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461 Sentences With "sequencers"

How to use sequencers in a sentence? Find typical usage patterns (collocations)/phrases/context for "sequencers" and check conjugation/comparative form for "sequencers". Mastering all the usages of "sequencers" from sentence examples published by news publications.

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I work with drum machines and sequencers to start out.
Mr. Leahy is proficient on keyboards, synthesizers, drum machines and sequencers.
DNA sequencers have difficulty when faced with similarly monotonous strings of base pairs.
Behind an assortment of keyboards and sequencers, Sasha bobs his head in concentration.
With machines and sequencers and drum machines, I love the relentlessness of it.
Not yet—not until DNA sequencers and synthesizers become cheaper and more commonplace.
Young musicians were inspired to substitute band members for sequencers, and embrace their inner geek.
All of Us will depend on prices falling for sequencing — and more sequencers being built.
But more often than not, synthesizers and sequencers are used to form sound waves from scratch.
And, just like current statistical models, it can only work with the limited reads produced by today's sequencers.
They were just so fucking tight, and this was before the sequencers and fluff that they introduced later.
I don't use any sequencers nor arpeggiators, I play all the parts by hand and loop them live.
Sunshine and Moonbeam sat on the floor, surrounded by their keyboards, drum machines and old school midi sequencers.
Today's modern sequencers perform the raw chemistry and the initial conversion of a physical sample into raw sequence data.
Illumina says that new DNA sequencers, dubbed the NovaSeq 5000 and the NovaSeq 6000, are significantly faster than older machines.
Illumina has sold so many high-end sequencers since 2013 that there aren't any new consumer markets to tap into.
Also a music composer, he imported digital keyboards and one of the earliest samplers and digital sequencers in the world.
For instance, Mariner 8 could store data and run slightly more complex commands by kicking on sequencers in a cycle.
At the same time, the company has sold so many high-end sequencers in recent years, the market is now saturated.
The result is perhaps Woo's most "electronic album" one that places emphasis on synthesizer patches and acoustic instruments plugged into sequencers.
As far as I'm concerned, the similarity between these two movements is their common use of machines (drum machines, synths, samplers, sequencers).
At least one startup is arguing that would-be sequencers have been scared off by a once distant specter: personal data privacy.
The data it generated, and the reams of extra information churned out by modern, far more capable gene-sequencers, have certainly been useful.
The device has a much higher error rate than conventional sequencers, but researchers were able to mitigate the errors by running each sample multiple times.
Modern DNA sequencers perform what's known as high-throughput sequencing, returning not one long read out of a full DNA sequence but short snippets that overlap.
The sample was loaded into one of the super-fast gene sequencers at the lab inside the bowels of the Walter Reed Army Institute of Research.
Though Ryan's voice remains unmistakable on Furies, the band's music is much more synthetic, using drum machines, sequencers, and synthesizers as the basis of every song.
They rewired a lot of brains to the point that they're a reason why musicians now have samplers or sequencers onstage alongside guitars or drum sets.
Procurement documents showed the lab relied on software systems made by Thermo Fisher Scientific, a Massachusetts company, to work with genetic sequencers that analyze DNA fragments.
The initial track would be Mark playing guitars, through sequencers, creating the rhythm and the chords, with me synthesizing and phrasing what he played with my keyboard.
They can integrate their sequencers and lab automation systems with cloud providers, like AWS, Google Cloud and Microsoft to run variant calling algorithms like DNAnexus, SevenBridges or RealTimeGenomics.
And once you have graduated from Sound Maker, there's all kinds of more complex browser-based sequencers that you can experiment with, too, including the likes of Soundation.
But compared to synthesizers and sequencers from other companies that have been producing these machines for decades, these are very affordable given what Teenage Engineering claims they're capable of.
I was deciding between a proper studio and a computer, but I wanted a proper studio with hardware, so I got some old sequencers and that type of stuff.
"When I had been a teen I didn't know what sequencers and arpeggiators were, so I thought industrial/no wave music synth parts were all played manually," she says.
These pods are basically step sequencers and synthesizers in one, derived from the CFO BODYSEQ, which was designed around the Arduino-compatible Teensy 3.1 USB-based microcontroller PCB boards.
For example, in the early 2000s, Celera Genomics used nearly 300 DNA sequencers and 7,000 processors, and cost nearly $100 million to complete the sequence of one human genome.
The TR-808 Rhythm Composer and the TB-303 Bass Line — synthesizers with built-in sequencers — were designed for musicians to practice with at home, by programming artificial accompaniment.
Hold on to your Cirklon sequencers IDM fans, because the illusive pioneer known to the world as Aphex Twin has just confirmed his first U.S performance in eight long years.
To read much longer sequences of 17,000 letters, HLI also has two DNA sequencers from Pacific Biosciences, which can help deal, for example, with highly repetitive stretches of DNA code.
In Napolean's The Exchange setup, the bottom switchboard module (a Western Electric PBX-555 private branch exchange switchboard) contains two Music From Outer Space sequencers that essentially mirror each other.
The scientists are collecting microbes and analyzing their DNA from the boat using handheld sequencers, according to the Schmidt Ocean Institute website, then switching to more advanced equipment on shore.
While Cook builds a musical atmosphere using an array of old and new synthesizers, tape machines, and sequencers—along with the occasional saxophone—Chaussée manipulates his footage on numerous projectors.
He didn't like Die Krupps and when we started that band we were an electronic band, we started working with synths, sequencers and it was the first time we bought computers.
Ciamaga also worked alongside Le Caine to refine some of his designs, including the Sonde, and the Serial Sound Structure Generator, the latter of which was a precursor to today's sequencers.
Minuscule portions of genetic code are isolated and enriched, then read by expensive sequencers; statistical techniques then plot the relationship between this particular sample and thousands more in enormous data sets.
Modular obsessives will remember him for creating game-changing performance instruments like the Buchla Music Easel, MIDI controllers with names like "Thunder" and "Lightning," and one of the earliest voltage-controlled sequencers.
My first DIY project was two MFOS 10-step sequencers, to which I added some features that would cause them to interact with or fall apart from each other in various ways.
Thermo Fisher Scientific, a Massachusetts company, has supplied the Chinese government with DNA sequencers that it is now using to collect the DNA of ethnic minorities in Xinjiang, Human Rights Watch reports.
Minuscule portions of genetic code are isolated and enriched, then read by expensive sequencers; statistical techniques then plot the relationship between this particular sample and thousands more in enormous data sets. Right.
The track finds them returning to their trademark mix of vintage-sounding analog sequencers, rock arrangement, and prog compositional leanings, yet it finds them exploring a new pared-back simplicity in their approach.
In a pilot project in September, Laura Boykin, an agronomist at the University of Western Australia, and Joseph Ndunguru, MARI's director, used hand-held sequencers to return strain data to farmers within 48 hours.
Researchers point out that efforts to miniaturize genome sequencers, like Oxford Nanopore's MinION, which fits in the palm of a hand, could one day make for extremely small, lightweight methods for detecting life forms in space.
He was one of the first musicians to ape their sounds with sequencers and synthesisers; the beeps and blips on the album's opener, prosaically titled "Computer Game", recalls playing "Space Invaders" on a hulking arcade machine.
We'd basically thrown away years of practice on the old rig, bought new sequencers, and had two or three months to learn the sequencer, rebuild a live rig, and write an entire album and record it live.
In his quest to make HLI the largest human sequencing operation in the world, Venter has bought 24 state-of-the-art HiSeq X sequencers from Illumina, based less than a mile away, making him their biggest customer.
The full control, independent of the sequencing provider, of what you do with the DNA data once you sequence it allows companies to more tightly architect how they use genomics technology and potentially capture more value than the sequencers.
Instead of the Britpop of his long-running band Pulp, Cocker (now billing himself as Jarv Is) surrounds himself with hazy keyboards and blipping sequencers; a four-on-the-floor beat sometimes surfaces only to disappear under mournful chords.
DNA sequencers work by mixing DNA with chemicals that bind differently to DNA's basic units of code—the chemical bases A, T, G, and C—and each emit a different color of light, captured in a photo of the DNA molecules.
That shows, the researchers say, that a future hacker might be able to pull off the attack in a more realistic setting, particularly as more powerful gene sequencers start analyzing larger chunks of data that could better preserve an exploit's code.
Cranswick, a British supplier of cooked meats, is working in partnership with the University of Warwick on the use of the hand-held sequencers to analyse samples of DNA extracted from packaged meat and confirm the species from which it hails.
Onstage, contemporary electronic acts like UK rave duos Plaid and Soundspecies used mixing boards and modern sequencers to add dubbing, effects, and filters to the traditional Cuban artists they'd been paired with or teamed up with spontaneously before the fest.
With companies like Korg, Moog, and Roland coming out with new synths, drum machines, sequencers, and accessories every year, it can often time feel a little overwhelming to know which piece of gear will actually breathe new life into your rig.
I picked up one of Teenage Engineering's Pocket Operator miniature sequencers on a trip to New York earlier this year, with the naive intentions of only occasionally playing around with it, composing a catchy bleep-bloop tune whenever the creative urge struck.
In fact, these resources are so many and various that MIT is setting up an entire online ecosystem for providing, requesting, renting and otherwise managing the many clean rooms, laser sintering machines and gene sequencers (plus, presumably, the grad students to operate them).
Its sequencers look at much longer strands of DNA, known as "long reads," which are useful for things like determining whether both copies of a gene are broken, or just one in two different places — and that's critical to our understanding of disease.
It says the process it uses has been validated with more than 993 different DNA sequencers, while its algorithms were built bottom-up from raw FASTQ data (aka the most common file format used in DNA sequencing) — and claims its tech is universally applicable.
"'Big Cat' the song was about the first track we wrote for the record, and probably the first where we really hit upon the sonic template—synth bass, sequencers, rude guitars, minimal drums, swaggering songs with Hayden singing about his pain," explains co-vocalist Tom.
You don't get the same range of instruments and options as you do in some of the fully fledged sequencers we've mentioned, but it's great fun for playing around with when you've got a spare five minutes, and more features are available with an in-app upgrade.
I enjoy that because it's creating a drone that feels like it is continuously changing because all of the elements—even though they are cyclical—overlap at slightly different times as they repeat, so it creates something very complex just by introducing many sequencers and controllers.
For me, it began with machines: while I played guitar and keyboard in bands in high school, I never caught the bug to produce my own music until encountering analog synths and sequencers, such as the Buchla 100, Minimoog, Arp 2600, and Doepfer Maq 16/3.
The tracks do sound more focused on synthesizers, but a lot of what you hear is in fact Mark playing guitars through my sequencers, so he is often creating the chord structures, but the end result sounds more like it is electronic, like a lot of the tracks on It's Cosy Inside.
They are painstakingly going through 40,000 samples of bacteria they have stored in freezers in their labs inside the main blue and yellow building of the Walter Reed annex in Silver Spring, a suburb of Washington, D.C. Super-fast sequencers developed in the 15 years since the first human genome was mapped help a lot.
Those that have gotten it wrong have paid a big reputational price, whether Yahoo handing over the name of a dissident who was then given a 10-year prison term, or the U.S. genetics company Thermo Fisher selling DNA sequencers to police in China while those authorities forcibly collect biodata from Uyghur Muslims and others.
" Commenting on why Sophia Genetics stood out for Balderton, partner James Wise told us: "On top of their easy to use workflow tool to annotate and use sequenced data (compared with unsupported open source software) and their active clinician community, Sophia's real technological advantage comes out of its machine learning technology that analyses the genomic data and minimizes the noise from the use of multiple different combinations of sequencers and diagnostic kits to identify variants (DNA alterations) with a clinical-grade accuracy.
MPC2000 MPC60 Akai also produced several Digital MIDI sequencers and digital synthesizers such as the MPC range, a line of integrated drum machines, MIDI sequencers, samplers and direct-to-disk recorders.
As the technology matured, sequencers gained more features, such as the ability to record multitrack audio. Sequencers used for audio recording are called digital audio workstations (or DAWs). Many modern sequencers can be used to control virtual instruments implemented as software plug-ins. This allows musicians to replace expensive and cumbersome standalone synthesizers with their software equivalents.
Finite-state machines can be subdivided into acceptors, classifiers, transducers and sequencers.
Today the term "sequencer" is often used to describe software. However, hardware sequencers still exist. Workstation keyboards have their own proprietary built-in MIDI sequencers. Drum machines and some older synthesizers have their own step sequencer built in.
And BGI started manufacturing sequencers in China after acquiring Complete Genomics under their MGI arm. These are still the most common NGS systems due to their competitive cost, accuracy, and performance. More recently, a third generation of DNA sequencers was introduced. The sequencing methods applied by these sequencers do not require DNA amplification (polymerase chain reaction – PCR), which speeds up the sample preparation before sequencing and reduces errors.
DNA sequencers have been developed, manufactured, and sold by the following companies, among others.
In contrast, Watt argues that the conceptual intent of a return sequencer is clear from its own context, without having to examine its destination. Furthermore, Watt writes that a class of sequencers known as escape sequencers, defined as "sequencer that terminates execution of a textually enclosing command or procedure", encompasses both breaks from loops (including multi-level breaks) and return statements. Watt also notes that while jump sequencers (gotos) have been somewhat restricted in languages like C, where the target must be an inside the local block or an encompassing outer block, that restriction alone is not sufficient to make the intent of gotos in C self-describing and so they can still produce "spaghetti code". Watt also examines how exception sequencers differ from escape and jump sequencers; for details on this see the article on structured programming.
Since the 1980s, personal computers developed and became the ideal system for utilizing the vast potential of MIDI. This has created a large consumer market for software such as MIDI-equipped electronic keyboards, MIDI sequencers and Digital Audio Workstations. With universal MIDI protocols, electronic keyboards, sequencers, and drum machines can all be connected together.
During the 1940s-1960s, Raymond Scott, an American composer of electronic music, invented various kind of music sequencers for his electric compositions. Step sequencers played rigid patterns of notes using a grid of (usually) 16 buttons, or steps, each step being 1/16 of a measure. These patterns of notes were then chained together to form longer compositions. Software sequencers were continuously utilized since the 1950s in the context of computer music, including computer-played music (software sequencer), computer-composed music (music synthesis), and computer sound generation (sound synthesis).
In addition, sequencing data is collected from the reactions caused by the addition of nucleotides in the complementary strand in real time. Two companies introduced different approaches in their third-generation sequencers. Pacific Biosciences sequencers utilize a method called Single- molecule real-time (SMRT), where sequencing data is produced by light (captured by a camera) emitted when a nucleotide is added to the complementary strand by enzymes containing fluorescent dyes. Oxford Nanopore Technologies is another company developing third-generation sequencers using electronic systems based on nanopore sensing technologies.
The company's product line includes software synthesizers, software bundles, hardware synthesizers and sequencers, mobile apps, and other audio equipment and controllers.
Electronic instrumentation features on all ten of the album's tracks; making use of analogue synthesizers, sequencers, custom patches and filter sweeping techniques.
Music sequencers are hardware devices or application software that can record, edit, or play back music, by handling note and performance information.
A realtime sequencer on the synthesizer Realtime sequencers record the musical notes in real-time as on audio recorders, and play back musical notes with designated tempo, quantizations, and pitch. For editing, usually "punch in/punch out" features originated in the tape recording are provided, although it requires sufficient skills to obtain the desired result. For detailed editing, possibly another visual editing mode under graphical user interface may be more suitable. Anyway, this mode provides usability similar to audio recorders already familiar to musicians, and it is widely supported on software sequencers, DAWs, and built-in hardware sequencers.
The overall image was younger and funkier. Paul Baillargeon put together a new band. He kept the two backup singers Simon Leclerc and Catherine Léveillée and hired Florent Richard on bass, Gilles Valiquette took care of the guitars, synthesizers and sequencers. With Baillargeon's keyboards, drums and the strings and woodwinds added by the sequencers, the sound was smooth, rich and modern.
Some of these technologies include Roche 454, Illumina, SOLiD, and IonTorrent.Glenn, T. (2011). Field guide to next-generation DNA sequencers. Molecular Ecology Resources, 11.
Other examples of two- member bands are Pet Shop Boys, Hella, Flight of the Conchords, the Ting Tings, Hall & Oates, Twenty One Pilots, They Might Be Giants (from 1982 to 1992) and T. Rex (until shortly after scoring their UK breakthrough hit, at which point they expanded to a four-piece). When electronic sequencers became widely available in the 1980s, they made adding in musical elements easier for two-member bands to perform. Sequencers allowed bands to program some elements of their performance, such as an electronic drum part and a synth bass line. Two-member pop music bands such as Soft Cell, Blancmange, and Yazoo used programmed sequencers.
Their sound incorporates techno and house combined with lyrics sung in German and English. As a live act the band usually performs with sequencers and electric guitars.
There are still also standalone hardware MIDI sequencers, although the market demand for those has diminished greatly due to the greater feature set of their software counterparts.
The early music sequencers were sound producing devices such as automatic musical instruments, music boxes, mechanical organs, player pianos, and Orchestrions. Player pianos, for example, had much in common with contemporary sequencers. Composers or arrangers transmitted music to piano rolls which were subsequently edited by technicians who prepared the rolls for mass duplication. Eventually consumers were able to purchase these rolls and play them back on their own player pianos.
In 2006, Harris founded his new project Modcom, producing instrumental electronic music based entirely on the usage of analog sequencers and synthesizers. Harris also performs live DJ sets.
Arrangements for piano duet and organ are also accepted. No users receive money for submitting their sequences, and there are no paid staff sequencers employed by the site.
The advent of Musical Instrument Digital Interface (MIDI) and the Atari ST home computer in the 1980s gave programmers the opportunity to design software that could more easily record and play back sequences of notes played or programmed by a musician. This software also improved on the quality of the earlier sequencers which tended to be mechanical sounding and were only able to play back notes of exactly equal duration. Software-based sequencers allowed musicians to program performances that were more expressive and more human. These new sequencers could also be used to control external synthesizers, especially rackmounted sound modules, and it was no longer necessary for each synthesizer to have its own devoted keyboard.
MIDI PROCESSING UNIT MPU-401 TECHNICAL REFERENCE MANUAL, Roland Corporation After Roland sold MPU sound chips to other sound card manufacturers,MIDI INTERFACES FOR THE IBM PC , Electronic Musician, September 1990 it established a universal standard MIDI-to-PC interface.Peter Manning (2013), Electronic and Computer Music, page 319, Oxford University Press Following the widespread adoption of MIDI, computer-based MIDI software sequencers were developed. In 1987, software sequencers called trackers were developed to realize the low-cost integration of sampling sound and interactive digital sequencer as seen on Fairlight CMI II "Page R". They became popular in the 1980s and 1990s as simple sequencers for creating computer game music, and remain popular in the demoscene and chiptune music.
U2 performing on the Unforgettable Fire Tour in Sydney in September 1984 In support of the album, the band embarked on a worldwide concert tour, the Unforgettable Fire Tour, which saw U2 shows moving into indoor arenas in the United States. Consisting of six legs and 112 shows, the tour commenced in New Zealand in August 1984 where translating the elaborate and complex textures of the new studio-recorded tracks to live performance proved to be a serious challenge. One solution was programmed sequencers, which the band had previously been reluctant to use. Sequencers were prominently used on songs like "The Unforgettable Fire" and "Bad"; sequencers are now used on the majority of U2 songs in live performances.
Poe began experimenting with musical samplers and sequencers as a teenager. Noteworthy are her early collaborations with J Dilla of Slum Village.Williams, Dan Keith. "Poe World" Tao Noise Magazine.
Most scorewriters also allow users to play the music back, using MIDI or virtual instruments such as VST instruments. The screen can show at one time both the score and, by changing the colour of keys on a virtual piano's keyboard, the notes being played. Although sequencers can also write some musical notation, they are primarily for recording and playing music. Scorewriters can typically write more complex and sophisticated notation than sequencers can.
As a band in the late 70's and early 80's, they used synthesizers, monophonic sequencers, drum machines, and vocals and would dress up in spacesuits when they performed.
By arranging each strand of EL wire into a shape slightly different from the previous one, it is possible to create animations using EL wire sequencers. EL wire sequencers are also used for costumes and have been used to create animations on various items such as kimonos, purses, neckties, and motorcycle tanks. They are increasingly popular among artists, dancers, maker culture, and similar creative communities, such as exhibited in the annual Burning Man alt-culture festival.
ChiRP-Seq is one of these new methods which uses the massively parallel sequencing capability of 2nd generation sequencers to catalog the binding sites of these novel RNA molecules on a genome.
New machines have the capacity to sequence the entire human genome in 48 hours at the price of $1,000. Illumina sequencers are highly accurate, and only have an error once every thousand bases.
Aspects of Teaching Secondary Music: Perspectives on Practice. ed. Gary Spruce. New York: RoutledgeFalmer, 2002 Sequencers may take alternate forms, such as drum pattern editors that allow users to create beats by clicking on pattern grids, and loop sequencers such as ACID Pro, which allow MIDI to be combined with prerecorded audio loops whose tempos and keys are matched to each other. Cue list sequencing is used to trigger dialogue, sound effect, and music cues in stage and broadcast production.
The step sequencers played rigid patterns of notes using a grid of (usually) 16 buttons, or steps, each step being 1/16 of a measure. These patterns of notes were then chained together to form longer compositions. Sequencers of this kind are still in use, mostly built into drum machines and grooveboxes. They are monophonic by nature, although some are multi-timbral, meaning that they can control several different sounds but only play one note on each of those sounds.
Watts further notes that introducing status flags testing in the caller, as single-exit structured programming or even (multi-exit) return sequencers would entail, results in a situation where "the application code tends to get cluttered by tests of status flags" and that "the programmer might forgetfully or lazily omit to test a status flag. In fact, abnormal situations represented by status flags are by default ignored!" Watt notes that in contrast to status flags testing, exceptions have the opposite default behavior, causing the program to terminate unless the programmer explicitly deals with the exception in some way, possibly by adding explicit code to ignore it. Based on these arguments, Watt concludes that jump sequencers or escape sequencers aren't as suitable as a dedicated exception sequencer with the semantics discussed above.
Toe studs (pistons) on the console: center: Sequencers "<" and ">" right: Combinations "1"~"8" In recent times, sequencers have become an integral part of combination actions, primarily on large organs. A sequencer allows an organist to program a list of registration changes and advance through it by pressing a piston labeled "+" (or regress through it using a "-" piston). It becomes unnecessary for the organist to push the proper piston; he must only press the "+" piston and the next registration in the sequence will be activated. Some sequencers have an "all pistons plus" feature, which makes all the pistons on the console (excepting the General Cancel and the "-" pistons) function like the "+" piston; in this case the organist can press any piston which is in convenient reach to advance through the sequence.
Arturia is a French electronics company founded in 1999 and based in Grenoble, France. The company designs and manufactures electronic musical instruments, including software synthesizers, drum machines, analog synthesizers, MIDI controllers, sequencers, and mobile apps.
View of the start of an example dye- terminator read Automated DNA-sequencing instruments (DNA sequencers) can sequence up to 384 DNA samples in a single batch. Batch runs may occur up to 24 times a day. DNA sequencers separate strands by size (or length) using capillary electrophoresis, they detect and record dye fluorescence, and output data as fluorescent peak trace chromatograms. Sequencing reactions (thermocycling and labelling), cleanup and re-suspension of samples in a buffer solution are performed separately, before loading samples onto the sequencer.
The synthesizers controlled by the MC-4 included a Minimoog, Roland Juno 60, Sequential Circuits Prophet-5, Oberheim Xpander and a Roland Jupiter 8. For the drums the MC-4 was synced to an Akai MPC60II.Music Technology Magazine, August 1992 Before the tour Clarke's collection of MC-4 sequencers were ‘road hardened’ by having the chips removed from their sockets and soldered directly to the circuit boards. Eight MC-4 sequencers were obtained for the tour as back up units, but they were not needed.
Sequencers (also called generators) are a subclass of acceptors and transducers that have a single-letter input alphabet. They produce only one sequence which can be seen as an output sequence of acceptor or transducer outputs.
Depending on the installed operating system version, it may either have an arpeggiator or a MIDI-velocity to wavenumber function. The MonoWave has no patch memory. It can be played via MIDI by sequencers or MIDI keyboards.
The 0 to 127 numbering is usually only used internally by the synthesizer; the vast majority of MIDI devices, digital audio workstations and professional MIDI sequencers display these Program Numbers as shown in the table (1–128).
An analog sequencer Analog sequencers are typically implemented with analog electronics, and play the musical notes designated by a series of knobs or sliders corresponding to each musical note (step). It is designed for both composition and live performance; users can change the musical notes at any time without regarding recording mode. And also possibly, the time-interval between each musical note (length of each step) can be independently adjustable. Typically, analog sequencers are used to generate the repeated minimalistic phrases which may be reminiscent of Tangerine Dream, Giorgio Moroder or trance music.
Vince Clarke began using the MC-4 on Yazoo's debut album Upstairs at Eric's in 1982. After a good friend noticed that his later albums had changed in sound, Vince Clarke realised this had been due to his having changed from using a Roland MC-4 Microcomposer to using MIDI sequencers. So in 1991 he returned to using MC-4 sequencers for the recording of the Erasure album Chorus. After writing the tracks for the album, they were programmed into a BBC Micro computer, running a UMI sequencing program, to get the arrangements right.
The best known abstraction in this category is call-with-current-continuation, but it would not be well understood until some years later. S-algol does not include goto or break, and does not include abstraction over sequencers.
Occasionally more complex timers with two motors are seen. A drum sequencer is a re-programmable electromechanical timing device used to activate electric switches in repetitive sequences. Primarily, these sequencers were used in industrial applications to enable automated manufacturing processes.
In 2017, BGI began offering WGS for $600. In October 2017, MGI Tech, a subsidiary of BGI, launched two new sequencers MGISEQ-2000 and MGISEQ-200 (later renamed as DNBSEQ-G400 and DNBSEQ-G50), while a year later DNBSEQ-T7.
Personal computers were used to sequence specific pre-recorded video segments and distribute them to the proper outputs; the engineers could select one or many displays to which to output each content source, whether it be a single video cube or an entire screen. The computers' media controls allowed video content from the disc and tape players, either individual frames or entire segments, to be sequenced, looped, and built into pre-programmed cues. On stage, guitarist the Edge used MIDI pedals to trigger music sequencers, generating SMPTE timecode for coordinating the video cues. Des Broadberry managed the keyboards, sequencers, samples, and MIDI equipment.
The leg was initially meant to start in Rotterdam on 1 October, the day of the album's release, but concerts between 1 and 17 October were postponed until 1985 or cancelled to allow U2 more time to rehearse the new songs. Translating the complex layered atmospheric textures of the new studio-recorded tracks to live performance proved a serious challenge. One solution was programmed sequencers, which the band until then had been reluctant to use, on sonically elaborate new songs such as "The Unforgettable Fire" and "Bad". Since then sequencers are now used on the majority of U2 songs in performance.
The company has 5,954 employees. The new competitive genomics industry had formed for the development of new pharmaceuticals, based on the work of the Human Genome Project. The Applied Biosystems Division made thermal cyclers and automated sequencers for these new genomics companies.
Ion Torrent semiconductor sequencers produce an average read length of approximately 400 nucleotides per read. The throughput is currently lower than that of other high-throughput sequencing technologies, although the developers hope to change this by increasing the density of the chip.
The whole production starts to 'tick over'. > Just look at Kraftwerk's stuff. I think that 'feel' has been lost with MIDI > sequencers. No matter what you do with MIDI, the music will never sound as > good as it did in the good old Futurist days.
Ju-X was created in April 2003 by Juno Ju-X, who initially repaired rare electronics and electronic musical instruments. In 2006, the company began offering services to modify music sequencers and drum machines. In 2009, they made a move towards the software industry.
Tahkus is an electropop band formed by Roman X, Dan Vikta and artist Tahkus Ekedal. Roman currently DJs electro, progressive, dubstep and house music. He uses synthesizers, samplers, drum machines, music sequencers and controllers to create live remixes of well known songs and original material.
All music was digitally recorded on 24-track AKAI A-DAMs using a DDA DMR12 console. All songs were recorded using real people, with no help from drum machines or music sequencers. This album was recorded at 48 K Audio Inc., St. Louis, Missouri.
Jim Brenholts (Allmusic) describes Padilla as "one of the premier Berlin school sequencers in the U.S.A." while Stewart Mason (also Allmusic) calls him a "Berlin-based electronic music guru" which is factually a bit misleading, as Craig Padilla lives and performs live in California.
The debut EP sold well in Sweden, and helped the band tour in Scandinavia. On the album Vittrad, the band decided to add samples and sequencers to the mix. In 1994, Omnium released Vittrad in the United States, with English translations of the old songs.
Programming is a form of music production and performance using electronic devices and computer software, such as sequencers and workstations or hardware synthesizers, sampler and sequencers, to generate sounds of musical instruments. Programming has been used in most electronic music and hip hop music since the 1990s. It is also frequently used in "modern" pop and rock music from various regions of the world, and sometimes in jazz and contemporary classical music. Music programming is the process in which a musician produces a sound or "patch" (be it from scratch or with the aid of a synthesizer/sampler), or uses a sequencer to arrange a song.
The album was released 2007. In 2004 he completed his third album My Silent Wings, a collaboration with English singer and songwriter Rocket Excelsior. This was Hobbs' first album to use only software instruments, rendered on an Apple Macintosh G4. Hobbs also switched sequencers to Ableton Live.
Sequencing technologies vary in the length of reads produced. Reads of length 20-40 base pairs (bp) are referred to as ultra-short. Typical sequencers produce read lengths in the range of 100-500 bp. However, Pacific Biosciences platforms produce read lengths of approximately 1500 bp.
This bacteriophage has a [+] sense circular single-stranded DNA genome of 5,386 nucleotides. The genome GC- content is 44% and 95% of nucleotides belong to coding genes. Because of the balance base pattern of the genome, it is used as the control DNA for Illumina sequencers.
A sequencer can drive a MIDI system with its internal clock, but when a system contains multiple sequencers, they must synchronize to a common clock. MIDI Time Code (MTC), developed by Digidesign,Glatt, Jeff. "The beginnings of MIDI ". The MIDI Technical Fanatic's Brainwashing Center. n.p. n.d. Web.
In the 1980s, the introduction of electronic synthesizers, sequencers and prerecorded music tracks was initially greeted with fear by musicians' unions and performers. However, rather than entirely replacing traditional orchestra pit instruments, these technologies are often used alongside the "live" violin players, wind instrumentalists, and rhythm section members.
Solar Fake signs to Synthetic Symphony/SPV Solar Fake is an electro project and brings what Friedrich describes as "pulsating sequencers, driving beats and sometimes wild and aggressive vocals with intensive melodies and melancholic moments." A debut album was planned for release in February 2008 via Synthetic Symphony/SPV.
The Amen break was synonymous with early drum and bass productions but other samples have had a significant impact, including the Apache, Funky Drummer, "Soul Pride", "Scorpio" and "Think (About It)" breaks. Early pioneers often used Akai samplers and sequencers on the Atari ST to create their tracks.
Gearogs was launched as a beta in late 2014, at the same time as Filmogs. The site let users add and track music equipment, including items such as synths, drum machines, sequencers, samplers, audio software, and any other electronic music making equipment. The site was closed down on 31 August 2020.
He suffered head injuries and remained in a coma for several days. During 1983 Wolfgang Flür was beginning to spend less time in the studio. Since the band began using sequencers his role as a drummer was becoming less frequent. He preferred to spend his time travelling with his girlfriend.
The RTP-MIDI driver from Apple creates virtual MIDI ports named "Sessions", which are available as MIDI ports in any software, such as sequencers or software instruments, using CoreMIDI, where they appear as a pair of MIDI IN / MIDI OUT ports like any other MIDI 1.0 port or USB MIDI port.
They ranged from $25,000 to $200,000. The two most popular were the Fairlight, and the Synclavier. It was not until the advent of MIDI that general-purpose computers started to play a role in music production. Following the widespread adoption of MIDI, computer-based MIDI editors and sequencers were developed.
This period included the band's most extensive use of instruments such as synthesizers, sequencers, and electronic percussion. In the early 1990s, the band transformed their style once again to return to a more grounded hard rock style and simultaneously harmonize with the alternative rock movement.[ "Counterparts"]. Allmusic. Retrieved March 18, 2006.
Industrial music was an experimental music style, often including electronic music, that drew on transgressive and provocative themes. The term was coined in the mid-1970s to describe Industrial Records artists. It blended avant-garde electronics experiments (including tape music, musique concrète, white noise, synthesisers, sequencers) and a punk sensibility."Industrial", Allmusic.
They organized the new company to accomplish the task. In May 1998, Celera Genomics was formed, to rapidly accelerate the human DNA sequencing process. Dr. Venter boldly declared to the media that he would complete the genome decoding by 2001.PE Biosystems Chosen to Supply DNA Sequencers to Public Human Genome Project.
Wavestar was an English new-age instrumental music duo active in the 1980s. Formed in 1983, the band consisted of John Dyson and David Ward-Hunt, both of Sheffield. Dyson and Ward-Hunt shared production and arrangement of the band's music. Both musicians contributed synthesizers, keyboards and sequencers, while Dyson also played guitar.
The album finally provided E with a chance to work with two of his longtime favorites Too Short and Brotha Lynch Hung. Following Mr. Biscuits came El Joy Del Sexo (R.E.A.L. Records/2010). The Latin themed record combined elements of live instruments and hand percussion with Giorgio Moroder-like synthesizers and drum sequencers.
Verdin released his second Clorofila solo album, Ahorita Vengo in 2014 for which he eliminated any references to Nortec in the album art, deciding it was time to move away from the label. For Ahorita Vengo, Verdin went for slightly darker, more industrial inspired sound, relying heavily on analog sequencers and synthesizers.
Conversely, it can be argued that using the return statement is worthwhile when the alternative is more convoluted code, such as deeper nesting, harming readability. In his 2004 textbook, David Watt writes that "single-entry multi-exit control flows are often desirable". Using Tennent's framework notion of sequencer, Watt uniformly describes the control flow constructs found in contemporary programming languages and attempts to explain why certain types of sequencers are preferable to others in the context of multi-exit control flows. Watt writes that unrestricted gotos (jump sequencers) are bad because the destination of the jump is not self- explanatory to the reader of a program until the reader finds and examines the actual label or address that is the target of the jump.
The Unforgettable Fire Tour was a concert tour by Irish rock band U2 that took place in 1984 and 1985 in support of band's album The Unforgettable Fire. Beginning in August 1984 with the band's first tour to Australia and New Zealand, the tour spanned four further legs which included 43 concerts in Europe and 50 in North America. Initially challenged by the sonic complexity of the new album's material, the band were able to translate the complex layered atmospheric textures of the new studio-recorded tracks to live performance through the use of programmed sequencers, which the band until then had been reluctant to use. Since then sequencers are now used on the majority of U2 songs in performance.
In the mid-to-late 1980s, Gerhard Lengeling and Chris Adam developed a MIDI sequencer program for the Atari ST platform called Creator. When musical notation capabilities were added, this became Notator, and later Notator SL. For simplicity these three are collectively referred to as Notator. Its main rivals at the time included Performer, Vision & Steinberg 16. Most MIDI sequencers presented a song as a linear set of tracks; however, Notator and Vision were pattern-based sequencers: songs were built by recording patterns (which might represent for example Intro, Verse, Chorus, Middle-8, Outro) with up to 16 tracks each, then assembling an Arrangement of these patterns, with up to 4 patterns playing simultaneously at any one time in the song.
It was designed and built by Michel Geiss for Jean-Michel Jarre for the album Équinoxe.. The device has also been used on the album Rendez-Vous and also Revolutions. He designed the device with the musician in mind for ease of use as opposed to other sequencers that were around at the time.
HiSeq sequencers at SciLIfeLab in Uppsala, Sweden. The photo was taken during the excursion of SLU course PNS0169 in March 2019. When the DNA barcode marker region has been amplified, the next step is to sequence the marker region using DNA sequencing methods. Many different sequencing platforms are available, and technical development is proceeding rapidly.
An ABI PRISM 3100 Genetic Analyzer. Such capillary sequencers automated early large-scale genome sequencing efforts. Shotgun sequencing is a sequencing method designed for analysis of DNA sequences longer than 1000 base pairs, up to and including entire chromosomes. It is named by analogy with the rapidly expanding, quasi- random firing pattern of a shotgun.
Yamaha's Tenori-on controller allows arrangements to be built by "drawing" on its array of lighted buttons. The resulting arrangements can be played back using its internal sounds or external sound sources, or recorded in a computer-based sequencer. Sequencer technology predates MIDI. Analog sequencers use CV/Gate signals to control pre-MIDI analog synthesizers.
The Forms are an American indie rock band from Queens, New York, whose style incorporates aspects of math rock, dream pop, and emo.Terlesky, John (February 6, 2003). "Brooklyn-based Forms adds new content to emo-rock", The Morning Call, p. E14. The band members include Alex Tween (vox, keyboards) and Matt Walsh (drums, sequencers).
"Bad" is one of the band's most performed songs. Translating the elaborate and complex textures of the new studio-recorded tracks to live performance proved to be a serious challenge when The Unforgettable Fire Tour commenced.de la Parra (1994), pp. 52–56 One solution was programmed sequencers, which the band had previously been reluctant to use.
The album is entirely instrumental, apart from Vangelis' processed vocals on "Ballad". Vangelis plays synthesizer, sequencers, electric piano, electronic organ, harmonica, brass, timpani, percussion. It is the first album on which Vangelis used the Yamaha CS-80 synthesizer, on which he would come to rely heavily in subsequent work, and is the most sequencer-based album of his career.
Simultaneously, he also experimented in the avenue of commercial music and taught himself music programming on synthesisers and sequencers. In the year 2000 he went to the US, and studied Composing for Film and Multimedia in New York University, New York City as a summer course, and returned to India in the same year, post its completion.
The Kagawa University Gene Research Center was founded in 1999 to support frontier research and education on gene manipulation. Both centers feature state-of-the-art technology, such as a TOF- Mass spectrometer, a multi-capillary DNA sequencer, an electron probe X-ray micro-analyzer, electron microscopes, DNA sequencers, amino acid analyzers, and a 600 MHz FT-NMR spectrometer.
Sequencing floor in BGI Hong Kong, showing the Illumina Hiseq 2000 sequencers Moore's Law started being profoundly out-paced in January 2008 when the centers transitioned from Sanger sequencing to newer DNA sequencing technologies: 454 sequencing with average read length=300-400 bases (10-fold) Illumina and SOLiD sequencing with average read length=50-100 bases (30-fold).
The additional synthesizer portions of the song were played separately. Other electronic musical instruments used in the track include the Roland SH-5 and Minimoog synthesizers. Due to the lack of music sequencers, they recorded three different parts using the SH-5 and Minimoog. For the guitars, each guitar part was again recorded on separate tracks.
SEM (1974-1979, 2009-) Originally a manufacturer of electronic effects devices (most notably the Maestro phase shifter), and briefly an ARP Instruments dealer, Oberheim went on to create several ground-breaking products in the early days of synthesizers and electronic music including the DS-2 (one of the first digital music sequencers) and the Synthesizer Expansion Module (SEM).
There are various types of tangibles representing different modules of an analog synthesizer. Audio frequency VCOs, LFOs, VCFs, and sequencers are some of the commonly used tangibles. There are also tangibles that affect other modules: one called radar is a periodic trigger, and another called tonalizer limits a VCO to the notes of a musical scale.
Karlheinz Stockhausen, "Osaka-Projekt: Kugelauditorium EXPO 70", in his Texte zur Musik 3, edited by Dieter Schnebel, 153–87, DuMont Dokumente (Cologne: Verlag M. DuMont Schauberg). Citation on p. 167. The OKTEG (Octophonic Effect Generator) relies on a Max/MSP patch that uses eight variable-law amplitude panning modules. The modules are driven by individual sequencers with tempo control.
An execution queue containing the rotation data specified by Stockhausen's maps managed the messages that controlled all eight sequencers. Motor faders allowed real-time adjustment of the tempo of each sequencer. The performance of these real-time adjustments was encoded as a frequency-modulated audio-rate sawtooth. This signal was then recorded as an audio track in ProTools.
Two-member rock and pop bands are relatively rare. Examples of two-member bands are the Carpenters, Sleaford Mods, Japandroids, Pet Shop Boys, Flight of the Conchords, Death from Above, Middle Class Rut, the Pity Party, the White Stripes, Big Business, Two Gallants, Lightning Bolt, the Ting Tings, the Black Box Revelation, the Black Keys, Twenty One Pilots, Tenacious D, Simon and Garfunkel, Hall & Oates, Johnossi, the Pack A.D., Air Supply and Royal Blood. When electronic sequencers became widely available in the 1980s, this made it easier for two-member bands to add in musical elements that the two band members were not able to perform. Sequencers allowed bands to pre- program some elements of their performance, such as an electronic drum part and a synth-bass line.
Vincent Louis "Vince" DiCola (born October 17, 1957) is an American composer, keyboardist and arranger. He has composed scores for films such as The Transformers: The Movie, Staying Alive and Rocky IV soundtracks. DiCola also pioneered the use of sequencers on his soundtrack recording for Rocky IV, one of the first to exploit the Fairlight CMI and Synclavier II's computer's sequencing capabilities.
Scott developed some of the first devices capable of producing a series of electronic tones automatically in sequence. He credited himself as the inventor of the polyphonic sequencer. His electromechanical devices, some with motors moving photocells past lights, bore little resemblance to the all-electronic sequencers of the late Sixties. He began working on a machine he said could compose by artificial intelligence.
Synthesizers.com modular synthesizer products use analog circuitry as did the classic synthesizers produced by Moog, ARP, etc. Systems are constructed using function modules to provide customization and flexibility. Modules include the basic VCO, VCF, VCA synthesizer functions along with more advanced modules such as sequencers, ring modulators and quantizers. Cabinets of various construction styles are offered to house modules and power components. Synthesizers.
The sequencer units control the dispensers, and are automatically capable of detecting misfires and correcting them. The sequencers are built into the dispenser units on the rotary-wing version. Each dispenser can hold five different types of countermeasures for a total of 30. The whole system can accommodate up to 32 dispensers on fixed-wing aircraft and 16 on rotary-wing aircraft.
Cam timers and drum sequencers were primarily used with industrial machines to control repetitive sequencing operations. The cam followers often operated hydraulic valves. Cam timers in industry were superseded with the introduction of programmable logic controllers (PLCs), which offer improved flexibility and more complicated control logic functions. In consumer products like washing machines, they were replaced with ASICs or microcontrollers.
John Squire designed the "Begging You" cover with the insides of floppy disks. The disks were supposedly used to teach Squire how to use samplers and sequencers for the track. Squire found the process too complicated and decided to smash the disks and use them for a piece of art instead. Squire took the insides of the disks and set them in plaster.
Physical Therapy is the self-titled debut of jazz fusion band Physical Therapy, and features eleven tracks. The title track was used in late 1998 for The Weather Channel's local forecast segment. "Played Me" is the only song on the album to feature vocals. Within the liner notes, Physical Therapy boasts that no drum machines or music sequencers were used.
S-algol abstracts expressions as functions and statements (void expressions) as procedures. Modules would provide the abstraction of declarations, but S-algol does not include modules because of the difficulties they pose with block-structured scope. The final syntactic category is sequencer, or control structure. Tennent used the term sequel for the abstraction over sequencers, these would be generalizations of goto and break.
12, No.5, March 1997 The MC-8 had a significant impact on popular electronic music, with the MC-8 and its descendants (such as the Roland MC-4 Microcomposer) impacting popular electronic music production in the 1970s and 1980s more than any other family of sequencers. The MC-8's earliest known users were Yellow Magic Orchestra in 1978.
Roland MC-8 MicroComposer The Roland MC-8 MicroComposer by the Roland Corporation was introduced in early 1977 at a list price of US$4,795 (¥1,200,000 JPY). It was one of the earliest stand-alone microprocessor-driven CV/Gate music sequencers,Chadabe, Joel. 1997. Electric Sound: The Past and Promise of Electronic Music. Upper Saddle River, New Jersey: Prentice Hall, (p. 194).
B-Step Sequencer is a multitrack software MIDI step sequencer that is available as either a standalone application or in audio plug-in format (VST and Audio Units). Primarily used to create melodical sequences to trigger soft or hardware synthesizer, whether in a studio environment or live on stage, it has a user interface based on pattern and TR music sequencers.
The Ideal Copy peaked at number 87 in the UK albums chart.Wire albums the official charts Wire had used electronic instruments on the albums Chairs Missing and 154, but following their hiatus, Wire more openly embraced the use of sequencers, synthesisers, and drum machines. This prompted music critics to compare The Ideal Copy to groups such as New Order.Davis, Michael.
Cambrian Genomics used commercially available genome sequencers, as well as a sequencer built by Heinz. The sequencer allowed them to recover the underlying DNA rather than destroying it in the sequencing process. The company then used laser-pulse catapulting to eject copies of DNA. Clients could use Polymerase chain reaction to copy that new synthetic DNA and insert it into cells.
Yahor gained his interest in electronic music when being 14 years old, discovering music sequencers. One year later, taught himself to play the piano. The first single Anne was released in June 2013 on the British label Pegasus Digital Records. During next months, Yahor was working on trance music: he made a dance version of Beethoven's Moonlight Sonata and released Minsk (Redux Recordings) on 16 December.
Their friend Wes Jones of Apollo Quartet assisted with extra guitar tracks and other instrumentation. The album, entitled The Great Compromise, was completed in the Fall of 2006 and released in January 2007. After the initial recording was complete, Samantha Christine (guitar) and Alexis Hamlin-Vogler (keyboards vocals) joined the band. The Great Compromise featured much more use of electronic equipment such as drum machines and sequencers.
A release like Unitxt is a fitting and timely portrait of an uncompromising master at work". Lukas Suveg of Tiny Mix Tapes stated "A curious dichotomy exists in Unitxt, the latest album from Carsten Nicolai, a.k.a. Alva Noto. Nicolai’s work relies on mathematical processes to govern rhythm (rather than traditional sequencers), utilizing machine noises — modems, telephones, and fax tones — for most of its sounds.
Following the widespread adoption of MIDI, computer-based MIDI editors and sequencers were developed. MIDI-to-CV/Gate converters were then used to enable analogue synthesizers to be controlled by a MIDI sequencer. Reduced prices in personal computers caused the masses to turn away from the more expensive workstations. Advancements in technology have increased the speed of hardware processing and the capacity of memory units.
This solo, which contains guitar arpeggios, was compared to Yngwie Malmsteen by Pulse!. "Digital Love" contains a solo performed by the duo using a Wurlitzer piano, vintage synthesizers and music sequencers; it incorporates elements of pop, new wave, jazz, funk and disco. "Harder, Better, Faster, Stronger", the fourth track on the album is an electro-leaning song. It is followed by "Crescendolls", an instrumental.
PLC originated in the late 1960s in the automotive industry in the US and were designed to replace relay logic systems. Before, control logic for manufacturing was mainly composed of relays, cam timers, drum sequencers, and dedicated closed-loop controllers. The hard-wired nature made it difficult for design engineers to alter the process. Changes would require rewiring and careful updating of the documentation.
EDP Spider (against wasp). The Spider was a 252-step digital sequencer (most analogue sequencers at the time had 8 or 16 steps). The unit was designed by Huggett and Oxford University engineering technician Steve Evans. It was built in the same style as the standard Wasp, outputting both LINK (to drive EDP products) and CV/gate information for use with standard analogue synths.
Indiana University Jacobs School of Music. 2010. Web 13 August 2012 SMFs are created as an export format of software sequencers or hardware workstations. They organize MIDI messages into one or more parallel tracks and timestamp the events so that they can be played back in sequence. A header contains the arrangement's track count, tempo and an indicator of which of three SMF formats the file uses.
Each GuitarBot module uses a PIC microcontroller to handle motor control, feedback, and damping. The modules on each unit receive MIDI input, allowing external sequencers to control GuitarBot. A PID control scheme is used for the bridge positioning subsystem. The control coefficients used in the feedback systems for the pickwheel, bridge positioning system, and damper state can be modified on the fly with MIDI commands.
Ensoniq products were highly professional. Strong selling points were ease-of-use and their characteristic "fat", rich sound (generally thought of as being an "American" quality, as opposed to the "Japanese" sound which was more "digital" and somewhat "cold"). After the Mirage, all Ensoniq instruments featured integrated sequencers (even their late '80s and early '90s samplers) providing an all-in-one "digital studio production concept" instrument.
Recorded in West Sussex, 2007. The Executive Producer was Stevo Pearce head of Some Bizzare Records.Scanners CD Booklet The album was recorded using no MIDI instruments or personal computers, instead primitive music sequencers, tape effects and Drum Machines were used."Official Web Site interview", accessed 4 March 2009 The vocals on the album where treated like a sound source and manipulated with audio effects.
Early 2000 saw Jenkinson consider "radical tactics". He states it became clear that it was high time return to sequencers and leave behind the live-playing approach, which he had adopted since late 1997. Around this time, Tom started seeing more of Chris Cunningham. He was also revisiting a lot of the mid-1990s drum and bass that had so inspired his early releases.
Presto Ballet's debut album Peace Among the Ruins was released in 2005 to general praise. Critics commented on the album's warm and organic sound, a feeling created through the use of analogue recorders and vintage instruments. The band used no drum machines, digital recorders or sequencers in the studio. The Lost Art of Time Travel was released on ProgRock Records in June 2008, featuring a revamped lineup.
The earliest version to really resemble the modern incarnation of the software is version 3.5, which improved greatly in VST performance and sample handling. Reaktor 3.5 is the first release that features full cross-platform compatibility. Reaktor 4 was a major enhancement in terms of stability, instrument library, GUI, and VSTi ease-of-use in external sequencers. It shipped almost six months behind schedule.
In 2014, Grace reassembled My Favorite (minus Vaughn) to perform at the NYC Popfest. On October 7, 2014, they released their first new single in 10 years, "Second Empire"/"Dance With a Stranger", on London's Where It's At Is Where You Are label. The current incarnation, relying more heavily on drum machines and sequencers, includes Grace, Abad and Brondo, with Jaime Babic and Joseph Babic replacing Vaughn and Amadio, respectively.
The market of DNA sequencer instruments is currently dominated by: Illumina (December 2019), followed by PacBio, MGI/BGI and Oxford Nanopore. There are also offerings from Qiagen GeneReader (as of December 2019) and GenapSys. The majority of sequencers can also produce RNA sequences either directly or via cDNA preparation. The main considerations for DNA sequencer instruments or sequencing runs are: \- Throughput: total number of bases or reads per sequencing run.
Jon Farriss was born to Dennis and Jill Farriss, and is the second youngest of four children: brothers and fellow band members Andrew and Tim, and younger sister Alison. Farriss is known for integrating traditional rock drums with more funk and Dance influenced beats as well as acoustic drums and sequencers and pads. Examples of these techniques can be found in such songs as "Need You Tonight" and "The Stairs".
Justin Mroz (vocals, guitar) and Lance Stewart (bass, vocals) formed Certain Distant Suns in 1989 in Fox Lake, Illinois. The duo made early recordings with producer Dave Trumfio, and used keyboards & sequencers to back up their live performances at Chicago venues like Medusa’s -- the legendary under-21 nightclub once located at School & Sheffield. Justin later recruited his cousin Jared Mroz (drums) and added guitarists Dan Zigmund and Kerry Finerty.
A Moog 55 (c. 1972 to c. 1981)The first modular synthesizer was developed by German engineer Harald Bode in the late 1950s. The 1960s saw the introduction of the Moog synthesizer and the Buchla Modular Electronic Music System, created around the same period. The Moog was composed of separate modules which created and shaped sounds, such as envelopes, noise generators, filters, and sequencers,Pinch, Trevor; Trocco, Frank (2004).
The public consortium also bought one of the PE Biosystems 3700 sequencers, and had plans to buy 200 more. The machine proved to be so fast that by late March 1999 the consortium announced that it had revised its timeline, and would release by the Spring of 2000 a "first draft sequence" for 80% of the human genome. At year end 1998, the PE Biosystems Group's sales reached US$940 million.
Each patch in a mix corresponds to a different MIDI channel, so that the Quadrasynth can become a multitimbral playback device for external sequencers or MIDI file players. The Quadrasynth also had a 4-bus multi effects processor, which is based on Alesis' own Quadraverb 2 stand-alone effects processor. A main function of the synthesizer is its ability to output in Quadraphonic, on the rear of the keyboard .
Three of the most popular Illumina sequencers are the MiSeq, HiSeq, and NovaSeq. From a single run, the MiSeq generates 30 million reads, the HiSeq generates 3 billion reads, and the NovaSeq generates 13 billion reads. Meanwhile traditional Sanger sequencing generates approximately 400 reads. Comparatively, the NovaSeq has the ability to generate 4 trillion bases in a day whereas Sanger sequencing can only generate one million bases per day.
MiSeq Flow Cell (Top) NovaSeq Flow Cell Illumina sequencing happens within the flow cells. These flow cells are small in size and are housed in the flow cell compartment. In MiSeq sequencers, the flow cell can generate between 1 million and 30 million reads per run. The HiSeq flow cell is larger than that of the MiSeq and has the ability to generate 3 billion reads per run.
Simultaneously, with Smith, Blackmore initially concentrated on composing electronic music using sequencers, including the Robert Fripp and Brian Eno-influenced "Music for Bookshops" (1979), and a concept-cycle, recorded on o reel-to-reel tape, called "The Guardian", based on a collaborative fantasy story written by the two. When John Gardner (bass) joined, the band also released some cassette- only recordings including The Loungeroom Tapes and The Christmas Tapes.
Bitwig Studio is a digital audio workstation for Windows, macOS, and Linux. In contrast to many other software sequencers, Bitwig is designed to be an instrument for live performances as well as a tool for composing, recording, arranging, mixing, and mastering. It offers a suite of controls for beatmatching, crossfading, and other effects used by turntablists. Bitwig supports both traditional linear music arrangement and non-linear (clip-based) production.
An ABI PRISM 3100 genetic analyzer. Such capillary sequencers automated the early efforts of sequencing genomes. Sequencing of nearly an entire human genome was first accomplished in 2000 partly through the use of shotgun sequencing technology. While full genome shotgun sequencing for small (4000–7000 base pair) genomes was already in use in 1979, broader application benefited from pairwise end sequencing, known colloquially as double-barrel shotgun sequencing.
Buzz's plugin system is intended to operate according to a free software model. The header files used to compile new plugins (known as the Buzzlib) contain a small notice that they are only to be used for making freeware plugins and Buzz file music players. The restriction requires that developers who wish to use the Buzz plugin system in their own sequencers pay a fee to the author.
I had 5 snares across the top and then ten tom-toms and then a > whole octave of bass drums underneath my feet and then four lots of 16 > sequencers, two on each side. There was a gap — to play a space — a > tambourine, ebony stick, snare and three tom-toms. This was pre-chip days, > back then you did it all with transistors. So it had something like 500 > transistors.
The drum module may offer controls to adjust the sensitivity of the different pads and cymbals, change the sound of the tuning of the drums, adjust the "buzz" of the snare, the muffling of the bass drum, and so on. Some drum modules incorporate features of drum machines or sequencers, such as the capability to play pre-programmed drum beats, so that the live drummer can play along with them.
The Line of Best Fit opined the LP is best to listen to as a "celebration" of 1980s pop music rather than "an emotionally engaging album" as it was marketed by Ghostly, reasoning that "finding the true feeling among towers of 80s pop synths and sequencers feels difficult at times."Bucifal, Slavko (June 10, 2017). "Com Truise reframes himself oh so slightly on Iteration". The Line of Best Fit.
Larry Flick from Billboard wrote that "requisite harsh synths are tempered with a retro, Giorgio Moroder-esque electro-beat" on the 1992 version. Music & Media commented on the 1995 remix of the song, "In the "Deconstruction Classic" series, here's Patrick Prins' remix interpretation of Felix's 1992 dance hit. It's much heavier now with souped up sequencers and percussion." Music Week described it as a "hand-waving progressive house anthem".
See dynamics. mezzo piano : Half softly (i.e. moderately softly). See dynamics. Mic : Abbreviation for microphone; the term "mike" is also used. MIDI : An acronym for Musical Instrument Digital Interface, an industry-standard way for electronic devices to communicate information. MIDI 5-pin connections and MIDI programming can be used to connect synthesizers, electronic drum machines, sequencers, and so on, even if the equipment is made by different companies.
A talented computer programmer, Powell developed one of the first PC MIDI sequencers, Texture. Originally developed for the Apple II, Texture allowed the user to manipulate patterns of notes and store them on disk. Soon after the MIDI protocol was introduced, Texture was ported to the IBM PC and the Amiga and utilized the Roland MPU-401 MIDI interface. Its celebrity users included Stevie Wonder and Bob James.
The Nord Drum has four channels, in other words it is capable of creating four different drum sounds at once. Each channel can be triggered either from MIDI or from drum triggers, and the Nord Drum can therefore both be used to add electronic sounds to a drum kit, or be controlled from sequencers or MIDI keyboards. Each sound can be made up of a tone, a click and noise.
These chain-terminating nucleotides lack a 3'-OH group required for the formation of a phosphodiester bond between two nucleotides, causing DNA polymerase to cease extension of DNA when a ddNTP is incorporated. The ddNTPs may be radioactively or fluorescently labelled for detection in DNA sequencers. Typically, these machines can sequence up to 96 DNA samples in a single batch (run) in up to 48 runs a day.
MIDI sequencers typically are operated by transport features modeled after those of tape decks. They are capable of recording MIDI performances, and arranging them into individual tracks along a multitrack recording concept. Music workstations combine controller keyboards with an internal sound generator and a sequencer. These can be used to build complete arrangements and play them back using their own internal sounds, and function as self-contained music production studios.
A frequent application of quantization in this context lies within MIDI application software or hardware. MIDI sequencers typically include quantization in their manifest of edit commands. In this case, the dimensions of this timing grid are set beforehand. When one instructs the music application to quantize a certain group of MIDI notes in a song, the program moves each note to the closest point on the timing grid.
A project for creating PHP scripts utilities for needed advanced edit tasks has been set up at SourceForge: XRNS-PHP project. In August 2007, a functional XRNS2MIDI script was published by Renoise team member Bantai. It enables Renoise users, via an external frontend, to convert native songs into regular MIDI files (.mid) and thus exporting their work for use in conventional piano- roll sequencers such as Cubase or Reason.
Additionally, they used envelope generators, low-frequency oscillators, and ring modulators. Some synthesizers also had effects devices, such as reverb units, or tools such as sequencers or sound mixers. Because many of these modules took input sound signals and processed them, an analog synthesizer could be used both as a sound-generating and sound-processing system. Famous modular synthesizer manufacturers included Buchla & Associates, Moog Music, ARP Instruments, Inc.
They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++. The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show”.
The band was formed in San Francisco, California, United States. Consolidated's original line-up consisted of Adam Sherburne (guitar and vocals), Mark Pistel (samples, sequencers and keyboards/synths), and Philip Steir (drums). Consolidated's subsequent line- ups have consisted of Adam Sherburne, Todd Bryerton (drums), Michael Dunn (bass), and Kevin Carnes (drums) with some mixing and engineering by Mark Pistel. After 1994, the original line-up went their separate ways.
Adam Goren (born January 14, 1975) is an American musician best known as the artist Atom and His Package. He is a Punk singer who has released more than 18 albums. He is keen on music sequencers to create his music as well as samples from the 1980s and 1990s musicians. He had to stop his music career because of "Type 1 diabetes" which he got in April 2003.
On one end, a laptop-based performer has the option of simply playing a polished, premade audio file that she or he prepared in the recording and editing studio. On the other end, the performer can be creating sound completely from scratch using software-based synthesizers, sequencers, etc. Somewhere in the middle is where the majority of performance setups fall. Incredibly popular is the software tool Ableton Live.
In the early days, the band cited Radiohead, Massive Attack, and Portishead, because of the combination of electronic sequencers with live instrumentation, sample manipulation, and female lead vocals. Lark is often compared to Diamanda Galas, Beth Orton, Portishead, Pram, and Bjork. Recently, the band prefers not compare themselves. As Inge Beckmann has expressed that she does not have a single artist in mind, when creating a Lark track.
Def FX were formed in 1990 in Sydney with the line-up of Martyn Basha on bass guitar, Blake Gardner on lead guitar (both ex-Bezerk), Fiona Horne on lead vocals (ex-Mothers) and Sean Lowry on record player with a padlock on it, sequencers and samples (ex-King Prawn). According to Australian musicologist, Ian McFarlane, their "intention from the outset was to mix energetic dance beats with hardcore grungy rock." & electronic dance music." Larry Van Kriedt was a "hidden fifth member" on saxophone and sequencers (ex-AC/DC, Non Stop Dancers); he "also co-wrote much of the band's early material." Def FX's debut release was a four-track extended play, Water, in June 1991 via Phantom Records. It featured the song, "Surfers of the Mind", which Joanna Palmer of Tharunka described as "a violent whirlpool of high-voltage house metal where [Horne] puts her larynx through a militant aerobic workout, while the cool delivery of [Lowry]'s 21st century gospel raps around her.
The Belleville Three performing at the Detroit Masonic Temple in 2017. From left to right: Juan Atkins, Kevin Saunderson, and Derrick May The early producers, enabled by the increasing affordability of sequencers and synthesizers, merged a European synthpop aesthetic with aspects of soul, funk, disco, and electro, pushing electronic dance music into uncharted terrain. They deliberately rejected the Motown legacy and traditional formulas of R&B; and soul, and instead embraced technological experimentation.Cosgrove 1988a.
Sequencers were prominently used on "Bad". The studio version of "Bad" was criticised as being "unfinished", "fuzzy" and "unfocused", but the band found that it made more sense on stage. Rolling Stone, for example, critical of the album version, described its live performance as a "show stopper". A staple of U2's concert tours of the 1980s, "Bad" was also frequently performed during the first four legs of the 1992–1993 Zoo TV Tour.
Grey left the band in 1990, after the release of the album Manscape, because of Wire's increasing use of sequencers, computers, and drum machines. He began to feel uncomfortable as the band moved further into a computer-based environment. After his departure, the band dropped one letter from its name, becoming "Wir". Grey started exploring African drumming and devoted his time to organic agriculture, running a small farm in The Midlands, England.
"Vital Signs" is a song by progressive rock trio Rush from their album Moving Pictures. The lyrics of the song are about individuality and the pressures of conforming. The song is heavily influenced by reggae (in the guitar riff) as well as progressive electronica (in its use of sequencers) and the music of The Police. These influences would carry on into their next three studio albums: Signals, Grace Under Pressure, and Power Windows.
In effect, these devices can store "performances" and then play back these performances. Sequencers are powerful tools which are capable of realistic simulations of the orchestra. However, these devices were designed for and mostly used in the studio environment. The first Broadway musical to use a pre-recorded soundtrack with a few live musicians accompanying it was Priscilla, Queen of the Desert in May 2011; the producer claimed to be seeking a synthetic, cheesy sound.
Peter Hook (né Woodhead; 13 February 1956) is an English singer, songwriter, composer, multi-instrumentalist and record producer. He is best known as the bassist and co-founder of English rock bands Joy Division and New Order. Hook often used the bass as a lead instrument, playing melodies on the high strings with a signature heavy chorus effect. In New Order, he would do this, leaving the actual basslines to keyboards or sequencers.
The intention was to create an electronic score for the movie. Recording and programming sessions were begun to input and orchestrate the score using the facilities in the Conservatory's Electronic Music Studio. Unbeknownst to Bianchi and Smith, there was also scheduled two workshop performances in front of a live audience. Frantically working to find a solution to this, an ad hoc implementation involving computer sequencers, sound modules, and a small sound reinforcement system were used.
The entirety of Urban Gothic was produced in sessions of Logic Pro. The drums were recorded live with Roland drum machines instead of sequencers to give the songs a "loose vibe." The lead melodies on the album were performed by sounds programmed with the Moog Concertmate MG-1 and microKORG. Sounds programmed with the Roland XP-10, the Alesis QS-6 and Native Instruments plug-ins can also be heard on the album.
Illumina MiSeq sequencer Illumina sells a number of high-throughput DNA sequencing systems, also known as DNA sequencers, based on technology developed by Solexa. The technology features bridge amplification to generate clusters and reversible terminators for sequence determination.S Balasubramanian RSC Chem. Commun., 47 (26), 7281-7286 (2011) The technology behind these sequencing systems involves ligation of fragmented DNA to a chip, followed by primer addition and sequential fluorescent dNTP incorporation and detection.
The Roland MC-202 (MicroComposer) is a monophonic analog synthesizer and music sequencer released by Roland in 1983. It was the first groovebox.Roland MC-202 MicroComposer, Electronic Musician, November 2001 Its synth is similar to the TB-303 bass synth and the SH-101 synthesizer, featuring one voltage-controlled oscillator with simultaneous saw and square/pulse-width waveforms. It is a successor to the Microcomposer family of sequencers, including the MC-8 and MC-4.
The MC-202 includes a sequencer that can play back two separate sequences simultaneously. Two sets of CV/Gate connectors on the rear of the unit allow for routing the sequences to external synthesizers. One of the two sequences is used to control the internal synthesiser. The sequencer is programmed much like Roland's early digital MC-4 and MC-8 Microcomposer sequencers, whereby notes are entered with pitch, length and gate length.
Tom Oberheim at his workbench, 2010 Thomas Elroy Oberheim (Born July 7, 1936, Manhattan, Kansas), known as Tom Oberheim, is an American audio engineer and electronics engineer best known for designing effects processors, analog synthesizers, sequencers, and drum machines. He has been the founder of four audio electronics companies, most notably Oberheim Electronics. He was also a key figure in the development and adoption of the MIDI standard. He is also a trained Physicist.
Two-member pop music bands such as Soft Cell, Blancmange, Yazoo and Erasure used pre-programmed sequencers. W.A.S.P. guitarist Doug Blair is also known for his work in the non-notable two-piece progressive rock band signal2noise, where he acts as the lead guitarist and bassist at the same time, thanks to a special custom instrument he invented (an electric guitar with five regular guitar strings paired with three bass guitar strings).
Electronicore is characterized by typical metalcore instrumentation, breakdowns, and heavy use of sequencers, conventional instrument recorded-note samplers, electronic tone-generating synthesizers, auto-tuned singing, and screamed vocals. The genre often features dynamic transitions from soft electronica ballads to intense metalcore passages. However, the degree to which metalcore characteristics are incorporated may vary. In addition to electronica, the fusion may involve a variety of other electronic music genres, including techno, trance, dubstep, electro, and dance.
"El Futuro Se Fue" was the antithesis of the lavishly produced first solo album. Jorge has admitted in interviews that during the songwriting process of the album he found himself under the influence of drugs and had recently discovered the folk music of Victor Jara. The result was a mix of folk rock with a tinge of electronic sequencers in the background. EMI was disappointed with the album, nonetheless it was released in 1994.
157-160 in Chapter 6 of Early Synthesizers and Experimenters. Additional inventions grew out of sound film audio technology. The drawn sound technique which appeared in the late 1920s, is notable as a precursor of today's intuitive graphical user interfaces. In this technique, notes and various sound parameters are triggered by hand-drawn black ink waveforms directly upon the film substrate, hence they resemble piano rolls (or the 'strip charts' of the modern sequencers/DAWs).
New Order's Kraftwerk influence was acknowledged by their single "Krafty", which had cover art referencing "Autobahn". Bassist Peter Hook contributed to New Order's sound by developing an idiosyncratic bass guitar technique. He often used the bass as a lead instrument, playing melodies on the high strings with a signature heavy chorus effect, leaving the actual basslines to keyboards or sequencers. This has often been cited as a defining characteristic of the New Order sound.
At the age of 14, David combined elements of rock, funk and soul using analog synthesizers. Shortly thereafter David moved to digital keyboards and synthesizers. A few years later around the age of 20, David Ervin became a sought after Los Angeles session musician. David created and performed complete rhythm tracks and continued to harness the cutting edge music technology of newly developed digital synthesizers and sequencers as tools to inspire his creations.
The built-in 16-track sequencer is derived from the Roland MC-series hardware sequencers, and can import sequences saved on those machines. The XP-50 sequencer also accepts standard MIDI files. The sequencer can store up to 60,000 notes and 100 patterns. Eschewing the PCM & Data Card slots that Roland had been using since the JD-800 in 1991, the XP-50 includes a 3.5 inch floppy disk drive for data import or export.
Goren was born in The Bronx, New York City, but grew up in Oreland, Pennsylvania with his friend Brian Sokel, and inspiration for many of his songs. He played in several local bands as a youth. While Goren was still in school, a friend introduced him to music sequencers, and he began writing music with one in his spare time. In 1991, Goren joined the punk band Fracture, and he remained with them until 1995.
Following the departure of Derbyshire and Hodgson, to pursue other projects, Vorhaus released a second album, the largely instrumental White Noise II - Concerto for Synthesizer on Virgin Records in 1974. It was recorded in his own studio in Camden, North London. The album further utilized the EMS VCS 3, as well as prototype sequencers. A third album, the single track 'space fantasy' White Noise III - Re-Entry was released by Pulse Records in 1980.
Music sequencers use the bpm system to denote tempo. In popular music genres such as electronic dance music, accurate knowledge of a tune's bpm is important to DJs for the purposes of beatmatching. The speed of a piece of music can also be gauged according to measures per minute (mpm) or bars per minute, the number of measures of the piece performed in one minute. This measure is commonly used in ballroom dance music.
The intro track, "Branches/Bones", features the modern polished production and formulae of Nine Inch Nails' post-The Fragile output. It was compared to previous NIN tracks, including "1,000,000", "Discipline", "Wish" and "Starfuckers, Inc.". "Dear World," is a synthesizer-driven track, enhanced by sequencers and percussion as Reznor "speaks his thoughts on the downward path the society has taken." “She’s Gone Away” features guest vocals from Reznor’s wife, How to Destroy Angels vocalist Mariqueen Maandig.
While the music on the album was written and recorded by DEVO and merely dubbed in over footage in which the four dancing children appear to be performing, some of the members are musicians. Devo 2.0 band member Nathan Norman states they do play their own instruments with mild help from sequencers. Mark Mothersbaugh said that the band re- recorded their own music due to budgetary restraints. An eponymous DVD and CD combo was released March 14, 2006.
Vako Synthesizers Incorporated, founded by electronic instrument pioneer David Van Koevering, and who built licensed versions of the Optigan under the name Orchestron in the mid-1970s. Intended for professional use as an alternative to the Mellotron, the Orchestron featured improved recorded sounds over the Optigan. Some models included sequencers and synthesizers. While the same fidelity limitations of the Optigan applied to the Orchestron, these instruments were built to be more reliable and were used successfully in commercial recordings.
Code: Selfish review by Ted Mills, Allmusic.com. Retrieved 6 February 2018 "Free Range" showcased the growing influence of techno and dance music on the band's sound, largely brought by new keyboardist Dave Bush. Bush commented about the recording: > We tried to record it loads of times but Mark wouldn't let me do it the way > I wanted to do it. He wouldn't let us have the click track on and said we > couldn't play with sequencers.
Bernard Sumner (born 4 January 1956) is an English singer, songwriter, musician, and record producer. He is best known as a founding member of both Joy Division, for whom he was the lead guitarist and keyboardist, and New Order, for whom he is the lead vocalist and guitarist. He has also been credited with advancing UK dance music and popularising the use of sequencers. In the early 1990s, he formed the duo Electronic alongside The Smiths' guitarist Johnny Marr.
Transmission is the fourth album recorded by the Canadian band The Tea Party, released in 1997. The band expanded on the mix of rock, blues and world music found in their previous albums by adding electronic instruments and recording techniques to their repertoire. While still using several exotic instruments and maintaining the "eastern" influence in the recording, many songs also include samples, sequencers and loops alongside the traditional acoustic instruments. The result is a harder, industrial sound.
The draft genome of grapevine is the fourth genome published for a flowering plant and the first from a fruit crop. The sequences of the genome were obtained from different types of libraries, like plasmids, fosmids and BACs. All the data were generated by paired-end sequencing of cloned insert using Sanger technology on ABI3730x1 sequencers. To assemble the reads, Arachne, 2002, a software designed to analyze reads obtained from both ends of plasmid clones, was used.
However, the sound server was not dependent on K Desktop Environment and can be used in other projects. It was a direct competitor to PulseAudio, another sound server, and an indirect competitor to the Enlightened Sound Daemon (ESD). It is now common to use PulseAudio instead of artsd. The aRts platform also includes aRts Builder — an application for building custom layouts and configurations for audio mixers, sequencers, synthesizers and other audio schema via a user- friendly graphical user interface.
Although the Model A Orchestron is identical to the Optigan, the models B, C, and D follow the designs of the Chilton Talentmaker. The Talentmaker was taken out of the market after Optigan's manufacturer – Optigan Corporation, a subsidiary of toy company Mattel – threatened to sue Chilton because of patent infringements. Some Orchestron models included sequencers and synthesizers. These were the larger Model X and Phase 4 units, though very few of these made it past the prototype stage.
Phred was originally developed for "slab gel" sequencing machines like the ABI373. When originally developed, Phred had a lower base calling error rate than the manufacturer's base calling software, which also did not provide quality scores. However, Phred was only partially adapted to the capillary DNA sequencers that became popular later. In contrast, instrument manufacturers like ABI continued to adapt their base calling software changes in sequencing chemistry, and have included the ability to create Phred-like quality scores.
Opcode Systems, Inc. was founded in 1985 by Dave Oppenheim and based in and around Palo Alto, California, USA. Opcode produced MIDI sequencing software for the classic Mac OS and Microsoft Windows, which would later include digital audio capabilities, as well as audio and MIDI hardware interfaces. Opcode's MIDIMAC sequencer, launched in 1986, was the first commercially available MIDI sequencer for the Macintosh computer and one of the first commercially available music sequencers on any commercial computer platform.
Electronic music groups typically use electronic musical instruments such as synthesizers, sequencers, samplers and electronic drums to produce music. The production technique of music programming is also widely used in electronic music. Examples include Kraftwerk, Daft Punk, the Chemical Brothers, Faithless and Apollo 440. Electronic dance music groups usually consist of two to three members, and are mainly producers, DJs and remixers, whose work is solely produced in a studio or with the use of a digital audio workstation.
New biomedical technologies like microarrays, next-generation sequencers (for genomics) and mass spectrometry (for proteomics) generate enormous amounts of data, allowing many tests to be performed simultaneously. Careful analysis with biostatistical methods is required to separate the signal from the noise. For example, a microarray could be used to measure many thousands of genes simultaneously, determining which of them have different expression in diseased cells compared to normal cells. However, only a fraction of genes will be differentially expressed.
It begins right away with the trancelike 'Regular John', a track that layers Homme's yelping guitar accents over a fuzzy groove. While other metalheads play around with sequencers, Queens of the Stone Age have something a little more heated and classical in mind. The rest of the album charges on with its compelling contrasts between Homme's papery vocals and the surrounding rampage. Sometimes the songs explore pure heaviness, as on the wall-rattling 'Walkin' on the Sidewalks'.
There are inherent challenges when utilizing sequence reads from various technologies to assemble a sequenced genome; data coming from different sequencers can have different characteristics. An example of this can be seen when using the overlap-layout-consensus (OLC) method of genome assembly, which can be difficult when using reads of substantially different lengths. Currently, this challenge is being overcome by using multiple genome assembly programs. An example of this can be seen in Goldberg et al.
Tom Ewing from Freaky Trigger said that Mercury "sounds terrific over house music." Music & Media wrote in their review that "Belgian dance producers picked up a Mercury vocal track, put it on top of sequencers—with surprising results—and made a local top 10 hit out of it." The Network Forty commented that "hitting you over the head like a hammer, the harmony-laden hook compliments an uptempo groove". Sandwell Evening Mail called it "a stunning Euro-style remix".
Agencies such as WHO and FAO recognized the institute as a Centre for excellence in food quality, safety and nutrition research.Patent file No.IPD/PA/96022/97 Microbiological Identification kit. The institute is equipped with facilities among Animal housing, In vivo- imaging, Automated electrophoresis, Flow cytometry, DNA Microarray, Liquid chromatography–mass spectrometry, Atomic absorption spectroscopy, Matrix- assisted laser desorption/ionization, Scanning electron microscope, Confocal laser scanning microscopy, Transmission electron microscopy, DNA sequencers, Cryogenic equipment, thermal cyclers etc.
Cells for the Sequel or Sequel II sequencers are sold in packs of four. On 19 September 2018, PacBio released the Sequel 6.0 software and 3.0 chemistry. Performance differs between large-insert libraries and high molecular weight DNA versus shorter- insert libraries below ~15,000 bases in length. For larger templates, average read lengths are up to 30,000 bases. For shorter-insert libraries, the average read length is up to 100,000 bases while reading the same molecule in a circle.
MTP originated in the middle ’80s for the Commodore and Apple II machines, and when the Atari ST implemented its MIDI support. It has continued to be one of the more popular proprietary sequencers, but hasn't seen any major updates since 2003 (after having been acquired by GVOX) other than 6.8.4 for Windows, which is reputed to have compatibility issues of its own. However, MTP's user- friendly interface and ease of use long made it one of the better packages for managing MIDI.
Although the primary use of the QY10 is as a portable composing tool, it has other applications. With its pattern-based sequencing system, it is particularly suited for use as an accompaniment device. However, unlike other sequencers in the QY series, the QY10 cannot auto-harmonize its backing tracks to chords played on an external MIDI keyboard. Another application is as a general purpose MIDI sequencer, controlling instruments with far superior sounds than those available from its own tone generator.
Naked Lunch was formed in 1979. Their first live performance was at Studio 21 in London under the name Sons of Perdition but decided to change it to Naked Lunch immediately afterwards. The first live performance as Naked Lunch took place in the Thomas A Becket pub in SE London supporting a punk band. Initially having used live analog sequencers, it was difficult to change settings between songs and they accepted that the sequences had to be recorded onto tape.
As a result, the Man-Machine album also became a success in the UK, peaking at number 9 in the album chart in February 1982. The band's live set focused increasingly on song-based material, with greater use of vocals and the use of sequencing equipment for both percussion and music. In contrast to their cool and controlled image, the group used sequencers interactively, which allowed for live improvisation. Ironically Kraftwerk did not own a computer at the time of recording Computer World.
When he was twelve years old, his mother bought him a guitar, which was when Luciano's involvement with music began. He was the guitar player in a punk rock band at school until the age of sixteen. Not long after, he learned that electronic instruments such as sequencers and drum machines were replacing analog ones. After finding a French band called Bérurier Noir that used drum machines in place of a drum set, his passion and interest in electronic music commenced.
Spire combines multiple forms of digital synthesis with reproductions of classic analog synthesis techniques. The synthesis techniques used by Spire are most easily described as subtractive, although the options available are much more complex than most real analog synthesizers. There are seven modes available for each oscillator: Classic, Noise, FM, HardFM, SawPWM , AMSync, and Vowel. The sounds from the four oscillators can then be routed to the modulation units, which include four envelopes, four Low Frequency Oscillators, two step sequencers, and routing matrix.
Reason is a digital audio workstation for creating and editing music and audio developed by Swedish software company Reason Studios (formerly known as Propellerhead Software). Reason emulates a rack of hardware synthesizers, samplers, signal processors, sequencers, and mixers, all of which can be freely interconnected in an arbitrary manner. Reason can be used either as a complete virtual music studio or as a set of virtual instruments to be used with other sequencing software in a fashion that mimics live performance.
All micro- versions had three modes: 'BARS' mode was used to create individual patterns and 'SONG' mode to align patterns in desired order to create a tune (exactly as pattern- based music sequencers do). There was also a third Real-Time mode for playing with the keyboard. Simple Flam effect and Pitch adjust for every sample were also possible, as well as the main tempo change. Each micro version had unique sets of sounds, thus producing different genres of tunes.
The mid- production grey 2600 models featured many changes amongst themselves. Changes in circuitry and panel lettering provided at least three different grey panel models. Alan R. Pearlman provided synthesizers to well-known musicians, such as Edgar Winter, Pete Townshend, Stevie Wonder, Joe Zawinul, and Herbie Hancock, each in exchange for his endorsement as a professional user. Software companies, such as Arturia and Way Out Ware, have released software emulations for use with modern music equipment, such as MIDI devices and computer sequencers.
The Edman degradation is a very important reaction for protein sequencing, because it allows the ordered amino acid composition of a protein to be discovered. Automated Edman sequencers are now in widespread use, and are able to sequence peptides up to approximately 50 amino acids long. A reaction scheme for sequencing a protein by the Edman degradation follows; some of the steps are elaborated on subsequently. #Break any disulfide bridges in the protein with a reducing agent like 2-mercaptoethanol.
The human genome project spurred the development of cheaper, high throughput and more accurate platforms known as Next Generation Sequencers (NGS). In 2005, 454 Life Sciences released the 454 sequencer, followed by Solexa Genome Analyzer and SOLiD (Supported Oligo Ligation Detection) by Agencourt in 2006. Applied Biosystems acquired Agencourt in 2006, and in 2007, Roche bought 454 Life Sciences, while Illumina purchased Solexa. Ion Torrent entered the market in 2010 and was acquired by Life Technologies (now Thermo Fisher Scientific).
Illumina Genome Analyzer II sequencing machine Illumina produces a number of next-generation sequencing machines using technology acquired from Manteia Predictive Medicine and developed by Solexa.Solexa's Progress Is In The Genes - Businessweek Illumina makes a number of next generation sequencing machines using this technology including the HiSeq, Genome Analyzer IIx, MiSeq and the HiScanSQ, which can also process microarrays.Illumina Systems The technology leading to these DNA sequencers was first released by Solexa in 2006 as the Genome Analyzer. Illumina purchased Solexa in 2007.
Industrial rock artists generally employ the basic rock instrumentation of electric guitars, drums and bass and pair it with white noise blasts, electronic music gear (synthesizers, sequencers, samplers and drum machines). Guitars are commonly heavily distorted or otherwise effected. Bass guitars and drums may be played live, or be replaced by electronic musical instruments or computers. The early fusions of industrial music and rock were practiced by a handful of post-punk groups, including Chrome, Killing Joke, Swans, Big Black, and Foetus.
Clark Alan Baechle is an American founding member of the Omaha-based electronic rock band The Faint, along with his brother, Todd Fink. Although he is primarily known for playing drums, he also sings backup vocals and is heavily involved with other aspects of the band's output, such as programming electronic instruments and sequencers, and designing and programming lights for their live shows. He played guitar in another Nebraskan band, Park Ave., and acted as producer and engineer of their posthumous album.
Knowledge of modern music technology (sequencers, synthesizers, computer sound editing), songwriting elements and business skills are now often requirements for a songwriter. Several music colleges offer songwriting diplomas and degrees with music business modules. Since songwriting and publishing royalties can be substantial sources of income, particularly if a song becomes a hit record; legally, in the US, songs written after 1934 may be copied only by the authors. The legal power to grant these permissions may be bought, sold or transferred.
More direct offshoots of house (e.g. Acid house) are also notable for their own offshoots that extend the Chicago variant's family tree. House also partakes in aspects of the musical traditions of other sounds. Most notable is the influence it takes from disco--genre progenitor Frankie Knuckles was himself a relocated New York Disco DJ. In many senses, house was a low-budget re-creation of disco, using synthesizers, sequencers, and samplers in the stead of orchestras and live performers.
In 1984, he moved to the province’s capital, the city of Groningen. It was around this time that Lester became interested in early street and hip-hop culture. He began graffiti writing under the ‘tag name’ Catch. Lester later produced rap music using so called tape loops, cassette decks and turntables before moving into digital samplers and sequencers. In 1986, he formed the group ‘Definitely Def’ with Andy Godderis. In 1989, Eugen Walker joined the group to become ‘Utile Connection’ (or U.C.).
It consists of six short stainless-steel strings suspended between two sensors, which detect the vibration of the stings when plucked or strummed. In addition to pro mode use, the Mustang can be used to play the game in basic mode. It also functions as a full MIDI guitar, with a MIDI output connector providing compatibility with MIDI software sequencers and hardware devices. For use in gaming mode, each Mustang controller can only be used with the game console it was designed for.
Lark (sometimes stylised as LARK) are a South African glitch electronica band from Cape Town. Formed in 2003, the group consists of Inge Beckmann (vocals), Paul Ressel (sequencers and analog systems), Simon "Fuzzy" Ratcliffe (bass guitar and woodwinds), and Sean Ou Tim (drums and percussion). They are often cited as "groundbreaking musicians", who were the key contributors to establishing experimental and intelligent dance music in South Africa. Their name has become synonymous with musical experimentalism, and are one of country's best loved acts.
The Roland VariOS is a rack-mounted open-ended variable system module. It is possible to independently manipulate the pitch, time and formant of a sample, add effects and build complete audio- based arrangements--all in a real-time environment and without CPU drain. In addition, the VariOS can emulate analogue synthesisers such as the Roland Jupiter 8 and Roland TB-303. The VariOS can operate as a stand-alone tool or alongside digital audio sequencers using MIDI clock and MTC sync.
This generation had a 'do it yourself' aesthetic which expanded the industry through establishing lower-income neighborhoods as the center of production. By this time, many home studios were based around Fruity Loops which were sequencers that incorporated a range of synthesizers and samples. The increase in availability of computers and pirated technology, especially the music production software FruityLoops made kuduro more widely available to the masses for production. This generation was characterized by sped-up versions of the first generation's tempo at 140 beats per minute.
They can be designed for multiple arrangements of digital and analog inputs and outputs (I/O), extended temperature ranges, immunity to electrical noise, and resistance to vibration and impact. Programs to control machine operation are typically stored in battery-backed-up or non- volatile memory. It was from the automotive industry in the USA that the PLC was born. Before the PLC, control, sequencing, and safety interlock logic for manufacturing automobiles was mainly composed of relays, cam timers, drum sequencers, and dedicated closed-loop controllers.
Between 1985 and 1990 the group was named simply The Manatees, and its first show was on October 31 (Halloween), 1985. At the time, the band was a duo, consisting of Will Hodgson (formerly of One Life & Big-Eyed Beans From Venus) and Ray Adkins, which relied on drum machines and sequencers. During this time, they released two live cassettes and two videos, including the cult classic Manatees In Manhattan. In 1990 bass player Roy Truax and drummer Myles Rothwell were added to the line-up.
They are often played with an electronic musical keyboard, but they can be controlled via a variety of other input devices, including music sequencers, instrument controllers, fingerboards, guitar synthesizers, wind controllers, and electronic drums. Synthesizers without built-in controllers are often called sound modules, and are controlled using a controller device. Synthesizers use various methods to generate a signal. Among the most popular waveform synthesis techniques are subtractive synthesis, additive synthesis, wavetable synthesis, frequency modulation synthesis, phase distortion synthesis, physical modeling synthesis and sample-based synthesis.
Kurenniemi's instruments were characterised by the early use of digital control and also the combination of sequencers with synthesizers. Kurenniemi was also the first to use a completely digital design based on calculator circuits to determine the pitch of the synthesised sound. Kurenniemi also explored the use of digital memory in his instruments – his first digital memory was installed in the Dico instrument commissioned by Osmo Lindeman (1969). In addition to developing new applications, Kurenniemi studied the use of different control systems in his instruments.
Shark Vegas was a Berlin based new wave band, consisting of ex-Factory Records German representative, Mark Reeder (guitar/tapes/keyboards), Alistair Gray (vocals), Leo Walter (drums/percussion) and Helmut Wittler (bass/keyboards).Mark Reeder Official Myspace music.Myspace.com. Previously Reeder and Grey were known as "Die Unbekannten" together with their drummer Tommy Wiedler (now with Nick Cave's Nick Cave and the Bad Seeds) they later used drum machines and sequencers. Die Unbekannten are credited with making the first record with a Roland TR-606.
There are three types of blocks: # Dodge: empty the attacked house. # Cover: empty a house in order to fill the opponent's target hole. # Neutralize: capture the attacking house (usually, this is only available if the opponent has made a blunder). There are five levels of stashes: # Short-strikers: 1-5 seeds # Sequencers: 6 seeds # Useless: 7 seeds # Long-strikers: 8-13 seeds # Wrappers: 14+ seeds Since even novice players can spot open attacks (there are only six places to check), more advanced players organize hidden strikes.
Sequencing was initially done on the Illumina Genome Analyzer GAII next-generation DNA sequencing platform at the Beijing Genomics Institute (BGI Shenzhen, China), but later samples were run on the faster Illumina HiSeq 2000 platform. Starting with the 28 Illumina Genome Analyzer next-generation DNA sequencing machines, these were eventually upgraded to 100 HiSeq 2000 sequencers at the Beijing Genomics Institute. The initial 3Gb/run (3 billion base pairs per experiment) capacity of each of these machines enabled fast and accurate sequencing of the plant samples.
A synthesizer keyboard creates musical sounds using electronic circuitry, or, later, computer chips and software. Synthesizers became popular in the mass market in the early 1980s. With the development of powerful microchips, a number of new electronic or digital music technologies were introduced in the 1980s and subsequent decades, including drum machines and music sequencers. Electronic and digital music technologies are any device, such as a computer, an electronic effects unit or software, that is used by a musician or composer to help make or perform music.
Rogers later served as senior vice-president and chief technology officer of Perkin-Elmer, a Norwalk, Connecticut-based maker of DNA sequencers. He went on to head several private companies, including being the founder and chairman of PolaRX, a company that developed the FDA-approved drug arsenic trioxide for the treatment of acute promyelocytic leukemia. The company was later sold for $100 million. He was also the founder of Innovative Drug Delivery Systems, a pharmaceutical development company later sold to a larger company for approximately $230 million.
The band is noted for its creative combination of various types of metal and electronic music. Although often classified as cybergrind early in their career, Genghis Tron developed a more diverse sound, which included elements of IDM, doom metal, electronic and ambient, in addition to their core style of synth-laden metal. Forgoing both a drummer and a bass guitarist, the band utilizes computer-based sequencers such as FL Studio and Ableton Live, as well as multiple synthesizers (Moog, Alesis and Novation) to produce its distinct sound.
Bussey, P, Kraftwerk - Man Machine & Music, SAF Publishing 1993, page 51 After Karl Bartos joined the band, more studio equipment was designed by all four band members. A full-time engineer was employed to assist with the designs and new equipment purchases. In 1976 Kraftwerk began recording Trans-Europe Express at Kling Klang studio.Bussey, P, Kraftwerk - Man Machine & Music, SAF Publishing 1993, page 79 Hütter and Schneider had commissioned Matten & Wiechers, the Bonn based synthesizer studio, to design and build two "Synthanorma" (32-step music sequencers).
Dayhoff's Atlas became a template for many indispensable tools in large portions of DNA or protein-related biomedical research. In spite of this significant contribution, Dayhoff was marginalized by the community of sequencers. The contract to manage GenBank (a technology directly related to her research), awarded in the early 1980s by the NIH, went to Walter Goad at the Los Alamos National Laboratory. The reason for this attitude was unknown, with theories ranging from sexism to a clash of values with the experimental science community.
For the first time, sequences could be moved from one digitally controlled music device to another. The Ensoniq ESQ-1, released in 1985, combined for the first time a multi-track, polyphonic MIDI sequencer with a dynamically-assigned multi- timbral synthesizer. Korg M1 (1988–1990s) In the late 1980s, on-board MIDI sequencers began to appear more frequently on professional synthesizers. The Korg M1 (released 1988) a widely known and popular music workstation, and became the world's best-selling digital keyboard synthesizer of all time.
BoomBox was formed in 2004 by singer-songwriter Zion Godchaux on guitar/lead vocals and producer Russ Randolph on sequencers, groove boxes and turn-tables. Both members, who first met in 2004, had long careers as music producers, musicians and DJs. Russ Randolph had been raised in Muscle Shoals, Alabama, and picked up drums at an early age. Muscle Shoals is known for its music scene, and early on Randolph was exposed to R&B;, including artists such as Wilson Pickett, Otis Redding, and Aretha Franklin.
In 1985, Friedman produced a seminal work on the newly emerging synthesizer industry called Complete Guide to Synthesizers, Sequencers, and Drum Machines. Whilst dated, this tome published by New York Amsco is still of use in evaluating devices that crop up on the second-hand market. Friedman also set up the New York School of Synthesis and provided a series of videos entitled Intro to Synthesis. Friedman presents the rudiments of this topic in an audio-visual format, whilst incorporating a unique sense of humor.
In 2006, Radiohead singer Thom Yorke released his first solo album, The Eraser, comprising mostly electronic music. In 2009, Yorke performed solo at Latitude Festival, and found it was possible to perform Eraser songs on acoustic instruments. He contacted Eraser producer and longtime Radiohead collaborator Nigel Godrich with the idea of forming a band to perform The Eraser without using sequencers, reproducing the electronic beats with Latin percussion. Yorke formed Atoms for Peace in 2009 with Godrich, bassist Flea, drummer Joey Waronker, and percussionist Mauro Refosco.
The group would go on to operate as a three piece of guitarist Dave Brock, bassist Alan Davey and drummer Richard Chadwick, making heavy use of sequencers, synthesisers and computers, both in the studio and live. The style of Electric Tepee is predominately space rock, with elements of trance, ambient and techno. The album was recorded in 1992 at Brock's own Earth Studios, produced with Paul Cobbold. "Mask of the Morning" re-uses the lyrics from "Mirror of Illusion" from the 1970 debut album Hawkwind.
This more closely resembled working principles of hardware sequencers of the 1970s and 1980s. In its time, Notator was widely regarded (by musicians and the musical press of the time e.g. International Musician) as one of the most powerful and intuitive sequencing and notation programs available on any platform, but afterward the popularity of Steinberg's Cubase increased and track-based sequencing prevailed over pattern-based, resulting in the eventual greater integration and hybridization of the two methods in later versions of both Cubase and Logic.
The Synthi 100 used voltage-controlled oscillators and filters driven by three digital sequencers, each with two tracks. This enabled the programming and storing of different voltage-control sequences, which Stockhausen used extensively in the electronic music for Sirius . Other composers who used the Synthi 100 in the Cologne studio at this time included Rolf Gehlhaar in 1975, for his Fünf deutsche Tänze / Five German Dances , John McGuire in 1978, for Pulse Music III (; ), and York Höller in 1979–80, for his Mythos for 13 instruments, percussion, and electronic sounds .
Another form of wind controller uses software to convert the acoustic sound of an unmodified acoustic wind instrument directly into Musical Instrument Digital Interface (MIDI) messages. In either case, the control signals or MIDI messages generated by the wind controller are used to control internal or external devices such as analog synthesizers or MIDI-compatible synthesizers, synth modules, softsynths, sequencers, or even non-instruments such as lighting systems. Simpler breath controllers are also available. Unlike wind controllers, they do not trigger notes and are intended for use in conjunction with a keyboard or synthesizer.
In the 1980s and 1990s, beat makers and producers used the new electronic and digital instruments that were developed, such as samplers, sequencers, drum machines, and synthesizers. From the 1970s to the 2010s, various beat makers and producers have used live instruments, such as drum kit or electric bass on some tracks. To record the finished beats or beat tracks, beat makers and producers use a variety of sound recording equipment, typically multitrack recorders. Digital Audio Workstations, also known as DAWs, became more common in the 2010s for producers.
Ableton Live is a digital audio workstation developed by Ableton for macOS and Windows. In contrast to many other software sequencers, Ableton Live is designed to be an instrument for live performances as well as a tool for composing, recording, arranging, mixing, and mastering. It is also used by DJs, as it offers a suite of controls for beatmatching, crossfading, and other different effects used by turntablists, and was one of the first music applications to automatically beatmatch songs. Live is available in three editions: Intro (with limited key features), Standard, and Suite.
Produced by Cocteau Twins guitarist Robin Guthrie, Black Spring was the result of several months of writing by Lush. The band originally intended to release a full-length studio album in spring 1991, but found themselves with little material after the release of their 1990 EPs. Lush recorded Black Spring at September Sound in London in September 1991, experimenting with their guitar and drum sound using sequencers and MIDI. Upon its release, Black Spring reached No. 2 in the UK Independent Singles Chart, and "Nothing Natural" peaked at No. 43 on the UK Singles Chart.
Jarre's follow-up album, Équinoxe, was released in 1978. It was composed with sequencers, particularly on the bass, and features a more baroque and classical style than Oxygène, with more emphasis on melodic development. Though its sales were still healthy, it had less of an impact than Oxygène, but the following year Jarre held a large open-air concert on Bastille Day, at the Place de la Concorde. The free outdoor event set a world record for the largest number of spectators ever at an open-air concert, drawing more than 1 million spectators.
The technology can be defined as being at the same development point as the first automated DNA sequencers in the early 1990s. Automated DNA sequencing was a disruptive technology when it became practical and -even if early devices had shortcomings- it enabled genome scale sequencing projects and created the field of bioinformatics. The impact of a similarly disruptive and powerful technology on molecular cell biology and translational research is hard to predict but what is clear is that it will cause a profound change in the way cell biologists research and medicines are discovered.
The development of next-generation sequencers (NGS) allowed for increased cost effectiveness on very short read sequencing. The manipulation of de Bruijn graphs as a method for alignment became more realistic but further developments were needed to address issues with errors and repeats. This led to the development of Velvet by Daniel Zerbino and Ewan Birney at the European Bioinformatics Institute in the United Kingdom. Velvet works by efficiently manipulating de Bruijn graphs through simplification and compression, without the loss of graph information, by converging non-intersecting paths into single nodes.
In 1994, Perkin-Elmer reported net revenues of over $1 billion, of which Life Sciences accounted for 42% of the business. The company has 5,954 employees. A brand-new highly competitive genomics industry had formed for the development of new pharmaceuticals, based on the work of the Human Genome Project. Companies such as Sequana Therapeutics in San Diego, Human Genome Sciences in Maryland, Myriad Genetics in Utah, INCYTE Pharmaceuticals (later Incyte Genomics) in California, and Millennium Pharmaceuticals relied on the Applied Biosystems Division, which made thermal cyclers and automated sequencers for these new genomics companies.
As with Schulze's previous recording, Trancefer, Audentity is also heavily reliant on sequencers, but is less harsh in style. This is particularly evident in the tracks "Cellistica" and "Spielglocken". However, the heavy reliance on sequenced sound is not the case for all the tracks, and indeed "Sebastian im Traum" hints towards the operatic style of some of Schulze's much later works (like Totentag). "Sebastian im Traum", named after a poetry book of Georg Trakl, also contains a brief musical sequence that can be heard in the Michael Mann 1986 film Manhunter.
Later, after having criticized Somalia's then ruling military government, she was banned from singing for two years, and made her living driving a taxi. During the subsequent civil war in her homeland, Mursal and her five children moved to neighboring Djibouti, where she found asylum in the Danish embassy. It was this odyssey that provided the gem of her solo recording The Journey, with guitars, sequencers and back-up vocals from Peter Gabriel. Mursal still lives abroad, now residing in UK. She has toured Europe with Waaberi and appeared with Nina Simone.
The initial hardware implementations were built out of the Current Transfer Logic (CTL) Family originally made by Fairchild Semiconductor but with the introduction of the B1955 in 1979 the series employed the more popular (and more readily obtainable) TTL logic family. Up through the B1955, the control logic was implemented with PROMs, muxes and such. The B1965, the last of the series, was implemented with a pair of microcode sequencers which stayed in lock step with each other. The majority of the instructions executed in a single cycle.
These new constructs, called ditags, are then PCR amplified using anchor A and B specific primers. # The ditags are then cleaved using the original AE, and allowed to link together with other ditags, which will be ligated to create a cDNA concatemer with each ditag being separated by the AE recognition site. # These concatemers are then transformed into bacteria for amplification through bacterial replication. # The cDNA concatemers can then be isolated and sequenced using modern high- throughput DNA sequencers, and these sequences can be analysed with computer programs which quantify the recurrence of individual tags.
In 1995 the innovation of using fragments of varying sizes was introduced, and demonstrated that a pure pairwise end-sequencing strategy would be possible on large targets. The strategy was subsequently adopted by The Institute for Genomic Research (TIGR) to sequence the entire genome of the bacterium Haemophilus influenzae in 1995, and then by Celera Genomics to sequence the entire fruit fly genome in 2000, and subsequently the entire human genome. Applied Biosystems, now called Life Technologies, manufactured the automated capillary sequencers utilized by both Celera Genomics and The Human Genome Project.
Although Cylob's music is predominantly instrumental, using a drum machine patch with sequencers, that evolved into a digital compositions which included "midi style sequencing". A video to "Rewind" directed by Mark Adcock and featuring martial artist Chloe Bruce saw a fair amount of MTV airplay on its release in 1999. In 2007 he launched his own label, Cylob Industries, to release his material, while licensing it to various labels for hard-copy prints on CD and vinyl. In 2014, the compilation Cymply The Best was released, while much of the Rephlex material was re-released.
Ricochet is the seventh major release and first album by German electronic music group Tangerine Dream which included material recorded live. It was released, on the Virgin label, in 1975. It consists of two side-long compositions mixed from studio recordings and the UK portion of their August–October 1975 European Tour. The sound of the album is similar to that of the group's other "Virgin Years" releases, relying heavily on synthesizers and sequencers to produce a dense, ambient soundscape, but is much more energetic than their previous works.
Other Music performed extensively in Northern California using these instruments during the years 1977–1981. Three of Doty's compositions from this period were featured on Other Music's 1980 LP Prime Numbers. Other Music ceased performing publicly in 1981, but in 1983 recorded and released a studio album, Incidents Out of Context, featuring compositions combining gamelan with synthesizers and other acoustic and electro-acoustic instruments. After the dissolution of Other Music in 1983, Doty began composing for MIDI instruments and sequencers, which he has continued to do into the 21st century.
Historically, sequencing was done in sequencing centers, centralized facilities (ranging from large independent institutions such as Joint Genome Institute which sequence dozens of terabases a year, to local molecular biology core facilities) which contain research laboratories with the costly instrumentation and technical support necessary. As sequencing technology continues to improve, however, a new generation of effective fast turnaround benchtop sequencers has come within reach of the average academic laboratory. On the whole, genome sequencing approaches fall into two broad categories, shotgun and high-throughput (or next-generation) sequencing.
LI-COR automated DNA sequencers were the primary systems used by Genoscope, the French National Sequencing Center to sequence chromosome 14 of the Human Genome Project. Researchers affiliated with micrometeorological networks around the world use LI-COR carbon dioxide and water vapor analyzers to assess ecosystem greenhouse gas exchange with the eddy covariance technique. These networks include FluxNet and regional networks such as AmeriFlux, ICOS and AsiaFlux. In 2010, the editors of R&D; Magazine selected the LI-7700 Open Path CH4 Analyzer for an R&D; 100 Award.
A software synthesizer, also known as a softsynth or software instrument, is a computer program or plug-in that generates digital audio, usually for music. Computer software that can create sounds or music is not new, but advances in processing speed now allow softsynths to accomplish the same tasks that previously required the dedicated hardware of a conventional synthesizer. Softsynths may be readily interfaced with other music software such as music sequencers typically in the context of a digital audio workstation. Softsynths are usually less expensive and can be more portable than dedicated hardware.
Physical Therapy is a jazz fusion band from St. Louis, Missouri active in the 1990s. They produced two albums under the Sweatshop Records label, the first being the self-titled Physical Therapy (1992), and the second work being a theme album called Casino (1997). The band used a variety of instruments and synthesizers and recorded digitally to maintain a high production standard. Priding the band on the use of real musicians, they boasted on their first album that no drum machines or music sequencers were used in its production.
Eldritch served as the vocalist, performed all instruments, and programmed the band's drum machine, "Doktor Avalanche". The drum machine acted as the drum player; Morrison did not contribute to the album despite being a member of the Sisters of Mercy. In contrast to First and Last and Always, Floodland was created in a less conventional way, being pieced together on computers using sequencers. The music incorporates the genres of gothic rock and dark wave, while the lyrical content sees Eldritch cast as the observer of a slowly deteriorating world.
Signals is the ninth studio album by Canadian rock band Rush, released in September 1982 by Anthem Records. After the release of their previous album, Moving Pictures, the band started to prepare material for a follow-up during soundchecks on their 1981 concert tour and during the mixing of their subsequent live album Exit...Stage Left. Signals demonstrates the group continuing with the use of synthesizers, sequencers, and other electronic instrumentation. It is their last album produced by their longtime associate Terry Brown, who had worked with them since 1974.
Simmons Electronic Drums beginning with Grace Under Pressure, 1984 Musically, although Lee's use of sequencers and synthesizers remained the band's cornerstone, his focus on new technology was complemented by Peart's adaptation of Simmons electronic drums and percussion. Lifeson's contributions on the album were decidedly enhanced, in response to the minimalistic role he played on Signals. Still, many of his trademark guitar textures remained intact in the form of open reggae chords and funk and new-wave rhythms. With new producer Peter Collins, the band released Power Windows (1985) and Hold Your Fire (1987).
Autechre use many different digital synths and a few analogue synths in their production, as well as analogue and digital drum machines, mixers, effects units and samplers. They have also made extensive use of a variety of computer based sequencers, software synthesisers, and other applications as a means of controlling those synths and processing the synthesised sounds. Much of the hardware and software they use has been customised by the band themselves. Autechre have also experimented in depth with development environments such as Max/MSP, and Kyma, amongst others, from 1997 onwards.
The lead single "Only Time Will Tell" became a popular chart favourite in Canada (No. 93), with a memorable video rotated on MTV for a brief period. However, the remainder of the album suffered from over-reliance on technology, with armies of sequencers and drum machines replacing much of the band's earlier trademark sound with Gilmour and Negus. For 1989's The Beginner's Guide to Throwing Shapes, Saga refocused on their earlier European popularity which marked a return to their earlier progressive style with a few sci-fi orientated pop elements to it.
Born in Ludvika, Ilar grew up in the little town that is surrounded by woods and lakes, and started playing the piano when he was six. However, he gradually lost interest after he started taking lessons. Instead, he became fascinated with electronic sounds and science fiction, and grew up listening to Depeche Mode, Kraftwerk and Tangerine Dream. By the time Ilar was a teenager, he spent most of his time playing with synthesizers, sequencers and drum machines, resulting in an almost endless number of tracks recorded on tape.
In addition to the music sections for game consoles and home computer systems, there is also a Medley section. Submitted medleys consist of music selections from anything between one game and multiple games and franchises; the style or theme of the medleys is at the discretion of the sequencers. There is also a Piano Only section, which hosts sequences transcribed to use two MIDI tracks, one for each hand on piano. These sequences can subsequently be opened using appropriate score-writing software, and printed out as sheet music.
He reached out to dozens of academics in music theory asking "what deep property of music is exposed by this keyboard's invariant note-pattern?", but only Sethares and Milne dug into the problem, applying their knowledge of music and mathematics to publish a series of papers that solved the mystery. Sethares' previous work, showing that consonance arose solely from the alignment of notes and partials, was a key input to Dynamic Tonality. Milne & Sethares' grad students did much of the work in developing electronic synthesizers and sequencers for Dynamic Tonality.
Marc & Robert displays a notable shift into a greater electronic emphasis, with sequencers and keyboards driving tracks while acoustic instruments are often absent. The album features a mixture of songs with lyrical themes that range from light in tone ("Singing in the Shower") to more reflective and bitter-sweet. The single "Le Petit Train" (English translation: "The little train") is an example of a song that reflects the dual nature of the lyrics. The song is opens musically and lyrically in a light tone with an almost childish melody.
AllMusic described Burial's recordings as "gloomy, dystopian soundscapes" which blend "fractured breakbeats with mysterious, pitch-shifted voices and loads of vinyl crackle, rainfall, and submerged video game sound effects." His work is inspired by British club music such as garage, jungle, and hardcore, while his first album was one of the first prominent dubstep albums. He was associated with the mid-2000s hauntology trend, in which British artists explored elements of "spectral" cultural memory. Bevan claims to compose his music in SoundForge, a digital audio editor, and to eschew the use of trackers and sequencers.
It makes possible modern factory automation, as well as heating, ventilation, air-conditioning, plastic injection molding machines, commercial washing machines, and amusement park rides. It is even found in lavish stage effects of Broadway productions. The devices are designed to work in real time, taking in information, processing it and producing commands to control a mechanical process as it happens. The Programmable Logic Controller ("PLC") came about as a replacement for automatic control systems that used tens and hundreds (maybe even thousands) of relays, motor driven cam timers, and rotary sequencers.
It has a storage area network with over 1 petabyte of disk and 3 petabytes of tape, expandable to 50 petabytes. The Genomics Research Laboratory: has of laboratory space located at the Institute's main building. It possesses state-of-the-art Roche GS-FLX, Illumina and Ion Torent genome sequencers. It includes the Affymetrix National Custom Array Center for custom microarray design, sample processing and analytical services The Data Analysis Core: offers Turnkey service to analyze -omics and other data from raw data in to manuscript ready figures and text out.
Doepfer Musikelektronik GmbH is a manufacturer of audio hardware, mostly synthesizer modules (modular synthesizer), based in Gräfelfing, Germany and founded by Dieter Döpfer. The product range covers analog modular systems, MIDI controllers, MIDI hardware sequencers, MIDI-to-CV/Gate/Sync Interfaces, MIDI master keyboards and special MIDI equipment. Dieter Döpfer began developing audio hardware with a Voltage Controlled Phaser module for the Formant, a do-it-yourself-kit analog synthesizer from Elektor magazine in 1977. Several legendary modular synths followed while Döpfer also focused on the development of MIDI equipment during the 1980s.
Trancefer is quite distinctive in its sound and arrangements. It is quite different from what Schulze was doing in the 1970s in the sense that it is not a composition that uses sequencers, transpositions, and a main melody line. Trancefer is more syncopated, and here the main focus is put on the dialog between the percussions and the chords Schulze is playing on the Yamaha CS-80 synthesizer. There is a pre-release of Trancefer, called "Trancefer half-speed cut", which consists of 300 copies at 45RPM normal cut, and 500 copies at 33RPM, the 'halfspeed' cut.
When Clarke started using synthesisers, they were predominantly analogue (digital synthesisers were rare, and would remain that way until the launch of the Yamaha DX7 in 1983). In order to connect analogue synthesisers, analogue drum machines, and analogue sequencers together, multiple CV/Gate cables were required between each device. This system was not standardised, so inter- operability between instruments from different manufacturers was not always straightforward. In addition, some manufacturers used their own proprietary interfaces. When an industry-wide standard called MIDI (Musical Instrument Digital Interface) was introduced in 1983, Clarke, like most other electronic musicians, gradually migrated to the new technology.
T3 started out as a cheaper way to busk on the streets of Austin, Texas. Digital sequencers afforded a new option for bands based on electronic music: a sequencer could be programmed with the MIDI control data to play back an entire song live, by generating the instrument sounds from synthesizers. Sparks were one of the earliest bands to use computer backing trackings, touring with a desktop in 1994.However, it was not until the advent of the inexpensive portable computer (and more specifically, the digital audio workstation) that musicians were given any real choice beyond the use of tape.
DCB was quickly replaced by MIDI in the early 1980s. The only DCB-equipped instruments produced were the Roland Jupiter-8 and Juno-60; Roland produced at least two DCB sequencers, the JSQ-60 and the MSQ-700. The latter was capable of saving eight sequences, or a total of 3000 notes, and was capable of transmitting and receiving data via MIDI (though it could not convert signals between DCB and MIDI, nor could it use both protocols simultaneously). Roland later released the MD-8, a rather large black box capable of converting MIDI signals to DCB and vice versa.
Once the spotting session has been completed and the precise timings of each cue determined, the composer will then work on writing the score. The methods of writing the score vary from composer to composer; some composers prefer to work with a traditional pencil and paper, writing notes by hand on a staff and performing works-in-progress for the director on a piano, while other composers write on computers using sophisticated music composition software such as Digital Performer, Logic Pro, Finale, Cubase, or Pro Tools.Kompanek, Sonny. From Score To Screen: Sequencers, Scores And Second Thoughts: The New Film Scoring Process.
In organ trios, for example, a Hammond organ player performs the basslines using the organ's pedal keyboard. In some types of popular music, such as hip-hop or house music, the bass lines are played using bass synthesizers, sequencers, or electro-acoustically modeled samples of basslines. TB-303 front panel Basslines are important in many forms of dance and electronic music, such as electro, drum and bass, dubstep, and most forms of house and trance. In these genres, basslines are almost always performed on synthesizers, either physical, such as the Minimoog and the Roland TB-303, or virtual, such as Sytrus and ZynAddSubFX.
In 2010, the institute 500-node supercomputer processed 10 terabytes of raw sequencing data every 24 hours from its current 30 or so Genome Analyzers from Illumina. The annual budget for the computer center was US$9 million. In the same year, BGI's computational biologists developed the first successful algorithm, based on graph theory, for aligning billions of 25 to 75-base pair strings produced by next-generation sequencers, specifically Illumina's Genome Analyzer, during de novo sequencing. The algorithm, called SOAPdenovo, can assemble a genome in two days and has been used to assemble an array of plant and animal genomes.
Originally, the module configuration for Serge systems could be selected by the user. 4U panels with module widths typically ranging from 1" to 3" (sometimes more in the case of sequencers), several modules could then be arranged on a 17-inch-wide panel (total of 16 inches of modules), resulting in a custom built panel. These were originally arranged by applying paper graphics to the metal panel, which became metal self-applied graphics in the early 1980s and finally graphics printed directly onto the metal panel. Early systems could have custom graphics—or no graphics—depending upon the whims of the artist.
Unlike his albums released under the name Dre Dog, Cocaine Raps had deeper production values [First Collaborations with Producer Nick Peace]. The album Raven in My Eyes was noted for its production quality and songs that combine "sequencers and keyboards that buzz and whine" with live instrumentation. That year, he founded his own record label, Filmoe Coleman Records. Nickatina explained in an interview with Strivin magazine that his name change was "for the better" and that he raps because he feels that he is talented enough to do so but not for the sake of popularity.
Originally planned as a collaboration with pop singer/songwriter Prince, Davis ultimately worked with bassist/multi- instrumentalist Marcus Miller. Miller wrote and arranged all the songs, except "Tomaas" (co-written by Davis), "Backyard Ritual" (by keyboardist George Duke), and "Perfect Way" (by pop group Scritti Politti). The music is strongly inspired by mid-1980s R&B; and funk, with heavy use of synthesizers, sequencers and drum machines. As indicated in the notes accompanying the album, Tutu was produced by Tommy LiPuma and Marcus Miller, with the exception of "Backyard Ritual", which was co-produced by Duke and LiPuma.
A synthesizer is an electronic musical instrument that generates electric signals that are converted to sound through instrument amplifiers and loudspeakers or headphones. Synthesizers may either imitate existing sounds (instruments, vocal, natural sounds, etc.), or generate new electronic timbres or sounds that did not exist before. They are often played with an electronic musical keyboard, but they can be controlled via a variety of other input devices, including music sequencers, instrument controllers, fingerboards, guitar synthesizers, wind controllers, and electronic drums. Synthesizers without built-in controllers are often called sound modules, and are controlled using a controller device.
Another common way of controlling a sound module is through a sequencer, which is computer hardware or software designed to record and playback control information for sound-generating hardware (e.g., a DJ may program a bassline and use the sound module to produce the sound). Connections between sound modules, controllers, and sequencers are generally made with MIDI (Musical Instrument Digital Interface), which is a standardized protocol designed for this purpose, which includes special ports (jacks) and cables. Sound modules are often rack-mountable, but might also have a table-top form factor, particularly when the intended user is a DJ or record producer.
In the 1990s, the consolidation trend took a new turn: inter-media consolidation. This trend saw music recording companies being consolidated with film, television, magazines, and other media companies, an approach which facilitated cross-marketing promotion between subsidiaries. For example, a record company's singing star could be cross-promoted by the conglomerate's television talk shows and magazine arms. The "introduction of digital equipment (mixing desks, synthesizers, samplers, sequencers)" in the 1980s resulted in what Grove Dictionary of Music dubbed the creation of "new sound worlds", as well as facilitating DIY music production by amateur musicians and "tiny independent record labels".
The music of Floodland was described as a mix of gothic rock and dark wave. In contrast to the Sisters of Mercy's previous album, First and Last and Always, which had been recorded in a conventional way, Floodland was pieced together on a computer that used sequencers to help. Eldritch worked on the recorded parts with a Voyetra Sequencer Plus, while a Yamaha SPX-90 was used as an effects unit and the parts were saved on a Compaq Portable 286. The guitars were played by Eldritch himself, apart from the solo on "This Corrosion", which was played by Steinman's friend Eddie Martinez.
Although he spent much time in studios, as well as having his own home studio, Jorge attended the Institute of Audio Research engineering school in New York City to further his audio engineering knowledge. He also worked with Dandy Jack to produce the duo "Gonzalo Martinez" which was a hit in Europe, the album is a mix of traditional cumbia music all done through electronic programs, synthesizers, and sequencers. Around this time he reunited with Miguel Tapia (former drummer of Los Prisioneros) and formed a group called Los Dioses. Argenis Brito joined in as well, and they formed a trio.
The Prophet-5, one of the first polyphonic synthesizers. It was widely used in 1980s synth-pop, along with the Roland Jupiter and Yamaha DX7. Synth-pop was defined by its primary use of synthesizers, drum machines and sequencers, sometimes using them to replace all other instruments. Borthwick and Moy have described the genre as diverse but "...characterised by a broad set of values that eschewed rock playing styles, rhythms and structures", which were replaced by "synthetic textures" and "robotic rigidity", often defined by the limitations of the new technology, including monophonic synthesizers (only able to play one note at a time).
Before the existence of MIDI and software sequencers, this approach was a common method used to create synthesizer beats in the absence of an analog sequencer. Their PS-3300 can also clearly be heard in the intro (and throughout) on the track "Just Blue"Space: "Just Blue", YouTube.com Retrieved 17 November 2016 and spotted at 0:18 in the video, played by Didier Marouani. The unique sound of the PS-3300 can also be heard on the Gino Vannelli track "Appaloosa"Gino Vannelli: "Appaloosa", YouTube.com Retrieved 6 June 2018 and throughout the 1978 album Brother To Brother.
The complex basslines were played by Nakano on either a bass or on a keyboard. Takahashi took to heavy usage of samplers and using a cassette deck to play pre-recorded choral accompaniments, as well as having a hand in engineering. Drummer Yasuhiro Araki meanwhile, had his role in the band greatly diminished, with most of the drumming on the album handled by sequencers. One Pattern was recorded under a strenuous schedule by a P-Model in low spirits, with Hirasawa having his vision heavily imposed on by various circumstances, and he has since called this his least favorite P-Model album.
The early 1980s saw the rise of bass synthesizers, the most influential being the Roland TB-303, a bass synthesizer and sequencer released in late 1981 that later became a fixture in electronic dance music,. particularly acid house. One of the first to use it was Charanjit Singh in 1982, though it wouldn't be popularized until Phuture's "Acid Tracks" in 1987.. Music sequencers began being used around the mid 20th century, and Tomita's albums in mid-1970s being later examples. In 1978, Yellow Magic Orchestra were using computer-based technology in conjunction with a synthesiser to produce popular music,.
Shelley and Rushent began recording tracks on 13 February 1981, the majority of which dated back to 1973–75, before Shelley had formed Buzzcocks.McGartland (1995). p. 113 Rushent had equipped his new studio with the latest electronic equipment and, in the process of recording, Shelley and Rushent grew enormously fond of the sound they had created in the studio, which featured an interesting blend of drum machines, synthesizers and sequencers coupled with guitars. Shelley, weary of Buzzcocks' financial state, decided to leave the band after Island Records' Andrew Lauder offered him a solo record deal based on the demos.
In electroacoustic pop, rock, and other kinds of music, a loop is a repeating section of sound material. Short sections of material can be repeated to create ostinato patterns. Longer sections can also be repeated: for example, a player might loop what he plays on an entire verse of a song in order to then play along with it, accompanying himself. Loops can be created using a wide range of music technologies including turntables, digital samplers, looper pedals, synthesizers, sequencers, drum machines, tape machines, and delay units, and they can be programmed using computer music software.
Personal genomics or consumer genetics is the branch of genomics concerned with the sequencing, analysis and interpretation of the genome of an individual. The genotyping stage employs different techniques, including single-nucleotide polymorphism (SNP) analysis chips (typically 0.02% of the genome), or partial or full genome sequencing. Once the genotypes are known, the individual's variations can be compared with the published literature to determine likelihood of trait expression, ancestry inference and disease risk. Automated high-throughput sequencers have increased the speed and reduced the cost of sequencing, making it possible to offer whole genome sequencing including interpretation to consumers since 2015 for less than $1,000.
Oblivion is an album by the rock group Utopia, released in January 1984. The album represents a turning point for the band, stepping away from the stripped down sound of their 1982 self-titled album in favor of a fuller, more mainstream contemporary pop sound, a direction that would continue on POV, the band's final album that would be released the following year. This shift in sound is most noticeable due to an increased use of electronic drums and triggers by John "Willie" Wilcox. In addition, synthesizers and sequencers, common ingredients of Utopia's music dating back to their debut release, feature more heavily than usual across the album's runtime.
The band's debut album was recorded over a month and quickly took an electro pop direction with songs based around keyboards and sequencers and often using programmed beats. The album was recorded by John Halliday who also played the live drum parts, at Shonk Studio in Oxford and was produced by the band and Halliday. The album was released to generally positive reviews in September 2005 and was toured by Clayton and Pearson as a duo throughout England. A short tour of Italy also saw interest in the band spread through Europe with airplay in countries such as Spain, Italy, France, Germany and Serbia.
Musicians are responsible for the composing, arranging, mixing and mastering (and in some cases, performing) the soundtracks and sound effects in the demo. In the older days, musicians worked with trackers, and the world of tracked music was heavily dominated by demoscene musicians. In later times, it became possible for the PC demos to use streaming, high-quality music formats, and the musicians started to gradually change their tools to professional music sequencers. However, tracked music and other specialized formats still continue to be used in size- restricted intros as well as demos written for more restrictive platforms such as mobile devices and vintage computers.
Notes, parameter changes, effects and other commands are entered with the keyboard into a grid of fixed time slots as codes consisting of letters, numbers and hexadecimal digits. Separate patterns have independent timelines; a complete song consists of a master list of repeated patterns. Later trackers departed from solely using module files, adding other options both to the sound synthesis (hosting generic synthesizers and effects or MIDI output) and to the sequencing (MIDI input and recording), effectively becoming general purpose sequencers with a different user interface. In the 2010s, tracker music is still featured in demoscene products for old hardware platforms and demoparties have often separate tracker music competitions.
Due to the development of high capacity samplers, the recording of large instrumental sample libraries, and the capabilities of modern sequencers, simulating traditional orchestra performances has become quite sophisticated. Although the process of developing a particular score requires great skill and sensitivity, and can take a long time, the method is more economical than using a full complement of acoustic musicians. For this reason, much of the music heard on television, and in cinema, uses some form of a virtual orchestra. The term virtual orchestra is used today to describe the real-time simulation of a traditional acoustic orchestra in live performance genres such as musical theater, ballet, and opera.
DJ Frankie Knuckles originally popularized house music while working at The Warehouse.Cosgrove, Stuart, "The History of House Sound of Chicago The Story Continues..." Web reproduction House music was developed in the houses, garages and clubs of Chicago, and was initially for local club-goers in the "underground" club scenes, rather than for widespread commercial release. As a result, the recordings were much more conceptual, and longer than the music usually played on commercial radio. House musicians used analog synthesizers and sequencers to create and arrange the electronic elements and samples on their tracks, combining live traditional instruments and percussion and soulful vocals with preprogrammed electronic synthesizers and "beat-boxes".
Prototype 909 ( aka p909 ) was an American electronic band which was composed of Taylor Deupree, Dietrich Schoenemann and Jason "BPMF" Szostek which was formed in 1993 in New York, NY. The group was signed to Sonic Records (a subsidiary of Instinct Records) shortly after the departure of Moby in 1993. They became well known in the 1990s throughout the rave scenes in North America for its live performances. Being a trio and the large amount of equipment they employed made them unique among live techno bands at the time. The fact that much of the music was created spontaneously using analogue and digital sequencers ensured that every performance was unique.
Sonic Assassins, Chapter 17 – Ian Abrahams (Published by SAF publishing; ) In 1991 Bainbridge, House and Wishart departed and the band continued as a three piece relying heavily on synthesisers and sequencers to create a wall-of-sound. The 1992 album Electric Tepee combined hard rock and light ambient pieces, while It is the Business of the Future to be Dangerous is almost devoid of the rock leanings. The Business Trip is a record of the previous album's tour, but rockier as would be expected from a live outing. The White Zone album was released under the alias Psychedelic Warriors to distance itself entirely from the rock expectancy of Hawkwind.
In the late 1960s and early 1970s, Tangerine Dream existed as several short-lived incarnations, all of which included Froese, who teamed up with several musicians from West Berlin's underground music scene, including Steve Jolliffe, Klaus Schulze, and Conrad Schnitzler. Froese's most notable association was his partnership with Christopher Franke. Franke joined Tangerine Dream in 1970 after serving time in the group Agitation Free, originally to replace Schulze as the drummer. Franke is credited with starting to use electronic sequencers, which were introduced on Phaedra, a development that had not only a large impact on the group's music but to many electronic musicians to this day.
Courses in music technology are offered at many different Universities as part of degree programs focusing on performance, composition, music research at the undergraduate and graduate level. The study of music technology is usually concerned with the creative use of technology for creating new sounds, performing, recording, programming sequencers or other music-related electronic devices, and manipulating, mixing and reproducing music. Music technology programs train students for careers in "...sound engineering, computer music, audio-visual production and post- production, mastering, scoring for film and multimedia, audio for games, software development, and multimedia production." Those wishing to develop new music technologies often train to become an audio engineer working in R&D.
Industrial music is a genre of music that draws on harsh, transgressive or provocative sounds and themes. AllMusic defines industrial music as the "most abrasive and aggressive fusion of rock and electronic music" that was "initially a blend of avant-garde electronics experiments (tape music, musique concrète, white noise, synthesizers, sequencers, etc.) and punk provocation". The term was coined in the mid-1970s with the founding of Industrial Records by members of Throbbing Gristle and Monte Cazazza. While the genre name originated with Throbbing Gristle's emergence in the United Kingdom, concentrations of artists and labels vital to the genre also emerged in the United States, namely in Chicago.
He began developing the Moog synthesizer in response to demand for more practical and affordable electronic music equipment, guided by suggestions and requests from composers including Herb Deutsch, Richard Teitelbaum, Vladimir Ussachevsky, and Wendy Carlos. The synthesizer consists of separate modules—such as voltage-controlled oscillators, amplifiers and filters, envelope generators, noise generators, ring modulators, triggers and mixers—which create and shape sounds, and can be connected via patch cords. It can be played using controllers including musical keyboards, joysticks, pedals, and ribbon controllers, or controlled with sequencers. Its oscillators can produce waveforms of different timbres, which can be modulated and filtered to produce more combinations of sounds (subtractive synthesis).
For a period, the Moog was banned from use in commercial work, a restriction negotiated by the American Federation of Musicians (AFM). Robert Moog felt that the AFM had not realized that the synthesizer was an instrument to be learnt and mastered like any other, and instead imagined that "all the sounds that musicians could make somehow existed in the Moog — all you had to do was push a button that said 'Jascha Heifetz' and out would come the most fantastic violin player".Interview with Bob Moog, Plug, Fall 1974,p.2. Moog features such as voltage-controlled oscillator, envelopes, noise generators, filters, and sequencers became standards in the synthesizer market.
That We Can Play is the debut EP of the American electronic-music project Games, consisting of producers Daniel Lopatin and Joel Ford. Lopatin and Ford (who had made electronic music together since their school days) produced That We Can Play in an apartment studio, using vintage synthesizers and sequencers to recapture the sound and style of 1980s power pop. That We Can Play contains six songs, including four original Games tracks (one, the opener "Strawberry Skies", with vocals by Laurel Halo). It also has two remixes: a remix of "Strawberry Skies" by the Chicago duo Gatekeeper and a reprise of a song by Canadian musician CFCF.
Nothing to Fear possesses a more hard-edged sound than the band's previous releases, featuring louder electric guitar and percussion, an increased and more varied use of synthesizers and the introduction of sequencers on some tracks. The songs also feature an unorthodox range of instruments, some of which were designed and built by the band. Initial vinyl pressings of the album contain a different mix of the song "Private Life," featuring more prominent bass guitar and xylophone. The single version, which was subsequently used on all re-releases of the album, is 27 seconds shorter than the initial album mix, truncating the transition into the chorus, among other alterations.
Mr. Silla & Mongoose is an Icelandic band consisting of fellow students Sigurlaug Gísladóttir and Magnús B. Skarphéðinsson. The two met while studying visual arts at Iceland Academy of the Arts but did not form a band until after they had collaborated on their respective solo sets during Iceland Airwaves at a café by the name of Kaffi Hljómalind (also referenced in fellow Icelandic band Sigur Rós song named Hljómalind). The music performed by Mr. Silla & Mongoose can be appropriately placed in the electronic and experimental genres but in some songs also veers off vocally in the direction of blues. The instrumentation includes music sequencers, mandolin, drums and brass.
Schlagenheim is the debut studio album by English rock band Black Midi, released on 21 June 2019 through Rough Trade Records. The band recorded the majority of the album over a five-day period with producer Dan Carey at his studio in South London. Throughout its recording, the band made the conscious decision not to replicate their live set, embellishing their four-piece setup with synthesizers, sequencers, drum machines, banjos and organs, whilst the music was developed organically through extensive jamming sessions. Schlagenheim received praise from music critics, being nominated for the 2019 Mercury Prize and appearing inside the top-ten of several year-end lists.
The new sequencer offered significant advantages in speed and sample size compared to commercial sequencers of the time, the most popular of which were built by Beckman Instruments. Commercialized as the Model 470A protein sequencer, it allowed scientists to determine partial amino acid sequences of proteins that had not previously been accessible, characterizing new proteins and better understanding their activity, function, and effects in therapeutics. These discoveries had significant ramifications in biology, medicine, and pharmacology. The first automated DNA synthesizer resulted from a collaboration with Marvin H. Caruthers of the University of Colorado Boulder, and was based on Caruthers' work elucidating the chemistry of phosphoramidite oligonucleotide synthesis.
In 1974, Paoletti joined the Wadsworth Center for Laboratories and Research at the New York State Department of Health in Albany as a Senior Research Scientist. Four seminal papers, all published in the Proceedings of the National Academy of Sciences with Dennis Panicali and others provided the technology and proof of principle to construct live vaccines using genetically engineered poxviruses. In 1990 Paoletti's laboratory was the first to sequence the genome of vaccinia virus, an achievement gained without the use of high-throughput DNA sequencers. In 1981, Paoletti founded and was the Founding Scientist of Virogenetics Corporation, a private, for-profit company based in Troy, New York to commercialize vectored vaccines.
In 1979, Lee's first public concert took place at the Aula Magna of Lugano-Trevano, under the name Cromo, with Lee on vocals and drums; Gerard Garganigo on keyboards and vocals; Tiziano Lippmann on keyboards, synthesizers, and sequencers; Massimo Basso on bass and vocals; and Guido Gagliano on guitar and vocals. In 1988, Lee joined the group Forsale. In 1992, in Lugano, along with guitarist Leo Leoni, bassist Marc Lynn, and drummer Hena Habegger, Lee founded the band Krak. Under the lead of bassist and founding member of Krokus, Chris von Rohr, the band changed its name to Gotthard, a name inspired by the Gotthard Pass.
This was due to its split design with separate Motorola 56000 DSP powered hardware that was controlled by Windows editing software. The hardware took the strain allowing a very light demand on the PC, so that other MIDI sequencers such as eMagic Logic, Steinberg Cubase, Cakewalk and others could be used simultaneously. The boast was that even if the PC crashed, the system would continue recording, and this was demonstrated regularly. The result was that while most other computer based recording/editing systems were all studio based, Soundscape could also be used for live recording and could be relied upon for recording 100 piece orchestras with no risk.
The MS-20 also includes a noise source (pink and white), a separate vactrol-based modulation VCA, a wheel controller, and a trigger button. It is possible to connect the MS-20 to a step sequencer like the SQ-10 (another product by Korg). This involves making use of the CV input and the trigger input which connects straight to the SQ-10, this means that the synthesizer and the step sequencer can work in synchronisation to play the notes when the next step of the sequencers pattern is triggered. In theory it is possible to connect any analogue sequencer to the MS-20 providing it has a trigger and CV output.
Björk presented the song —and three more songs off the then-unreleased Homogenic— at the Tibetan Freedom Concert on 6 June 1997, as a sneak peek of the album. She performed with Mark Bell, who was raised at the rear of the stage surrounded by keyboards and sequencers, and with the Icelandic String Octet conducted by Eumir Deodato at one side of the stage. She wore a pink dress designed by Hussein Chalayan, which she would later wear in the video for "Bachelorette" and photoshoots. That July, Björk performed the whole album for a press conference and presentation concert regarding Homogenic at the Old Truman Building, an old beer factory in London, wearing the same outfit.
Buttner cited Lee's ability to vary time signatures, play multiple keyboards, use bass pedal controllers and control sequencers, all while singing lead vocals into as many as three microphones. Buttner adds that few musicians of any instrument "can juggle half of what Geddy can do without literally falling on their ass." As a result, notes Mulhern, Lee's instrumentation was the "pulse" of the group and created a "one-man rhythm section", which complemented guitarist Alex Lifeson and percussionist Neil Peart. Bass instructor Allan Slutsky, or "Dr Licks", credits Lee's "biting, high-end bass lines and creative synthesizer work" for helping the group become "one of the most innovative" of all the groups that play arena rock.
Computers can perform both sequential control and feedback control, and typically a single computer will do both in an industrial application. Programmable logic controllers (PLCs) are a type of special purpose microprocessor that replaced many hardware components such as timers and drum sequencers used in relay logic type systems. General-purpose process control computers have increasingly replaced stand-alone controllers, with a single computer able to perform the operations of hundreds of controllers. Process control computers can process data from a network of PLCs, instruments, and controllers in order to implement typical (such as PID) control of many individual variables or, in some cases, to implement complex control algorithms using multiple inputs and mathematical manipulations.
In 2006 was set up IGA - Institute of Applied Genomics, a scientific research center active in the field of structural and functional genomics of living organisms. The Institute was established at the Park where they set up a center for DNA sequencing and a center for computational biology with machines for parallel computing. The center is equipped with two second-generation sequencers and a last generation machine (Illumina HiSeq2000) able to decipher a single race some 600 billion bases, corresponding to 6 complete human genomes, up to 60 genomes of plants, or 3,000 bacterial genomes. The fields of application are the study of plant species but also in biology and biomedical diagnostics.
From an early age, he was interested in music and composition, and studied in the conservatory with the piano as main instrument. Soon he discovered the electronic music of the '70s: Jean Michel Jarre, Mike Oldfield and Kraftwerk, among others, and began to be interested in music composition using synthesizers and the first PC sequencers, creating several themes under these influences, that were recorded into several albums. The film music and soundtracks were very fascinating to him, and he began to compose his first works with a Hollywood cinema sound for several projects that were offering to him. We can find many different genres in his music: electronic music, symphonic, piano solos, works for orchestra and choir, etc.
Mitchell continued experimenting with synthesizers, drum machines and sequencers for the recordings of her next album, 1988's Chalk Mark in a Rain Storm. She also collaborated with artists including Willie Nelson, Billy Idol, Wendy & Lisa, Tom Petty, Don Henley, Peter Gabriel, and Benjamin Orr of the Cars. The album's first official single, "My Secret Place", was in fact a duet with Gabriel, and just missed the Billboard Hot 100 charts. The song "Lakota" was one of many songs on the album to take on larger political themes, in this case the Wounded Knee incident, the deadly battle between Native American activists and the FBI on Pine Ridge Indian Reservation in the previous decade.
In the 2010s, most modern drum machines are sequencers with a sample playback (rompler) or synthesizer component that specializes in the reproduction of drum timbres. Though features vary from model to model, many modern drum machines can also produce unique sounds, and allow the user to compose unique drum beats and patterns. Electro-mechanical drum machines were first developed in 1949, with the invention of the Chamberlin Rhythmate. Transistorized electronic drum machines later appeared in the 1960s. The Ace Tone Rhythm Ace, created by Ikutaro Kakehashi, began appearing in popular music from the late 1960s, followed by drum machines from Korg and Ikutaro's later Roland Corporation also appearing in popular music from the early 1970s.
As digital audio software is complex and can play any number of functions in the audio chain, control surfaces can be used to control many aspects of music production, including virtual instruments, samplers, signal processors, mixers, DJ software, and music sequencers. Since control surfaces are designed to perform different functions, they vary widely in size, shape and number and type of controls. A basic control surface for mixing resembles a traditional analogue mixing console, featuring faders, knobs (rotary encoders), and buttons that can be assigned to parameters in the software. Other control surfaces are designed to give a musician control over the sequencer while recording, and thus provide transport controls (remote control of record, playback and song position).
A person could use two or more software audio generators, synthesizers or sequencers to produce audio streams and send them to a VAC output cable and record the mixed stream from the VAC input cable using any type of recording software. Because VAC routes audio streams in almost real time, it is able to be utilized in various manners. A person is capable of using VAC to record an output audio stream from an application that normally does not allow saving the audio to files. Practically, the input port records the audio signal (from a music player, for example) and sends it to the destination program (such as a sound processor or analyzer) using the output port.
E-mu SP-1200 Alesis SR-16 (1991) By 2000, standalone drum machines had become less common, partly supplanted by general-purpose hardware samplers controlled by sequencers (built-in or external), software-based sequencing and sampling and the use of loops, and music workstations with integrated sequencing and drum sounds. TR-808 and other digitized drum machine sounds can be found in archives on the Internet. However, traditional drum machines are still being made by companies such as Roland Corporation (under the name Boss), Zoom, Korg and Alesis, whose SR-16 drum machine has remained popular since it was introduced in 1991. There are percussion-specific sound modules that can be triggered by pickups, trigger pads, or through MIDI.
K250 (1984) The company launched the K250 synthesizer/sampler in 1984: while limited by today's standards and quite expensive, it was considered to be the first really successful attempt to emulate the complex sound of a grand piano. This instrument was inspired by a bet between Ray Kurzweil and musician Stevie Wonder over whether a synthesizer could sound like a real piano. First issued as a very large and heavy keyboard, the electronics were also issued in a very large and heavy rackmount version, as the 250RMX (Rack Mount "Expander"—the presumed intention being that one could drive via MIDI and sequencers one or more "expanders"). Additional sample ROMs were developed and issued for both models.
Ateka works with Boykin at the University of Western Australia on the characterisation and diagnosis of viruses that impact the Cassava plant. He has been involved with training programmes for African farmers and researchers, leading collaborative courses with Jomo Kenyatta University of Agriculture and Technology and University of Eldoret. The programmes were supported by the Crawford Fund, and included the development of portable DNA sequencers (nanopore) to help farmers diagnose their crops early. During the project, the researchers identify the DNA sequence of the Cassava, a process which can generate up to 5 Gb of data. In 2019 Ateka and Boykin launched the KENET’s Virtual Lab, a high-speed data transfer platform to share information between Kenya and Australia.
Electronica benefited from advancements in music technology, especially electronic musical instruments, synthesizers, music sequencers, drum machines, and digital audio workstations. As the technology developed, it became possible for individuals or smaller groups to produce electronic songs and recordings in smaller studios, even in project studios. At the same time, computers facilitated the use of music "samples" and "loops" as construction kits for sonic compositions."This loop slicing technique is common to the electronica genre and allows a live drum feel with added flexibility and variation." Page 380, DirectX Audio Exposed: Interactive Audio Development, Todd Fay, Wordware Publishing, 2003, This led to a period of creative experimentation and the development of new forms, some of which became known as electronica.
The Other Side of Life was the third recording with Swiss keyboardist Patrick Moraz and the first for flutist and vocalist Ray Thomas not to play a major role. The main songwriters were vocalist/guitarist Justin Hayward and bassist John Lodge, with only one song, "The Spirit", composed by Moraz and drummer Graeme Edge. The music on the album is characterized by the heavy use of synthesizers, sequencers and drum machines, to the point that it could be classified as synth-pop, a sharp change in style for a band that had stood at the origins of symphonic rock. The album was recorded at Good Earth Studios in London and produced by Tony Visconti.
Ryan then co-founded Third Street Software, a Commodore and Apple software development company that did contract software development for Sequential Circuits, Syntech, and Sonus, including the first multitimbral sequencing software for Sequential's 600-series synthesizer. Ryan then helped design two of the best-selling US sequencers of the time, the Studio One (for the Commodore) and Studio Two (for the Apple II)."It Came From The Music Industry," Ted Greenwald & Jeff Burger, Vintage Synthesizers, Miller Freeman Books, 1993, p. 75 Having decided that he wanted to own his own company, he founded Midi Soft in 1988 and shortly thereafter renamed it Midiman, due to Yamaha already having rights to the Midi Soft name.
This five-piece line-up later recorded what was to be their final album (but their first full length for Sarah Records), For Keeps. Over a three-year career, the band were often dogged with the reputation of having a post-C86 indie pop, or generic Sarah Records sound, despite producing tracks with numerous styles and influences. Early singles and even their sleeves harked back to early Factory Records bands such as New Order and The Wake, with many tracks often featuring sequencers and samples. Many of the group's recordings, notably "Triangle" and their epic seven-minute swan song, "Missing the Moon", displayed a strong influence from the popular dance music of the time.
In the United States, fans attending Super Bowl XLV, the first Super Bowl since the iPad was released, could use an official National Football League (NFL) app to navigate Cowboys Stadium. In 2011, the Tampa Bay Buccaneers became the first NFL club to discontinue the use of paper copies of playbooks, and instead distributed all players their playbook and videos in electronic format via an iPad 2. The iPad is able to support many music creation applications in addition to the iTunes music playback software. These include sound samplers, guitar and voice effects processors, sequencers for synthesized sounds and sampled loops, virtual synthesizers and drum machines, theremin-style and other touch responsive instruments, drum pads and many more.
Verner early tracks with Divergencia Socialista, Tetine and O Grito Mudo are also included in the compilation Uncorrupted Tropical Wave, 1984-2011 ( Slum Dunk 2011)'' Bruno Verner was born in the city of Belo Horizonte, Minas Gerais. His mother worked as a primary school teacher and his father was a pianist. He studied music at Fundação de Educação Artística (FEA) in Belo Horizonte where he developed an avid interest in contemporary music and the avant-garde, becoming a young composer of electronic music at the age of 17. His piece ‘Casamento’ for 2 sequencers, synthesiser and a sculpture was performed at Ciclo de Música Contemporânea in a programme dedicated to emerging young composers.
The first DNA sequencing methods were developed by Gilbert (1973) and Sanger (1975). Gilbert introduced a sequencing method based on chemical modification of DNA followed by cleavage at specific bases whereas Sanger’s technique is based on dideoxynucleotide chain termination. The Sanger method became popular due to its increased efficiency and low radioactivity. The first automated DNA sequencer was the AB370A, introduced in 1986 by Applied Biosystems. The AB370A was able to sequence 96 samples simultaneously, 500 kilobases per day, and reaching read lengths up to 600 bases. This was the beginning of the “first generation” of DNA sequencers, which implemented Sanger sequencing, fluorescent dideoxy nucleotides and polyacrylamide gel sandwiched between glass plates - slab gels.
Making Waves (MW) is computer software designed to produce professional quality audio from basic Windows multimedia PCs. This application was among the first of the 16-bit digital sequencers that evolved from the MS-DOS WAV trackers of the Eighties to become the digital audio workstation software available today including Steinberg Cubase, Pro Tools and ACID Pro. Making Waves enabled a small community of independent artists (originally including Daniel Bedingfield) to use existing hardware to record, sample, mix and render their own original work creating professional-quality audio with a modest investment of less than $100. This same dynamic user community played a significant role in the application's development, suggesting program revisions and performing extensive beta testing.
Maryland-native Sean McBride and French-Norwegian conceptual artist Liz Wendelbo met in 2003; the former was involved in solo projects such as Moravagine and Martial Canterel, which were based on modular synthesizers, sequencers and drum machines. The duo started recording music in an abandoned factory building near the East River; its debut album, Vigils, recorded in a single take, was released in 2006. The band then signed to Wierd Records, which released 2009's Sentinelle. Following its 2011 record Sets & Lights, which was also released on Wierd and showcased elements from darkwave, Italo disco and techno, the duo issued the single "Sheen" for Electric Voice and collaborated with Fabian Marti, composing a soundtrack for the Swiss artist.
In the FASTQ file created by BGI/MGI sequencers using DNA nanoballs on a patterned array flowcell, the read names look like this: Anatomy of a BGI sequencer read name Anatomy of an MGI sequencer read name BGISEQ-500: `CL100025298L1C002R050_244547` MGISEQ-2000: `V100006430L1C001R018613883` Read names can be parsed to extract three variables describing the physical location of the read on the patterned array: (1) tile/region, (2) x coordinate, and (3) y coordinate. Note that, due to the order of these variables, these read names cannot be natively parsed by Picard MarkDuplicates in order to identify optical duplicates. However, as there are none on this platform, this poses no problem to Picard-based data analysis.
In INXS's official autobiography, INXS: Story to Story, Andrew Farriss said that the famous riff to the song appeared suddenly in his head while waiting for a cab to go to the airport to fly to Hong Kong. He asked the cab driver to wait a couple of minutes while he grabbed something from his motel room. In fact, he went up to record the riff and came back down an hour later with a tape to a very annoyed driver. The song is a much more electronic track than most of the band's material before or after, combining sequencers with regular drum tracks and a number of tracks of layered guitars.
Björk presented the song —and three more songs off the then-unreleased Homogenic— at the Tibetan Freedom Concert on 6 June 1997, as a sneak peek of the album. She performed with Mark Bell, who was raised at the rear of the stage surrounded by keyboards and sequencers, and with the Icelandic String Octet conducted by Eumir Deodato at one side of the stage. She wore a pink dress designed by Hussein Chalayan, which she would later wear in the video for "Bachelorette" and photoshoots. That July, Björk performed the whole album for a press conference and presentation concert regarding Homogenic at the Old Truman Building, an old beer factory in London, wearing the same outfit.
Released by Yamaha in 1990, the QY10 was the first device offering the facilities of a music workstation in a portable package. In response to its design, the music technology press coined the term "walkstation", a portmanteau of the words "Walkman" and "workstation". The QY10 sold well, indicating that there was a market for these devices, so Yamaha followed it up in 1992 with the more powerful QY20 and QY22. Subsequently, both Yamaha (most Yamaha QY sequencers) and Roland (the Roland PMA-5) have produced walkstations, although neither officially use the term for their products. A QY10 'docked' with a Novation MM10 In 1992, Novation took advantage of the QY10's success by releasing a companion keyboard, the Novation MM10.
His next LP, It Seems, followed a similar path, albeit with far more use of sequencers – something Newman would continue to work with for a number of years. Both Crammed albums featured Malka Spigel who has been included in all subsequent solo and collaborative work. Newman's only other de facto solo outing was the mid-1990s release Bastard, an almost entirely instrumental release with tracks largely built from guitar loops and samples. Released on his own label, Swim ~, the first pressing of the album was packaged with a free copy of Newman's four track Voice EP. Despite Newman's name being on the cover, he says these releases, along with several others on Swim ~, are essentially collaborative efforts with his wife and musical partner, Malka Spigel.
Alongside Ledley's work on imaging technology, his NBRF colleague Margaret Oakley Dayhoff was developing resources for the study of life on the molecular level. Her 1965 Atlas of Protein Sequence and Structure sought to provide a comprehensive collection of the scientific community’s data on protein sequencing. Published annually by the NBRF, first on paper then (as the volume of information grew much larger) on magnetic tape and finally on CD-ROM, the Atlas served as an information clearinghouse for the growing community of protein sequencers. By the mid-1970s the Atlas had become the primary repository of protein sequence data, and ultimately served as a model for the Protein Data Bank and the nucleic acid sequence database GenBank, both now major resources for biologists.
The band's 1973 album Atem was named as Album of the Year by British DJ John Peel, and this attention helped Tangerine Dream to sign to the fledgling Virgin Records in the same year. Soon afterward they released the album Phaedra, an eerie soundscape that unexpectedly reached No. 15 in the UK Albums Chart and became one of Virgin's first bona fide hits. Phaedra was one of the first commercial albums to feature sequencers and came to define much more than just the band's own sound. The creation of the album's title track was something of an accident: the band was experimenting in the studio with a recently acquired Moog synthesizer, and the tape happened to be rolling at the time.
Beat slicing feature Beat slicing is the process of using computer programs to slice an audio file of a drumloop in smaller sections, separating different drumhits. This is employed to rearrange the beat with either a sequencer or play them with a sampler, with the results ranging from changing particular hits to completely rearranging the flow of the beat. Slicing a beat also allows the tempo of the beat to be altered heavily in music sequencers, without resulting downsides such as the pitch being increased or decreased. This process is the most prominent in genres of Drum and bass, Hip-Hop, Glitch and IDM, the two latter being notorious for their prominent artists rearranging and altering beats in extreme ways.
Instead of offering a linear set of tracks for recording, the TS required the user to record short sequences (12 tracks each) to use as a base for song structure, then chaining them and optionally layering another 12 linear tracks on top of the chained blocks. The sequencer editing options included quantization with audition, controller editing and scaling and MIDI functions per track, as well as copying whole or parts of tracks to anywhere else. The keyboard could store up to 30 songs with 100 sequences per song, memory-permitting, and everything was kept in memory when the synth was turned off. Modern synthesizers, with larger and better sequencers, demand the user to save their work before power down, since the sequencer memory is not backed up.
The seventh track "Who's Gonna Love You Tonight" is the second song featuring vocals, with Foster and Richard Page who is best known as the lead vocalist for Mr. Mister (of "Broken Wings" fame). This pop rock-style song was written with well-known lyricist John Bettis and Keith Diamond. The song was later briefly featured in the 1989 film, "Listen to Me." The song was also released as a single. The instruments used in the recording of this album were considered cutting-edge technology at the time, including the newly invented synthaxe guitar, as well as host of synthesizers and sequencers including the Wendell Junior, Kurzweil, Fairlight, PPG Wave 2.3 with Waveterm, MIDI Minimoog, Roland Jupiter-8, Emulator 3, Yamaha DX Series, Yamaha 9 ft.
The musician would typically use the looping audio as a backing track providing a virtual backing band. The device also allowed MIDI drum machines and sequencers to be synchronized to them providing additional accompaniment. By pressing a button on the floor pedal, the device begins recording a rhythm (8 seconds of memory comes standard, but an upgraded 32-second memory chip is a common upgrade). When the musician is finished playing the part to be looped, simply press the tap button on the floor again and the machine does two things immediately: replays the part from the beginning looping it indefinitely while sending a MIDI clock signal to a drum machine which kicks in right on time and is synchronized to the rhythm part.
Extensive CV/Gate facilities allow two external sequencers to independently control both the bass and the lead. It is capable of four independent outs, stereo out, mono, and mono XLR but hidden in the quad outs is TRS facility for processing and returning effects on individual parts of the four sections to be recombined with external audio at a built-in mixer, which includes an internal compressor circuit. Like all ARP synthesizers of this series (2800) its true character opens up with selective use of the optional foot pedals. The Quadra uses the typical ARP orange and black color scheme of the company's later years including the orange leather end pieces and the clean XLR out for DI console recording.
Powell's musical career started in the late 1960s, programming analog synthesizers for commercials. Powell was the protégé of Robert Moog (who created the Moog synthesizer), as well as Moog's competitor ARP, contributing designs and demonstrating systems. Powell played keyboards and synthesizers with the rock band Utopia, led by Todd Rundgren and featuring players Kasim Sulton and Willie Wilcox, among others, from 1974 until its disbanding in 1985, playing, writing, and singing on ten of the band's eleven albums. For Utopia's live shows, Powell created the Powell Probe; the first remote, hand-held polyphonic synthesizer controller, which featured a custom-made shell used to access a complex stack of sequencers and other peripherals offstage, a device also used in a modified form by Jan Hammer.
During the 1940s–1960s, Raymond Scott, an American composer of electronic music, invented various kind of music sequencers for his electric compositions. The "Wall of Sound", once covered on the wall of his studio in New York during the 1940s–1950s, was an electro-mechanical sequencer to produce rhythmic patterns, consisting of stepping relays (used on dial pulse telephone exchange), solenoids, control switches, and tone circuits with 16 individual oscillators. Later, Robert Moog would explain it in such terms as "the whole room would go 'clack - clack - clack', and the sounds would come out all over the place". The Circle Machine, developed in 1959, had dimmer bulbs arranged in a ring, and a rotating arm with photocell scanning over the ring, to generate an arbitrary waveform.
The Roland MC-303 is the first of a series of musical instruments known as a Groovebox. It combines a simple sound module with a sequencer to record and store notation, along with controls aimed at encouraging the musician to improvise the music while it is playing. Despite the number in its name and the attention it received at its launch, the MC-303 has more in common with other MC prefixed synthesizers (such as the Roland MC-202), which contain built-in sequencers, than it does with the famous Roland TB-303. As the first Groovebox, the MC-303 was the first in a line of inexpensive products specifically targeted towards house DJs and amateur home musicians rather than professional producers.
During Zoo TV, almost all of the numbers from Achtung Baby (and the rest of the set list) were augmented by sequencers to fill out the sound; on "Ultraviolet", under-the-stage keyboard tech Des Broadberry playing a sampled guitar figure in the background during Edge's solo parts.Flanagan (1995), p. 85 Its last performance as part of the tour was on 28 August 1993 in Dublin, after which the song was retired and did not appear on any of U2's next three subsequent tours (PopMart, Elevation, and Vertigo). The song was revived a decade and a half later with the launch of the U2 360° Tour on 30 June 2009 in Barcelona, where it was once again performed as part of the encore.
In a retrospective review, Josh Modell of The A.V. Club called Power, Corruption & Lies "the sound of a band coming out of the shadows, retaining some of the pop elements of older days, but also embracing happiness and a whole new world of sequencers," crediting the album's humanity as a part of its charm. John Bush of AllMusic stated that the album "cemented New Order's place as the most exciting dance-rock hybrid in music." In 1989, Power, Corruption & Lies was ranked number 94 on Rolling Stones list of the 100 greatest albums of the 1980s, with the magazine citing it as "a landmark album of danceable, post- punk music". Citation posted at Rolling Stone also placed the album at number 262 on its list of the 500 Greatest Albums of All Time.
Stolt constructed the tracks using sequencers and programmed drums and "laying all the instruments" to form a demo version of the album that was more detailed than a usual demo recording. To him it sounded "almost" like a completed album, but it required musicians to play the already written material in real time within a studio. He intentionally left specific areas in the music open to allow the musicians to incorporate their own ideas into the arrangements. When Stolt had formed an outline of the bass, drums, keyboard and guitar parts, he sent the mix to Anderson, who could then mix some of the tracks on his computer, a process which at times lead to him writing new vocal melodies or lyrics and sending his changes back to Stolt.
As the term "disco" started to go out of fashion by the late 1970s to early 1980s, other terms were commonly used to describe disco-based music, such as "post-disco", "club", "dance" or "dance-pop" music. These genres were, in essence, a more modern variant of disco music known as post-disco, which tended to be more experimental, electronic and producer/DJ-driven, often using sequencers and synthesizers. Dance-pop music emerged in the 1980s as a combination of dance and pop, or post-disco, which was uptempo and simple, club-natured, producer-driven and catchy. Dance-pop was more uptempo and dancey than regular pop, yet more structured and less free-form than dance music, usually combining pop's easy structure and catchy tunes with dance's strong beat and uptempo nature.
Notable contributors included Héctor Castillo, Session drummer Sterling Campbell whose resume includes David Bowie, Cyndi Lauper, and Duran Duran, Didi Gutman of Brazilian Girls, bassist and lap steel guitarists Byron Isaacs, and keyboardist Glenn Patscha. Cerati playing live in 2009 Fuerza Natural was a marked change from the riffing of Ahí Vamos and the electronics of Bocanada and Siempre es Hoy. The collections of songs focused on a cleaner, more acoustic pop sound, as well as folk and Neo-psychedelia. Rolling Stone Argentina took notice of this, "pero es más folkie, más espacial y más acústico, con una legión de guitarras, mandolinas y dobros que levantan polvo sobre las programaciones" (English: but it is more folkie, more spatial and acoustic, with a legion of guitars, mandolins, and dobros that sprinkle dust on the sequencers).
The sequencer features of the RCA were of particular attraction to modernist composers of the time, especially those interested in writing dodecaphonic music with a high degree of precision. In fact, the RCA is cited by composers of the day as a contributing factor to the rise of musical complexity, insofar as it allowed composers the freedom to write music using rhythms and tempos that were impractical, if not impossible, to realize on acoustic instruments. This allure of precision as a mark of aesthetic progress (played out even today with contemporary computer-based sequencers) generated high expectations for the Mark II, and contributed to the increased awareness of electronic music as a viable new art form. An album featuring the instrument and its capabilities was issued by RCA (LM-1922) in 1955.
In addition to Pro mode use, the Mustang can be used to play the game in Basic mode, and it functions as a full MIDI guitar, with a MIDI output connector providing compatibility with MIDI software sequencers and hardware devices. For use in gaming mode, each Mustang controller can only be used with the game console it is designed for (except unofficially if you connect through a MIDI-Pro Adapter, then any console's Mustang can be used with any console for Pro mode game play, although direction pad buttons, overdrive detection and Basic 5-button game play will be disabled). The Mustang Pro-Guitar is only a few inches smaller in length than the actual Mustang bass guitar, and being made of plastic, is much lighter to hold than an actual guitar.
This was accomplished with a system based on a device called an OKTEG (Octophonic Effect Generator), using a Max/MSP patch implementing eight variable-law amplitude-panning modules driven by separate sequencers, each with its own tempo control. It was specially developed at the Experimental Studio to manage real-time panning of eight simultaneous layers, and was coupled with a Digital Audio Workstation controlling layer playback, trajectory recording and mixing tasks (García Karman 2007, 1). Cosmic Pulses is an exploration of the frontiers between the perceptual realms of pitch and rhythm—visited previously by Stockhausen in Kontakte (1958–60)—in which pitches descend below the threshold of pitch perception to become periodic rhythms, and periodic are transformed into audible pitches. It also probes the borders between spatial movement and timbre (Kohl 2012a, 309–10).
62–63 The complex textures of the new studio-recorded tracks, such as "The Unforgettable Fire" and "Bad", posed a challenge in translating to live performances. One solution was programming music sequencers, which the band had previously been reluctant to use but now incorporate into the majority of their performances. Songs on the album had been criticised as being "unfinished", "fuzzy", and "unfocused", but were better received by critics when played on stage. Rolling Stone, which was critical of the album version of "Bad", described its live performance as a "show stopper". In March 1985, a Rolling Stone cover story called U2 the "Band of the '80s", saying that "for a growing number of rock-and-roll fans, U2 have become the band that matters most, maybe even the only band that matters".
The album was originally released in 1990, on Big Cat Records, then reissued on Chrysalis Records, peaking at number twenty- nine on the UK Albums Chart. The album was recorded on a shoestring budget, and was widely praised at the time of its release in the music press ("Staggering.." concluded the Melody Maker review for example) as a refreshing antidote to the drug-infused 'baggy' scene that was prevailing at the beginning of the 1990s. Whilst most of the chart contemporaries were extolling the virtues of ecstasy and hedonism, Carter USM offered a bleak worldview of social injustice, moral decay and urban violence. Their twin guitars, played over banks of keyboards, programmed sequencers and a drum-machine, drew comparisons in some critics' eyes to a 'punk Pet Shop Boys'.
Q magazine awarded Bummed three stars out of five. The album, wrote Martin Aston, "continues the band's warped version of Northern Soul rhythms, with stabbing guitars and Hammond organs, wayward sequencers, a dislocated rhythm section and surly sardonic vocalist ... [The] only real failing is its lack of versatility, but it's Happy Mondays' stroppy spirit that counts most of all." AllMusic praised Hannett's production as "all smeared colors and harsh edges," and wrote that "decadence has rarely sounded as dangerous as it did in the hands of the Mondays and this is where they reveled in that debauchery, pumping out stiff psychedelic funk as Ryder spat out rhymes of luck, lazyitis and fat lady wrestlers." In 2006, Q placed the album at #18 in its list of "40 Best Albums of the '80s".
It was her first incursion into exotica, incorporating sounds of waves, local Hawaiian choirs and local percussions. Later that year, Siouxsie and Budgie released "Right Now", a song from Mel Tormé's repertoire that the Creatures re-orchestrated with brass arrangements;"Right Now" was remastered in 1997 for The Bestiary of the Creatures "Right Now" soon became a top 20 hit single in the UK. Then, with the Banshees (including guitarist Robert Smith of the Cure), she covered the Beatles' "Dear Prudence", which reached number 3 on the UK Singles Chart.Paytress, pp 137, 143 Two albums followed with Smith: Nocturne, recorded live in London in 1983, and 1984's Hyæna. In 1985, the single "Cities in Dust" was recorded with sequencers; it climbed to number 21 in the UK charts.
Like the band's previous work, Post Historic Monsters is a dance-rock and electronic rock album characterised by its punk rock-styled distorted guitars and chattering sequencers and electronic beats, but there are numerous exceptions to this style throughout the record, including "Being There", which features a lounge music-styled jazz style and a piano solo, the acoustic folk of "Suicide Isn't Painless" and the ironic "mainstream schmaltz" of "Under the Thumb and Over the Moon." "Stuff the Jubilee!" has been compared to the soundtrack of the 1969 musical film Oh! What a Lovely War, whilst "Evil" features backwards elements and a country and western snippet. "Lenny and Terence" has been described as resembling "Ministry covering Black Sabbath," and Bob's vocals on the song are laden with audio effects.
They performed at All Tomorrow's Parties in 2003 and 2004 and provided support for Autechre on the European leg of their 2001 tour. Their music has been described as glitchy, 8-bit (due to their early use of the Commodore Amiga personal computer), psychedelic and inspired by video games and movie soundtracks of the 1970s and 80s. Team Doyobi are often cited as originators or godfathers of the UK chip tune scene due to their early use of obsolete computers as serious musical instruments, taking the chip sound out of the demo and video game scene and presenting it to techno–IDM audiences. Their early compositional techniques exploited the sound synthesis methods and nuances of the machines themselves and did not use their abilities as sequencers for external hardware devices.
The C-Lab programmers left that company to form Emagic, and in 1993 released a new program, Notator Logic, which attempted to fuse both track- and pattern-based operation (but looked much more like track-based sequencers than Notator). While rich in features, early versions of Logic on the Atari lacked the intuitiveness and immediacy of either Cubase or Notator, and never achieved the same success. However, by this time the Atari was becoming obsolete, and part of the reason why Notator Logic had been written from scratch with an object oriented GUI (though it shared the same nomenclature as its predecessor) was to make it easier to port to other platforms. The Notator prefix was dropped from the product name and the software became known as simply Logic.
A typical sequence profiling tool carries this further by using an actual DNA, RNA, or protein sequence as an input and allows the user to visit different web-based analysis tools to obtain the information desired. Such tools are also commonly supplied with commercial laboratory equipment like gene sequencers or sometimes sold as software applications for molecular biology. In another public-database example, the BLAST sequence search report from NCBI provides a link from its alignment report to other relevant information in its own databases, if such specific information exists. For example, a retrieved record that contains a human sequence will carry a separate link that connects to its location on a human genome map; a record that contains a sequence for which a 3-D structure has been solved would carry a link that connects it to its structure database.
This was the first band with Horne performing both vocals and guitar. In October 1987, The Mothers, comprising Horne (vocals, guitar), Nat (guitar), Jo Collings (bass) and Rick (drums), released their first single, "Drives Me Wild"/"Get Outta My Life", which was followed in 1989 by the EP, 12-Incher, with the line-up of Horne (guitar, vocals), Rick (drums), Luke (guitar) and Cristina Calero (bass), both of which were released on the Waterfront Records label. The Mothers broke up in 1989. In 1991 Horne formed the industrial-dance-rock band Def FX with Blake Gardner (guitar; ex-Bezerk), Sean Lowry (synthesisers, sequencers, samples; ex-King Prawn), Martyn Basha (bass; ex-Bezerk). The band issued three EPs, Water, in June 1991, Surge, in November and Blink in June 1992 on the Phantom label before signing to EMI.
Goldie, one of the pioneers of drum and bass music and perhaps its most widely recognized faceCongo Natty aka Rebel MC Pioneers such as Bizzy B, Shy FX, Andy C, Krust, Peshay, DJ Hype, DJ SS, Fabio, Grooverider, Goldie, LTJ Bukem, Jack Smooth, Omni Trio, Rebel MC, Soul Slinger, DJ Special K (USA) Rob Playford and others quickly became stars of the genre. Most of the early producers and DJs still produce and play in today's drum and bass scene, forming something of a jungle 'old guard'. Some important early artists such as A Guy Called Gerald with his seminal early jungle LP ("Black Secret Technology") and 4hero ("Mr Kirk's Nightmare") later developed their own styles, leaving the drum and bass mainstream. These early pioneers heavily used Akai samplers and sequencers on the Atari ST to create their tracks.
E-mu SP-1200 (90s reissue)original E-mu SP-1200 (1987)thumbE-mu SP-1200 is a sampler that was released in August 1987 by E-mu Systems. Like the product it was meant to replace, the SP-12, the SP-1200's intended use was as a drum machine and sequencer for dance music producers. However, its use as a phrase sampler produces a "gritty" sound due to the machine's 26.04 kHz sampling rate, its SSM2044 filter chips and its 12-bit sampling resolution. This distinctive sound, often said to capture the "warmth" of vinyl recordings,ReSound Sound - How to Sound Fat like Pete Rock has sustained demand for the SP-1200 more than thirty years after its discontinuation, despite the introduction of digital audio workstations and samplers/sequencers with far superior technical specifications, such as the Akai MPC.
He discovered and patented the noble gas (argon, krypton, xenon) ion lasers in 1964, lasers that are still around 50 years later (in DNA sequencers, cell sorters, eye surgery, and at laser light shows.) He worked on many projects using lasers: an airborne night reconnaissance system (AN/AVD-3), space communications systems, early high power laser weapons (the carbon dioxide gas dynamic laser, now extinct), hydrogen maser clocks for the global positioning system. He was a Sherman Fairchild Distinguished Scholar at Caltech in 1974-75, and in 1977 became Professor of Electrical Engineering and Applied Physics; then the Carl F Braun Professor of Engineering in 1983. His work at Caltech included microwaves, millimeter waves, lasers, optics, and opto-electronics. In the early 1980s he recruited female undergraduate advisees and reactivated the Society for Women Engineers Chapter at Caltech.
One of those mates, Phil, > had stopped being interesting in buying vintage rock & roll equipment. He > moved over to buying hip-hop equipment – vintage stuff that acts like Public > Enemy or Kool Keith would use. We had all that shit laying around for the > first time in our life – synthesizers, samplers, sequencers, stuff like > that. He had an OP1, a very modern synth, and I became fascinated with that > to the point where I bought my own. Noting that recording the album had taken them an entire year, Strybosch expanded upon the album's recording process in an interview with Tone Deaf: > Rather than just bashing away at drums and guitars…this time we used more > triggers and loops, synth, minimal guitars in places, mixed samples with > live…sometimes it’s like working at a little space station.
When Luxuria folded in 1990, Noko got together with school friends, brothers Trevor Gray and Howard Gray, and James Gardner and formed Apollo 440. The band released a number of singles and EPs on their own StealthSonic Recordings label: "Lolita" (1990), "Destiny" (1991), "Blackout" (1992) and "Lolita/Destiny '92" (1992). Apollo 440 made four albums: Millennium Fever (1995), ElectroGlide In Blue (1997), Gettin' High On Your Own Supply (1999), and Dude Descending A Staircase (2003) on Sony Records. The band have been playing live in one form or another since their inception in 1990 to the present day and chronologically the touring line-ups are as follows: 1990–1992: The band featured all founding members on keyboards, sequencers and drum machines and MCs Stevie Hyper-D and Tigga-Max guesting from time to time on vocals.
Love Me in Black is the first album released by Doro after her split from the PolyGram/Vertigo label, which had published all her works since 1985. Her new label WEA left her ample freedom for the making of her new album and she worked on it for more than two years, splitting its production in two teams. The first team was formed by the successful American producers and musicians Jimmy Harry and Fred Maher, the second team by former members of the German industrial rock band Die Krupps Jürgen Engler and Chris Lietz, who had already collaborated on Doro’s previous album Machine II Machine and on the following EP of remixes. The result of this double approach to production is surprisingly homogeneous, combining a heavier guitar sound than in the previous albums with plenty of electronic vibes, samples and a large use of drum machines and sequencers.
Games in their apartment, using vintage synths to record in March 2010 That We Can Play was recorded with a single stereo Pro Tools track and "outboard, secondhand vintage synths and sequencers". Ford explained the process of making each song in an interview with XLR8R: "It's almost like we just sit down with gear and are like, 'Whoa, this sounds sweet,' and then we'll make a beat, and be like, 'What if we do this?' and something comes out and we move from there. Where it gets really complex—and you can't be a slacker—is you have to inventorize all these tiny sounds and constantly be trying to fit all of these moving parts together and see what sticks—and it's a lot of repetitive, careful-listening kind of work." The writing, recording and mixing of That We Can Play is rooted in 1980s power pop.
After the departure of drummer Ginger Baker and keyboardist Keith Hale following the previous album Levitation, former Hawklords drummer Martin Griffin accepted the opportunity to re-join the group, while guitarist Dave Brock and bassist Harvey Bainbridge decided to forgo a dedicated keyboardist and to handle synthesisers and sequencers themselves. The album was recorded June through August 1981 at Rockfield Studios, but during recording drummer Griffin contracted German measles, curtailing his contributions and resulting in him having to overdub some of his drum parts. Of Brock's tracks, Bainbridge explained the recording process as "Dave turned up with his eight track, dumped what he had onto the multi-track and the rest of us somehow had to play around what he'd done". Science fiction author Michael Moorcock, a long-standing associate of the group, contributes lyrics and vocals to the album, his theme being social control through the use of language.
Tracktion was designed to be as transparent and intuitive to the user as possible. Track object controls and parameters are context-sensitive; effects, MIDI instruments and other software objects can be added to tracks or even applied directly to individual audio and MIDI clips using a drag-and-drop system of filters. Complex chains of filters can be created, stored and recalled for later use as rack effects, which can be thought of as analogous to a saved channel strip setting in a traditional DAW/sequencer. Tracktion represented a move away from the modal dialog boxes, multiple menus and cluttered windows common to most legacy MIDI sequencers and Digital Audio Workstations, in favour of a streamlined, single-screen approach that presents the user only with the options they need for the task they are currently doing, such as editing audio, adjusting MIDI automation parameters, effects settings, etc.
The Roland TR-808 was, according to Derrick May, the preferred drum machine during the early years of techno.System 7 interview with Mark Roland in: Muzik, Issue No.4, September 1995, p.97 Instruments used by the original techno producers based in Detroit, many of which are now highly sought after on the retro music technology market, include classic drum machines like the Roland TR-808 and TR-909, devices such as the Roland TB-303 bass line generator, and synthesizers such as the Roland SH-101, Kawai KC10, Yamaha DX7, and Yamaha DX100 (as heard on Derrick May's seminal 1987 techno release Nude Photo). Much of the early music sequencing was executed via MIDI (but neither the TR-808 nor the TB-303 had MIDI, only DIN sync) using hardware sequencers such as the Korg SQD1 and Roland MC-50, and the limited amount of sampling that was featured in this early style was accomplished using an Akai S900.
In late 1979, Hawkwind reformed with Brock, Bainbridge and King being joined by Huw Lloyd-Langton (who had played on the debut album) and Tim Blake (formerly of Gong), embarking upon a UK tour despite not having a record deal or any product to promote. Some shows were recorded and a deal was made with Bronze Records, resulting in the Live Seventy Nine album, quickly followed by the studio album Levitation. However, during the recording of Levitation King quit and Ginger Baker was drafted in for the sessions, but he chose to stay with the band for the tour, during which Blake left to be replaced by Keith Hale. In 1981 Baker and Hale left after their insistence that Bainbridge should be dismissed was ignored,This Is Hawkwind, Do Not Panic, Chapter 7 – Kris Tait and Brock and Bainbridge elected to handle synthesisers and sequencers themselves, with drummer Griffin from the Hawklords rejoining.
SOAPdenovo is part of "Short Oligonucleotide Analysis Package" (SOAP), a suite of tools developed by BGI for de novo assembly of human-sized genomes, alignment, SNP detection, resequencing, indel finding, and structural variation analysis. Built for the Illumina sequencers' short reads, SOAPdenovo has been used to assemble multiple human genomes (identifying an eight kilobase insertion not detected by mapping to the human reference genome) and animals, like the giant panda. Up until 2015, BGI had released BGISEQ-100, based on Thermo Fisher Scientific's Ion Torrent device, and BGISEQ-1000, based on similar technology by Complete Genomics, for both of which received an approval from the CFDA for a NIFTY (Non-invasive Fetal Trisomy Test) prenatal test. In October 2015, BGI launched BGISEQ-500, a larger desktop sequencing system, which received an approved registration as a medical device a year later by the CFDA. It reportedly received more than 500 orders for the system and run over 112,000 tests until late 2016.
Quickflight's musical style on their first album, Breakaway, was similar to keyboard- oriented, electronic, arena rock bands of the 80s mixed with new wave and was released on Tunesmith Records in 1980. Their second album, Decent Beat, was recorded at Little Mountain Sound Studios in Vancouver, British Columbia, Canada, and was released by Star Song Records in 1983. It was ground-breaking because it was one of the first Christian Contemporary releases in which the instruments used consisted almost entirely of synthesizers and sequencers in a style influenced by British synthesizer bands, particularly After the Fire. The album was also one of the first Christian Contemporary Music albums that was digitally mastered although it was never released on CD. Quickflight toured through the Mid-West and West Coast of the U.S. and parts of Canada, at several outdoor festivals, playing with a variety of Christian artists who included Steve Taylor, Rez Band, Kerry Livgren, Sheila Walsh, Undercover and Larry Norman.
Durrant’s compositions include ‘The Girl at the Airport’ (for guitar and strings released 2016, recorded with the City of Prague Philharmonic Strings July 2015), ‘Cycling Music’ (for guitar, sequencers and bicycle percussion, released 2014), ‘The Polar Bear’ (for solo guitar with narrator, released 2013 and featuring the voice of Barry Cryer), ’Wilbury Summer’ (released 1997), ‘The Rucenitsa Guitar Quartet' (flute, guitar, viola and cello) and 'Superluminal' (voice, guitar, string- quartet & electronics). There is also a very early Clarinet Sonata (1982) and other instrumental works including numerous guitar solos (‘La Isla del Paraguay’, ‘Apreton de Manos’, ‘The Early Learning Sonata’), children’s songs and folk tunes as well as music for the BBC, including the BBC1 skating penguins logo & music for the CBBC cartoon series ‘Metalheads' (Telemagination). Richard Durrant has written, and sung, numerous songs for BBC Schools TV programmes Numbertime and Watch. He has also produced recordings for other artists including The Ukulele Orchestra of Great Britain (‘The Secret of Life’ 2004) and Don Partridge (‘The Highwayman’ 2002).
Yamaha EX5 (1998–2000), supports multiple- synthesis algorithms including sampling Yamaha, Roland and Korg now have sampling as a default option with the Yamaha Motif line (introduced 2001), the Roland Fantom series (introduced 2001) and the Korg Triton (introduced 1999), Korg OASYS, and Korg M3 Workstations have a fairly large screen to give a comprehensive overview of the sound, sequencer and sampling options. Since the display is one of the most expensive components of these workstations, Roland and Yamaha initially chose to keep costs down by not using a touch screen or high-resolution display, but have added such in later models. Another path of music product development that started with the feature set of music workstations is to provide entirely software-based products, using virtual instruments. This is the concept of the digital audio workstation, and many of these products have emulated the multitrack recording metaphors of sequencers first developed in the music workstations.
Electronic music made occasional moves into the mainstream, with jazz musician Stan Free, under the pseudonym Hot Butter, having a top 10 hit in the United States and United Kingdom in 1972, with a cover of the 1969 Gershon Kingsley song "Popcorn" using a Moog synthesizer, which is recognised as a forerunner to synth-pop and disco.. Yellow Magic Orchestra in 2008 The mid-1970s saw the rise of electronic art musicians such as Jean Michel Jarre, Vangelis, and Tomita. Tomita's album Electric Samurai: Switched on Rock (1972) featured electronic renditions of contemporary rock and pop songs, while utilizing speech synthesis and analog music sequencers. In 1975, Kraftwerk played their first British show and inspired concert attendees Andy McCluskey and Paul Humphreys (who would later found Orchestral Manoeuvres in the Dark) to 'throw away their guitars' and become a synth act. Kraftwerk had its first hit UK record later in the year with "Autobahn", which reached number 11 in the British Singles Chart.
CSIRAC played the earliest computer music in 1951 On the other hand, software sequencers were continuously utilized since the 1950s in the context of computer music, including computer-played music (software sequencer), computer-composed music (music synthesis), and computer sound generation (sound synthesis). In June 1951, the first computer music Colonel Bogey was played on CSIRAC, Australia's first digital computer.—another oldest known recording of computer realized music played by the Ferranti Mark 1, captured by BBC in Autumn, 1951; the songs Baa Baa Black Sheep and In the Mood. In 1956, Lejaren Hiller at the University of Illinois at Urbana–Champaign wrote one of the earliest programs for computer music composition on ILLIAC, and collaborated on the first piece, Illiac Suite for String Quartet, with Leonard Issaction. also available in In 1957 Max Mathews at Bell Labs wrote MUSIC, the first widely used program for sound generation, and a 17-second composition was performed by the IBM 704 computer.
Chris Hughes (who had produced both the previous Tears For Fears albums) was then brought back into the fold, but again conflicts arose over the direction of the new material. Orzabal in particular had grown weary of composing and playing music using machines and sequencers, as the majority of Tears For Fears' music had been up to that point, and was striving for something more organic and a different way of working. The song "Sowing the Seeds of Love" was written in June 1987, the same week as the UK general election in which Margaret Thatcher and the Conservative Party won a third consecutive term in office (reflected in the lyric "Politician granny with your high ideals, have you no idea how the majority feels?"). Hughes and longtime TFF keyboardist Ian Stanley both left the project later in 1987 citing "creative differences", though their contributions to the track remained on the final album.
The Tin Syndrome comprised a collection of distinctive original musicians who are known to have influenced other NZ musicians.Radio review by William Dart, National Radio Concert Programme, June 1985 Long, who was just 16 when he played his first gig with this band, went on to international fame in the 1990s with The Mutton Birds and, in an era when few other NZ groups had a significant keyboard presence in their sound, Robinson was something of a pioneer, working with analog synthesizers without the benefit of sequencers, samplers, or even preset sounds. The group was known for being colourful and theatrical (in 1984 Austin was even shown acting in a play in a TV special on Wellington musicWellington Music TV special - Radio With Pictures, TV2, Oct 1984) and coming, as they did, before such wacky Wellington bands as the Six Volts, they did a lot to define the eccentric character of the Wellington sound. Both Austin and Long have gone on to be successful soundtrack composers.
In 1986 Andrews formed a retro-1950s Americana style "beatbox rock'n'roll"/rockabilly band called Westworld, with the singer Elizabeth Westwood and the guitarist/drummer Nick Burton. It had an early hit with its debut single "Sonic Boom Boy", which reached No. 11 in the UK Singles Chart in February 1987, which was subsequently commercially used as a backing music track by Sony for one of its television product advertising campaigns. Between 1986-1990 the band performed as a trio utilizing a drum machine and sequencers with two guitarists, Andrews (lead), Burton (rhythm), fronted by Westwood as the singer, and commercially released in the United Kingdom via R.C.A. six singles, five of which entered the top 80 of the UK Singles Chart: Sonic Boom Boy (1987), Ba-Na-Na-Bam-Boo (1987), Where the Action Is (1987), Silvermac (1987), and Everything Good is Bad (1988). A long-player entitled 'Where the Action Is' reached No. 49 in the UK Albums Chart in September 1987.
Oberheim SEM Oberheim's forays into the design of equipment to be used by musicians continued to evolve. His associations with Richard Grayson and later Paul Beaver nurtured an interest in synthesizers, and at the 1971 NAMM Show, Oberheim approached Alan R. Pearlman, founder of ARP Instruments, asked to become the company's Los Angeles dealer, and subsequently became ARP's first dealer on the west coast, selling ARP 2600 synthesizers to musicians in the Los Angeles area, including Leon Russell, Robert Lamm, and Frank Zappa. Having access to ARP's schematics, Oberheim noticed that the ARP 2500 had a feature that allowed two notes to be played simultaneously (a capability of neither the 2600 nor other commercially available synthesizers at the time), and Oberheim designed a modification to the ARP 2600 that enabled it to do the same thing.; : Using two of these modified ARP 2600s, Oberheim and Grayson performed concerts together. Oberheim further expanded on the performance capabilities of 2-note polyphony in 1973, using his computer engineering experience to design the DS-2, one of the first digital-electronics-based music sequencers.
Retrieved on 18 July 2011. Current/recent studio equipment: Dave Smith Instruments Mopho, Roland System 700, Roland System-100M, Roland Jupiter-8, Roland Jupiter-4, Roland MKS-80, Roland SH-1, Roland VP-330, Roland JP-8000, Roland Juno-60, Roland Juno-106, Roland Super JX, Roland D-550, ARP 2500 Modular, ARP 2600, PPG Wave 2.2, Waldorf Microwave, Waldorf Pulse, Moog Modular, Minimoog, Moog Source, E-Mu Modular System, Buchla 100 series Modular, Sequential Circuits Prophet-5, Sequential Circuits Pro-One, Oxford Synthesiser Company OSCar, Synton Syrinx, Korg MS-20, Korg MS-10, Korg 700, Korg M1, Korg DVP, Serge Modular, Polyfusion Modular, Oberheim Xpander, Oberheim SEM System, RSF Kobol, Electronic Music Studios VCS 3, Matten and Wiechers x2 48 track sequencers total 96 track, Sennheiser Vocoder VSM201, Apple iPad 2, Apple Power Mac G5, Apple MacBook Pro.Vince Clarke interview, Computer Music magazine 136, March 2009, pp. 82–85. Current/recent software: Apple Logic Pro, Cycling '74 Max/MSP, Arturia ARP 2600 V, Arturia Minimoog V, Arturia Moog Modular V, GForce impOSCar, GForce Oddity, LinPlug Octopus, Muon Tau Pro, Native Instruments Absynth, Native Instruments Reaktor, Native Instruments FM7, Native Instruments FM8, Vienna Symphonic String & Choir Libraries.
A few languages like AppleScript incorporate placeholders in the exception handler syntax to automatically extract several pieces of information when the exception occurs. This approach is exemplified below by the `on error` construct from AppleScript: try set myNumber to myNumber / 0 on error e number n from f to t partial result pr if ( e = "Can't divide by zero" ) then display dialog "You must not do that" end try David Watt's 2004 textbook also analyzes exception handling in the framework of sequencers (introduced in this article in the section on early exits from loops). Watt notes that an abnormal situation, generally exemplified with arithmetic overflows or input/output failures like file not found, is a kind of error that "is detected in some low-level program unit, but [for which] a handler is more naturally located in a high-level program unit". For example, a program might contain several calls to read files, but the action to perform when a file is not found depends on the meaning (purpose) of the file in question to the program and thus a handling routine for this abnormal situation cannot be located in low-level system code.
In 2009, Illumina released its first whole genome sequencers that were approved for clinical as opposed to research-only use and doctors at academic medical centers began quietly using them to try to diagnose what was wrong with people whom standard approaches had failed to help. The price to sequence a genome at that time was US$19,500, which was billed to the patient but usually paid for out of a research grant; one person at that time had applied for reimbursement from their insurance company. For example, one child had needed around 100 surgeries by the time he was three years old, and his doctor turned to whole genome sequencing to determine the problem; it took a team of around 30 people that included 12 bioinformatics experts, three sequencing technicians, five physicians, two genetic counsellors and two ethicists to identify a rare mutation in the XIAP that was causing widespread problems. Due to recent cost reductions (see above) whole genome sequencing has become a realistic application in DNA diagnostics. In 2013, the 3Gb-TEST consortium obtained funding from the European Union to prepare the health care system for these innovations in DNA diagnostics.
Steina Vasulka speaking about her work in 2011 The work that the Vasulkas presented at The Kitchen's original Greenwich Village location, which amounted to a handful of performances and showings each month, included a range of live documentary and experimental videos, live video performances, live video processing, media installations, and “experiments in perception.” The Vasulkas' work at this time was colored by the artists' interest in negotiating terms like "space" in the context of video and what Yvonne Spielman calls video's "image object." The Vasulkas' wide exploration of video in this ontological regard led to apparent contrast, such as that between the documentary-style Participation series involving footage of real-life performances (occurring in the space in front of and around the video camera), and works like Caligrams, in which the Vasulkas use hardware devices such as scan processors, video sequencers, and multikeyers to "play" or perform with video like a musical instrument, and in a different kind of space. In 1974, The Vasulkas moved to Buffalo, New York to pursue a faculty position at the State University of New York's Department of Media Studies, though they would maintain involvement with The Kitchen and its programming.

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