| 1967 |
- MOOG Modular synthesizers
First embodiment of the synthesizer: to get a sound,
you had to plug each module into another. You couldn't
memorize sounds (you had to draw the connections on a
sheet of paper). The keyboards were monophonic (i.e. you
could only play one note at a time, therefore, no chords
were possible), but you could create an infinite number
of sounds (you could get the number and type of modules
you wanted).
Famous owners: Wendy Carlos, Keith Emerson, Klaus Schulze, Stevie Wonder... |
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| 1970 |
The 2500 was the first big synthesizer from newcomers ARP, back in 1970. It was designed in direct competition with the first modular Moog synths.
The ARP 2500 uses 10 x 10 Matrix Switches to accomplish patching in opposite to the Moog Modulars witch are using cables. Famous owners: JMJ, Wendy Carlos, Vince Clark... |
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| 1971 |
The first portable pre wired synthesizer (no need
to plug to get a sound anymore), but still monophonic
and without memory. |
>Famous owners: Geoff Downes, Rick Wakman, Herbie Hancock, Kraftwerk, Howard Jones, Depeche Mode...
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| 1975 |
Polyphonic modular synthesizers OBERHEIM SEM
First polyphonic synthesizers (you could play
2, 4, 6 or 8 notes at the same time, depending on the
models): one synthesizer necessary by note (Expander
Module). Emergence of the first memories, but for
each module we could only memorize a couple of parameters
! (16 memory slots). |
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1976
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A classic and huge (over 200 lbs !) synthesizer, considered as the first Japans
great synthesizer. It had some pretty amazing features
for its time, such as 8-voice polyphony.
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| 1978 |
- SEQUENTIAL CIRCUITS - PROPHET-5
First fully programmable polyphonic (5 notes) synthesizers
(32 memory slots to record all the synths' parameters) |
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| 1982 |
The bass synthesizer which went down in History with
the emergence of Techno music in 1987! |
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| 1982 |
- SEQUENTIAL CIRCUITS - PROPHET 600
The first MIDI synthesizer. |
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| 1983 |
The first fully digital synthesizer (FM synthesis
technology - frequency modulation). No more front buttons.
Here came complex use and countless preset banks! (sounds
pre-programmed in factory). The quality and precision
of the sounds were increased. Improved sound tuning when
compared to the previous synthesizer generation (analogic
technology). |
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| 1984 |
The first synthesizers which combined digital wave
shapes (basic sounds) (the ancestors of the samples)
with subtractive analog synthesis treatments (just
like in the first synthesizers). You could also create
or revise the wave shapes on a screen (WAVETERM). |
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| 1986 |
The first affordable sampler (about 2,500$,
a price to compare with the top sampler and competitor
FAIRLIGHT CMI, priced...70,000$ at that time). But the
sound memory was still very limited (only 10 seconds in
mono) and the sampling rate was mediocre (8 bits
- compared to 16 or 24 bits now). |
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| 1995 |
The return of subtractive synthesis (like the analogical
synthesizers) but digitaly modelized (by calculus):
the return of the front buttons, long awaited by a new
generation of musicians and the possibility to record
each potentiometer movement (to edit the sounds) in MIDI. |
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| 1996 |
The first affordable computer program dedicated to sound synthesis (combining
several types of synthesis, including subtractive synthesis,
FM, additive synthesis, etc..). |
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| 2000 |
- ARTURIA - STORM MUSIC STUDIO
The virtual embodiment of a recording studio. |
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2003
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- ARTURIA - MOOG MODULAR V & CS-80V
Faifhful emulations of legendary synthesizers.
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2004
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The first conpact synthesizer emluation
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