Keyboard
Piano
The piano is an acoustic, keyboard, stringed percussion instrument in which the strings are struck by wooden hammers that are coated with a softer material (modern hammers are covered with dense wool felt; some early pianos used leather). It is played using a keyboard, which is a row of keys (small levers) that the performer presses down or strikes with the fingers and thumbs of both hands to cause the hammers to strike the strings. It was invented in Italy by Bartolomeo Cristofori around the year 1700.
The word "piano" is a shortened form of pianoforte, the Italian term for the early 1700s versions of the instrument, which in turn derives from clavicembalo col piano e forte (key cimbalom with quieter and louder) and fortepiano. The Italian musical terms piano and forte indicate "soft" and "loud" respectively, in this context referring to the variations in volume (i.e., loudness) produced in response to a pianist's touch or pressure on the keys: the greater the velocity of a key press, the greater the force of the hammer hitting the strings, and the louder the sound of the note produced and the stronger the attack. The name was created as a contrast to harpsichord, a musical instrument that does not allow variation in volume; compared to the harpsichord, the first fortepianos in the 1700s had a quieter sound and smaller dynamic range.
A piano usually has a protective wooden case surrounding the soundboard and metal strings, which are strung under great tension on a heavy metal frame. Pressing one or more keys on the piano's keyboard causes a wooden or plastic hammer (typically padded with firm felt) to strike the strings. The hammer rebounds from the strings, and the strings continue to vibrate at their resonant frequency. These vibrations are transmitted through a bridge to a soundboard that amplifies by more efficiently coupling the acoustic energy to the air. When the key is released, a damper stops the strings' vibration, ending the sound. Notes can be sustained, even when the keys are released by the fingers and thumbs, by the use of pedals at the base of the instrument. The sustain pedal enables pianists to play musical passages that would otherwise be impossible, such as sounding a 10-note chord in the lower register and then, while this chord is being continued with the sustain pedal, shifting both hands to the treble range to play a melody and arpeggios over the top of this sustained chord. Unlike the pipe organ and harpsichord, two major keyboard instruments widely used before the piano, the piano allows gradations of volume and tone according to how forcefully or softly a performer presses or strikes the keys.
Most modern pianos have a row of 88 black and white keys, 52 white keys for the notes of the C major scale (C, D, E, F, G, A and B) and 36 shorter black keys, which are raised above the white keys, and set further back on the keyboard. This means that the piano can play 88 different pitches (or "notes"), spanning a range of a bit over seven octaves. The black keys are for the "accidentals" (F♯/Gb, G♯/Ab, A♯/Bb, C♯/Db, and D♯/Eb), which are needed to play in all twelve keys. More rarely, some pianos have additional keys (which require additional strings), an example of which is the Bösendorfer Concert Grand 290 Imperial, which has 97 keys. Most notes have three strings, except for the bass, which graduates from one to two. The strings are sounded when keys are pressed or struck, and silenced by dampers when the hands are lifted from the keyboard. Although an acoustic piano has strings, it is usually classified as a percussion instrument rather than as a stringed instrument, because the strings are struck rather than plucked (as with a harpsichord or spinet); in the Hornbostel–Sachs system of instrument classification, pianos are considered chordophones. There are two main types of piano: the grand piano and the upright piano. The grand piano has a better sound and gives the player a more precise control of the keys, and is therefore the preferred choice for every situation in which the available floor-space and the budget will allow, as well as often being considered a requirement in venues where skilled pianists will frequently give public performances. The upright piano, which necessarily involves some compromise in both tone and key action compared to a grand piano of equivalent quality, is nevertheless much more widely used, because it occupies less space (allowing it to fit comfortably in a room where a grand piano would be too large) and is significantly less expensive.
During the 1800s, influenced by the musical trends of the Romantic music era, innovations such as the cast iron frame (which allowed much greater string tensions) and aliquot stringing gave grand pianos a more powerful sound, with a longer sustain and richer tone. In the nineteenth century, a family's piano played the same role that a radio or phonograph played in the twentieth century; when a nineteenth century family wanted to hear a newly published musical piece or symphony, they could hear it by having a family member play a simplified version on the piano. During the nineteenth century, music publishers produced many types of musical works (symphonies, opera overtures, waltzes, etc.) in arrangements for piano, so that music lovers could play and hear the popular pieces of the day in their home. The piano is widely employed in classical, jazz, traditional and popular music for solo and ensemble performances, accompaniment, and for composing, songwriting and rehearsals. Although the piano is very heavy and thus not portable and is expensive (in comparison with other widely used accompaniment instruments, such as the acoustic guitar), its musical versatility (i.e., its wide pitch range, ability to play chords, louder or softer notes and two or more independent musical lines at the same time), the large number of musicians - both amateurs and professionals - trained in playing it, and its wide availability in performance venues, schools and rehearsal spaces have made it one of the Western world's most familiar musical instruments.
Types of Pianos
Modern pianos have two basic configurations, the grand piano and the upright piano, with various styles of each. There are also specialized and novelty pianos, electric pianos based on electromechanical designs, electronic pianos that synthesize piano-like tones using oscillators, and digital pianos using digital samples of acoustic piano sounds.
Grand Piano
In grand pianos, the frame and strings are horizontal, with the strings extending away from the keyboard. The action lies beneath the strings and uses gravity as its means of return to a state of rest. Grand pianos range in length from approximately 1.5-3 m (4 ft 11 in - 9 ft 10 in). Some of the lengths have been given more-or-less customary names, which vary from time to time and place to place, but might include:
- Baby grand - around 1.5 m (4 ft 11 in)
- Parlor grand or Boudoir Grand - 1.7 to 2.2 m (5 ft 7 in - 7 ft 3 in)
- Concert grand - between 2.2 and 3 m (7 ft 3 in - 9 ft 10 in)
All else being equal, longer pianos with longer strings have larger, richer sound and lower inharmonicity of the strings. Inharmonicity is the degree to which the frequencies of overtones (known as partials or harmonics) sound sharp relative to whole multiples of the fundamental frequency. This results from the piano's considerable string stiffness; as a struck string decays its harmonics vibrate, not from their termination, but from a point very slightly toward the center (or more flexible part) of the string. The higher the partial, the further sharp it runs. Pianos with shorter and thicker string (i.e., small pianos with short string scales) have more inharmonicity. The greater the inharmonicity, the more the ear perceives it as harshness of tone.
The inharmonicity of piano strings requires that octaves be stretched, or tuned to a lower octave's corresponding sharp overtone rather than to a theoretically correct octave. If octaves are not stretched, single octaves sound in tune, but double—and notably triple—octaves are unacceptably narrow. Stretching a small piano's octaves to match its inherent inharmonicity level creates an imbalance among all the instrument's intervallic relationships. In a concert grand, however, the octave "stretch" retains harmonic balance, even when aligning treble notes to a harmonic produced from three octaves below. This lets close and widespread octaves sound pure, and produces virtually beatless perfect fifths. This gives the concert grand a brilliant, singing and sustaining tone quality—one of the principal reasons that full-size grands are used in the concert hall. Smaller grands satisfy the space and cost needs of domestic use; as well, they are used in some small teaching studios and smaller performance venues.
Steinway Grand Piano Sizes
| Model | Name | Length | Width |
|---|---|---|---|
| Model D | Concert Grand | 8 feet 11 3/4 inches | 5 feet 1 3/4 inches |
| Model B | Classic Grand | 6 feet 11 inches | 4 feet 10 inches |
| Model A | Salon Grand | 6 feet 2 inches | 4 feet 9 3/4 inches |
| Model O | Living Room Grand | 5 feet 10 3/4 inches | 9 3/4 inches |
| Model M | Medium Grand | 5 feet 7 inches | 9 3/4 inches |
| Model S | Baby Grand | 5 feet 1 inch | 9 3/4 inches |
Bösendorfer Grand Piano Sizes
Bösendorfer pioneered the extension of the typical 88-key keyboard, creating the Imperial Grand (Model 290), which has 97 keys (eight octaves).
| Model | Name | Length | Width | Keys |
|---|---|---|---|---|
| 290 | Imperial Concert Grand | 290 cm (9 feet 6 11/64 inches) | 168 cm (5 feet 6 9/64 inches) | 97 |
| 280VC | Concert Grand | 280 cm (feet inches) | 161 cm (5 feet 3 25/54 inches) | 88 |
| 230VC | Concert Grand | 230 cm (feet inches) | 154 (5 feet 5/8 inch) | 88 |
| 225 | Grand | 225 cm (feet inches) | 159 (5 feet 2 19/32 inches) | 92 |
| 214VC | Grand | 214 cm (feet inches) | 151 (4 feet 11 29/64 inches) | 88 |
| 200 | Grand | 200 cm (feet inches) | 151 (4 feet 11 29/64 inches) | 88 |
| 185VC | Grand | 185 cm (feet inches) | 151 (4 feet 11 29/64 inches) | 88 |
| 170VC | Grand | 170 cm (feet inches) | 151 (4 feet 11 29/64 inches) | 88 |
Upright
Upright pianos, also called vertical pianos, are more compact due to the vertical structure of the frame and strings. The mechanical action structure of the upright piano was invented in London, England in 1826 by Robert Wornum, and upright models became the most popular model for domestic use. Upright pianos took less space than a grand piano, and as such they were a better size for use in private homes for domestic music-making and practice. The hammers move horizontally, and return to their resting position via springs, which are susceptible to degradation. Upright pianos with unusually tall frames and long strings were sometimes marketed as upright grand pianos, but that label is misleading. Some authors classify modern pianos according to their height and to modifications of the action that are necessary to accommodate the height. Upright pianos are generally less expensive than grand pianos. Upright pianos are widely used in churches, community centers, schools, music conservatories and university music programs as rehearsal and practice instruments, and they are popular models for in-home purchase.
Types of Upright Pianos
- Spinet: The top of a spinet model barely rises above the keyboard. Unlike all other pianos, the spinet action is located below the keys, operated by vertical wires that are attached to the backs of the keys.
- Console: Console pianos, which have a compact action (shorter hammers than a large upright has), but because the console's action is above the keys rather than below them as in a spinet, a console almost always plays better than a spinet does. Console pianos are a few inches shorter than studio models.
- Studio: Studio pianos are around 107 to 114 cm (42-45 in) tall. This is the shortest cabinet that can accommodate a full-sized action located above the keyboard.
- Upright: Anything taller than a studio piano is called an upright. (Technically, any piano with a vertically oriented soundboard could be called an upright, but that word is often reserved for the full-size models.)
Electric Tine Pianos
The Rhodes piano (also known as the Fender Rhodes piano) is an electric piano invented by Harold Rhodes, which became popular in the 1970s. Like a conventional piano, the Rhodes generates sound with keys and hammers, but instead of strings, the hammers strike thin metal tines, which vibrate next to an electromagnetic pickup. The signal is then sent through a cable to an external keyboard amplifier and speaker.
The instrument evolved from Rhodes's attempt to manufacture pianos while teaching recovering soldiers during World War II. Development continued after the war and into the following decade. In 1959, Fender began marketing the Piano Bass, a cut-down version; the full-size instrument did not appear until after Fender's sale to CBS in 1965. CBS oversaw mass production of the Rhodes piano in the 1970s, and it was used extensively through the decade, particularly in jazz, pop, and soul music.
Electric Reed Pianos
The Wurlitzer electronic piano is an electric piano manufactured and marketed by Wurlitzer from 1954 to 1983. Sound is generated by striking a metal reed with a hammer, which induces an electric current in a pickup. It is conceptually similar to the Rhodes piano, though the sound is different.
The instrument was invented by Benjamin Miessner, who had worked on various types of electric pianos since the early 1930s. The first Wurlitzer was manufactured in 1954, and production continued until 1983. Originally, the piano was designed to be used in the classroom, and several dedicated teacher and student instruments were manufactured. It was adapted for more conventional live performances, including stage models with attachable legs and console models with built-in frames. The stage instrument was used by several popular artists, including Ray Charles, Joe Zawinul and Supertramp. Several electronic keyboards include an emulation of the Wurlitzer.
As the Wurlitzer is an electromechanical instrument, it can need occasional maintenance, such as re-tuning and replacing broken reeds. Its action and performance makes it stable enough for years of use.
Compared to the Rhodes piano, the sound from a Wurlitzer is sharper and closer to a sawtooth wave, while the Rhodes' is closer to a sine wave. This gives the Wurlitzer a sharper and punchier tone. When played gently the sound can be sweet and vibraphone-like, sounding similar to the Rhodes; while becoming more aggressive with harder playing, producing a characteristic slightly overdriven tone usually described as a "bark".
Electric String Piano
An electric string piano is a musical instrument that has a piano-style musical keyboard, where sound is produced by means of mechanical hammers striking metal strings, which leads to vibrations which are then converted into electrical signals by pickups (either magnetic, electrostatic, or piezoelectric). The pickups are connected to an instrument amplifier and loudspeaker to reinforce the sound sufficiently 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. Early electric string pianos used lengths of wire to produce the tone, like a traditional piano. The earliest electric pianos were invented in the late 1920s; the 1929 Neo-Bechstein electric grand piano was among the first.
Yamaha, Baldwin, Helpinstill and Kawai's electric pianos are actual grand or upright pianos with strings and hammers. The Helpinstill models have a traditional soundboard; the others have none, and are more akin to a solid-body electric guitar.
On Yamaha's pianos, such as the CP-70 the vibration of the strings is converted to an electrical signal by piezoelectric pickups under the bridge. Helpinstill's instruments use a set of electromagnetic pickups attached to the instrument's frame. All these instruments have a tonal character similar to that of an acoustic piano.
Digital Piano
A digital piano is a type of electronic keyboard instrument designed to serve primarily as an alternative to the traditional acoustic piano, both in how it feels to play and in the sound it produces. Digital pianos use either synthesized emulation or recorded samples of an acoustic piano, which are played through one or more internal loudspeakers. They also incorporate weighted keys, which recreate the feel of an acoustic piano. Some digital pianos are designed to also look like an upright or grand piano. Others may be very simple, without a stand.
While digital pianos may sometimes fall short of acoustic ones in feel and sound, their advantages include being smaller, weighing much less, and costing less than an acoustic piano. In addition, they do not need to be tuned, and their tuning can be modified to match the tuning of another instrument (e.g. a pipe organ). Like other electronic musical instruments, they can be connected to an amplifier or a PA system to produce a sound loud enough for a large venue or, at the other extreme, may be heard through headphones only. Some digital pianos can emulate other sounds besides the piano, the most common ones being pipe organ, electric piano, Hammond organ, and harpsichord. Digital pianos are often used in music schools and music studios as a replacement for traditional instruments.
Piano Emulation
In general, the sounds produced by a digital piano are based on sampling, by which acoustic piano sound samples are stored in ROM. The samples are usually created using high-quality pianos, professional microphones, and high-quality preamps in a professional recording studio. Usually multiple samples are available for the same keystroke, attempting to reproduce the diversity of sounds heard on an acoustic piano. However, sample-based digital pianos have limitations on the faithfulness with which they simulate acoustic pianos. Because samples are taken for only a limited number of intensity levels, digital pianos usually lack the continuous timbral changes that characterize acoustic pianos. They may also lack the harmonic tones that result when certain combinations of notes are sounded, and the natural reverberation that is heard when an acoustic piano is played percussively. They often lack the incidental acoustic noises associated with piano playing, such as the sounds of pedals being depressed and the associated machinery shifting within the piano, which some consider a benefit. These limitations apply to most acoustic instruments and their sampled counterparts.
Many digital pianos, especially those that resemble acoustic pianos, have built-in pedals that function much as those on acoustic pianos. Commercially available pedal switches, commonly used for regular electronic keyboards, can also be used, especially on portable models. On an acoustic piano the sustain pedal lifts the dampers for all strings, allowing them to resonate naturally with the notes played. Only high-end professional digital pianos can reproduce this sympathetic resonance effect.
Earlier digital pianos, such as those produced in the 1990s, often had polyphony limited to 32 or 64 notes.
Some digital piano implementations, like Roland V-Piano, Yamaha MODUS, Casio Celviano Grand Hybrid, and the software-based Pianoteq, use mathematical models based on acoustic pianos to generate sound, which brings the ability to generate sounds that vary more freely depending on how the keys have been struck, in addition to allow a more realistic implementation of the distinctive resonances and acoustical noises of acoustic pianos.
Celesta
The Celesta, also called a bell-piano, is a struck idiophone operated by a keyboard. It looks similar to an upright piano (four- or five-octave), albeit with smaller keys and a much smaller cabinet, or a large wooden music box (three-octave). The keys connect to hammers that strike a graduated set of metal (usually steel) plates or bars suspended over wooden resonators. Four or five-octave models usually have a damper pedal that sustains or damps the sound. The three-octave instruments do not have a pedal because of their small "table-top" design. One of the best-known works that uses the celesta is Pyotr Ilyich Tchaikovsky's "Dance of the Sugar Plum Fairy" from The Nutcracker.
The sound of the celesta is similar to that of the glockenspiel, but with a much softer and more subtle timbre. This quality gave the instrument its name, celeste, meaning "heavenly" in French. The celesta is often used to enhance a melody line played by another instrument or section. The delicate, bell-like sound is not loud enough to be used in full ensemble sections; as well, the celesta is rarely given standalone solos.
The celesta is a transposing instrument; it sounds one octave higher than the written pitch. Its four-octave sounding range is generally considered to be C4 to C8. The fundamental frequency of 4186 Hz makes this one of the highest pitches in common use. The original French instrument had a five-octave range, but because the lowest octave was considered somewhat unsatisfactory, it was omitted from later models. The standard French four-octave instrument is now gradually being replaced in symphony orchestras by a larger, five-octave German model. Although it is a member of the percussion family, in orchestral terms it is more properly considered a member of the keyboard section and usually played by a keyboardist. The celesta part is normally written on two braced staves, called a grand staff.
Harpsichord
A harpsichord is a musical instrument played by means of a keyboard. This activates a row of levers that turn a trigger mechanism that plucks one or more strings with a small plectrum made from quill or plastic. The strings are under tension on a soundboard, which is mounted in a wooden case; the soundboard amplifies the vibrations from the strings so that the listeners can hear it. Like a pipe organ, a harpsichord may have more than one keyboard manual, and even a pedal board. Harpsichords may also have stop buttons which add or remove additional octaves. Some harpsichords may have a buff stop, which brings a strip of buff leather or other material in contact with the strings, muting their sound to simulate the sound of a plucked lute.
The term denotes the whole family of similar plucked-keyboard instruments, including the smaller virginals, muselar, and spinet. The harpsichord was widely used in Renaissance and Baroque music, both as an accompaniment instrument and as a soloing instrument. During the Baroque era, the harpsichord was a standard part of the continuo group. The basso continuo part acted as the foundation for many musical pieces in this era. During the late 18th century, with the development of the fortepiano (and then the increasing use of the piano in the 19th century) the harpsichord gradually disappeared from the musical scene (except in opera, where it continued to be used to accompany recitative). In the 20th century, it made a resurgence, being used in historically informed performances of older music, in new compositions, and, in rare cases, in certain styles of popular music (e.g., Baroque pop).
Around the year 1700 the first piano was built. The piano uses percussion, the strings being struck with muffled wooden hammers instead of being plucked. The piano is capable of a quieter sound, which is why it has the name it has. The piano also allows variation in volume, which the harpsichord did not. By the late 18th century the harpsichord was supplanted by the piano and almost disappeared from view for most of the 19th century: an exception was its continued use in opera for accompanying recitative, but the piano sometimes displaced it even there.
Harpsichords vary in size and shape, but all have the same basic mechanism. The player depresses a key that rocks over a pivot in the middle of its length. The other end of the key lifts a jack (a long strip of wood) that holds a small plectrum (a wedge-shaped piece of quill, often made of plastic in the 21st century), which plucks the string. When the player releases the key, the far end returns to its rest position, and the jack falls back; the plectrum, mounted on a tongue mechanism that can swivel backwards away from the string, passes the string without plucking it again. As the key reaches its rest position, a felt damper atop the jack stops the string's vibrations.
Organ
In music, the organ is a keyboard instrument of one or more pipe divisions or other means (generally woodwind or electric) for producing tones. The organs have usually two or three, up to five, manuals for playing with the hands and a pedalboard for playing with the feet. With the use of registers, several groups of pipes can be connected to one manual.
The organ has been used in various musical settings, particularly in classical music. Music written specifically for the organ is common from the Renaissance to the present day. Pipe organs, the most traditional type, operate by forcing air through pipes of varying sizes and materials, each producing a different pitch and tone. These instruments are commonly found in churches and concert halls, where they have long been associated with liturgical music and grand ceremonial occasions.
Pipe Organ
The pipe organ is a musical instrument that produces sound by driving pressurised air (called wind) through the organ pipes selected from a keyboard. Because each pipe produces a single pitch, the pipes are provided in sets called ranks, each of which has a common timbre, volume, and construction throughout the keyboard compass. Most organs have many ranks of pipes of differing pitch, timbre, and volume that the player can employ singly or in combination through the use of controls called stops.
A pipe organ has one or more keyboards (called manuals) played by the hands, and a pedal clavier played by the feet; each keyboard controls its own division (group of stops). The keyboard(s), pedalboard, and stops are housed in the organ's console. The organ's continuous supply of wind allows it to sustain notes for as long as the corresponding keys are pressed, unlike the piano and harpsichord whose sound begins to dissipate immediately after a key is depressed. The smallest portable pipe organs may have only one or two dozen pipes and one manual; the largest organs may have over 33,000 pipes and as many as seven manuals.
Pump Organ
The pump organ is a type of free-reed organ that generates sound as air flows past a vibrating piece of thin metal in a frame. The piece of metal is called a reed. Specific types of pump organ include the Reed Organ, Harmonium, and Melodeon. The idea for the free reed was imported from China through Russia after 1750, and the first Western free-reed instrument was made in 1780 in Denmark.
More portable than pipe organs, free-reed organs were widely used in smaller churches and in private homes in the 19th century, but their volume and tonal range were limited. They generally had one or sometimes two manuals, with pedal-boards being rare. The finer pump organs had a wider range of tones, and the cabinets of those intended for churches and affluent homes were often excellent pieces of furniture. Several million free-reed organs and melodeons were made in the US and Canada between the 1850s and the 1920s, some which were exported. During this time Estey Organ and Mason & Hamlin were popular manufacturers.
Harmonium
Alongside the furniture-sized instruments of the west, smaller designs exist. The portable, hand-pumped harmonium or samvadini is a major instrument on the Indian Subcontinent developed by Indians to meet local needs. The craftsmen created a harmonium that a single person could carry, with added microtones.
Harmoniums have been used in western popular music since at least the 1960s. John Lennon played a Mannborg harmonium on the Beatles' hit single "We Can Work It Out", released in December 1965, and the band used the instrument on other songs recorded during the sessions for their Rubber Soul album. They also used the instrument on the famous "final chord" of "A Day in the Life", and on the song "Being for the Benefit of Mr. Kite!", both released on the 1967 album Sgt. Pepper's Lonely Hearts Club Band. The group's hit single "Hello, Goodbye" and the track "Your Mother Should Know" were both written using a harmonium.
Many other artists soon employed the instrument in their music, including; Pink Floyd on the title song "Chapter 24" of their first album The Piper at the Gates of Dawn in 1967, Elton John on his 1973 album Don't Shoot Me I'm Only the Piano Player, 1976's Blue Moves, the 1978 album A Single Man, and 1995's Made in England. German singer Nico was closely associated with the harmonium, using it as her main instrument, during the late 60s and 70s, on albums such as The Marble Index, Desertshore and The End....
Barrel Organ
A barrel organ (also called roller organ or crank organ) is a French mechanical musical instrument consisting of bellows and one or more ranks of pipes housed in a case, usually of wood, and often highly decorated. The basic principle is the same as a traditional pipe organ, but rather than being played by an organist, the barrel organ is activated either by a person turning a crank, or by clockwork driven by weights or springs. The pieces of music are encoded onto wooden barrels (or cylinders), which are analogous to the keyboard of the traditional pipe organ. A person (or in some cases, a trained animal) who plays a barrel organ is known as an organ grinder.
Electric Organ
An electric organ, also known as electronic organ, is an electronic keyboard instrument which was derived from the harmonium, pipe organ and theatre organ. Originally designed to imitate their sound, or orchestral sounds, it has since developed into several types of instruments:
- Hammond-style organs used in pop, rock and jazz
- digital church organs, which imitate pipe organs and are used primarily in churches
- other types including combo organs, home organs, and software organs
Hammond Organ
The Hammond organ is an electric organ invented by Laurens Hammond and John M. Hanert and first manufactured in 1935. Multiple models have been produced, most of which use sliding drawbars to vary sounds. Until 1975, Hammond organs generated sound by creating an electric current from rotating a metal tonewheel near an electromagnetic pickup, and then strengthening the signal with an amplifier to drive a speaker cabinet. The organ is commonly used with the Leslie Speaker.
Around two million Hammond organs have been manufactured. The organ was originally marketed 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 in organ trios—small groups centered on the Hammond organ. Jazz club owners found that organ trios were cheaper than hiring a 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 genres such as rhythm and blues, rock (especially progressive rock), and reggae.
In the 1970s, the Hammond Organ Company abandoned tonewheels and switched to integrated circuits. These organs were less popular, 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, a recreation of the original B-3 organ using digital technology. Hammond-Suzuki continues to manufacture a variety of organs for both professional players and churches. Companies such as Korg, Roland, and Clavia have achieved success in providing more lightweight and portable emulations of the original tonewheel organs. The sound of a tonewheel Hammond can be emulated using modern software audio plug-ins.
Farfisa Organ
Farfisa is a manufacturer of electronics based in Osimo, Italy, founded in 1946. The company manufactured a series of compact electronic organs in the 1960s and 1970s, including the Compact, FAST, Professional and VIP ranges, and later, a series of other keyboard instruments. They were used by a number of popular musicians, including Sam the Sham, Country Joe and the Fish, Pink Floyd, Sly Stone, Blondie, Suicide and the B-52s.
Pictured above is Kate Pierson's Farfisa Combo Compact Deluxe organ.
Vox Continental Organ
The Vox Continental is a transistorised combo organ that was manufactured between 1962 and 1971 by the British musical equipment manufacturer Vox. It was designed for touring musicians and as an alternative to the heavy Hammond organ. It supports drawbars in a similar manner to the Hammond, and has distinctive reverse-coloured keys. The sound is generated by a series of oscillators, using a frequency divider to span multiple octaves.
The first Continentals were produced at Vox's manufacturing plant in Dartford, England; after arranging a deal with the Thomas Organ Company, later models were produced in the US and Italy. The most popular model was the single-manual Continental, but other models were produced, such as the budget Vox Jaguar, various dual-manual organs, and the experimental Guitar Organ and Voxmobile, based on the Vox Continental's internals.
The Continental became a popular instrument in the 1960s and 1970s, especially with garage and later new wave bands, and was used by the Beatles, the Animals, the Doors, Iron Butterfly, Elvis Costello, and Madness. After being phased out of production in the early 1970s, the instrument remained a sought-after combo organ by enthusiasts. Japanese manufacturer Korg bought the Vox name, producing a new version of the Vox Continental in 2017, and various modern stage keyboards include an emulation of the organ.
Synthesizer
A synthesizer (also synthesiser or synth) is an electronic musical instrument that generates audio signals. Synthesizers typically create sounds by generating waveforms through methods including subtractive synthesis, additive synthesis and frequency modulation synthesis. These sounds may be altered by components such as filters, which cut or boost frequencies; envelopes, which control articulation, or how notes begin and end; and low-frequency oscillators, which modulate parameters such as pitch, volume, or filter characteristics affecting timbre. Synthesizers are typically played with keyboards or controlled by sequencers, software or other instruments, and may be synchronized to other equipment via MIDI.
Synthesizer-like instruments emerged in the United States in the mid-20th century with instruments such as the RCA Mark II, which was controlled with punch cards and used hundreds of vacuum tubes. The Moog synthesizer, developed by Robert Moog and first sold in 1964, is credited for pioneering concepts such as voltage-controlled oscillators, envelopes, noise generators, filters, and sequencers. In 1970, the smaller, cheaper Minimoog standardized synthesizers as self-contained instruments with built-in keyboards, unlike the larger modular synthesizers before it.
In 1978, Sequential Circuits released the Prophet-5, which used microprocessors to allow users to store sounds for the first time. MIDI, a standardized means of synchronizing electronic instruments, was introduced in 1982 and remains an industry standard. The Yamaha DX7, launched in 1983, was a major success and popularized digital synthesis. Software synthesizers now can be run as plug-ins or embedded on microchips. In the 21st century, analog synthesizers returned to popularity with the advent of cheaper manufacturing.
Synthesizers were initially viewed as avant-garde, valued by the 1960s psychedelic and countercultural scenes but with little perceived commercial potential. Switched-On Bach (1968), a bestselling album of Bach compositions arranged for synthesizer by Wendy Carlos, took synthesizers to the mainstream. They were adopted by electronic acts and pop and rock groups in the 1960s and 1970s and were widely used in 1980s music. Sampling, introduced with the Fairlight synthesizer in 1979, has influenced genres such as electronic and hip hop music. Today, the synthesizer is used in nearly every genre of music and is considered one of the most important instruments in the music industry. According to Fact in 2016, "The synthesizer is as important, and as ubiquitous, in modern music today as the human voice.
Clavoline
The clavioline is an electronic analog synthesizer. It was invented by French engineer Constant Martin in 1947 in Versailles.
The instrument consists of a keyboard and a separate amplifier and speaker unit. The keyboard usually covered three octaves, and had a number of switches to alter the tone of the sound produced, add vibrato (a defining feature of the instrument), and provide other effects. The Clavioline used a vacuum tube oscillator to produce a buzzy waveform, almost a square wave, which could then be altered using high-pass and low-pass filtering, as well as the vibrato. The amplifier also aided in creating the instrument's signature tones, by deliberately providing a large amount of distortion.
Several models of the Clavioline were produced by different companies. Among the more important were the Standard, Reverb, and Concert models by Selmer in France and Gibson in the United States in the 1950s. The six-octave model employing octave transposition was developed by Harald Bode and manufactured under license by Jörgensen Electronic in Germany. In England, the Jennings Organ Company's first successful product was the Univox, an early self-powered electronic keyboard inspired by the Selmer Clavioline. In Japan, Ace Tone's first prototype, the Canary S-2 (1962), was based on the Clavioline.
A notable recording that used a clavoline was Del Shannon's Runaway featuring a bridge solo by Max Crook, performed on a heavily modified clavioline that he called the Musitron.
Moog
Moog Music Inc. is an American synthesizer company based in Asheville, North Carolina. It was founded in 1953 as R. A. Moog Co. by Robert Moog and his father and was renamed Moog Music in 1972. Its early instruments included the Moog synthesizer (the first commercial synthesizer), followed by the Minimoog in 1970, both of which were highly influential electronic instruments.
In 1973, following a recession, Robert Moog sold Moog Music to Norlin Musical Instruments, where he remained employed as a designer until 1977. In 1978, he founded a new company, Big Briar. Moog Music filed for bankruptcy in 1987 and the Moog Music trademark was returned to Robert Moog in 2002, when Big Briar resumed operations under the name Moog Music. In June 2023, Moog Music was acquired by inMusic.
Roland
Roland Corporation is a Japanese multinational manufacturer of electronic musical instruments, electronic equipment, and software. It was founded by Ikutaro Kakehashi in Osaka on 18 April 1972.
Roland has manufactured numerous instruments that have had lasting impacts on music, such as the Juno-106 synthesizer, TB-303 bass synthesizer, and TR-808 and TR-909 drum machines. It was also instrumental in the development of MIDI, a standardized means of synchronizing electronic instruments manufactured by different companies. In 2016, Fact wrote that Roland had arguably had more influence on electronic music than any other company.
Notable Roland Synthesizers
The following are some of the more popular synthesizers produced by Roland in the early years.
Roland Juno 106
The Juno-106 is a polyphonic synthesizer released in February 1984 with six voices. It is an analog synthesizer but with digitally controlled oscillators and chorus effects. Whereas its predecessor, the Juno-60, has 56 patches, the Juno-106 has 128. It introduced Roland's performance lever for pitch bends and modulation, which became a standard feature of Roland instruments. It also adds MIDI and was one of the first analog synthesizers to allow users to sequence parameter changes.
Roland Jupiter-4 (1978)
The Roland Jupiter-4 (JP-4) was an analog synthesizer manufactured by the Roland Corporation between 1978 and 1981. It was notable as the company's first self-contained polyphonic synthesizer, and for employing digital control of analog circuits (termed compuphonic by Roland), allowing for such features as programmable memory, voice assignment modes, an arpeggiator, polyphonic portamento and others.
Priced at US$2,895, it was dramatically cheaper than other polyphonic machines from its competitors (such as the Yamaha CS-80, Korg PS-3300 Prophet-5 and OB-X). While it didn't sell as many units compared to the competition, its primary design was such that it could be an accompaniment to organs, complete with an option for a music sheet stand to be fitted. Its future successor in 1981, the Jupiter-8, would go on to sell many more units and make Jupiter a recognized brand.
The Jupiter-4's basic architecture consisted of four voice cards, each containing a: VCO, sub-oscillator, VCF (resonant low-pass which can self-oscillate), and a VCA. Modulation included an attack-decay-sustain-release (ADSR) envelope for the filter, and another for the voltage-control amplifier and a final level output with an overload LED. In typical Roland fashion, the filter ADSR could be inverted allowing for "upside down" modulation. The LFO was notable for being able to reach audio frequencies, allowing for crude FM and AM synthesis. The LFO is routable to a comprehensive amount of options, including: the bender, VCO pitch, pulse-width, both highpass and lowpass filter cutoff, and the VCA. The final VCA level setting could be memorized in user presets, and was prior to the overall master stereo output volume. Those settings were memorized in the user presets but a fully adjustable depth remained independently configurable through the pitch wheel to combinations of VCO, VCF and VCA, as well as a bend range. The master volume as well as the portamento are unmemorized as they're analog controls not linked to any of the digital control circuitry.
Roland Jupiter-8 (1981)
The Jupiter-8, or JP-8, is an eight-voice polyphonic analog subtractive synthesizer introduced by Roland Corporation in early 1981.
The Jupiter-8 was Roland's flagship synthesizer for the first half of the 1980s. Approximately 3,300 units have been produced. Although it lacked the soon-to-be standard of MIDI control, later production series of the Jupiter-8 did include Roland's proprietary DCB interface.
The instrument had many advanced features for its time, including the ability to split the keyboard into two zones, with separate patches active on each zone. Two years after the release of the Jupiter-8, Roland released the more affordable Jupiter-6 synthesizer with built-in MIDI control but an otherwise slightly reduced set of features.
In 2011, three decades after the release of the original Jupiter series, Roland released the fully digital Jupiter-80 and Jupiter-50 synthesizers as successors to the 1980s originals. They were in turn succeeded by the Jupiter-X and Jupiter-Xm in 2019. A Jupiter-8 plug-out was included already installed on the Roland System-8 synthesizer, in 2017.
The Jupiter-8 is an 8-voice polyphonic analog synthesizer. Each voice features two discrete VCOs with cross-modulation and sync, pulse-width modulation, a non-resonant high-pass filter, a resonant Low-pass filter with 2-pole (12 dB/octave) and 4-pole (24 dB/octave) settings, an LFO with variable waveforms and routings, and two envelope generators (one invertible).
Features include adjustable polyphonic portamento and a hold function for infinite sustain of notes and arpeggios. A versatile arpeggiator can be synchronized with external equipment by using the proprietary Roland DCB interface, clock input via CV jacks on the rear panel. An assignable bender can be used to control pitch or filter frequency.
Roland Jupiter-6 (1982)
Although introduced as a less expensive ($2,500-$3,000 market price) alternative to the Roland Jupiter-8, its features include some capabilities not present in the JP-8, which makes the JP-6 a successor. The Jupiter-6 is widely considered a workhorse among polyphonic analog synthesizers, capable of producing a wide variety of sounds, such as ambient drones, pads, lead synthesizer lines, unison basses and techy blips and buzzes. It is renowned for its reliability and ease, but with sophisticated programmability.
The JP-6 has 12 analog oscillators (2 per voice), and is bitimbral, allowing its keyboard to be "split" into two sounds - one with 4 voices, and one with the remaining 2 voices (either "Split 4/2" or "Split 2/4" mode). "Whole Mode" is also available, dedicating all 6 voices to single (monotimbral) sound across the entire keyboard. Available waveforms include sawtooth, triangle, variable width pulse, square, and noise. Unusually, the JP-6 allows simultaneous selection of any or all of the waveforms in each of its two oscillator banks, an option not found on the JP-8. Oscillator sync and cross modulation are also available. "Unison Mode" allows all 12 oscillators to be triggered simultaneously by depressing a single key. Unison Mode can also be played polyphonically, with the number of oscillators triggered by each key determined by the number of keys held down.
The JP-6 was among the first electronic instruments (alongside the Roland JX-3P and the Sequential Circuits Prophet-600) to feature MIDI, then a brand new technology. Sequential CEO Dave Smith demonstrated MIDI by connecting the Prophet to a Jupiter-6 during the January, 1983 Winter NAMM Show.
Europa, a popular firmware upgrade available from Synthcom Systems, adds a wide array of modern enhancements to the instrument's MIDI implementation, user interface, patch memory, and most especially its arpeggiator, turning the Jupiter-6 into a contemporaneously adaptable instrument and unique composition tool.
Yamaha
Nippon Gakki Co., Ltd., Nihon Gakki Seizō Kabushiki gaisha, lit.'Japan Musical Instrument Manufacture' was established in 1887 as a reed organ manufacturer by Torakusu Yamaha in Hamamatsu, Shizuoka Prefecture and was incorporated on 12 October 1897. In 1900, the company manufactured the first piano to be made in Japan, and its first grand piano two years later. In 1987, 100 years after the first reed organ built by Yamaha, the company was renamed Yamaha Corporation in honor of its founder. The company's origins as a musical instrument manufacturer are still reflected today in the group's logo—a trio of interlocking tuning forks.
The Yamaha DX7 is a synthesizer manufactured by Yamaha Corporation from 1983 to 1989. It was the first successful digital synthesizer and is one of the best-selling synthesizers in history, selling more than 200,000 units.
In the early 1980s, the synthesizer market was dominated by analog synthesizers. FM synthesis, a means of generating sounds via frequency modulation, was developed by John Chowning at Stanford University, California. FM synthesis created brighter, glassier sounds, and could better imitate acoustic sounds such as brass and bells. Yamaha licensed the technology to create the DX7, combining it with very-large-scale integration chips to lower manufacturing costs.
With its complex menus and lack of conventional controls, few learned to program the DX7 in depth. However, its preset sounds became staples of 1980s pop music; in 1986, it was used in 40% of the number-one singles on the US Billboard Hot 100. Its electric piano sound was particularly widely used, especially in power ballads. The English producer Brian Eno was proficient at programming his own sounds, and it was instrumental to his work in ambient music. Chips based on the DX7 sound chip, such as the YM2612, were used in technologies such as the Sega Genesis game console.
The DX7 was succeeded by FM synthesizers including the DX1, DX21, DX27 and DX100. In later years, the DX7 sounds came to be seen as dated or clichéd and its use declined.
Korg
The Korg Trident is a polyphonic multi-section synthesizer released by Korg in 1980, combining three distinct synthesizers within a single instrument: a polyphonic section with two VCOs, alongside dedicated String and Brass sections. The polyphonic synthesizer section allows for eight-note polyphony with dual oscillators. The String section offers an ensemble effect and simple attack/release envelope controls, whereas the Brass section features an independent filter and a dedicated ADSR envelope. These sections can be assigned to two different regions of the keyboard independently, and the Trident also offers a flanger effect along with a joystick for pitch bending and modulation.
In 1982, the enhanced MkII version was introduced, offering additional memory, improved stability, and an extra ADSR envelope.
E-mu
E-mu Systems was a software synthesizer, audio interface, MIDI interface, and MIDI keyboard manufacturer. Founded in 1971 as a synthesizer maker, E-mu was a pioneer in samplers, sample-based drum machines and low-cost digital sampling music workstations.
The Emulator is a series of digital sampling synthesizers using floppy-disk storage that was manufactured by E-mu Systems from 1981 until 2002. Although it was not the first commercial sampler, the Emulator was innovative in its integration of computer technology and was among the first samplers to find widespread usage among musicians. While costly, its price was considerably lower than those of its early competitors, and its smaller size increased its portability and, resultantly, practicality for live performance. The line was discontinued in 2002.
Released commercially in 1984, the Emulator II (or EII) was E-mu's second sampler. Like the original Emulator, it was an eight-bit sampler, but it delivered superior fidelity by employing companding digital-to-analog converters and a 27.7 kHz sample rate. It also allowed more flexibility in editing and shaping sounds, as resonant analog filters (provided by longtime E-Mu collaborators SSM) were added. The EII also featured greatly improved real-time control. Its price was similar to that of the original Emulator, at US$7,995 for a regular model and $9,995 for a "plus" model featuring extra sample memory. Several upgrades, including a second floppy drive, a 20 MB hard drive, and a 512K memory upgrade were also available. Despite the EII's price, it was considered a value in comparison to the Fairlight CMI Series II, the most basic model of which was priced at $30,000 upon its initial release.
Fairlight
Fairlight is a digital audio company based in Sydney, Australia. In 1979, it released its Series I Fairlight CMI, one of the earliest digital audio workstations (DAWs) with a digital audio sampler. Their subsequent Series II and III CMIs featured a graphic sequencer known as Page R, during a time when most computerised music sequencers required coding skills.
These computer-instruments were used by artists such as Peter Gabriel, Kate Bush and Jean-Michel Jarre. They became such a prominent part of 1980s pop music that Phil Collins included the text "there is no Fairlight on this record" in the liner notes of No Jacket Required.
Fairlight has since become a manufacturer of media tools such as digital audio recording and mixing consoles.
The Fairlight CMI (short for Computer Musical Instrument) is a digital synthesizer, music sampler, and digital audio workstation introduced in 1979 by Fairlight. It was based on a commercial licence of the Qasar M8 developed by Tony Furse of Creative Strategies in Sydney, Australia. It was one of the earliest electronic music workstations with an embedded sampler and is credited for coining the term sampling in music. It rose to prominence in the early 1980s and competed with the Synclavier from New England Digital.
ARP
ARP developed the Odyssey as a direct competitor to the Moog Minimoog and an answer to the demand for more affordable, portable, and less complicated "performance" synthesizers.
ARP produced several versions of the Odyssey from 1972 to 1980. In early 2015, Korg reissued the Odyssey in cooperation with the original designer and ARP co-founder, David Friend.
The Odyssey is a two-oscillator analog synthesizer, and one of the first with duophonic capabilities (the ability to play two notes at the same time). All parameters, including a resonant low-pass filter, a non-resonant high-pass filter, ADSR and AR envelopes, a sine and square wave LFO, and a sample-and-hold function are controllable with sliders and switches on the front panel.
Sequential Circuits
Sequential is an American synthesizer company founded in 1974 as Sequential Circuits by Dave Smith. In 1978, Sequential released the Prophet-5, the first programmable polyphonic synthesizer, which was widely used in the music industry. In the 1980s, Sequential was important in the development of MIDI, a technical standard for synchronizing electronic instruments.
In 1987, Sequential went out of business and was purchased by Yamaha. Smith continued to develop instruments through a new company, Dave Smith Instruments. In 2015, Yamaha returned the Sequential Circuits trademark to Dave Smith Instruments, which rebranded as Sequential in 2018. In 2021, Sequential was acquired by the British audio technology company Focusrite. Smith died in 2022.
The engineer Dave Smith founded Sequential Circuits in San Francisco in 1974. The first Sequential Circuits product was an analog sequencer for use with Moog and ARP synthesizers, followed by a digital sequencer and the Model 700 Programmer, which allowed users to program Minimoog and ARP 2600 synthesizers. The Model 800, launched in 1975, was controlled and programmed with a microprocessor.
At the time, Smith had a full-time job working with microprocessors, then a new technology. He conceived the idea of combining them with synthesizer chips to create a programmable synthesizer, but did not pursue the idea, assuming Moog or ARP would design the instrument first. When no instrument emerged, in early 1977, Smith quit his job to work full-time on a design for the Prophet-5, the first fully programmable polyphonic synthesizer. He demonstrated it at the NAMM International Music & Sound Expo in January 1978 and shipped the first models later that year.
Whereas previous synthesizers required users to adjust cables and knobs to change sounds, with no guarantee of exactly recreating a sound, the Prophet-5 used microprocessors to store sounds in patch memory. This facilitated a move from synthesizers creating unpredictable sounds to producing "a standard package of familiar sounds". The Prophet-5 became a market leader and industry standard, used by musicians such as Michael Jackson, Madonna, and Dr Dre, and by film composers such as John Carpenter. It was followed by the larger Prophet-10, which featured two keybeds and was less successful as it was notorious for unreliability. The smaller Pro-One, essentially a monophonic Prophet-5, saw more success.
In 1981, Ikutaro Kakehashi, the founder of the Japanese synthesizer company Roland, contacted Smith about creating a standardized means of synchronizing electronic instruments manufactured by different companies. Smith and the Sequential engineer Chet Wood designed an interface using Roland's Digital Control Bus (DCB) as a basis. This standard was discussed and modified by representatives of Roland, Yamaha, Korg, and Kawai. The protocol was named Musical Instrument Digital Interface (MIDI) and unveiled by Kakehashi and Smith, who received Technical Grammy Awards in 2013 for their work. In 1982, Sequential released the Prophet 600, one of the first MIDI-equipped synthesizers. In 1984, they released the Drumtraks, one of the first drum machines with MIDI control.
Oberheim
Tom Oberheim founded the company in 1969, originally as a designer and contract manufacturer of electronic effects devices for Maestro, including the PS-1A Phase Shifter and RM-1 Ring Modulator, and briefly a retail dealer for ARP Instruments. The company's first product released under its own name was the Oberheim DS-2, one of the first digital music sequencers.
In 1975, Oberheim introduced the semi-modular Synthesizer Expander Module (SEM) to complement the DS-2 sequencer and enable a user to play one synthesizer while the DS-2 played a sequence on another, or to be controlled by and layer with a keyboard synthesizer. The SEM featured a two-pole voltage-controlled filter that could operate as a low-pass, high-pass, band-pass, or band-reject filter, giving it a different sound than the Moog and ARP four-pole low-pass ladder filters popular at the time.
The company later combined multiple SEM modules with a digitally-scanned keyboard and a two-channel sequencer to create a series of polyphonic synthesizers, beginning with the 2-Voice, followed by the 4-Voice and 8-Voice. An optional programmer module, capable of storing and recalling 16 instances of some of the sound settings, was available for the 4-Voice and 8-Voice. These were among the first commercially-available polyphonic synthesizers.
In 1977, Oberheim introduced the monophonic OB-1, the world's first completely programmable synthesizer. In 1978-1981 it was followed by the polyphonic OB-X, OB-Xa, and OB-SX. The final model of the series, OB-8, was released in 1983. The OB-X and OB-Xa were flagship models available in 4, 6 and 8-voice configurations (with the OB-8 available solely as an 8-voice unit), whereas the OB-SX contained fewer programming options. The OB-series synthesizers replaced the relatively bulky SEMs with internal voice expansion cards which supported digital control of synthesis parameters and also utilized common cabinetry and power supplies.