Mick Grøndahl
Danish-American bass guitarist (born 1968)
Michael Christian Grøndahl (often spelled Grondahl) (born 7 May 1968) is a Danish-American bass guitarist. Born in Copenhagen, he was raised in Manhattan, New York with his mother and grandmother, Vava. He is widely known for playing bass guitar and composing on Jeff Buckley's debut album, "Grace".
Grøndahl attended Skidmore College where he graduated with a bachelor's degree in Art History and English. He also played in local bands, playing the local bar scene on Saratoga's Broadway strip. He then moved to New York City where he played with several bands. He met Jeff Buckley after seeing him at Columbia University's Postcrypt Cafe. They played later that Spring of 1993, and he soon joined forces with Buckley. Grøndahl became an integral part of Buckley's live sound, and wrote the songs, "Dream Brother", "Vancouver", "Tongue" and "Edna Frau" which Buckley would sing. Before and after Buckley's death, he played in several bands including Elysian Fields, Beth Orton and the Greenlandic singer Angu. As of 2020 he is living in Denmark with his daughter, recording and performing with the group, "Tongue".
Grøndahl is known for playing an olympic white 1966 Fender Jazz Bass with a tortoiseshell pick guard, of which was owned by Buckley, and the instrument Grøndahl borrowed from Buckley to jam at their first session. Grøndahl also toured with a black Jazz Bass as a backup on the Mystery White Boy tour. Grøndahl played through a Mesa/Boogie 400+ bass amp with a custom matching Mesa/Boogie cabinet.
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Bass guitar
Electric plucked string instrument
The bass guitar, electric bass () is the lowest-pitched member of the guitar family. It is similar in appearance and construction to an electric but with a longer neck and scale length. The electric bass guitar most commonly has four strings, though five- and six-stringed models are also built. Since the mid-1950s, the bass guitar has replaced the double bass in popular music due to its lighter weight, smaller size, most models' inclusion of frets for easier intonation, and electromagnetic pickups for amplification.
The bass guitar is usually tuned the same as the double bass, corresponding to pitches one octave lower than the four lowest-pitched strings of a guitar (typically E, A, D, and G). It is played with the fingers and thumb or with a pick.
Because the electric bass guitar is acoustically a quiet instrument, it requires external amplification, generally via electromagnetic or piezo-electric pickups. It can also be used with direct input boxes, audio interfaces, mixing consoles, computers, or bass-effects processors which offer headphone jacks.
Terminology.
The "New Grove Dictionary of Music and Musicians" refers to this instrument as an "Electric bass guitar, usually with four heavy strings tuned E1'–A1'–D2–G2." It also defines "bass" as "Bass (iv). A contraction of Double bass or Electric bass guitar." "Mottola's Cyclopedic Dictionary of Lutherie Terms" begins its definition of the instrument as "A bass guitar that produces sound primarily with the aid of electronic devices." According to some authors the proper term is "electric bass". Common names for the instrument are "bass guitar", "electric bass guitar", and "electric bass" and some authors claim that they are historically accurate. A bass guitar whose neck lacks frets is termed a fretless bass.
Scale.
The scale of a bass is defined as the length of the vibrating strings between the nut and the bridge saddles. On a modern 4-string bass guitar, 30" (76 cm) or less is considered short scale, 32" (81 cm) medium scale, 34" (86 cm) standard scale and 35" (89 cm) long scale.
Pickup.
Bass pickups are attached to the body of the guitar and located beneath the strings. They are responsible for converting the vibrations of the strings into analogous electrical voltage sent as input to an instrument amplifier.
Strings.
Bass guitar strings are composed of a core and winding. The core is a wire which runs through the center of the string and is made of steel, nickel, or an alloy. The winding is a smaller gauge wire wrapped around the core. Bass guitar strings vary by the material and cross-sectional shape of the winding.
Common string variants include roundwound, flatwound, halfwound (groundwound), coated, tapewound and taperwound strings. Roundwound and flatwound strings feature windings with circular and rounded-square cross-sections, respectively, with half-round strings being a hybrid between the two. Coated strings have their surface coated with a synthetic layer while tapewound strings feature a metal core with a plastic winding. Taperwound strings have a tapered end where the exposed core sits on the bridge saddle without windings. The choice of winding has considerable impact on the sound of the instrument, with certain winding styles often being preferred for certain musical genres.
History.
1930s.
In the 1930s, musician and inventor Paul Tutmarc of Seattle, Washington, developed the first electric bass guitar in its modern form, a fretted instrument designed to be played horizontally. The 1935 sales catalog for Tutmarc's company Audiovox featured the "Model 736 Bass Fiddle", a solid body electric bass guitar with four strings, a scale length, and a single pickup. Around 100 were made during this period.
Audiovox also sold their "Model 236" bass amplifier.
1950s.
In the 1950s, Leo Fender and George Fullerton developed the first mass-produced electric bass guitar. The Fender Electric Instrument Manufacturing Company began producing the Precision Bass, or P-Bass, in October 1951. The design featured a simple uncontoured "slab" body design (with no edge contours) and a single coil pickup, both features similar to a Telecaster. By 1957, the Precision Bass began to resemble the Fender Stratocaster with the body edges beveled for comfort and the pickup changed to a separate halves split coil design.
The Fender Bass was a revolutionary instrument for working musicians. In comparison to the upright bass, the bass guitar could be easily transported. When amplified, the bass guitar was also much less prone than acoustic basses to audio feedback. The addition of frets enabled bassists to play in tune more easily than on upright basses, and allowed guitarists to more easily play the instrument.
In 1953, Monk Montgomery became the first bassist to tour with the Fender bass, in Lionel Hampton's postwar big band. Montgomery was also possibly the first to record with the electric bass, on July 2, 1953, with the Art Farmer Septet. Roy Johnson (with Lionel Hampton), and Shifty Henry (with Louis Jordan and His Tympany Five), were other early Fender bass pioneers. Bill Black, who played with Elvis Presley and James Jamerson switched from upright bass to the Fender Precision Bass around 1957. The bass guitar was intended to appeal to guitarists as well as upright bass players, and many early pioneers of the instrument, such as Joe Osborn, and Paul McCartney were originally guitarists.
Also in 1953, Gibson released the first short-scale violin-shaped electric bass, the EB-1, with an extendable end pin so a bassist could play it upright or horizontally. In 1958, Gibson released the maple arched-top EB-2 described in the Gibson catalog as a "hollow-body electric bass that features a Bass/Baritone pushbutton for two different tonal characteristics". In 1959, these were followed by the more conventional-looking EB-0 Bass. The EB-0 was very similar to a Gibson SG in appearance (although the earliest examples have a slab-sided body shape closer to that of the double-cutaway Les Paul Special). The Fender and Gibson versions used bolt-on and set necks.
Several other companies also began manufacturing bass guitars during the 1950s. Kay Musical Instrument Company began production of the K162 in 1952. Also in 1956, at the German trade fair "Musikmesse Frankfurt", the distinctive Höfner 500/1 viola-shaped bass first appeared, constructed using violin techniques by Walter Höfner, a second-generation violin luthier. Due to its use by Paul McCartney, it became known as the "Beatle bass". In 1957, Rickenbacker introduced the model 4000, the first bass to feature a neck-through-body design in which the neck is part of the body wood. The Burns London Supersound was introduced in 1958.
1960s.
With the explosion in popularity of rock music in the 1960s, many more manufacturers began making electric basses, including Yamaha, Teisco and Guyatone. Introduced in 1960, the Fender Jazz Bass, initially known as the "Deluxe Bass", used a body design known as an offset waist which was first seen on the Jazzmaster guitar in an effort to improve comfort while playing seated. The Jazz bass, or J-Bass, features two single-coil pickups.
Providing a more "Gibson-scale" instrument, rather than the Jazz and Precision, Fender produced the Mustang Bass, a scale-length instrument. The Fender VI, a 6-string bass, was tuned one octave lower than standard guitar tuning. It was released in 1961, and was briefly favored by Jack Bruce of Cream.
Gibson introduced its short-scale EB-3 in 1961, also used by Bruce. The EB-3 had a "mini-humbucker" at the bridge position. Gibson basses tended to be instruments with a shorter 30.5" scale length than the Precision. Gibson did not produce a -scale bass until 1963 with the release of the Thunderbird.
The first commercial fretless bass guitar was the Ampeg AUB-1, introduced in 1966. In the late 1960s, eight-string basses, with four octave paired courses (similar to a 12 string guitar), were introduced, such as the Hagström H8.
1970s.
In 1972, Alembic established what became known as "boutique" or "high-end" electric bass guitars. These expensive, custom-tailored instruments, as used by Phil Lesh, Jack Casady, and Stanley Clarke, featured unique designs, premium hand-finished wood bodies, and innovative construction techniques such as multi-laminate neck-through-body construction and graphite necks. Alembic also pioneered the use of onboard electronics for pre-amplification and equalization.
Active electronics increase the output of the instrument, and allow more options for controlling tonal flexibility, giving the player the ability to amplify as well as to attenuate certain frequency ranges while improving the overall frequency response (including more low-register and high-register sounds). 1976 saw the UK company Wal begin production of their own range of active basses. In 1974 Music Man Instruments, founded by Tom Walker, Forrest White and Leo Fender, introduced the StingRay, the first widely produced bass with active (powered) electronics built into the instrument. Basses with active electronics can include a preamplifier and knobs for boosting and cutting the low and high frequencies.
In the mid-1970s, five-string basses, with a very low "B" string, were introduced. In 1975, bassist Anthony Jackson commissioned luthier Carl Thompson to build a six-string bass tuned (low to high) B0, E1, A1, D2, G2, C3, adding a low B string and a high C string.
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Elektrik Piano
Elektrik Piano is a sample-based software synthesizer developed by Native Instruments. The instrument is an emulation of four "classic" electric pianos – the Fender Rhodes MKI and MKII, the Hohner Clavinet E7 and the Wurlitzer A200.
It was originally released in May 2004. The latest version, 1.5, was released in April 2007.
Elektrik Piano unites the classical sounds of these fundamental electronic pianos with the power of modern computer-based composing music.
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Electro-Harmonix
Guitar pedals company
Electro-Harmonix (also commonly referred to as EHX) is a New York City-based company that makes electronic audio processors and sells rebranded vacuum tubes. The company was founded by Mike Matthews in 1968. It is best known for a series of guitar effects pedals introduced in the 1970s and 1990s. EHX also made a line of guitars in the 1970s.
During the mid-1970s, Electro-Harmonix established itself as a manufacturer of guitar effects pedals. It was the first company to manufacture, and market affordable state-of-the art "stomp-boxes" for guitarists and bassists, such as the first stomp-box flanger (Electric Mistress), the first analog echo/delay unit with no moving parts (Memory Man), the first guitar synthesizer in pedal form (Micro Synthesizer), and the first tube-amp distortion simulator (Hot Tubes). In 1980, Electro-Harmonix also designed and marketed one of the first digital delay/looper pedals (16-Second Digital Delay) and a line of guitars in the 1970s.
Company history.
Founding years (1967–1968).
Electro-Harmonix was founded by rhythm and blues keyboard player Mike Matthews in October 1968 in New York City with $1,000. He took a job as a salesman for IBM in 1967, but shortly afterwards, in partnership with Bill Berko, an audio repairman who claimed to have his own custom circuit for a fuzz pedal, he jobbed construction of the new pedal to a contracting house and began distributing the pedals under a deal with the Guild Guitar Company. Fuzzboxes were in demand following a trail of hits involving their sound, including "(I Can't Get No) Satisfaction" by The Rolling Stones two years before (the pedal's stomp switch can be clearly heard at 0:35 before Richards plays the song's trademark riff), and recent popularization of Jimi Hendrix. The latter connection resulted in the pedals being branded the 'Foxey Lady'. In addition several low priced models of acoustic guitars were sold.
Following the departure of his partner, Matthews was introduced to inventor and electric engineer Robert Myer through IBM colleagues. Together they designed a circuit to create a distortion-free sustain. A simple line booster used by Myers in testing to preamplify the guitar's signal was also manufactured from 1969 as the Linear Power Booster (LPB-1), and has continued production in present day.
First products.
The Axis fuzz pedal, also sold under the name 'Foxey Lady' for the Guild guitar company, and LPB-1 Linear Power Booster were the first products in 1969. The LPB-1 massively boosted a guitar signal & could be used to overdrive an amplifier, resulting in a raw distorted sound, full of sustain and harmonics. Several similar devices, which sold well, followed, such as the Treble Booster and Bass Booster.
The Mike Matthews Freedom Amp, a portable guitar amp powered by 40 "D" batteries, was popular in many venues that lacked an A/C power source.
In 1982, the company also spun up an offshoot called The Alien Group, which produced the Voice Box and its successor Voice Box II. These were external speech synthesizer boxes built around the Votrax SC-01A speech synthesizer chip. Available for the Atari 400/800, Commodore 64, and Apple II computers and advertised in computer magazines of the time, they added speech and singing capability.
Change of direction.
Electro-Harmonix stopped making pedals in the mid-1980s, and in the early 1990s started selling vacuum tubes re-branded with its name for guitar amplifiers, which it had also been making since the 1970s. During the same period Matthews bought ExpoPul, a vacuum-tube factory, located in a former military industrial complex in Saratov in Russia. Due to demand and the high prices guitarists were paying for old 1970s pedals on the vintage market, Electro-Harmonix reissued the more popular old pedals in the mid-1990s, including the Big Muff Pi and Small Stone. In 2002 it started designing new pedals to add to its range. Company policy was that all reissued effects remained as close as possible to the original, vintage designs; however, casings, knobs and especially the old-fashioned mini-jack power plug were not up to later standards. In 2006 the smaller and more standardized "micro" and "nano" effect lines using surface-mount circuit components were introduced. Circuit board manufacture was outsourced, and the pedals assembled in New York.
Effects pedals.
 Electro-Harmonix produces pedals with many different types of sound manipulation suitable for guitar, bass, vocal, keyboard, and other instruments.
It also sells rebranded vacuum tubes carrying the Electro-Harmonix brand name. As of 2022, ExpoPul factory in Saratov, southwestern Russia, continued to produce vacuum tubes for Electro-Harmonix, with Mike Matthews reportedly showing no intention of divesting from the business. The operation in Russia employs more than 300 individuals, in contrast to the 125 employees in New York. As of 2024, vacuum tubes produced by ExpoPul in Russia are still available for purchase on the official Electro-Harmonix website.
Big Muff.
In 1969 Bob Myer and Mike Matthews designed the Big Muff Pi, a fuzzbox that added a bass-heavy sustain to any guitar sound. It is described by the company as "the finest harmonic distortion-sustain device developed to date". Originally this was intended to be a pedal that would mimic the fuzz tones of Jimi Hendrix and other guitarists at the time, but the result was a mix of a fuzz and distortion pedal with a very heavy sound. It also made small amps sound much better and allowed distortion at any volume.
The pedal sold well and was used by Carlos Santana, Pink Floyd's David Gilmour, Alex Lifeson of Rush and, later, Metallica's bassist Cliff Burton, The Jesus and Mary Chain, and in the 1990s KoRn's rhythm guitarist Munky, Vicente Freitas, Jack White of The White Stripes, J Mascis of Dinosaur Jr., The Edge of U2, and Billy Corgan (on The Smashing Pumpkins landmark album, "Siamese Dream"). The band Mudhoney titled their debut EP "Superfuzz Bigmuff".
Although the first Big Muff production date was for many years cited as 1971, the first version of the Big Muff was actually sold in 1969 as a hand-made "perf board" version. A production version with an etched PCB board was made in early 1970. Mike Matthews was friends with Jimi Hendrix and claims Jimi bought one from Manny's Music in New York, shortly after they were released and had one in the Electric Lady Studios shortly before Jimi's death in 1970. Several variations of the Big Muff Pi followed throughout the 1970s. As of 2012[ [update]] Electro-Harmonix produced a reissue assembled in New York City; until 2009 it produced a version made by Sovtek in Russia which provided a slightly different tone. The Bass Big Muff replaced the Russian version.
Several other variations (some of which are not actually Big Muffs) of the pedal were in production as of 2012[ [update]], including the Metal Muff (intended to achieve the higher gain Metal guitar sound), the Double Muff, which incorporates the original Muff Fuzz circuit, twice in series with a single overdrive control for each circuit, providing the user either with a cascaded 'Double Muff' sound or the original Muff Fuzz circuit, the Little Big Muff, a smaller version, and a variation in circuit, of the NYC Big Muff, which produces yet another variation in sound, and the Big Muff with Tone Wicker, which is similar to the 2008 revision NYC Big Muff, with two added features: a tone bypass switch allowing you to bypass the tone control and a switch that adjusts the frequency of three high frequency filters in the circuit. The Germanium 4 Big Muff Pi is a dual unit, housing an overdrive and a distortion circuit featuring 2 Germanium transistors each, and simulating a dying battery with a Volt control, which characteristically affects the sound of the distortion.
In 2018, Electro-Harmonix released three vintage Big Muff re-issues the Green Russian Big Muff, the Op-Amp Big Muff, and the Triangle Big Muff, and in early 2020 the Ram's Head Big Muff was reissued.
Phasers, chorus and flanger.
Electro-Harmonix often produces a range of pedals based on a single effect, and then combines two or more into higher end units. For instance, the Epitome combines the Micro POG, Stereo Electric Mistress, and Holy Grail Plus into one effect unit.
The widely used Small Stone phase shifter is a 4-stage phaser designed by David Cockerell, whom Electro-Harmonix hired from his former employer EMS. The phased sounds of French composer Jean-Michel Jarre depended heavily on the Small Stone unit. It was reissued years later by EHX and a smaller version of the pedal was eventually introduced in a 'Nano' casing (officially called the "Small Stone (Nano Chassis)").
The Small Clone chorus is a very popular chorus pedal, used by Kurt Cobain, both live and in studio. Like the Small Stone, it is issued in both the standard size and two different smaller versions (the Nano Clone is based on the Clone Theory circuit, while the neo clone is the standard).
The Electric Mistress is an analog flanger. It had first been sold in 1976 and was by that the first flanger in pedal format. The Deluxe version has been reissued and is still in production, although in 2015, a new Deluxe Electric Mistress was introduced in the company's smaller "XO" casing. As well, there are two digital recreations called NEO Mistress and Stereo Electric Mistress. Except for the very first blue/red version the Electric Mistress featured a "Filter Matrix mode" which allowed the user to freeze it at any point in the flange, offering distinctive chime-like tones. On the Neo and Stereo Mistress, this is achieved at a certain setting on the "rate" knob. Notable users include David Gilmour, Todd Rundgren, Alex Lifeson, Robin Trower, Andy Summers of The Police, J Mascis of Dinosaur Jr. and Red Hot Chili Peppers guitarist John Frusciante.
The Flanger Hoax pedal is a more advanced unit, allowing further control of the various parameters of phaser, flanger and chorusing effects.
The Polychorus allows highly adjustable chorus, flanger, filter matrix, and slapback echo effects. Notable users include Cobain (i.e. "Radio Friendly Unit Shifter"), Adrian Belew, and more recently Ryan Jarman of The Cribs.
Electro-Harmonix's 'XO' line added the Stereo Polyphase, an analog optical envelope- and LFO-controlled phase shifter.
Delays and loopers.
Electro-Harmonix also manufactures delay pedals, including the Deluxe Memory Man, Stereo Memory Man with Hazarai, and #1 Echo. They also produce the '2880' pedal, which allows complex looping and multi-track overdubbing. The #1 Echo provides basic digital echo capability, while the Deluxe Memory Man provides more control over length, repeats, etc. The Deluxe Memory Man also includes built-in chorusing and vibrato effects. The digital Stereo Memory Man with Hazarai (distinct from the Analog Deluxe Memory Man) also includes reverse echo effect and looping/overdubbing. The Memory Toy and Memory Boy delay pedals are essentially smaller budget versions of the Deluxe Memory Man. The Memory Man effects pedal was used by Edge from the band U2 to record the songs "I Will Follow" and "Sunday Bloody Sunday". One of the singles from the band Deerhunter's 2010 album "Halcyon Digest" was named "Memory Boy".
Reverb.
The Holy Grail, Holy Grail Plus, Holier Grail (discontinued), Holiest Grail (discontinued), Oceans 11, and Cathedral pedals produce reverberation. These cover a range of capability, including reverb length, room simulation, etc. The company's Holy Stain multi-effects pedal also includes two different types of reverb.
Tremolo and vibrato.
Tremolo and vibrato are included as well, in both solid-state and vacuum tube options. These are available in the Stereo Pulsar (solid-state) and Wiggler (tube) pedals.
Octave, pitch and synthesizer.
Also available are a series of pitch modulation pedals. These include the Micro Synthesizer (for bass or guitar), HOG (Harmonic Octave Generator), POG (Polyphonic Octave Generator, released in 2005), POG 2 (2009), Micro POG (in an XO casing), Nano POG, Octave Multiplexer, Pitch Fork, and Pitch Fork+.
The POG line of pedals has been used extensively by several prominent 2000s-era rock guitarists, including Jack White (of The White Stripes, The Raconteurs, et al.), and Josh Homme (of Queens of the Stone Age, Them Crooked Vultures, et al.).
Envelope, EQ and compression.
Electro-Harmonix offers several pedals for envelope/equalization modulation. Amongst them are the Bassballs (appropriately named for its intended use with bass guitars), Doctor Q and the Q-Tron. Another pedal of note was the vacuum tube-powered Black Finger Compressor which adds distortion-free sustain to the sound and which appeared in the mid-1970s. The solid-state White Finger followed. In 2016, the Tone Corset was released as the latest analog compressor.
In 1995, Electro-Harmonix owner Mike Matthews commissioned Mike Beigel, former owner of Musitronics Corp. and inventor of the Mu-tron III envelope filter, to design a new envelope filter using the same analog circuitry as the original Mu-tron III, thus keeping the sound as close to the original as possible while adding new features to bring the effect into the new millennium. The pedal featured the same controls as the Mu-tron III and incorporated a "Boost" feature, which activates an internal pre-amp and changes the function of the gain knob giving the Q-Tron a sound almost identical to the Mu-tron III. Another feature added to Q-Tron was an effects loop switch and attack response switch. Units with these features are called the Q-Tron+. A smaller more compact version, the Mini Q-Tron, is also available, as well as an even smaller version, the Micro Q-Tron. Electro-Harmonix also currently produces the C0ck Fight a talking wah filter with fuzz and a modulated low-pass filter, the Blurst
Other pedals.
Electro-Harmonix currently manufactures over one hundred other pedals.
These include the Graphic Fuzz (a fuzzbox which includes an EQ section), the Octavix (octave fuzz), the Frequency Analyzer (which creates ring modulation) and the Voice Box, a vocoder. The Voice Box has been included in a series of demonstration videos produced by Jack Conte.
Electro-Harmonix has also made a few small power amp pedals for use as a simple guitar amplifier. The EHX 22 Caliber was a 22 watt solid state pedal capable of driving either an 8 ohm or 16 ohm speaker cabinet. It has been discontinued. The 22 Caliber was replaced in the lineup by the EHX 44 Magnum, a similar pedal capable of driving the same speaker load, but at a 44 watt output. The 5MM power amplifier, introduced in 2019, is a similar pedal, with a reduced output of 2.5 watts, but with the ability to run on a common 9-volt power supply, as opposed to the 24-volt supply needed to power the 44 Magnum.
2016, Electro-Harmonix reissued the MIG-50 a 50 watt tube amplifier head and later the 2x12 speaker cabinet.
Several pedals produced in the decades prior have also been discontinued, many of which are still in high demand for their unique sound.
Acoustic guitars.
These guitars were only available from EH for a very short time in 1974. They were available through a special offer for $87.50 with the purchase of $50 or more in certain scratch-n-dent EH products. The list price was $187.50. These are the model names and descriptions: EH-7010 EH acoustic guitar (mahogany back and sides), EH-7020 EH acoustic guitar (D-28 copy, rosewood back and sides), and EH-7030 EH acoustic guitar (D-41 copy, rosewood back and sides, pearloid binding and inlay, 3 piece back).
They bought them from Moridaira/ Morris Guitar who at the time were the best guitar maker in Japan, making guitars for Fender and many big companies.
They put the EH on the guitars. The guitar, marked with the brand "Brody" is another Japanese-made acoustic that EH had made for them in the 70s. Mike Matthews has stated that Brody was his mother's maiden name. Unlike the other EH guitar, this one is of a lesser quality.
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Gravikord
24 string, electric double bridge-harp
The Gravikord is a 24 string electric double bridge-harp invented by Robert Grawi in 1984, which is closely related to both the West African kora and the mbira. It was designed to employ a separated double tonal array structure making it possible to easily play cross-rhythms in a polyrhythmic musical style in a modern electro-acoustic instrument. The Gravi-kora is a similar instrument, also developed by Grawi, which is tuned identically to a traditional 21 string kora.
Description.
The Gravikord is based on the West African kora. It is made of welded stainless steel tubing, with 24 nylon strings but no resonating gourd or skin. The bridge is made from a machined synthetic material with an integral piezo-electric sensor. There are two handles located in elevation near the middle of the bridge. The bridge is curved to follow the arc of a strum from the hands which hold the shortened raised handles directly in the palms. A metal crossbar at the top of the bridge functions as a mechanical tone control and bridge stabilizer. The instrument connects to an amplifier like an electric guitar.
The playing technique is similar to that of the kora: the player plucks the strings with the thumb and index finger of each hand. Because each hand can play "with" or "against" each other, simple techniques can produce music of great rhythmic complexity. However, the tuning of the Gravikord is not the same as a kora, and playing techniques are not directly compatible.
African roots.
Because of the deep cultural significance of cross-rhythms to sub-Saharan African music, several instruments from there have been designed to more easily generate cross-rhythms. Instruments such as the kora, donso ngoni, and mbira organize the notes in a uniquely divided alternate array, rather than the linear bass to treble structure common to many western instruments.
On these instruments, both hands can play freely across the entire tonal range of the instrument, rather than one hand being primarily in the bass and the other in the treble. Also, the fingers of each hand can play independent rhythmic patterns, which can easily cross over from treble to bass and back, either smoothly or with varying amounts of syncopation. This can all be done within the same tight tonal range, without the left and right hand fingers ever physically encountering each other. These simple rhythms will produce complex cross-rhythms including repeating on beat/off beat pattern shifts that would be very difficult to create by any other means. This characteristically African structure allows simple playing techniques to combine, producing polyrhythmic music of great beauty and complexity.
History.
Grawi originally desired an instrument on which he could play polyrhythms more easily than on the guitar, and he refined the Gravikord's design over several years to meet this goal. The first prototype, made in 1974, was acoustic, and had a bamboo and fiberglass basket resonator with an animal skin head and a large bamboo neck. These first Gravikords already differed from the kora by having the tuning mechanisms removed from the neck and placed at the base, and an extensively re-designed bridge which also incorporated a kalimba that could be played simultaneously with the strings. Their tuning also differed, as they had 25 strings that were tuned symmetrically using a variation of the Hugh Tracey kalimba tuning system. Grawi made several unique prototypes during this period using wood, aluminum, and other materials, with features including stereo output and variable pitch, and finally patented the Gravikord in 1984. In the finished Gravikord, the body is made entirely of welded stainless steel tubing. There is no resonator; the tones of the twenty-four strings are amplified by a piezo-electric pickup in the bridge, and the instrument is made for natural and comfortable playing in a sitting or standing position.
Tuning.
The Gravikord is tuned to a diatonic scale. Its standard scale is in the key of G major/E minor. It has 24 strings, 12 on each side, and is structured like an extended Hugh Tracey kalimba, an already westernized African instrument. The range of notes on both sides are the same and tuning is strictly in an alternate arrangement (except for the lowest bass note), so that the playing is equivalent between the left and right hands. This is reflected in the way the holes are drilled in the neck and the choice of string lengths and weights. A constant finger picking pattern will produce a constant musical pattern throughout the instrument's range.
Throughout the playing range the notes of a scale rise strictly alternately and symmetrically, making all the intervals of adjacent strings on each side of the bridge in thirds. Directly opposite strings are consecutive notes in a scale. Octaves switch sides and are always in a constant spacing. Like the kora, the player tunes the instrument to the desired scale before playing.
Gravikord general diatonic tuning:
Left: Sol1, Fa2, La2, Do3, Mi3, Sol3, Ti3, Re4, Fa4, La4, Do5, Mi5.
Right: Do2, Mi2, Sol2, Ti2, Re3, Fa3, La3, Do4, Mi4, Sol4, Ti4, Re5.
Tuning in G major/E minor:
Left Hand: D, C, E, G, B, D, F#, A, C, E, G, B.
Right: G, B, D, F#, A, (middle)C, E, G, B, D, F#, A.
The Gravi-kora.
Although the Gravikord is closely related to the kora, the musical knowledge of griots and traditional kora players does not directly transfer to Gravikord playing. The notes are not where they expect them to be and the bridge and hand playing positions are also different. Grawi developed the Gravi-kora for these musicians.
The Gravi-kora is set up tonally just like traditional koras. It has 21 strings, 11 on the left hand side, and 10 on the right. The instrument is held by hooking the little fingers around the handles, which are positioned below the straight sided bridge. The hand placement enables easy string muting while playing with the hand pads. However, the range of notes is not the same on both sides of the bridge. The left side is shifted more to the bass register starting with a cluster of the four lowest notes together. The right side is skewed more to the treble, ending with a cluster of the three highest notes. This is reflected in the way the holes for the strings are drilled in the neck, and the length and weight of strings used, which results in an asymmetric layout of tones where most of the strings directly opposite each other in the middle section of the bridge are tuned in octaves. This is a popular kora tuning.
Gravi-kora general diatonic tuning:
Left: Fa1, Do2, Re2, Mi2, Sol2, Ti2, Re3, Fa3, La3, Do4, Mi4.
Right: Fa2, La2, Do3, Mi3, Sol3, Ti3, Re4, Fa4, Sol4, La4.
Tuning in F major/D minor:
Left Hand: F, C, D, E, G, Bb, D, F, A, C, E.
Right: F, A, (middle)C, E , G, Bb, D, F, G, A.
The Chief Adjuah's Bow.
This is a new model of the Gravikord which Bob Grawi designed in collaboration with jazz musician Chief Xian aTunde Adjuah aka Christian Scott. It is a 20 stringed instrument with a taller variation of the Gravi-kora's bridge resulting in wider inter-string spacing, with redesigned raised handles shorter than on the Gravi-kora, more like the Gravikord, allowing mid-string hand positioning, and holding the instrument in a natural manner. In addition it has a third small handle welded across the lower neck as a hand rest for playing one rank of strings with both hands. Since the taller bridge is less stable it also incorporates a back stay from the top of the bridge to the tuner block.
Playing.
Although both instruments are normally tuned to a diatonic scale, on slower pieces, accidentals can be created by sharping individual notes. This is accomplished by pushing and tensioning the section of the string behind the bridge with one finger while playing the string normally. This is similar to a technique used in Japanese koto playing. For faster chromatic pieces a pitch shifter can be used to make the instrument fully chromatic. This can be set to momentarily jump shift the entire instrument's tuning one-half step up or down, or it can be set on continuous pitch shift change which enables playing the instrument in dobro, slide guitar, or pedal steel guitar styles.
Since the Gravikord and the Gravi-kora produce no conflicting acoustic sound, they can be played with guitar effects such as delay, distortion, reverb units, or wah-wah pedals.
Musical notation.
Gravikord
Music for the Gravikord can be written in the grand staff, and people who cannot read music can play standard music scores. Because of its double structure and symmetric tuning system, all the notes on one side of the bridge correspond to the lines of the musical staff and all the notes on the other side correspond to the spaces. So, whatever key the music is written in, determine where the root note is, and let this be the position of the instrument's root note. If it is on a line, the other strings on that side of the bridge will correspond to the other staff lines, and all the notes on the opposite side of the bridge will correspond to the spaces. If the written musical root lies in a space then the opposite is true. The player can then read the music as if it were written in a tablature designed for the Gravikord.
Gravi-kora
Music for Gravi-kora can also be written in the grand staff, but Gravi-kora scores can also be written on a single G clef, following the Keur Moussa system. This system was created for the kora by Brother Dominique Catta of the Keur Moussa Monastery in Senegal. The seven low notes that should be written on the F clef are replaced by Arabic or Roman numerals and written on the G clef. More than 200 scores already written for kora solo or kora and Western instruments can therefore be played on the Gravi-kora.
Reception.
In 1988, "Guitar Player Magazine" published an article on the Gravikord, saying that "even though the Gravikord has a high-tech, modern-sculpture look, it actually has its roots in the African kora, a double strung harp... polyrhythmic music, plus the sound of the Japanese koto, African kalimba (thumb piano) and the African kora...[Grawi] began experimenting with bamboo double-strung harps that would allow him to perform separate melodies or accompaniments with each hand. Influences range from jazz, Dixieland, to Balinese gamelan and American folk music." This article also included a technical description of the instrument as well as a patent drawing of the Gravikord.
The Metropolitan Museum of Art included the Gravikord in the show "Enduring Rhythms" (New York City, October 3, 1996 – August 3, 1997). In an article about this exhibition in "The New York Times", Rita Reif wrote "The show stoppers include a Gravikord, an electronically amplified stringed instrument that sounds like an earthy harp. In their shapes and sounds, Mr. Moore (curator of the show) said, these instruments also represent a kind of continuity in 'the layered rhythms, the mixed timbres, and all that movement which is so African.'" In March 2018, the Gravikord became a permanent exhibit in the museum's Andre Mertens Galleries for Musical Instruments.
In 2000, Elvis Costello listed "Gravikords, Whirlies and Pyrophones", a collection of recordings of experimental musical instruments, in a list of the finest 500 albums of all time.
Performers.
Gravikord
Robert Grawi has recorded several CDs, as a solo player and with the Gravikord Duo and the Gravikord Ensemble. The Gravikord Duo consists of Grawi on Gravikord and percussion, and Pip Klein on flute; the Gravikord Ensemble adds David Dachinger on bassoon.
Peter Pringle of Canada has recorded an improvisation for Gravikord & theremin, and Ziko Hart of Australia has recorded original solo music on the Gravikord.
In 2024 a new album featuring the Gravikord on many cuts, was released - "New Modern Strings" – by Blake Leyh (Xenotone)
Gravi-kora
Foday Musa Suso featured an early version of the Gravi-kora in recordings with Herbie Hancock, and on his own CD "New World Power". Daniel Berkman of San Francisco and Jacques Burtin have also produced original recordings.
Articles.
The Gravikord has an entry in the "Grove Dictionary of Musical Instruments". Other articles describing or referencing the Gravikord have appeared in the following publications: "Curio Magazine", "Daily News", "Dirty Linen", "Experimental Musical Instruments", "Folk Harp Journal", "Gravikords Whirlies & Pyrophones", "Guitar Player Magazine", Metropolitan Museum of Art, "New Sounds", "Science News", "Smithsonian Magazine", "The New York Times", "The Washington Post", and "Vanity Fair", among others.
References.
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Elektron (company)
Swedish musical instrument company
Elektron is a Swedish developer and manufacturer of musical instruments founded in 1998, as well as having its headquarters, R&D and production in Gothenburg, Sweden. They produce mainly electronic musical instruments, but have also made effects units and software. Since 2012, there have been branch offices in Los Angeles and in Tokyo.
Musicians who use Elektron instruments include Panda Bear, Timbaland, The Knife, Sophie Xeon, Depeche Mode, 8 Bit Weapon, and Autechre.
Early years.
Elektron started working on its first electronic instrument in 1997. At the time, it was a school project, a mandatory course part of the Computer Science program at the Chalmers University of Technology in Gothenburg, Sweden. The three founders were Daniel Hansson, Anders Gärder and Mikael Räim. Hansson recalls: "There were a number of projects to choose from: build a digital landline phone, a bicycle trip computer, or a beeper. None of that seemed fun or challenging enough, so I suggested we build a synthesizer instead!" The synthesizer, called the SidStation, was initially made in a test run of ten units. The project was deemed commercially viable, so in 1998 a company was started to nurture it and Elektron ESI was born. Following the SidStation, Elektron released the Machinedrum and the Monomachine.
When the development of the Octatrack (in 2009) began, Jonas Hillman stepped in to provide the management, structural reform, and capital needed to get the company growing. Since then, Jonas has been acting CEO, majority owner and business spokesperson for the company, subsequently renamed Elektron Music Machines. With Hillman at the helm, Elektron offices were opened in Los Angeles and Tokyo. The Gothenburg office remains the company headquarters. The product portfolio has been expanded to include music production software (Overbridge) as well as analog synthesizer hardware.
Musicians.
Musicians who use Elektron instruments include Sophie Xeon, Warpaint, Kid Koala, Del tha Funky Homosapien, Susanne Sundfør, John Frusciante, The Knife, Air, Nine Inch Nails, New Order, Jean-Michel Jarre, Youth Code, Wilco, Aux 88, Gerald Donald, Cevin Key, Smashing Pumpkins, Mogwai, The Horrors, Plaid, Factory Floor, Matt McJunkins, Arcane Roots, The Bug, The Chemical Brothers, Thom Yorke and many others.
References.
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Music technology (electric)
Musical instruments and recording devices that use electrical circuits

Electric music technology refers to musical instruments and recording devices that use electrical circuits, which are often combined with mechanical technologies. Examples of electric musical instruments include the electro-mechanical electric piano (invented in 1929), the electric guitar (invented in 1931), the electro-mechanical Hammond organ (developed in 1934) and the electric bass (invented in 1935). All of these electric instruments do not produce a sound that is audible by the performer or audience in a performance setting unless they are connected to instrument amplifiers and loudspeaker cabinets, which made them sound loud enough for performers and the audience to hear. Amplifiers and loudspeakers are separate from the instrument in the case of the electric guitar (which uses a guitar amplifier), electric bass (which uses a bass amplifier) and some electric organs (which use a Leslie speaker or similar cabinet) and most electric pianos. Some electric organs and electric pianos include the amplifier and speaker cabinet within the main housing for the instrument.
Electric sound recording and reproduction are electrical or mechanical techniques and devices for the inscription and re-creation of sound waves, such as spoken voice, singing, instrumental music, or sound effects. Acoustic analog recording is achieved by a small microphone diaphragm that can record sound waves on a phonograph (in which a stylus senses grooves on a record) or magnetic tape. The first practical sound recording and reproduction device was the mechanical phonograph cylinder, invented by Thomas Edison in 1877 and patented in 1878.
The next major technical development was the invention of the gramophone disc in 1889. For much of the 20th century, records were the most common way of selling sound recordings. The widespread availability of records and the development of radio broadcasting enabled a much larger proportion of people to listen to songs and pieces performed by the top artists, enabling the development of national and even international musical stars. In the 1970s, the compact cassette became a major consumer audio format. Advances in electronic and mechanical miniaturization led to the development of the Sony Walkman, a pocket-sized cassette player introduced in 1979, which allowed consumers to listen to their favourite albums outside of their home.
Electric instruments.
Electric piano.
An electric piano is an electric musical instrument which produces sounds when a performer presses the keys of the piano-style musical keyboard. Pressing keys causes mechanical hammers to strike metal strings or tines, leading to vibrations which are converted into electrical signals by magnetic pickups, which are then connected to an instrument amplifier and loudspeaker to make a sound loud enough for the performer and audience to hear. Unlike a synthesizer, the electric piano is not an electronic instrument. Instead, it is an electro-mechanical instrument. Some early electric pianos used lengths of wire to produce the tone, like a traditional piano. Smaller electric pianos used short slivers of steel, metal tines or short wires to produce the tone. The earliest electric pianos were invented in the late 1920s; the 1929 "Neo-Bechstein" electric grand piano was among the first. Probably the earliest stringless model was Lloyd Loar's Vivi-Tone Clavier. A few other noteworthy producers of electric pianos include Baldwin Piano and Organ Company and the Wurlitzer company.
Early electric piano recordings include Duke Ellington's in 1955 and Sun Ra's "India" as well as other tracks from the 1956 sessions included on his second album "Super Sonic Jazz" (aka "Super Sonic Sounds"). The popularity of the electric piano began to grow in the late 1950s after Ray Charles's 1959 hit record "What'd I Say", reaching its height during the 1970s, after which they were progressively displaced by more lightweight electronic pianos capable of piano-like sounds without the disadvantages of electric pianos' heavy weight and moving mechanical parts. Another factor driving their development and acceptance was the progressive electrification of popular music and the need for a portable keyboard instrument capable of high-volume amplification. Musicians adopted a number of types of domestic electric pianos for rock and pop use. This encouraged their manufacturers to modify them for stage use and then develop models primarily intended for stage use.
Digital electronic stage pianos have largely replaced most of the original electro-mechanical instruments in the 2000s, due to the small size, low weight and versatility of digital instruments, which can produce a huge range of tones besides piano tones (e.g., emulations of Hammond organ sounds, synthesizer sounds, etc.). However, some performers still perform and record with vintage electric pianos. In 2009, Fender Rhodes produced a new line of electro-mechanical pianos, known as the Rhodes Mark 7 followed by an offering from Vintage Vibe.
Electric guitar.
An electric guitar is a guitar that uses a pickup to convert the vibration of its strings into electrical impulses. The most common guitar pickup uses the principle of direct electromagnetic induction. The signal generated by an electric guitar is too weak to drive a loudspeaker, so it is amplified before being sent to a loudspeaker. The output of an electric guitar is an electric signal, and the signal can easily be altered by electronic circuits to add "color" to the sound. Often the signal is modified using electronic effects such as reverb and distortion.
Invented in 1931, the electric guitar became a necessity as jazz guitarists sought to amplify their sound in the big band format. Early proponents of the electric guitar on record included Les Paul, Lonnie Johnson, Sister Rosetta Tharpe, T-Bone Walker, and Charlie Christian. During the 1950s and 1960s, the electric guitar became the most important instrument in pop music. It has evolved into an instrument that is capable of a multitude of sounds and styles. It served as a major component in the development of electric blues, rock and roll, rock music, and many other genres of music.
Electric guitar design and construction vary greatly in the shape of the body and the configuration of the neck, bridge, and pickups. Guitars have a fixed bridge or a spring-loaded hinged bridge that lets players bend notes or chords up or down in pitch or perform a vibrato. The sound of a guitar can be modified by new playing techniques such as string bending, tapping, hammering on, using audio feedback, or slide guitar playing. There are several types of electric guitar, including the solid-body guitar, various types of hollow-body guitars, the seven-string guitar, which typically adds a low B string below the low E, and the twelve-string electric guitar, which has six pairs of strings.
Popular music and rock groups often use the electric guitar in two roles: as a rhythm guitar, which provides the chord sequence or progression and sets the beat (as part of a rhythm section), and as a lead guitar, which is used to perform melody lines, melodic instrumental fill passages, and solos.
Hammond organ.
The Hammond organ is an electric organ, invented by Laurens Hammond and John M. Hanert and first manufactured in 1935. Various models have been produced, most of which use sliding drawbars to create a variety of sounds. Until 1975, Hammond organs generated sound by creating an electric current from rotating a metal tonewheel near an electromagnetic pickup. Around two million Hammond organs have been manufactured, and it has been described as one of the most successful organs. The organ is commonly used with, and associated with, the Leslie speaker.
The organ was originally marketed and sold by the Hammond Organ Company to churches as a lower-cost alternative to the wind-driven pipe organ, or instead of a piano. It quickly became popular with professional jazz musicians, who found it a cheaper alternative to the big band. Jimmy Smith's use of the Hammond B-3, with its additional harmonic percussion feature, inspired a generation of organ players, and its use became more widespread in the 1960s and 1970s in rhythm and blues, rock and reggae, as well as being an important instrument in progressive rock.
The Hammond Organ Company struggled financially during the 1970s as they abandoned tonewheel organs and switched to manufacturing instruments using integrated circuits. These instruments were not as popular with musicians as the tonewheels had been, and the company went out of business in 1985. The Hammond name was purchased by the Suzuki Musical Instrument Corporation, which proceeded to manufacture digital simulations of the most popular tonewheel organs. This culminated in the production of the "New B-3" in 2002, which provided an accurate recreation of the original B-3 organ using modern digital technology.
Hammond-Suzuki continues to manufacture a variety of organs for both professional players and churches. Other companies, such as Korg, Roland and Clavia, have also achieved success in providing emulations of the original tonewheel organs. The sound of a tonewheel Hammond can also be emulated using modern software such as Native Instruments B4.
Electric bass.
The electric bass (or bass guitar) is a stringed instrument played primarily with the fingers or thumb, by plucking, slapping, popping, strumming, tapping, thumping, or picking with a plectrum, often known as a pick. The bass guitar is similar in appearance and construction to an electric guitar, but with a longer neck and scale length, and four to six strings or courses. The four-string bass, by far the most common, is usually tuned the same as the double bass, which corresponds to pitches one octave lower than the four lowest pitched strings of a guitar (E, A, D, and G). The bass guitar is a transposing instrument, as it is notated in bass clef an octave higher than it sounds (as is the double bass) to avoid excessive ledger lines. Like the electric guitar, the bass guitar is plugged into an amplifier and speaker for live performances.
Since the 1960s, the bass guitar has largely replaced the double bass in popular music as the bass instrument in the rhythm section. While types of bass lines vary widely from one style of music to another, the bassist usually fulfills a similar role: anchoring the harmonic framework and establishing the beat. Many styles of music utilise the bass guitar, including rock, metal, pop, punk rock, country, reggae, gospel, blues, and jazz. It is often a solo instrument in jazz, jazz fusion, Latin, funk, progressive rock and other rock and metal styles.
Electric sound recording and reproduction.
Electric sound recording and reproduction are electrical or mechanical techniques and devices for the inscription and re-creation of sound waves, such as spoken voice, singing, instrumental music, or sound effects. Acoustic analog recording is achieved by a small microphone diaphragm that can detect changes in atmospheric pressure (acoustic sound waves) and record them as a graphic representation of the sound waves on a medium such as a phonograph (in which a stylus senses grooves on a record). In magnetic tape recording, the sound waves vibrate the microphone diaphragm and are converted into a varying electric current, which is then converted to a varying magnetic field by an electromagnet, which makes a representation of the sound as magnetized areas on a plastic tape with a magnetic coating on it. Analog sound reproduction is the reverse process, with a bigger loudspeaker diaphragm causing changes to atmospheric pressure to form acoustic sound waves. Electrically generated signals may also be recorded directly from devices such as an electric guitar pickup, without the use of acoustic sounds or amplifiers in the recording process (other than the need for musicians to hear herself playing during recording session).
Phonautograph.
The first device that could record actual sounds as they passed through the air (but could not play them back—the purpose was only visual study) was the phonautograph, patented in 1857 by Parisian inventor Édouard-Léon Scott de Martinville. The earliest known recordings of the human voice are phonautograph recordings, called "phonautograms", made in 1857. They consist of sheets of paper with sound-wave-modulated white lines created by a vibrating stylus that cut through a coating of soot as the paper was passed under it.
Phonograph.
Phonograph cylinder.
The first practical sound recording and reproduction device was the mechanical phonograph cylinder, invented by Thomas Edison in 1877 and patented in 1878. The invention soon spread across the globe and over the next two decades the commercial recording, distribution and sale of sound recordings became a growing new international industry, with the most popular titles selling millions of units by the early 1900s. The development of mass-production techniques enabled cylinder recordings to become a major new consumer item in industrial countries and the cylinder was the main consumer format from the late 1880s until around 1910.
Disc phonograph.
The next major technical development was the invention of the gramophone disc, generally credited to Emile Berliner and commercially introduced in the United States in 1889, though others had demonstrated similar disk apparatus earlier, most notably Alexander Graham Bell in 1881. Discs were easier to manufacture, transport and store, and they had the additional benefit of being louder (marginally) than cylinders, which by necessity, were single-sided. Sales of the gramophone record overtook the cylinder ca. 1910, and by the end of World War I the disc had become the dominant commercial recording format. In various permutations, the audio disc format became the primary medium for consumer sound recordings until the end of the 20th century, and the double-sided 78 rpm shellac disc was the standard consumer music format from the early 1910s to the late 1950s.
The long-playing 33<templatestyles src="Fraction/styles.css" />1⁄3 rpm microgroove vinyl record, or "LP", was developed at Columbia Records and introduced in 1948. The short-playing but convenient 7-inch 45 rpm microgroove vinyl single was introduced by RCA Victor in 1949. In the US and most developed countries, the two new vinyl formats completely replaced 78 rpm shellac discs by the end of the 1950s, but in some corners of the world the "78" lingered on far into the 1960s. Vinyl was much more expensive than shellac, one of several factors that made its use for 78 rpm records very unusual, but with a long-playing disc the added cost was acceptable and the compact "45" format required very little material. Vinyl offered improved performance, both in stamping and in playback. If played with a good diamond stylus mounted in a lightweight pickup on a well-adjusted tonearm, it was long-lasting. If protected from dust, scuffs and scratches there was very little noise. Vinyl records were, over-optimistically, advertised as "unbreakable". They were not, but they were much less fragile than shellac, which had itself once been touted as "unbreakable" compared to wax cylinders.
Electrical recording.
Between the invention of the phonograph in 1877 and the advent of digital media, arguably the most important milestone in the history of sound recording was the introduction of what was then called "electrical recording", in which a microphone was used to convert the sound into an electrical signal that was amplified and used to actuate the recording stylus. This innovation eliminated the "horn sound" resonances characteristic of the acoustical process, produced clearer and more full-bodied recordings by greatly extending the useful range of audio frequencies, and allowed previously unrecordable distant and feeble sounds to be captured.
Sound recording began as a purely mechanical process. Except for a few crude telephone-based recording devices with no means of amplification, such as the Telegraphone, it remained so until the 1920s, when several recent radio-related developments in electronics converged to revolutionize the recording process. These included improved microphones and auxiliary devices such as electronic filters, all dependent on electronic amplification to be of practical use in recording. In 1906, Lee De Forest invented the "Audion" triode vacuum tube, an electronic valve that could amplify weak electrical signals. By 1915, it was in use in long-distance telephone circuits that made conversations between New York and San Francisco practical. Refined versions of this tube were the basis of all electronic sound systems until the commercial introduction of the first transistor-based audio devices in the 1950s.
Magnetic tape.
An important field of invention during this period was the tape recorder. Magnetic tape recording uses an amplified electrical audio signal to generate analogous variations of the magnetic field produced by a tape head, which impresses corresponding variations of magnetization on the moving tape. In playback mode, the signal path is reversed, the tape head acting as a miniature electric generator as the varyingly magnetized tape passes over it.
Magnetic tape brought about sweeping changes in both radio and the recording industry. Sound could be recorded, erased and re-recorded on the same tape many times, sounds could be duplicated from tape to tape with only minor loss of quality, and recordings could now be very precisely edited by physically cutting the tape and rejoining it. Within a few years of the introduction of the first commercial tape recorder—the Ampex 200 model, launched in 1948—American musician-inventor Les Paul had invented the first multitrack tape recorder, ushering in another technical revolution in the recording industry. Tape made possible the first sound recordings totally created by electronic means, opening the way for the bold sonic experiments of the Musique Concrète school and avant garde composers like Karlheinz Stockhausen, which in turn led to the innovative pop music recordings of artists such as Frank Zappa, The Beatles and The Beach Boys.
The ease and accuracy of tape editing, as compared to the cumbersome disc-to-disc editing procedures previously in some limited use, together with tape's consistently high audio quality finally convinced radio networks to routinely prerecord their entertainment programming, most of which had formerly been broadcast live. Also, for the first time, broadcasters, regulators and other interested parties were able to undertake comprehensive audio logging of each day's radio broadcasts. Innovations like multitracking and tape echo allowed radio programs and advertisements to be produced to a high level of complexity and sophistication. The combined impact with innovations such as the endless loop broadcast cartridge led to significant changes in the pacing and production style of radio program content and advertising.
Stereo and hi-fi.
Magnetic tape enabled the development of the first practical commercial sound systems that could record and reproduce high-fidelity stereophonic sound. The experiments with stereo during the 1930s and 1940s were hampered by problems with synchronization. A major breakthrough in practical stereo sound was made by Bell Laboratories, who in 1937 demonstrated a practical system of two-channel stereo, using dual optical sound tracks on film. Major movie studios quickly developed three-track and four-track sound systems, and the first stereo sound recording for a commercial film was made by Judy Garland for the MGM movie "Listen, Darling" in 1938.
The first commercially released movie with a stereo soundtrack was Walt Disney's "Fantasia", released in 1940. The 1941 release of Fantasia used the Fantasound sound system. This system used a separate film for the sound, synchronized with the film carrying the picture. The sound film had four double-width optical soundtracks, three for left, center, and right audio—and a fourth as a "control" track with three recorded tones that controlled the playback volume of the three audio channels. Because of the complex equipment this system required, Disney exhibited the movie as a roadshow, and only in the United States. Regular releases of the movie used standard mono optical 35 mm stock until 1956, when Disney released the film with a stereo soundtrack that used the Cinemascope four-track magnetic sound system.
EMI (UK) was the first company to release commercial stereophonic tapes. They issued their first "Stereosonic" tape in 1954. Others quickly followed, under the His Master's Voice and Columbia labels. 161 Stereosonic tapes were released, mostly classical music or lyric recordings. RCA imported these tapes into the US. Two-track stereophonic tapes were more successful in America during the second half of the 1950s. They were duplicated at real time (1:1) or at twice the normal speed (2:1) when later 4-track tapes were often duplicated at up to 16 times the normal speed, providing a lower sound quality in many cases. Early American 2-track stereophonic tapes were very expensive. A typical example is the price list of the Sonotape/Westminster reels: $6.95, $11.95 and $17.95 for the 7000, 9000 and 8000 series respectively. Some RCA tapes released in the USA also cost up to $15. Record companies mixed most popular music singles into monophonic sound until the mid-1960s—then commonly released major recordings in both mono and stereo until the early 1970s. Many Sixties pop albums now available only in stereo were originally released only in mono, and record companies produced the stereo versions of these albums by simply separating the two tracks of the master tape.
Magnetic tape transformed the recording industry. By the early 1950s, most commercial recordings were mastered on tape instead of recorded directly to disc. Tape facilitated a degree of manipulation in the recording process that was impractical with mixes and multiple generations of directly recorded discs. An early example is Les Paul's 1951 recording of "How High the Moon", on which Paul played eight overdubbed guitar tracks. In the 1960s Brian Wilson of The Beach Boys, Frank Zappa, and The Beatles (with producer George Martin) were among the first popular artists to explore the possibilities of multitrack recording techniques and effects on their landmark albums "Pet Sounds", "Freak Out!", and "Sgt. Pepper's Lonely Hearts Club Band".
The compact cassette became a major consumer audio format and advances in electronic and mechanical miniaturization led to the development of the Sony Walkman, a pocket-sized cassette player introduced in 1979. The Walkman was the first personal music player and it gave a major boost to sales of prerecorded cassettes, which became the first widely successful release format that used a re-recordable medium: the vinyl record was a playback-only medium and commercially prerecorded tapes for reel-to-reel tape decks, which many consumers found difficult to operate, were never more than an uncommon niche market item.
References.
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Electronic musical instrument
Musical instrument that uses electronic circuits to generate sound
An electronic musical instrument or electrophone is a musical instrument that produces sound using electronic circuitry. Such an instrument sounds by outputting an electrical, electronic or digital audio signal that ultimately is plugged into a power amplifier which drives a loudspeaker, creating the sound heard by the performer and listener.
An electronic instrument might include a user interface for controlling its sound, often by adjusting the pitch, frequency, or duration of each note. A common user interface is the musical keyboard, which functions similarly to the keyboard on an acoustic piano where the keys are each linked mechanically to swinging string hammers - whereas with an electronic keyboard, the keyboard interface is linked to a synth module, computer or other electronic or digital sound generator, which then creates a sound. However, it is increasingly common to separate user interface and sound-generating functions into a music controller (input device) and a music synthesizer, respectively, with the two devices communicating through a musical performance description language such as MIDI or Open Sound Control. The solid state nature of electronic keyboards also offers differing "feel" and "response", offering a novel experience in playing relative to operating a mechanically linked piano keyboard.
All electronic musical instruments can be viewed as a subset of audio signal processing applications. Simple electronic musical instruments are sometimes called sound effects; the border between sound effects and actual musical instruments is often unclear.
In the 21st century, electronic musical instruments are now widely used in most styles of music. In popular music styles such as electronic dance music, almost all of the instrument sounds used in recordings are electronic instruments (e.g., bass synth, synthesizer, drum machine). Development of new electronic musical instruments, controllers, and synthesizers continues to be a highly active and interdisciplinary field of research. Specialized conferences, such as the International Conference on New Interfaces for Musical Expression, have organized to report cutting-edge work, as well as to provide a showcase for artists who perform or create music with new electronic music instruments, controllers, and synthesizers.
Classification.
In musicology, electronic musical instruments are known as electrophones. Electrophones are the fifth category of musical instrument under the Hornbostel-Sachs system. Musicologists typically only classify music as electrophones if the sound is initially produced by electricity, excluding electronically controlled acoustic instruments such as pipe organs and amplified instruments such as electric guitars.
The category was added to the Hornbostel-Sachs musical instrument classification system by Sachs in 1940, in his 1940 book "The History of Musical Instruments"; the original 1914 version of the system did not include it. Sachs divided electrophones into three subcategories:
The last category included instruments such as theremins or synthesizers, which he called radioelectric instruments.
Francis William Galpin provided such a group in his own classification system, which is closer to Mahillon than Sachs-Hornbostel. For example, in Galpin's 1937 book "A Textbook of European Musical Instruments", he lists electrophones with three second-level divisions for sound generation ("by oscillation", "electro-magnetic", and "electro-static"), as well as third-level and fourth-level categories based on the control method.
Present-day ethnomusicologists, such as Margaret Kartomi and Terry Ellingson, suggest that, in keeping with the spirit of the original Hornbostel Sachs classification scheme, if one categorizes instruments by what first produces the initial sound in the instrument, that only subcategory 53 should remain in the electrophones category. Thus, it has been more recently proposed, for example, that the pipe organ (even if it uses electric key action to control solenoid valves) remain in the aerophones category, and that the electric guitar remain in the chordophones category, and so on.
Early examples.
In the 18th-century, musicians and composers adapted a number of acoustic instruments to exploit the novelty of electricity. Thus, in the broadest sense, the first electrified musical instrument was the Denis d'or keyboard, dating from 1753, followed shortly by the clavecin électrique by the Frenchman Jean-Baptiste de Laborde in 1761. The Denis d'or consisted of a keyboard instrument of over 700 strings, electrified temporarily to enhance sonic qualities. The clavecin électrique was a keyboard instrument with plectra (picks) activated electrically. However, neither instrument used electricity as a sound source.
The first electric synthesizer was invented in 187