Synthesizer and Cyber Sunday (2008): Difference between pages

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{{redirect|Synth}}
{{future}}
{{Infobox Wrestling event
{{otheruses}}
|name=Cyber Sunday (2008)
{{refimprove|date=January 2008}}
|image=29572 CS 300x450.jpg
|theme="[[Propane Nightmares]]" by [[Pendulum (band)|Pendulum]]<ref>{{cite video|title=[[No Mercy (2008)|No Mercy]]|medium =PPV|publisher=[[World Wrestling Entertainment]]|accessdate=2008-10-06}}</ref>
|promotion=[[World Wrestling Entertainment]]
|brand=[[WWE Raw|Raw]]<br>[[WWE Friday Night SmackDown|SmackDown]]<br>[[Extreme Championship Wrestling (WWE)|ECW]]
|date=October 26, 2008
|venue=[[US Airways Center]]
|city=[[Phoenix, Arizona]]
|attendance=
|lastevent=[[No Mercy (2008)]]
|nextevent=[[Survivor Series (2008)]]
|event=[[WWE Cyber Sunday|Cyber Sunday]]
|lastevent2=[[Cyber Sunday (2007)]]
|nextevent2=[[TBD]]
}}


'''Cyber Sunday (2008)''' will be a [[professional wrestling]] [[pay-per-view]] event produced by [[World Wrestling Entertainment]] (WWE), which is scheduled to take place on October 26, 2008 at the [[US Airways Center]] in [[Phoenix, Arizona]]. It will be the fifth such event, but the third under the [[WWE Cyber Sunday|Cyber Sunday]] name, and will feature wrestlers from the [[WWE Raw|Raw]], [[Extreme Championship Wrestling (WWE)|ECW]], and [[WWE Friday Night SmackDown|SmackDown]] [[WWE Brand Extension|brands]].<ref name="wweppvspecial">{{cite journal|year=2007|month=Special|title=Greatest Moments in Pay-Per-View History|journal=WWE Magazine|pages=64–65|accessdate=2007-12-04}}</ref> As of [[October 10]], 2008, three professional wrestling matches are scheduled on the event's [[card (sports)|card]].
[[Image:OB12 synth.jpg|thumb|right|300px|[[Oberheim]] OB12 synthesizer front panel]]
A '''synthesizer''' is an [[electronic instrument]] capable of producing a variety of sounds by generating and combining signals of different [[frequency|frequencies]]. A modern digital synthesizer uses a [[frequency synthesizer]] [[microprocessor]] component to calculate mathematical functions, which generate signals of different frequencies. There are three main types of synthesizers, which differ in operation: [[analog synthesizer|analog]], [[digital synthesizer|digital]] and [[Software synthesizer|software]]-based. Synthesizers create [[electrical signal]]s, rather than direct acoustic sounds, which are then amplified through a [[loudspeaker]] or set of [[headphones]].


==Background==
Synthesizers are typically controlled with a piano-style [[musical keyboard|keyboard]], in which each key functions as a switch to turn [[electronic circuit]]s on and off. Although keyboards are the most common control interface, other devices such as saxophone-style [[wind controller]]s, MIDI-equipped electric guitars, drum pads or [[computer]]s are used to control synthesizers. Synthesizers can produce a wide range of sounds, which can either imitate other instruments or generate unusual new timbres.
{{see also|Professional wrestling}}
The event will feature [[mock combat|professional wrestling matches]] that involve different wrestlers from pre-existing [[script]]ed feuds, [[plot]]s and [[storyline]]s. Wrestlers will portray a [[Heel (professional wrestling)|villain]] or a [[Face (professional wrestling)|fan favorite]] as they follow a series of events that build tension, and culminate into a wrestling match or series of matches. The event will feature wrestlers from the [[WWE Raw|Raw]], [[Extreme Championship Wrestling (WWE)|ECW]], and [[WWE Friday Night SmackDown|SmackDown]] brands&nbsp;– [[WWE Brand Extension|storyline divisions]] to which WWE assigns its employees to different programs. Unlike other WWE events, stipulations of each match will result from votes by fans through [[text messaging]], a change from previous Cyber Sunday events which were determined by polls conducted on WWE.com. Voting for the event started on October 6, 2008.


It was announced on October 6, 2008 on ''Raw'', a primary WWE television program, that [[World Heavyweight Championship (WWE)|World Heavyweight Champion]] Chris Jericho ([[Chris Jericho|Chris Irvine]]) would defend his title against Batista ([[Dave Batista|Dave Bautista]]) in a [[Professional wrestling match types#Variations of singles matches|standard wrestling match]], also known as a singles match. In this match, fans will be able to vote for a [[Professional wrestling match types#Special guest referee|guest referee]] to officiate; the three candidates are [[Randy Orton]], [[Shawn Michaels]], and [[Stone Cold Steve Austin|Steve Austin]].<ref name="JerichovsBatista">{{cite web|url=http://www.wwe.com/shows/cybersunday/matches/7880726/preview/|title=Preview:World Heavyweight Champion Chris Jericho vs. Batista (WWE Universe chooses referee)|publisher=[[World Wrestling Entertainment]]|accessdate=2008-10-06|}}</ref>
The first electric synthesizer was invented in 1876 by [[Elisha Gray]], who is best known for his [[Invention of the telephone|development of a telephone prototype]].<ref name="elisha">{{Citation|title=Electronic Musical Instrument 1870 - 1990| date=2005|url=http://www.obsolete.com/120_years/machines/telegraph/|accessdate = [[2007-04-09]]}}</ref><ref name="beginnings">{{Citation
| last = Chadabe
| first = Joel
| title = The Electronic Century Part I: Beginnings
| publisher = Electronic Musician
| pages = 74-89
| date = February 2000
| url = }}</ref> [[Robert Moog]] created a revolutionary synthesizer which was used by Wendy Carlos's ''[[Switched-On Bach]]'' (1968) a popular recording which introduced many musicians to the sound of synthesizers. In the 1970s, the development of miniaturized solid-state components allowed synthesizers to become self-contained, portable instruments, which made them easier to use in live performances. By the early 1980s, companies such as Yamaha began selling compact, modestly priced synthesizers such as the [[Yamaha DX7|DX7]], and [[MIDI]] (Musical Instrument Digital Interface) was developed, which made it easier to integrate and synchronize synthesizers with other electronic instruments. In the 1990's complex synthesizers no longer required specialist hardware and began to appear as software for the [[pc]], often as hardware emulators with on-screen knobs and panels.


==Operation==
==Matches==
{| style="font-size: 85%; text-align: left;" class="wikitable sortable"
{{main|Sound synthesis}}
<!-- !style="border-style: none none solid solid; background: #e3e3e3"|'''#''' -->

!style="border-style: none none solid solid; background: #e3e3e3"|'''Match'''
[[Image:Inside the Yamaha SY77.jpg|thumb|300px|The inside of a [[Yamaha SY77]] synthesizer shows the various internal components.]]
!style="border-style: none none solid solid; background: #e3e3e3"|'''Stipulation'''
A modern digital synthesizer uses a [[frequency synthesizer]] [[microprocessor]] component to calculate mathematical functions, which generate signals of different frequencies. These frequencies are played through an output device such as a loudspeaker or set of headphones. In most conventional synthesizers, recordings of real instruments consist of several components. These sounds represent the acoustic responses of different parts of the instrument. These include the sounds produced by the instrument during different parts of a performance, or the behavior of the instrument under different playing conditions (changes in [[Pitch (music)|pitch]], intensity of playing, fingering). The distinctive [[timbre]], [[intonation (music)|intonation]], and [[ADSR envelope|attack]] of a real instrument can therefore be created by mixing these components in a way that resembles the natural behavior of the actual instrument. Nomenclature varies by synthesizer methodology and manufacturer, but the components are often referred to as [[oscillator]]s or [[partial]]s. A higher-fidelity reproduction of a natural instrument can be typically achieved using more oscillators, but increased computer power and human programming is required. Most synthesizers use between one and four oscillators per voice by default.
!style="border-style: none none solid solid; background: #e3e3e3"|'''Vote for:'''

<!-- !style="border-style: none none solid solid; background: #e3e3e3"|'''Times''' -->
The device used to trigger musical sounds in the synthesizer is called the controller.
|-
Performers often play a synthesizer by depressing keys on a [[musical keyboard]]; however, a number of other controllers are used, including saxophone-style [[MIDI]] [[wind controller]]s and MIDI guitar synthesizer controllers. Most electronic keyboards use a [[keyboard matrix (music)|keyboard matrix]] circuit in which the rows and columns are made up of wiring. On electric and electronic keyboards, there is an electric switch under each key. Depressing a key connects a circuit, which causes the tone generation mechanism to be triggered.
|[[Chris Jericho]] (c) vs. [[Dave Batista|Batista]]<ref name="JerichovsBatista">{{cite web|url=http://www.wwe.com/shows/cybersunday/matches/7880726/preview/|title=Preview:World Heavyweight Champion Chris Jericho vs. Batista (WWE Universe chooses referee)|publisher=[[World Wrestling Entertainment]]|accessdate=2008-10-06|}}</ref>

| [[Professional wrestling match types#Variations of singles matches|Singles match]] for the [[World Heavyweight Championship (WWE)|World Heavyweight Championship]]; fans vote for guest referee
== Types of synthesis ==
|[]]<br]]<br>[[Stone Cold Steve Austin|Steve Austin]]
There are three main types of synthesizers: [[analog synthesizer|analog]], [[digital synthesizer|digital]] and [[software synthesizer|software]]. In addition, some synthesizers rely upon combinations of these three types and are known as [[hybrid synthesizer]]s.
|-

|[[Santino Marella]] (c) vs. [[TBD]] <ref name="SantinoICTitle">{{citeweb|url=http://www.wwe.com/shows/cybersunday/matches/8258380/preview|title=Preview:Intercontinental Championship Match (WWE Universe chooses Santino Marella's opponent)|publisher=[[World Wrestling Entertainment]]|accessdate=2008-10-06}}</ref>
=== Wavetable ===
|Singles match for the [[WWE Intercontinental Championship]]; fans vote for Marella's opponent
[[Wavetable synthesis]] uses a [[digital recording]] of an existing sound. These are known as samples, replayed at a range of pitches.<ref name="synthsampling">{{Citation
|[[Roddy Piper]]<br>[[Dustin Rhodes|Goldust]]<br>[[The Honky Tonk Man]]
| last = Russ
|-
| first = Martin
|[[Triple H]] (c) vs. [[TBD]] <ref name="TripleHWWETitle">
| title = Sound Synthesis and Sampling
{{cite web|url=http://www.wwe.com/shows/cybersunday/matches/8292514/preview/|title=Preview:WWE Championship Match (WWE Universie chooses Triple H's opponent)(s)|date=2008-10-09|accessdate=2008-10-11|publisher=[[World Wrestling Entertainment]]}}</ref>
| publisher = Elsevier
| Singles match or [[Professional wrestling match types#Basic non-elimination matches|Triple Threat match]] for the [[WWE Championship]]; fans vote for Triple H's opponent(s)
| date = 2004
|[[Vladimir Kozlov]]<br>[[Jeff Hardy]]<br>Both
| pages = 9-473
|-
| url = http://books.google.com/books?id=_W9Ek2LmPNMC&pg=PA9&dq=wavetable+synthesis&lr=&num=100&as_brr=3&ei=PdIDSN_qNIm6zAT_i8neCQ&sig=F0HraCgFWEUOunYc9d-E79Cn76I#PPA9,M1
|colspan="3"|{{center|{{small|''(c) - refers to the champion heading into the match''}}}}
| isbn = 0240516923}}</ref> Sample playback replaces the [[Electronic oscillator|oscillator circuit]] found in other synthesizers.<ref>{{Citation
|}
| last = Sloot
| first = Peter
| coauthors = Alexander V. Bogdanov, Albert Y. Zomaya
| title = Computational Science, ICCS 2003
| publisher = Springer
| date = May 2003
| pages = 448-1095
| url = http://books.google.com/books?id=ryFUG42aazkC&pg=PA448&dq=wavetable+synthesis&lr=&num=100&as_brr=3&ei=PdIDSN_qNIm6zAT_i8neCQ&sig=P7FdJulHP8J5IGawcJViyUcgQYY
| isbn = 3540401946}}</ref> Most [[music workstation]]s process sounds using effects such as filters, [[low-frequency oscillation]], and [[Ring modulation|ring modulators]]. Sample playback commonly replays samples at a faster speed, instead of changing the pitch. For example, to alter the frequency of a sound one [[octave]] higher, it is played at double speed; inversely, to shift the frequency of the sound one octave lower, it is played at half-speed. Instruments dedicated to recording and playing samples are known as [[Sampler (musical instrument)|samplers]].

Due to the nature of digital sound storage, [[anti-aliasing]] and [[interpolation]] techniques are used to achieve a natural-sounding waveform. This is especially important if more than one note is played, or if arbitrary tone intervals are used. The calculations on sample-data must be very precise (for high quality, around 64 bits), especially if various parameters are needed to create a specific sound. If too many parameters are used, excessive calculations need to be made to avoid the rounding errors of the multiple calculations taking place.

Wavetable synthesis is used in certain digital music synthesizers to implement real-time [[additive synthesis]] and [[direct digital synthesis]] with minimum hardware. The technique was first developed by [[Wolfgang Palm]] in 1978, and has since been used in other synthesizers built by [[Yamaha]], [[Korg]] and Waldorf Instruments.<ref>{{Citation
| last = Vail
| first = Mark
| title = Vintage Synthesizers: Groundbreaking Instruments and Pioneering Designers of Electronic Music Synthesizers
| publisher = Backbeat Books
| date = 2000
| pages = 68-342
| url = http://books.google.com/books?id=tNci9y0jlRgC&pg=PA68&dq=Wolfgang+Palm&lr=&num=100&as_brr=3&ei=htADSNnGM5TAzAS3wInFBg&sig=jFpFF2_r9n79kkcEPrd9uXGQH2k
| isbn = 0879306033}}</ref> It is commonly used in low-end [[MIDI]] instruments such as educational keyboards, and low-end [[sound card]]s.<ref name="synthsampling" />

=== Physical modeling ===
[[Physical modeling]] synthesis is the synthesis of sound by using a set of equations and algorithms to simulate a physical source of sound. When an initial set of parameters is run through the physical simulation, the simulated sound is generated. Although physical modeling was not a new concept in acoustics and synthesis, it wasn't until the development of the [[Karplus-Strong algorithm]] and the increase in [[Digital signal processing|DSP power]] in the late 1980s that commercial implementations became feasible.

===Digital===
Digital synthesizers generate a digital sample, corresponding to a sound pressure, at a given sampling frequency (typically 44,100 samples per second). In the most basic case, each digital oscillator is modeled by a counter. For each sample, the counter of each oscillator is advanced by an amount that varies depending on the frequency of the oscillator. For harmonic oscillators, the counter indexes a table containing the oscillator's waveform. For random-noise oscillators, the most significant bits index a table of random numbers. The values indexed by each oscillator's counter are mixed, processed, and then sent to a digital-to-analog converter, followed by an analog amplifier.

To eliminate the difficult multiplication step in the envelope generation and mixing, some synthesizers perform all of the above operations in a logarithmic coding, and add the current ADSR and mix levels to the logarithmic value of the oscillator, to effectively multiply it. To add the values in the last step of mixing, they are converted to linear values. Some digital synthesizers now exist in the form of [[software synthesizer]]s, which synthesize sound using conventional [[computer hardware]], usually a [[sound card]]. Others use a specialized [[digital signal processor]].

=== Fingerboard ===
A fingerboard synthesizer is a synthesizer with a [[ribbon controller]] or other fingerboard-like user interface used to control parameters of the sound processing. A ribbon controller is similar to a [[touchpad]]. However, most ribbon controllers only register linear motion. Although it could be used to operate any sound parameter, a ribbon controller is most commonly associated with [[pitch control]] or [[Portamento|pitch bending]].

Older fingerboards used [[resistor]]s with a long wire pressed to the resistive plate. Modern ribbon controllers do not contain moving parts. Instead, a finger pressed down and moved along it creates an electrical contact at some point along a pair of thin, flexible longitudinal strips whose electric potential varies from one end to the other. Different fingerboards instruments were developed like the [[Ondes Martenot]], [[Hellertion]], [[Heliophon]], [[Trautonium]], [[Electro-Theremin]], [[Fingerboard-Theremin]] and the [[The Persephone]].

A ribbon controller is used as an additional controller in the [[Yamaha CS-80]] and CS-60, the [[Korg Prophecy]], the [[Kurzweil Music Systems|Kurzweil]] synthesizers, [[Moog synthesizer]]s and many others. Ribbon controllers can serve as a main MIDI controller instead of keyboard ([[Continuum (instrument)|Continuum]]).

=== Software ===
The earliest digital synthesis was performed by [[software synthesizer]]s on mainframe computers using methods exactly like those described in digital synthesis, above. Music was coded using punch cards to describe the type of instrument, note and duration. The formants of each timbre were generated as a series of sine waves, converted to fixed-point binary suitable for digital-to-analog converters, and mixed by adding and averaging. The data was written slowly to computer tape and then played back in real time to generate the music.

Today, a variety of software is available to run on modern high-speed personal computers. DSP algorithms are commonplace, and permit the creation of fairly accurate simulations of physical acoustic sources or electronic sound generators (oscillators, filters, VCAs, etc). Some commercial programs offer quite lavish and complex models of classic synthesizers--everything from the Yamaha [[DX7]] to the original Moog modular. Other programs allow the user complete control of all aspects of digital music synthesis, at the cost of greater complexity and difficulty of use.

== History ==
=== Analog ===
{{main|analog synthesizers}}
[[Image:Mixtur Trautonium.jpg|thumb|[[Trautonium|Mixtur-Trautonium]], 1952]]
The first electric synthesizer was invented in 1876 by [[Elisha Gray]] <ref name="elisha"/>, who is best known for his [[Invention of the telephone|development of a telephone prototype]]. The "Musical Telegraph" was a chance by-product of his telephone technology. Gray accidentally discovered that he could control sound from a self vibrating electromagnetic circuit and in doing so invented a basic single note oscillator. The Musical Telegraph used steel reeds whose oscillations were created and transmitted, over a telephone line, by electromagnets. Gray also built a simple loudspeaker device in later models consisting of a vibrating diaphragm in a magnetic field to make the oscillator audible.

Other early synthesizers used technology derived from electronic [[analog computer]]s, laboratory test equipment, and early [[electronic musical instrument]]s. [[Ivor Darreg]] created his [[microtonal music|microtonal]] 'Electronic Keyboard Oboe' in 1937. Another early synthesizer was the [[ANS synthesizer]], constructed by the Russian scientist [[Evgeny Murzin]] from 1937 to 1958. Only one model was built, which is currently stored at the Lomonosov University in [[Moscow]].<ref>{{Citation
| last = Vail
| first = Mark
| title = Eugeniy Murzin's ANS — Additive Russian synthesizer
| publisher = [[Keyboard Magazine]]
| page = 120
| date = [[November 1]], [[2002]]
| url = }}</ref>

[[RCA]] produced experimental devices to synthesize voice and music in the 1950s. The [[RCA Mark II Sound Synthesizer|Mark II Music Synthesizer]], housed at the [[Computer Music Center|Columbia-Princeton Electronic Music Center]] in [[New York City]] in 1958, was only capable of producing music once it had been completely programmed.<ref name="beginnings"/> The [[vacuum tube]] system had to be manually patched to create each type of sound. It used a [[paper tape]] [[sequencer]] punched with holes to control pitch sources and filters, similar to a mechanical [[player piano]], but capable of generating a wide variety of sounds. In 1959, [[Daphne Oram]] at the [[BBC Radiophonic Workshop]] produced a novel synthesizer using her "[[Oramics]]" technique, driven by drawings on a 35&nbsp;mm film strip; it was used for a number of years at the BBC.<ref>{{Citation
| last = Manning
| first = Peter
| title = Electronic and Computer Music
| publisher = Oxford University Press US
| date = 2004
| pages = 129-132
| url = http://books.google.com/books?id=P2dClS4LdPQC
| isbn = 0195144848}}</ref> [[Hugh Le Caine]], John Hanert, [[Raymond Scott]], composer [[Percy Grainger]] (with Burnett Cross), and others built a variety of automated electronic-music controllers during the late 1940s and 1950s.

By the 1960s, synthesizers were developed which could be played in real time, but were usually confined to studios due to their size. These synthesizers were usually configured using a modular design, with standalone signal sources and processors being connected with patch cords or by other means, and all controlled by a common controlling device.

Some early analog synthesizers were monophonic, producing only one tone at a time. A few, such as the Moog Sonic Six, [[ARP Odyssey]] and EML 101, were capable of producing two different pitches at a time when two keys were pressed. [[Polyphony (instrument)|Polyphony]] (multiple simultaneous tones, which enables [[Chord (music)|chords]]), was only obtainable with electronic organ designs at first. Popular electronic keyboards combining organ circuits with synthesizer processing included the ARP Omni and Moog's Polymoog and Opus 3. During the late 1970s and early 1980s, [[DIY]] (Do it yourself) designs were published in hobby electronics magazines (notably the Formant modular synth, a DIY clone of the Moog system, published by [[Elektor]]) and kits were supplied by companies such as Paia in the US, and Maplin Electronics in the UK.

===Modular===
{{main|modular synthesizer}}
[[Image:Music easel2.jpg|thumb|Buchla Music Easel]]
Most early synthesizers were experimental modular designs. [[Don Buchla]], [[Hugh Le Caine]], [[Raymond Scott]] and [[Paul Ketoff]] were among the first to build such instruments, in the late 1950s and early 1960s. Buchla later produced a commercial modular synthesizer, the [[Buchla|Buchla Music Easel]].<ref>{{Citation
| last = Vail
| first = Mark
| title = Buchla Music Easel — Portable performance synthesizer
| publisher = [[Keyboard Magazine]]
| page=108
| date = [[October 1]], [[2003]]
| url = }}</ref> [[Robert Moog]], who had been a student of [[Peter Mauzey]] and one of the RCA Mark II engineers, created a revolutionary synthesizer that could be used by musicians. Moog designed the circuits used in his synthesizer while he was at Columbia-Princeton. The [[Moog modular synthesizer|Moog synthesizer]] was first displayed at the [[Audio Engineering Society]] convention in 1964.<ref>{{Citation
| last = Glinsky
| first = Albert
| title = Theremin: Ether Music and Espionage
| publisher = [[University of Illinois Press]]
| page=293
| date = 2000
| isbn = 0252025822}}</ref> Like the RCA Mark II, it required more experience to set up new sounds, but it was smaller and more intuitive than what had come before. Less like a machine and more like a musical instrument, the Moog synthesizer was at first a curiosity, but by 1968 had caused a sensation.

Moog also established standards for control interfacing, with a logarithmic 1-volt-per-octave pitch control and a separate pulse triggering signal. This standardization allowed synthesizers from different manufacturers to operate simultaneously. Pitch control is usually performed either with an organ-style keyboard or a [[music sequencer]], which produces a series of control voltages over a fixed time period and allows some automation of music production. Other early commercial synthesizer manufacturers included [[ARP Instruments, Inc.|ARP]], who also started with modular synthesizers before producing all-in-one instruments, and British firm [[Electronic Music Studios (London) Ltd|EMS]].

[[Micky Dolenz]] of [[The Monkees]] bought the third Moog synthesizer in existence. They were the first band to release an album featuring music from a Moog with ''[[Pisces, Aquarius, Capricorn & Jones Ltd.]]'' in 1967.<ref>{{Citation
| last = Lefcowitz
| first = Eric
| title = The Monkees Tale
| publisher = Last Gasp
| page=48
| date = 1989
| isbn = 0867193786}}</ref> It also became the first album featuring a synthesizer to hit #1 on the charts. During the late 1960s, hundreds of other popular recordings used Moog synthesizer sounds. The Moog synthesizer even spawned a subculture of record producers who made novelty "Moog" recordings, depending on the odd new sounds made by their synthesizers (which were not always Moog units) to draw attention and sales.

===Popular===
[[Image:Minimoog.JPG|thumb|The [[Minimoog]] was one of the most popular synthesizers ever built]]
In 1970, Moog designed an innovative synthesizer with a built-in keyboard and without modular design - the analog circuits were retained, but made interconnectable with switches in a simplified arrangement called "normalization". Though less flexible than a modular design, normalization made the instrument more portable and easier to use. This first pre-patched synthesizer, the [[Minimoog]], became highly popular, with over 12,000 units sold.<ref>{{Citation
| title = 1970 Robert Moog Moog Music Minimoog Synthesizer
| publisher = Mix Magazine
| date=[[September 1]], [[2006]]
|accessdate = [[2008-04-10]]
|url = http://mixonline.com/TECnology-Hall-of-Fame/moog-music-minimoog-090106/}}</ref> The [[Minimoog]] also influenced the design of nearly all subsequent synthesizers, with integrated keyboard, pitch wheel and modulation wheel, and a VCO->VCF->VCA signal flow.

In the 1970s miniaturized solid-state components allowed synthesizers to become self-contained, portable instruments, which soon began to be used in live performances. Electronic synthesizers had quickly become a standard part of the popular-music repertoire. The first movie to make use of synthesized music was the [[James Bond]] film ''[[On Her Majesty's Secret Service (film)|On Her Majesty's Secret Service]]'' in 1969. After the release of the film, a large number of movies were made with synthesized music. A few of them, such as 1982's [[John Carpenter's The Thing|John Carpenter's "The Thing"]], used only synthesized music in their scores.<ref>{{Citation
| last = Inglis
| first = Ian
| title = Popular Music and Film
| publisher = Wallflower Press
| page = 134
| date = 2003
| isbn = 190336471X}}</ref>

=== Modern ===
By 1976, the first true music synthesizers to offer polyphony had begun to appear, most notably in the form of the [[Yamaha GX1]], CS-50, CS-60 and [[Yamaha CS-80]] and the Oberheim Four-Voice. These early instruments were very complex, heavy, and costly. Another feature that began to appear was the recording of knob settings in a digital memory, allowing the changing of sounds quickly. When microprocessors first appeared on the scene in the early 1970s, they were expensive and difficult to apply.

The first practical polyphonic synth, and the first to use a microprocessor as a controller, was the [[Sequential Circuits]] [[Prophet-5]] introduced in late 1977.<ref>{{Citation
| last = Wells
| first = Peter
| title = A Beginner's Guide to Digital Video
| publisher = AVA Books (UK)
| page = 10
| date = 2004
| isbn = 2884790373}}</ref> For the first time, musicians had a practical polyphonic synthesizer that allowed all knob settings to be saved in computer memory and recalled by pushing a button. The Prophet-5 was also physically compact and lightweight, unlike its predecessors. This basic design paradigm became a standard among synthesizer manufacturers, slowly pushing out the more complex and recondite modular design. One of the first real-time polyphonic digital music synthesizers was the [[Coupland Digital Music Synthesizer]]. It was much more portable than a piano but never reached commercial production.

[[Image:Fairlight CMI.jpg|thumb|200px|A Fairlight CMI keyboard, featuring signatures from 43 celebrity musicians, composers and producers.]]
The [[Fairlight CMI]] (Computer Musical Instrument) was the first polyphonic digital [[Sampler (musical instrument)|sampling]] synthesizer.<ref>{{Citation
| last = Holloway
| first = David
| title = Fairlight's Peter Vogel
| publisher = [[Keyboard Magazine]]
| page = 104
| date = [[July 1]], [[2006]]}}</ref> It was designed in 1978 by the founders of [[Fairlight]], Peter Vogel and Kim Ryrie, and based on a dual [[microprocessor]] computer designed by Tony Furse in Sydney, Australia. The Fairlight CMI gave musicians the ability to modify volume, attack, decay, and special effects like vibrato. [[Waveform]]s could also be modified on a [[computer monitor]] using a [[light pen]].<ref>{{Citation
| last = Scott
| first = David
| title = Music computer - you draw sounds you want to hear
| publisher = [[Popular Science]]
| page = 154
| date = May 1984}}</ref> It rose to prominence in the early 1980s and competed in the market with the [[Synclavier]] from [[New England Digital]]. The first buyers of the new system were [[Herbie Hancock]], [[Peter Gabriel]], [[Richard James Burgess]], [[Todd Rundgren]], [[Nick Rhodes]] of [[Duran Duran]], producer [[Rhett Lawrence]], [[Stevie Wonder]] and Ned "EBN" Liben of [[Ebn Ozn]], who acted as Fairlight's New York expert liaison to the American musician community.<ref>{{Citation
| title = 1979 Fairlight CMI
| publisher = Mix Magazine
| date = [[September 1]], [[2006]]
| url = http://mixonline.com/TECnology-Hall-of-Fame/fairlight-computer-musical-090106/index.html
| accessdate = [[2008-05-30]]}}</ref>

The [[Kurzweil K250]], first produced in 1983, was also a successful polyphonic digital music synthesizer.<ref>{{Citation
| last = Battino
| first = David
| coauthors = Kelli Richards, Stewart Copeland
| title = The Art of Digital Music
| publisher = Backbeat Books
| date = 2005
| page = 58
| url = http://books.google.com/books?id=1cSfFMaR0QkC&pg=PA58&dq=Kurzweil+K250&ei=3n8ASNmEGIuCyQT4keXPDA&sig=7nmpGx1BTQ4XDNDi3gDwa7zwPe4#PPA58,M1
| isbn = 0879308303}}</ref> It was noted for its ability to reproduce several instruments synchronously; the Kurzweil K250 also had a velocity-sensitive keyboard. It was priced at [[U.S. Dollar|US$]] 10,000.<ref>{{Citation
| last = Porter
| first = M
| title = The Impact of the Kurzweil 250
| publisher = Computers & Electronics
| pages = 42-43
| date = July 1984}}</ref>

Most new synthesizers since the early 1980s have been digital. Japanese manufacturers Yamaha and Casio both influenced digital synthesizers during the 1980s and 1990s. [[John Chowning]], a professor at [[Stanford University]], exclusively licensed his [[FM synthesis]] patent to Yamaha in 1975.<ref>{{Citation
| last = Petzold
| first = Charles
| title = Riding the wave of sound synthesis: the origins of FM synthesis
| publisher = [[PC Magazine]]
| page = 232
| date = [[November 29]], [[1988]]
| url = }}</ref> Yamaha subsequently released their first FM synthesizers, the [[Yamaha GS-1|GS-1]] and [[Yamaha GS-2|GS-2]], which were costly and heavy. The GS series followed, which used a pair of smaller, preset versions—the CE20 and CE25 Combo Ensembles. These models were targeted primarily at the home organ market and featured four-octave keyboards.<ref>{{Citation
| title = Yamaha GS1 & DX1
| publisher = Sound On Sound
| date = 06-2001
| url = http://www.soundonsound.com/sos/aug01/articles/retrofmpt1.asp
| accessdate = [[2008-04-10]]}}</ref> Yamaha's third generation of digital synthesizers was a commercial success; it consisted of the [[Yamaha DX7|DX7]] and [[Yamaha DX9|DX9]] (1983). Both models were compact, reasonably priced, and dependent on custom digital integrated circuits to produce FM tonalities. The DX7 was the first mass market all-digital synthesizer.<ref>{{Citation
| last = Le Heron
| first = Richard B.
| last2 = Harrington
| first2 = James W.
| title = New Economic Spaces: New Economic Geographies
| publisher = Ashgate Publishing
| date = 2005
| page = 41
| isbn = 0754644502}}</ref> It became indispensable to many music artists of the 1980s, and demand soon exceeded supply.<ref>{{Citation
| title = Three Yamaha products that reshaped the industry mark 20th anniversary
| publisher = Music Trades
| pages = 70-74
| date = February 2004
| url = http://findarticles.com/p/articles/mi_hb5264/is_200402/ai_n20430721}}</ref> The DX7 sold over 200,000 units within three years.<ref>{{Citation
| last = Colbeck
| first = Julian
| title = Keyfax The Omnibus Edition
| publisher = Hal Leonard Corporation
| date = June 1997
| page = 208
| isbn = 0918371082}}</ref>

After the introduction of the DX series, Bo Tomlyn, original DX7 project manager Mike Malizola, and Chuck Monte founded Key Clique, Inc, which sold thousands of [[ROM cartridge]]s with new FM/DX7 sounds to DX7 owners. This led to the demise of the heavy, electro-mechanical [[Rhodes piano]] during the 1980s, until its comeback in the 1990s. Yamaha later licensed its FM technology to other manufacturers. When the Stanford patent expired, many [[personal computer]]s already contained an audio input-output system with a built-in 4-operator FM digital synthesizer.

Following the success of Yamaha's licensing of Stanford's FM synthesis patent, Yamaha signed a contract with Stanford University in 1989 to develop jointly [[digital waveguide synthesis]]. As such, most patents related to the technology are owned by Stanford or Yamaha. The first commercial physical modeling synthesizer was Yamaha's [[Yamaha VL-1|VL-1]] in 1994.<ref>{{Citation
| last = Aikin
| first = Jim
| title = Software Synthesizers: The Definitive Guide to Virtual Musical Instruments
| publisher = Backbeat Books
| date = 2003
| page = 4
| isbn = 0879307528}}</ref> Analog synthesizers have also revived in popularity since the 1980s. In recent years, the two trends have sometimes been combined as [[analog modeling synthesizer]]s, or digital synthesizers that model analog synthesis using digital signal processing techniques. New analog instruments now also accompany the large number from the digital world.

== MIDI control ==
{{main|Musical Instrument Digital Interface}}
Synthesizers became easier to integrate and synchronize with other electronic instruments and controllers with the introduction of [[Musical Instrument Digital Interface]] (MIDI) in 1983.<ref>{{Citation
| title = The Complete MIDI 1.0 Detailed Specification
| publisher = MIDI Manufacturers Association Inc.
| url = http://www.midi.org/about-midi/specinfo.shtml
| accessdate = [[2008-04-10]]}}</ref> First proposed in 1981 by engineer [[Dave Smith (engineer)|Dave Smith]] of [[Sequential Circuits]], the MIDI standard was developed by a consortium now known as the MIDI Manufacturers Association.<ref name="midi-intro">{{Citation
| last = Rothtein
| first = Joseph
| title = MIDI: A Comprehensive Introduction
| publisher = A-R Editions
| date = 1995
| page = 1-11
| url = http://books.google.com/books?id=ajDaXh-qgDUC&printsec=frontcover&dq=MIDI&as_brr=3&ei=gk1ASJ2cI5DyiwHostSIBQ&sig=XBtieUfP5lpGvDci6Yj5eDNt_ME#PPA11,M1
| isbn = 0895793091
| accessdate = [[2008-05-30]]}}</ref> MIDI is an [[Opto-isolator|opto-isolated]] [[Serial communications|serial interface]] and [[Communications protocol|communication protocol]].<ref name="midi-intro"/> It provides for the transmission from one device or instrument to another of real-time performance data. This data includes note events, commands for the selection of instrument presets (i.e. sounds, or programs or patches, previously stored in the instrument's memory), the control of performance-related parameters such as volume, effects levels and the like, as well as synchronization, transport control and other types of data. MIDI interfaces are now almost ubiquitous on music equipment and are commonly available on [[personal computer]]s (PCs).<ref name="midi-intro"/>

The [[General MIDI]] (GM) [[software]] standard was devised in 1991 to serve as a consistent way of describing a set of over 200 tones (including percussion) available to a PC for playback of musical scores.<ref name="GM">{{Citation
| last = Webster
| first = Peter Richard
| last2 = Williams
| first2 = David Brian
| title = Experiencing Music Technology: Software, Data, and Hardware
| publisher = Thomson Schirmer
| date = 2005
| page = 221
| isbn = 0534176720}}</ref> For the first time, a given MIDI preset would consistently produce an instrumental sound on any GM-conforming device. The [[Standard MIDI File]] (SMF) format ([[Filename extension|extension]] <code>.mid</code>) combined MIDI events with delta times - a form of time-stamping - and became a popular standard for exchange of music scores between computers. In the case of SMF playback using integrated synthesizers (as in computers and cell phones), the hardware component of the MIDI interface design is often unneeded.

[[Open Sound Control]] (OSC) is a proposed replacement for MIDI designed for networking. In contrast with MIDI, OSC allows thousands of synthesizers or computers to share music performance data over the Internet in [[Real-time computing|realtime]].

== Impact on the music industry and culture ==
[[Image:Roland Jupiter-8 Synth, 1983 (2039658601).jpg|thumb|right|250px|Both the [[Roland Jupiter-4]] and [[Roland Jupiter-8|Jupiter-8]] synthesizers were used by [[New Wave music|New Wave]] band [[Duran Duran]] during the early 1980s.]]The synthesizer has had a large impact on modern music over the past forty years.<ref name="impact">{{Citation
| last = Eisengrein
| first = Doug
| title = Renewed Vision
| date = [[September 1]], [[2005]]
| publisher = Remix Magazine
| url = http://remixmag.com/mag/remix_renewed_vision/index.html
| accessdate = [[2008-04-16]]}}</ref> The first significant influence of the instrument came during the 1970s and 1980s. Wendy Carlos's ''[[Switched-On Bach]]'' (1968), recorded using [[Moog synthesizer]]s, influenced numerous musicians of that era. ''Switched-On Bach'' is one of the most popular classical music recordings ever made, and the first to go [[Music recording sales certification|Platinum]].<ref name="wendycarlos">{{Citation
| last = Catchlove
| first = Lucinda
| title = Wendy Carlos (electronic musician)
| publisher = Remix Magazine
| date = April 1, 2002
| url = }}</ref> During the late 1960s, hundreds of other popular recordings used Moog synthesizers. The Moog synthesizer spawned a subculture of record producers who made novelty "Moog" recordings, using synthesizers to create new sounds to draw attention and sales.

{{listen
|filename=Carlos brandenburg 3.ogg
|title=Wendy Carlos - ''Switched-On Bach''
|description=''First Movement (Allegro) of Brandenburg Concerto Number 3''.
}}

The synthesizer's notable influence during the late 1970s and 1980s led to mainstream popularity among renowned music artists. The first major artists to fully use the synthesizer included [[Wendy Carlos]],<ref name="wendycarlos"/> [[Stevie Wonder]], [[Peter Gabriel]], [[Kraftwerk]], [[Ultravox]] and [[Yellow Magic Orchestra]]. English musician [[Gary Numan]] was influenced by Kraftwerk, Ultravox and David Bowie. Numan's 1979 hit ''[[Are 'Friends' Electric?]]'' used synthesizers heavily.<ref>{{Citation
| last = George-Warren
| first = Holly
| title = The Rolling Stone Encyclopedia of Rock & Roll
| publisher = Fireside
| date = 2001
| pages = 707-734
| isbn = 0743201205}}</ref> Numan continued to use synthesizers throughout most of his career, including the 1980 hit ''[[Cars (song)|Cars]]''.<ref>{{Citation
| last = Robbins
| first = Ira A
| title = The Trouser Press Record Guide
| publisher = Maxwell Macmillan International
| date = 1991
| page = 473
| isbn = 0020363613}}</ref>

The influence of synthesizers on the [[Synthpop]] movement in the United Kingdom during the 1980s was evident from its usage by [[Nick Rhodes]], keyboardist of [[Duran Duran]], who used [[Roland Jupiter-4]] and [[Roland Jupiter-8|Jupiter-8]] synthesizers.<ref>{{Citation
| last = Black
| first = Johnny
| title = The Greatest Songs Ever! Hungry Like the Wolf
| publisher = Blender Magazine
| date = Jan/Feb 2003
| url = http://www.blender.com/guide/articles.aspx?id=829
| accessdate = [[2008-04-16]]}}</ref> The emergence of Synthpop, a subgenre of [[New Wave music|New Wave]], can be largely credited to the synthesizer. It lasted from the late 1970s to the mid 1980s. The influences of synthesizer technology and Germanic ambience of Kraftwerk and of David Bowie during his Berlin period (1976-77) were both crucial in the development of the synthpop genre.<ref name="synthpop">{{Citation
| last = Borthwick
| first = Stuart
| title = Popular Music Genres: An Introduction
| publisher = Edinburgh University Press
| date = 2004
| page = 120
| url = http://books.google.com/books?id=r4bmVbNSnk4C&pg=PA119&dq=synthpop&ei=lz0GSPvqB6HayAT20J3KAQ&sig=7DM1Z1PYCj_ELmqAEqL83Op-7Do#PPA120,M1
| isbn = 0748617450}}</ref> By 1981, many artists had adopted the synthpop sound and experienced chart success, such as [[Depeche Mode]], [[Visage]], [[Orchestral Manoeuvres in the Dark|OMD]], and Ultravox.<ref name="synthpop"/> Duran Duran and [[Spandau Ballet]] were classed as leaders of the genre in 1981. Many other acts followed, including [[Soft Cell]], [[Culture Club]], [[Eurythmics]] and [[Blancmange]], by which time synthesizers were one of the most important instruments within the music industry.<ref name="synthpop"/>

The synthesizer introduced many recognizable sounds in the 1980s. OMD's ''[[Enola Gay (song)|Enola Gay]]'' (1980) used a distinctive electronic percussion and synthesized melody. [[Soft Cell]] used a synthesized melody in their 1981 hit ''[[Tainted_Love#Soft_Cell_version|Tainted Love]]''.<ref name="melody">Borthwick (2004), 129</ref> Other chart hits include [[Depeche Mode]]'s ''[[Just Can't Get Enough]]'' (1981),<ref name="melody"/> and [[The Human League]]'s ''[[Don't You Want Me]]''.<ref>Borthwick (2004), 130</ref> The sounds varied between artists and songs, but all were distinctively produced using synthesizers.<ref>Borthwick (2004), 128</ref>


==See also==
==See also==
* [[Computer music]]
*[[WWE Cyber Sunday]]
*[[List of WWE pay-per-view events]]
* [[Electronic keyboard]]s
* [[Guitar/synthesizer]]
* [[Keytar]]
* [[List of synthesizer manufacturers]]
* [[List of classic synthesizers]]
* [[Modular synthesizer]]
* [[Musical instrument]]
* [[Software synthesizer]]


==Notes==
==References==
{{reflist|2}}
{{Reflist}}

== References ==
*Gorges, Peter (2005). ''Programming Synthesizers'', ISBN 978-3-934903-48-7.

*Schmitz, Reinhard (2005). ''Analog Synthesis'', ISBN 978-3-934903-01-2.

*Shapiro, Peter (2000). ''Modulations: A History of Electronic Music: Throbbing Words on Sound'', ISBN 1-891024-06-X.


==External links==
==External links==
* [http://www.vintagesynth.com Vintagesynth] — Vintage Synth Explorer
*[http://www.wwe.com/shows/cybersunday/ The official website of WWE Cyber Sunday]
{{Portal|Professional wrestling|break=yes}}
* [http://www.progsounds.com Progsounds] — Online Synthesizer Resource
{{WWEPPV|Cyber Sunday}}
* [http://www.synthmuseum.com/ Synth Museum] — Vintage Synth Resource
* [http://musicheaven.molekulatv.hu/nextES New sound developers] - possible sound of a complex future music.
* [http://www.obsolete.com/120_years/ 120 years of Electronic Music] — Machines used from 1870-1990
* [http://www.acoustics.salford.ac.uk/acoustics_info/sound_synthesis/ Principles of Sound Synthesis] at [[Salford University]]
* [http://www.innovativesynthesis.com/ Innovative Synthesis] — Articles About Synthesisers





[[Category:Electronic music instruments]]
[[Category:2008 in professional wrestling]]
[[Category:Synthesizers|*]]
[[Category:Cyber Sunday]]
[[Category:Sports in Phoenix, Arizona]]


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Revision as of 21:43, 11 October 2008

Template:Future

Cyber Sunday (2008)
PromotionWorld Wrestling Entertainment
Brand(s)Raw
SmackDown
ECW
DateOctober 26, 2008
CityPhoenix, Arizona
VenueUS Airways Center
Pay-per-view chronology
← Previous
No Mercy (2008) 		Next →
Survivor Series (2008)
Cyber Sunday chronology
← Previous
Cyber Sunday (2007) 		Next →
TBD

Cyber Sunday (2008) will be a professional wrestling pay-per-view event produced by World Wrestling Entertainment (WWE), which is scheduled to take place on October 26, 2008 at the US Airways Center in Phoenix, Arizona. It will be the fifth such event, but the third under the Cyber Sunday name, and will feature wrestlers from the Raw, ECW, and SmackDown brands.[2] As of October 10, 2008, three professional wrestling matches are scheduled on the event's card.

Background

See also: Professional wrestling

The event will feature professional wrestling matches that involve different wrestlers from pre-existing scripted feuds, plots and storylines. Wrestlers will portray a villain or a fan favorite as they follow a series of events that build tension, and culminate into a wrestling match or series of matches. The event will feature wrestlers from the Raw, ECW, and SmackDown brands – storyline divisions to which WWE assigns its employees to different programs. Unlike other WWE events, stipulations of each match will result from votes by fans through text messaging, a change from previous Cyber Sunday events which were determined by polls conducted on WWE.com. Voting for the event started on October 6, 2008.

It was announced on October 6, 2008 on Raw, a primary WWE television program, that World Heavyweight Champion Chris Jericho (Chris Irvine) would defend his title against Batista (Dave Bautista) in a standard wrestling match, also known as a singles match. In this match, fans will be able to vote for a guest referee to officiate; the three candidates are Randy Orton, Shawn Michaels, and Steve Austin.[3]

Matches

Match Stipulation Vote for:
Chris Jericho (c) vs. Batista[3] Singles match for the World Heavyweight Championship; fans vote for guest referee []]<br]]
Steve Austin
Santino Marella (c) vs. TBD [4] Singles match for the WWE Intercontinental Championship; fans vote for Marella's opponent Roddy Piper
Goldust
The Honky Tonk Man
Triple H (c) vs. TBD [5] Singles match or Triple Threat match for the WWE Championship; fans vote for Triple H's opponent(s) Vladimir Kozlov
Jeff Hardy
Both
(c) - refers to the champion heading into the match

See also

References

  1. ^ No Mercy (PPV). World Wrestling Entertainment. {{cite AV media}}: |access-date= requires |url= (help)
  2. ^ "Greatest Moments in Pay-Per-View History". WWE Magazine: 64–65. 2007. {{cite journal}}: |access-date= requires |url= (help); Unknown parameter |month= ignored (help)
  3. ^ a b "Preview:World Heavyweight Champion Chris Jericho vs. Batista (WWE Universe chooses referee)". World Wrestling Entertainment. Retrieved 2008-10-06. {{cite web}}: Cite has empty unknown parameter: |1= (help)
  4. ^ "Preview:Intercontinental Championship Match (WWE Universe chooses Santino Marella's opponent)". World Wrestling Entertainment. Retrieved 2008-10-06.
  5. ^ "Preview:WWE Championship Match (WWE Universie chooses Triple H's opponent)(s)". World Wrestling Entertainment. 2008-10-09. Retrieved 2008-10-11.

External links

Retrieved from "https://en.wikipedia.org/w/index.php?title=Synthesizer&oldid=244650243"