groupsof harmonics.

Fro. 22. Block diagram of a chain of eight resonators.

OUT

+B

604

Fro. 23. Circuit diagram of

one element of the resonator

chain of Fig. 22.

0

OUT

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606

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20

tional musicalnotation is also shownin Fig. 27. The holes in a continuoushorizontal line at the top of Fig. 27 are not part of the record.Theseare shownfor

_z15

comparison purposes, one hole having bee_n punched

by each of the keys. These holes are numberedlike the keys of Fig. 5 in the binary code numbering. Referring to Fig. 27, it will be seen that the coding on the left half is for one synthesizer channeland the codingon the right for the other synthesizer channel. Referring to the growth, duration, and decay coding, it will be seen that the notes are executedalternately by the first and second channel. For illustration purposes, Fig. 27 shows more changes in timbre, growth, decay, and volume than would be the casein
this musical selection.
DISK PHONOGRAPH RECORDER

IO
FREQUENCY

2
IN

$
CYCLES

4
PER

7 8 9 io4

SECOND

Fro. 24. Response-frequency characteristicof one

element of the resonator chain.

A schematicdiagram of the systemfor controlling the timbre is shownin Fig. 26. In this systemsixteen
different timbre selections can be obtained from the

When the paper record has been punchedand the various elements of the synthesizer have been set, the next stepis a recording of the output of the syntheCODED RECORD sizer. The elementsof the disk phonograph recording The paper record is punchedby meansof the key- systemare shownin Fig. 28. A photograph of a part of board punchingsystemshownin Fig. 5. The keys are the electronic music synthesizerincluding the disk colored to facilitate the operation of punching the recordingsystemand the interconnected paper drum codes.The note-selecting group of 1, 2, 4, and 8 are drive is shown in Fig. 29. The recording system consists white. The octavegroup 1, 2, and 4 are red. The timbre of a lateral cutter and a conventional 33 rpm turntable motor. The disk recorderis group1, 2, 4, and 8 are green.The growth,durationand driven by a synchronous decay group 1, 2, and 4 are blue. The volume control coupledto the paper drum drive by meansof a flexible group 1, 2, 4, and 8 are yellow. cable. In this way the paper record is synchronized It will be seen (Fig. 5) that the punchedrecord with the disk record. consistsof rows of holes. Each row of holes passes The synthesizer is purposely limited to the production under a brush. Each brush is equipped with several of two simultaneous tones. The reason will be evident springs arranged sothat the brushneverbreakscontact in the description which follows.In general,due to the before making contact at the adjacent hole. Thus, a characteristics of most musical sounds,the system is row of holeswill provide continuous contactand at the actually limited to a seriesof single tones. That is, sametime give the sameresult as a slot in the paper. the systemcan simulate any singlewind instrument, Slotscut in the paper will result in a very weak record such as a clarinet, saxophone, oboe, trumpet, etc., or that can be easily torn and with poor lateral rigidity. one string of a string instrument, such as a guitar, A simple punched record for playing a phrase of violin, etc., or onefingerplaying of a keyboardinstru"Home SweetHome" is shownin Fig. 27. The record ment, suchas a piano,accordion, organetc. Thus it will is drawn to scaleand hasthe lengthindicatedin inches. be seen that in order to simulate an orchestra,each A paper speedof two inchesper secondis about the individual instrument must be coded and recorded correct speed to run the paper record through the separately and then the groupof instruments combined. machine panel. The corresponding phrase in conyen- In the case of keyboard instruments, the number of
four circuitsin the master control system.
A
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8103
FREQUENCY

810'

FREQUENGY

FTG. 25. Sound spectrums of a sawtooth havinga fundamental frequency of 440 cycles modified by resonator chainfor two differentsettings of the resonator chainof Fig. 22.

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=t
FILTERS RESONATOR AND CHAINS

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Fro. 26. Schematicdiagram of the timbre selectingsystem.

separate records required will depend upon thenumber

of tonesthat sounded simultaneously. The systemfor
disk record can accommodate six three-minute record-

EV ....

ER

SO

HUM-BLE

Fro. 27. The punchedpaper record.

combining the differentrecordings produced by the of the disk recording system synthesizer will now be described. The sixteen-inchin Fig. 30. A photograph
is shown in Fig. 31. In combining the individualrecords

ings.After six complete recordings havebeenmade, the levels can be adjusted by means of the mixers. whichrepresents six different musical renditions, the Employingthe systemshownin Figs. 28, 29, 30, and sixrecordings are combined into a single recording by 31, it is possibleto record 36 individual records.In
meansof the doubleturntable recording systemshown the next step, the recordon the upper turntable conSYNTHESIZER CHANNEL I
AMPLIFIER

SYNTHESIZER

CHANNEL

2
REOORD GROOVES

DISK
REOORD

Fro. 28. Perspectiveview and sehcmatic diagram of the paper record and the disk recording

systemof the music synthesizer.

CA BLE DRIVE

OABLE

iRUSHES

WORM

o
o

GEAR

PAPER RECORD

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608

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Fig. 2. A photograph of the complete systemis shown in Fig. 32. A photograph of the disk recording system, the keyboard, coded paper record, and cabinet racks ::ifi!!::......:ii::!:::.....;:E4::::..?:::.........:::::.,......!ii...i::.:..:....`.:i::i?:.`. -..:-: ' :-: ........ . ' -'""'::'::':: ' -,-::....::.,.'f E--..':..::;. :.--.-..'Xi*::-:-'-'::*::::"::::' '.-. -:-': ......:``.`/?X.::....`..?...`.:....:...J:...:ii??...::: i!i, ;:.:/;. ?ti :: i. ':-:"'' ''........i '''-.... ..... '' .- ::'-'-". one, two, and three, with someof the front panels :iiiiiiiii::.:.....:..:...iii:.:.fi!::::::::iig.:::::`..`..;ig.f..`.....ii:g.:....`.i.....`..;:::: ;--. i ...... ' - ',- -".:.:-.u:::***::::::: :-.:."" -:----:-'::.--:-'-?'":':?;":':::::::-::::'.:: removed, is shown in Fig. 29. A "close-up" photograph of the keyboard and codedpaper record is shown in Fig. 5. A photographof cabinet racks four, five, six, -, .......-':' . ,. '---:.' .... ..-xE: ................ ;: ........................ i::.'-z:.-:-.--..:...::..,...:.:...:., :-f.':'..-.::-: ...:. .... ,;.::::.. and seven,with someof the front panelsremoved,is :'i' ' ', ?:::'- i,iiiEi-'..-.i.-'.'-L.?..-i!..: .......... .-...f:.'.t::-a:E '"':::"Y.' ................ :: ........ ,'E,-: :-E"-"::::-::' ?:-":E '*E'":::'::'.'."::'" ;.. ' shownin Fig. 33.
RESULTS OBTAINED
MUSIC

WITH

THE

ELECTRONIC

SYNTHESIZER

The electronicmusic synthesizerhas been used to producesimulations of the voice and existingmusical instruments as well as entirelynew musicaltoneswhich ....... :...:::::::: ............................... -,-'&!.::.::?!!': ............. .:::.: .................. ............... "' ,-'-%...,::.: cannot be producedby the voice or existingmusical

...........

....

Fro. 29. A photograph of the recorder,paper recorddrive, and half of the electronicsystemof the synthesizer.

instruments. A few of the results obtained are as follows:

taining the combinationof 36 individual recordscan be transferred to the lower turntableand the recording The work on simulating the pluckedstringtype has process repeated. In this next step 216 recordscan be been directed towards combiningthe desirablecharacrecorded. In this way any number of individual records teristicsof the tonesof the banjo and guitar. The tone can be recorded. produced is smootherand more pleasing than the There are many advantagesin the above systemas conventionalplucked string instrument in that the follows' Each individual synthesizedselection is a contact noise producedby the finger or plectrum separate entity and canbe workedon until the operator againstthe stringdoesnot existin the tonesproduced is satisfied with the product.The levelsof the individual by electronic system.The work on the struck string selections can be adjusted until the optimum mixture type has been directed towards obtaining the most is obtained. The individual recordingsare always beautifulpianotype tones,that is, the correctbuildup synchronized.Unlike a group of musicians,once a and decay. In addition, more fundamental can be result has been obtained,it can alwaysbe duplicated. obtainedin the low-frequency range than is possible with a concert grand piano. The objectionable noiseof COMPLETE ELECTRONIC MUSIC SYNTHESIZER the hammer striking the string together with mechA block diagram of the completeelectronicmusic anismrattle of the pianodoes not existin the tones prosynthesizerand disk recording system is shown in ducedby the electronic system. Violin type tonescanbe
POWER AMPLIFIER

Simulations of Plucked, .Struck, and Bowed String Instruments

PRE AMPLIFIERS

PICKUPS

MIXERS

Fro. 30. Perspective view and a schematic diagramof the elements of the rerecording
system.

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ELECTRONIC

MUSIC

SYNTHESIZER

609

simplematter to simulatetheseinstruments.However, considerable improvements in the tonescanbe produced by the electronic synthesizerbecausethe wind noise can be eliminated and greater frequency ranges can be achieved. In the low-frequencyinstruments it is possibleto obtain adequate fundamentalswhich are lacking in the bassoon,contrabassoon, and sarrusophone. In addition, much higher frequencyrangesare possible than in the conventional instruments.
Simulations of Percussion Instruments

The work on simulating percussion instruments includesboth the definite and indefinite pitch types. The tonesproducedby bells, orchestrabells, glockenspiel, and xylophoneare objectionable for two fundamental reasons- first, because the strike tones are disagreeableand, second,because the overtones are FIG. 31. A photograph of the recording and rerecordingsystem. not harmonics. These objectionablefeatures are not present in the tonesproducedby the electronicmusic produced,incorporating both vibrato and portamento. synthesizer.Drum type tones can be produced with In this case the bow scratch which has always been definite pitch, as in the caseof the timpani, but with a objectionable in the violin and other instruments of the much greaterfrequencyrange.Drum type tonesof the viol family doesnot exist in the tonesproduced by the indefinitepitch can be producedrangingfrom the bass electronic system. The fundamental of the double bass drum to the snare drum. The use of the hiss basshas alwaysbeeninadequate. This limitation does generator and mixtures of the frequency generator not exist in the electronicsystemsimulationof this make it possibleto simulate any existing percussion instrument. instrument and, in addition, an indefinite number of new percussion sounds.
Simulations of Wind Instruments

The work on simulating wind instruments includes air-, mechanical-,and lip-reed types of wind instruments. The essential difference between the different

Simulation of the Singing Voice

The work on simulating the singingvoice has been restricted to simple musical selections.The singing groups of instruments is the growthcharacteristics and voice has been synthesized;one or more voicessepawith a synthesized orchestral the overtonestructure.Therefore,it is a comparatively rately and in combination

FIG. 32. A photographof the completesynthesizerand recorder.

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FIG. 33. A photographof the second half of the synthesizer with someof the panelsremoved.

accompaniment.The time spent on this phase of synthesis has been very much lessthan on the instrumental simulations.Nevertheless,this work has shown that it will be possibleto simulate any singingvoice. The fidelity of the simulationwill be limited only by the degreeof perfectionachievedin the analysisand synthesis.

the synthesizer. However, to make a practical demonstration, it is necessaryto train an operator or synthesist.In this connection, the music synthesizer is an entirely new genusof apparatus.Were it merely an improvement of existing species,immediate commercial applicationswould be evident. One of the uses foreseen for the musicsynthesizer is to make musicfor sale in the form of phonograph records.To make an Simulation of the Speaking Voice artistic record,or a hit, novelty or technicalexcellence alone is not sufficient. There are other ingredients, The work on simulatingthe speakingvoice includes many of whichare intangible. However,the synthesizer the fundamentalfrequencyrangesof both men and will facilitate the productionof sucha hit. For example, women. The work on synthesizing the speakingvoice the synthesizer can produceany kind of sound that has been carried out to show the versatility of the can be imagined.Then if a personcan imagea hit, then synthesizer and to provide somepractical data in the the synthesizer will facilitate the productionof the hit. field of speech communication. For example,the work The hit-producing attributes are not amenable to on speechhas shown that intelligible speechcan be analysis in the acoustical laboratory, so this factor synthesized from a very simplecode, that is, 525 bits must be left out. To demonstrate the possibilities and per second. Theoretically, the information could be performanceof the synthesizer,an experiment was transmittedon a channel with a frequency band width conducted as follows: of 78 cycles and signalto noiseratio of 20 db. Two different piano selections, namely, "Polonaise In A Flat, Opus 53" (Chopin), "Clair de Lune" (DeProof of Performance bussy), a violin and piano selection,"Old Refrain" The characteristics of a tone are known and have (Kreisler),all playedby famous artistsand reproduced been outlined in the first part of this paper. From this from disk records were compared with synthesizer The piano selections fundamental knowledgeand the characteristics and versionsof the same selections. and Horowitz and performance of the synthesizer, as outlined, it is not were played by Iturbi, Rubenstein, difficultto provefrom theorywhat can be donewith the violin in "Old Refrain" was played by Kreisler.

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,.L,...TROXTIC

MUSIC

SYN'uSI7R

614

The synthesizerversions, completed on August 5, 1953, and the identical passages from the phonograph recordswere recorded on magnetic tape, intermixed, and played to various people.They were askedto tell which was synthesized and which was not. Interpreting the resultsby standard statistical methods,it can be saidwith 70 percentcertainty that only oneout of four persons can tell which is which. It shouldbe noted that this work wasdonewith only the helpof conventional equipment to aid in the analysis which is not as complete as demandedfor synthesis; thus much of the work was doneby cut and try. This points to an important feature of the synthesizer. Manual dexterity is not required. A synthesisonce learnedcanbe addedto the fund of knowledge without further practice to be able to perform it. The ability of the synthesist is, therefore, always increasing. If a composer has in mind what he wants to achieve, the effectscan be obtainedby meansof the electronic music synthesizer,regardless of whether he can play a musicalinstrumentor not. The composer or musician can producethe soundof any existingmusicalinstrument as well as other sounds,regardless of whether they have ever existed.The resultswhichthe composer
and musician wishes to achieve can be obtained and

is limited to the useof ten fingers,two hands,two feet, and the lips, either separately or in various combinations, to perform the different operations. These limitations do not exist in the synthesizer. The experimentin the precedingsectionillustrates another use for the electronic music synthesizer, namely, the rejuvenation of old recordings where the master is in poor condition. The old record can be analyzedand synthesized to produce a replicaof the old
record but without distortion or noise.

demonstratedas the music is being composedand played. Once a particular result has been obtained, it can be retained forever. Thus, it will be seenthat the electronicmusic synthesizerprovidesa powerful tool for the composer or musicianbecause he can reproduce or create any sound or combinationof soundswhich have or have not been produced,that may have any musicalsignificance. The foregoing experimentdemonstrates the potential capabilitiesof the synthesizer in the ability to copy existingselections. For an acoustical engineerto copy the performance of famousartists in the matter of a few weeks showsthe tremendouspossibilities of the synthesizer.For example, it would be impossible for even a geniuswith no previousexperience in playing

The experimentof the precedingsectionillustrates still another use of the electronic music synthesizer, namely, the production of new musical renditions synthesizedto simulate the performanceof an artist who has ceasedto perform. Both voice and instrumental musicalselections may be synthesized from an analysis of the style and structure obtained from information containedin recordingsproducedby the artist in times past. If the artist is alive, but is unable for physical reasonsto perform, he can supervisethe synthesis. In this way, because of the inherentphysical versatility of the electronic music synthesizer,there is the possibility of obtaining artistic effects that he couldnot achieveeven at the peak of his performance. If the artist is dead, the style and characteristics of the artist may be analyzedfrom his records and catalogued for use in simulatingthe performance of the artist by synthesis. The product of the electronicmusic synthesizer may be supervised and monitoredby a musician
to insure that authentic results are obtained.

There are many other usesfor the synthesizer in the field of communication, but it is beyond the scopeof this paper to outline all of the significantapplications of the electronic musicsynthesizer. Complete Synthesized Renditions of Musical
Selections

One use envisioned for the electronicmusic synthesizer is the productionof music for sale in the form of a musical instrument to imitate all of these artists on phonographrecords.In order to demonstratefurther these two instrumentswith the order of fidelity that the potentialities of the electronicmusic synthesizer, was achieved. Thus, it seems quite obvious that a complete musicalselections were synthesized. A partial trained or professional musician could produce great list of the synthesizedmusical selections, indicating musical renditionsby means of the electronicmusic the style of the rendition and the date on which the synthesizer. synthesis was completed follows'
APPLICATIONS OF THE ELECTRONIC MUSIC
SYNTHESIZER

"Blue Skies"(Berlin), April 1, 1952.In the styleof a

dance band.

Amongthe usesfor the electronic musicsynthesizer is the production of phonographrecordsand other types of recordedmusic. The use of a synthesizer for the productionof musicalsounds opensa new field for the productionof recordedsound. For example, there is the possibilityof producingentirely new tone complexesand combinations which cannot be achievedin conventional musicalinstruments.Furthermore,in the
case of conventional musical instruments the musician

"Nola" (Arndt), May 28, 1952.In the style of the

piano. Stephen Foster Medley, December 12, 1952. "Oh Susanna," "De Camptown Races," "My Old Kentucky Home." "Old Black Joe," "Old Folks at Home," and "Hard Times ComeAgainno Mo." In the style of bowed,pluckedand struck instru-

ments; air, mechanical and lip reed instruments; and percussion instruments,

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"Holy Night" (Adam), December15, 1952. In the

"Spoken Voice", March 26, 1954. A few spoken

styleof theorgan.
(Bach), July 15, 1953. In the style of ancient struck and plucked stringsin severalvariations.

sentences synthesized to showthe versatility of

"Fugue No. 2 fromWellTempered Clavichord" thesynthesizer.

"Hungarian Dance No. 1" (Brahms), September 3,
particular instrument,but varying colorsadapted

The resultsobtained with the electronic music

"Sweet and Low" (Tennyson-Barnby), January 15, performance can beproduced by means of this new
showthat voicecanbe synthesized. sizerspeaks for itself.

1953. In thegypsy style without copying any synthesizer asexemplified bythe musical selections for easy synthesis. outlined above demonstrates thatexcellent musical
1954. Voiceandinstrumental accompaniment to system;in fact,theperformance ofthemusical synthe-

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