Electronics

While his initial experiments in tape-based composition were not widely known outside of Egypt at the time, El-Dabh is also known for his later work in electronic music at the Columbia-Princeton Electronic Music Center in the late 1950s. Beginning around the year 2000, some software-based virtual studio environments emerged, with products such as Propellerhead's Reason and Ableton Live finding popular appeal. Such tools provide viable and cost-effective alternatives to typical hardware-based production studios, and thanks to advances in microprocessor technology, it is now possible to create high-quality music using little more than a single laptop computer. Such advances have democratized music creation, leading to a massive increase in the amount of home-produced electronic music available to the general public via the internet. Software-based instruments and effect units (so-called "plugins") can be incorporated in a computer-based studio using the VST platform. Some of these instruments are more or less exact replicas of existing hardware (such as the Roland D-50, ARP Odyssey, Yamaha DX7, or Korg M1).

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Historically, electronics labs have consisted of electronics devices and equipment located in a physical space, although in more recent years the trend has been towards electronics lab simulation software, such as CircuitLogix, Multisim, and PSpice. The field of Electronics is a branch of physics and electrical engineering that deals with the emission, behaviour and effects of electrons using electronic devices. Electronics uses active devices to control electron flow by amplification and rectification, which distinguishes it from classical electrical engineering, which only uses passive effects such as resistance, capacitance and inductance to control electric current flow.

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It was pioneered by Reed Ghazala in the 1960s and Reed coined the name "circuit bending" in 1992. Miller Puckette developed graphic signal-processing software for 4X called Max and later ported it to Macintosh for real-time MIDI control, bringing algorithmic composition availability to most composers with modest computer programming background. In 1975, the Japanese company Yamaha licensed the algorithms for frequency modulation synthesis from John Chowning, who had experimented with it at Stanford University since 1971. Yamaha's engineers began adapting Chowning's algorithm for use in a digital synthesizer, adding improvements such as the "key scaling" method to avoid the introduction of distortion that normally occurred in analog systems during frequency modulation. In this era, the sound of rock musicians like Mike Oldfield and The Alan Parsons Project used to be arranged and blended with electronic effects and/or music as well, which became much more prominent in the mid-1980s.

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In operation, the anode in such a vacuum tube is given a positive potential with respect to the cathode, while the grid is negatively biased. A large negative bias on the grid prevents any electrons emitted from the cathode from reaching the anode; however, because the grid is largely open space, a less negative bias permits some electrons to pass through it and reach the anode. Small variations in the grid potential can thus control large amounts of anode current. Synth-pop continued into the late 1980s, with a format that moved closer to dance music, including the work of acts such as British duos Pet Shop Boys, Erasure and The Communards, achieving success along much of the 1990s. Common cheap popular sound chips of the firsts home computers of the 1980s include the SID of the Commodore 64 and General Instrument AY series and clones used in ZX Spectrum, Amstrad CPC, MSX compatibles and Atari ST models, among others.

The nightclubs were all totally different to ours, playing early electronic music. These example sentences are selected automatically from various online news sources to reflect current usage of the word 'electronic.' Views expressed in the examples do not represent the opinion of Merriam-Webster or its editors. Shahani is a student at Texas A&M University studying electronic systems engineering technology, a university spokesperson confirmed to CNN.

Today, electronic dance music has radio stations, websites, and publications like Mixmag dedicated solely to the genre. The Roland D-50 is a digital synthesizer produced by Roland and released in April 1987. Its features include subtractive synthesis, on-board effects, a joystick for data manipulation, and an analogue synthesis-styled layout design. The external Roland PG-1000 (1987–1990) programmer could also be attached to the D-50 for more complex manipulation of its sounds. First, with analog synthesizers, the trend followed with digital synthesizers and samplers as well .

These developments led to the growth of synth-pop, which after it was adopted by the New Romantic movement, allowed synthesizers to dominate the pop and rock music of the early 1980s until the style began to fall from popularity in the mid-to-end of the decade. Along with aforementioned successful pioneers, key acts included Yazoo, Duran Duran, Spandau Ballet, Culture Club, Talk Talk, Japan, and Eurythmics. In the late 1960s, pop and rock musicians, including the Beach Boys and the Beatles, began to use electronic instruments, like the theremin and Mellotron, to supplement and define their sound. Also in the late 1960s, the music duo Silver Apples and experimental rock bands like White Noise and the United States of America, are regarded as pioneers to the electronic rock and electronica genres for their work in melding psychedelic rock with oscillators and synthesizers. Filed in 1964 (See Drum machine#History), which he released as the FR-1 Rhythm Ace drum machine the same year.

Paul Hindemith and Ernst Toch composed several pieces in 1930 by layering recordings of instruments and vocals at adjusted speeds. Influenced by these techniques, John Cage composed Imaginary Landscape No. 1 in 1939 by adjusting the speeds of recorded tones. Avant-garde composers criticized the predominant use of electronic instruments for conventional purposes. The instruments offered expansions in pitch resources that were exploited by advocates of microtonal music such as Charles Ives, Dimitrios Levidis, Olivier Messiaen and Edgard Varèse. Further, Percy Grainger used the theremin to abandon fixed tonation entirely, while Russian composers such as Gavriil Popov treated it as a source of noise in otherwise-acoustic noise music.