Foreword xi
Preface xiii
Introduction xvii
Chapter 1. Electronic Music1
1.1.Musique concrète1
1.2. The beginnings of electronic music 3
1.3. Electroacoustic music 3
1.4. Acousmatic music 4
1.5. And much, much more 6
1.6. Maturity 6
1.7. Different paths to music 6
1.8. Today and tomorrow 10
1.9. Electronic music and counter-culturalism 11
1.10. Final remarks 14
Chapter 2. When Revolution Holds Us in Its Grasp 15
2.1. From analog to digital 15
2.2. Popular music and electronic music 23
2.2.1. New wave 25
2.2.2. House music 26
2.2.3. Techno 28
2.2.4. New beat 29
2.2.5. Acid house 30
2.2.6. Acid jazz 32
2.2.7. Ambient 33
2.2.8. Hip-hop and rap 35
2.2.9. Trance 35
2.2.10. Electro or contemporary electro 36
2.3. Final remarks 37
Chapter 3. The MIDI Standard 41
3.1. History 41
3.2. How MIDI works 42
3.2.1. The hardware level 42
3.2.2. The software level 45
3.3. Examples of MIDI transmission 49
3.3.1. Note-on/note-off messages 49
3.3.2. Program change message 50
3.4. The MIDI implementation chart 51
3.5. The General MIDI standard 52
3.5.1. Specifications 52
3.6. The General MIDI 2 standard 54
3.7. The GS format 54
3.8. The XG format 55
3.9. The structure of a MIDI file 56
3.9.1. Header chunks 56
3.9.2. Track chunks 57
3.9.3. Example of a MIDI file 64
3.10. MIDI devices 67
3.10.1. MIDI boxes, mergers, and patchers 67
3.10.2. Musical instruments 69
3.10.3. Studio hardware 70
3.10.4. MIDI to computer 71
3.11. Conclusion 73
Chapter 4. Sequencers75
4.1. Mechanical and electrical machines 75
4.1.1. Music boxes 76
4.1.2. Mechanical pianos 77
4.1.3. Barrel organs 80
4.1.4. Fairground organs 82
4.2. Analog sequencers 83
4.3. Digital sequencers 86
4.4. Software sequencers 88
4.5. Final remarks 91
Chapter 5. Drum Machines 93
5.1. On the subject of electromechanical rhythm 93
5.2. Drum machines with presets 97
5.3. Programmable drum machines 103
5.4. The MIDI age 106
5.5. Drum machines with sampled sounds 107
5.6. Rhythms, software, and computers 111
5.7. Final remarks 115
Chapter 6. Samplers117
6.1. History of samplers 117
6.1.1. Basic principles 118
6.1.2. The arrival of the Mellotron 119
6.1.3. Samplers 123
6.1.4. Software samplers 133
6.2. History of musical styles 139
6.3. Architecture and principles 142
6.4. Final remarks 144
Chapter 7. Groove Machines147
7.1. Structure 147
7.2. Famous groove machines 148
7.2.1. E-mu SP12 (1985) 149
7.2.2. AKAI MPC-60 (1988) 150
7.2.3. Roland MC-303 (1996) 151
7.2.4. AKAI MPC 2000XL (1999) 152
7.2.5. Roland MC-909 (2003) 153
7.2.6. Elektron Octatrack DPS 1 (2011) 155
7.2.7. Korg Electribe 2 (2014) and Korg Electribe Sampler (2015) 156
7.2.8. Novation Circuit (2015) 158
7.2.9. Teenage Electronics Pocket Operator PO-32 (2017) 159
7.3. Software groove machines 160
7.3.1. Image Line Groove Machine 162
7.3.2. Propellerhead Reason 163
7.3.3. Ableton Live 169
7.4. Controllers and software 172
7.4.1. Native Instruments Maschine (2009) 172
7.4.2. Roland MPC Studio Black (2017) 174
7.5. iGroove machines 176
7.6. Final remarks 176
Chapter 8. Vocoders179
8.1. History 179
8.2. Working principle of the vocoder 183
8.3. Machines and equipment 184
8.3.1. EMS Vocoder 2000 184
8.3.2. EMS Vocoder 5000 185
8.3.3. EMS Vocoder 3000 185
8.3.4. Roland VP-330 186
8.3.5. Korg VC-10 187
8.3.6. Moog Vocoder 188
8.3.7. Roland SVC-350 188
8.3.8. Electrix Warp Factory 189
8.3.9. Korg MS2000 189
8.3.10. Microkorg 190
8.3.11. Roland VP-550 191
8.3.12. The Music and More VF11 192
8.3.13. Novation Mininova 192
8.3.14. Digitech Talker 193
8.3.15. Electro-Harmonix V256 194
8.3.16. A few more unusual examples 194
8.4. Software vocoders 195
8.5. One step further 196
8.5.1. Talkbox 196
8.5.2. Auto-Tune 198
8.6. Final remarks 199
Chapter 9. Octatrack: Maintenance, Repairs, and Tips201
9.1. Updating the software 201
9.1.1. Updating the operating system 203
9.2. Testing the OT 206
9.2.1. Testing the push buttons 207
9.2.2. Testing the dials 210
9.2.3. Testing the x-fader 211
9.2.4. Analysis and results 211
9.3. Hardware repairs 211
9.3.1. Opening up the OT 212
9.3.2. Replacing the push buttons 215
9.3.3. Replacing the battery 220
9.3.4. Replacing the x-fader 222
9.3.5. Replacing an incremental encoder 225
9.4. Final remarks 228
Chapter 10. Octatrack: MIDI Sequences and Arpeggios229
10.1. Setup and configuration 229
10.1.1. Connections and software settings 229
10.1.2. Creating a new project 231
10.1.3. Creating a THRU device (machine) 231
10.1.4. Setting up the MIDI connection between the OT and the instrument 232
10.2. Creating a MIDI sequence using triggers 234
10.2.1. MIDI track 234
10.2.2. Creating a musical sequence 235
10.2.3. A multi-page sequence 238
10.3. Creating a sequence with the arpeggiator 240
10.3.1. Presentation of the arpeggiator 241
10.3.2. A simple arpeggio 242
10.3.3. Defining an arpeggio graphically 244
10.3.4. More complex arpeggios 246
10.3.5. Triggers in chromatic mode 247
10.3.6. Saving a MIDI sequence from an external instrument 248
10.4. Creating a MIDI sequence with a drum machine 251
10.5. MIDI sequences, rhythms, and CC codes 255
Chapter 11. Korg Electribe: Maintenance and Hardware Tips263
11.1. Overview 263
11.1.1. Electribe 2 264
11.1.2. Electribe Sampler 266
11.2. MIDI cables 267
11.2.1. Male 3.5 mm jack to female 5-pin DIN adapter 267
11.2.2. Male 3.5 mm jack to male 5-pin DIN cable 268
11.3. Updating the operating system 269
11.4. Electribe 2 to Electribe Sampler 272
11.4.1. Migrating to the Electribe Sampler 274
11.4.2. Reverting to the Electribe 2 276
11.4.3. Downgrading the Electribe 277
11.4.4. Editing the operating system files 277
11.4.5. Major operating system versions of the Electribe 2 280
11.5. Conclusion 280
Chapter 12. Korg Electribe: Software Tips281
12.1. Menu tree of the Electribe 2 and the Electribe Sampler 281
12.2. Shortcuts 295
12.3. Using the audio input 295
12.3.1. Through the Electribe 296
12.3.2. Saving a carrier pattern 297
12.3.3. Filtering and applying effects 300
12.3.4. Sending commands to the synthesizer using triggers 302
12.3.5. Sequencer, synthesizer, filters, and effects 304
12.4. Extra tips 305
12.4.1. Octave switching 305
12.4.2. Viewing the current settings of a PART 305
12.4.3. Controlling two different synthesizers from the MIDI out 305
12.5. Final remarks 306
Conclusion 307
Appendices 309
Appendix 1. CV/Gate 311
Appendix 2. Digital Inputs/Outputs 319
Appendix 3. The General MIDI (GM) Standard 329
Appendix 4. Plugins 333
Appendix 5. Control and MIDI Dump Software 335
Bibliography 341
Index 349
