This Frequency Chart is from the excellent : http://www.sengpielaudio.com/
Download the PDF of the original chart here: Frequency Chart
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Welcome to the world’s largest freely accessible database for information on musical instruments held in public collections. Our database now contains the records of 55535 instruments.
An exhibition of IMA Institute of Media Archaeology in the culture Hainburg in cooperation with the Technical Museum in Vienna.
Press here to enter the site: Magical Sound Machine
Wiki: “Luigi Russolo (30 April 1883 – 4 February 1947) was an Italian Futurist painter and composer, and the author of the manifesto The Art of Noises (1913). He is often regarded as one of the first noise music experimental composers with his performances of noise music concerts in 1913–14 and then again after World War I, notably in Paris in 1921.
Link To Recordings at UBUWeb: Luigi Russolo Recordings
Link To PDF : The Art Of Noise
What The Future Sounded Like colours in a lost chapter in music history, uncovering a group of composers and innovators who harnessed technology and new ideas to re-imagine the boundaries of music and sound. Features music from Pink Floyd, Hawkwind, Roxy Music and The Emperor Machine.
What The Future Sounded Like: Home Page
Post-war Britain rebuilt itself on a wave of scientific and industrial breakthroughs that culminated in the cultural revolution of the 1960’s. It was a period of sweeping change and experimentation where art and culture participated in and reflected the wider social changes. In this atmosphere was born the Electronic Music Studios (EMS), a radical group of avant-garde electronic musicians who utilized technology and experimentation to compose a futuristic electronic sound-scape for the New Britain.
Comprising of pioneering electronic musicians Peter Zinovieff and Tristram Cary (famed for his work on the Dr Who series) and genius engineer David Cockerell, EMS’s studio was one of the most advanced computer-music facilities in the world. EMS’s great legacy is the VCS3, Britain’s first synthesizer and rival of the American Moog. The VCS3 changed the sounds of some of the most popular artists of this period including Brian Eno, Hawkwind and Pink Floyd. Almost thirty years on the VCS3 is still used by modern electronic artists like The Emperor Machine.
Sound in Z supplies the astounding and long-lost chapter in the early story of electronic music: the Soviet experiment, a chapter that runs from 1917 to the late 1930s.
Complete post at: Monoskop Log
Clara Rockmore plays the terpsitone, an electronic instrument invented by Léon Theremin, at Carnegie Hall in 1932
Virtual ANS is a software simulator of the unique Russian synthesizer ANS – photoelectronic microtonal/spectral musical instrument created by Russian engineer Evgeny Murzin from 1938 to 1958. Murzin named his invention in honour of the composer Alexander Nikolayevich Scriabin.
The instrument was used by Stanislav Kreichi, Alfred Schnittke, Edison Denisov, Sofia Gubaidulina, Edward Artemiev and other Soviet composers.
You can hear the sound of the ANS in Andrei Tarkovsky‘s movies Solaris, The Mirror, Stalker. In 2004, the British experimental group Coil released CoilANS, a boxed set of experimental drone music performed on the ANS.
Something like a simplified MetaSynth.
Download Site: WarmPlace
More Info Here: CreateDigitalMusic
This is a great overview of Harold Bode’s electronic musical instruments from: the Canadian Electroacoustic Community (CEC)
In one of his notebooks ca. 1937, Harald Bode wrote, “Wie ist der Klang?” The following article gives an overview on his instruments from 1937 until 1981. “How is the sound?” is an expanded version of a text the author prepared for the Harald Bode exhibition “A Lifetime for Sound” at the Estey Museum (Brattleboro VT) in 2010.
Harald and the Audio System Synthesizer, a modular synthesizer and sound processor.
Early version of the Bode Vocoder model 7702.
Apparatewerk Bayern [Bavarian Machine Factory] advertisement for the Polychord III with tone cabinet.
The Melochord in the Studio für elektronische Musik, Cologne, Germany.
Photograph of the Melodium from a period magazine article.
Photograph of Warbo Formant Organ from a period magazine article. All images and recordings in this article © Harald Bode Archive.
Synapse was published from March 1976 to June 1979 and was a source of great electronic music information at a time before the internet. I still have my collection in the basement but the magazine can be read here without dusting anything off.
PART I: ESSAYS ON SOUND SCULPTURE
BERNARD BASCHET: Structurcs Sonores
FRANCOIS BASCHET:mStructures Sonores and the Future
A. VILLEMINOT:Sketches of Large Scale Baschet Sound Sculptures
HARRY BERTOIA: Sounding Sculptures
ALLAN KAPROW: Animation: Stephan Von Huene’s Sound Sculptures
STEPHAN VON HUENE: Photo Album
DAVID JACOBS: Notebook
REINHOLD PIEPER MARXHAUSEN: Variations on the Theme for Listening to Door Knobs
CHARLES MATTOX: The Evolution of My Audio-Kinetic Sculptures
PART II: HERITAGES & ATTITUDES
HARRY PARTCH: Monophonic Just Intonation (excerpted)
HARRY PARTCH: No Barriers
LOU HARRISON: Lou Harrison‘s Music Primer (excerptcd)
GYORGY KEPES The New Landscape in Art and Science (excerpted)
R. MURRAY SCHAFER: The Graphics of Musical Thought
PART III: FUTURE DIRECTIONS
DAVID ROSENBOOM Vancouvcr Piece
WALTER WRIGHT: Videotape Kitchen Notes
DAVID ROTHENBERG: Visual Music – A New Art Form
JOHN CHOWNING: The Simulation of Moving Sound Sources (excerpted)
Corporeal Sound Sculpture
JOHN GRAYSON: A Sound Awareness Workshop
PART IV: PRACTICAL PROJECTS & POSSIBILITIES
WILLIAM COLVIG: A Western Gamelan
PAUL EARLS: Sounding Space: Drawing Room Music
IVOR DARREG: The Amplifying Clavichord
TONY PRICE: A Musical Carillon
A Concert of Factory Sirens and Steam Whistles
LUIS FRANGELLA: Rain Music II : A Large Scale Environmental Sound Sculpture
MAX DEAN: A Sound Activated Sound Sculpture
A Request to Sound Sculptors