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Synthesisers used in Twin Peaks? | Harmony Central

Before digital control, analogue synthesisers used an interconnecting arrangement of controlled voltage/gate signals to trigger their various components. For example, a key/note played on a keyboard would send a control voltage to an oscillator to tell it what pitch to produce, and another control voltage to an envelope which in turn would "instruct" an amplifier "shape" the volume envelope of the sound as it emerged from the oscillator.

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It took till "Systems of Romance" for our music to really take shape and become more focused. As the album title suggests it was sensitive and electronic at the same time. We had finally found something that we could truly call our own against all the odds. Credit to Island records for sticking with us this far but because of low sales they had to let us go!

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saw a new producer () and many changes. The first was a new arrangement of Grainer's theme and a new opening sequence. The new theme was arranged by using his , and synthesisers as well as his EMS Vocoder, and some additional processing to that recording. He created three recordings — the opening theme, the closing theme, and an extended cut for release as a single. The opening and closing themes followed the pattern set in 1970 with the opening doing a repeat to fade and the closing starting with a scream, the only significant change being that the opening now also started with a scream. However, Howell's theme began in the key of . This obligated composers to end their final cue of the episode in the highly unusual key, or something complimentary. Howell therefore has called himself "the guy who just made it difficult for everybody". (: ) Beyond this unusual feature, his opening remained unchanged aside from some very minor alterations to coincide with the revised Sixth Doctor opening sequence from and his closing included the "" and ended with an explosive sound. This theme was used from through unchanged, save for a variation created especially for the twentieth anniversary story . The extended theme also contains a section which Howell himself refers to the Howell Trombone. This section comes after the middle eight plays for the second time and the triads change chords up to the next octave.

is sometimes loosely referred to as a sound or an instrument. The MIDI messages used to select timbre are called Program Change messages, so in this technical sense, a timbre may also be referred to as a Program. A particular timbre generated by a synthesiser is also popularly known as a patch, after the arrangements of "patch cables" used in analogue electronic synthesis. Regrettably, some sad people attempt to confuse us by calling a timbre a "voice"; please avoid this usage.

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The most important purpose for setting a Mono On state is to emulate the behaviour of those instruments which are themselves inherently monophonic. These are instruments which have only a single voicing element, so that a new note must snub any prior note which may still be sounding. Examples of such monophonic instruments include most brass, woodwind and the classic analogue synthesisers. The glide effect known as portamento makes most sense when used within a monophonic line. The channel-group version of MIDI Mode 4 extends Mono Mode to emulate instruments like the guitar or violin, which have a finite set of monophonic voicing elements.

For the 2008 mini-episode, , while Gold's current theme arrangement was used in the opening credits, for the closing credits the original 1963 Delia Derbyshire/BBC Radiophonic Workshop version was played (the DVD version of the concert, however, strips away the two credit sequences). The mini-episode was created for the concert, which concluded with yet another new arrangement of the theme by Gold (his fourth major new arrangement); this version incorporated the "bridge" section which existed in the original Derbyshire, Howell and Glynn arrangements though it was never heard on TV. Unusually, the bridge in the Proms arrangement was placed between the first "verse" and the "middle eight" (in most other arrangements the bridge occurs sometime after the first appearance of the "middle eight").

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The noun polyphony and related adjective polyphonic are mildly abused in electronic music to describe the capacity of a sound-generating device to render more than one note at the same time. Each note requires one resource entity (for example a block of electronic hardware or a time-slot in a Digital Signal Processor program) capable of generating a single tone, and this is what sensible people know as one "voice". Polyphony is conventionally quantified as the number of available voices, and a sound-generating device with six voices may be described as being, for example, six-voice polyphonic (alternatively, six-note polyphonic). electronic musical instruments, most synthesisers only had the capacity the render one note at a time. These instruments are said to be monophonic and are sometimes called monosynths.

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In , the BBC played with another arrangement, the first not based on the work done in 1963, using the Delaware synthesiser that the Radiophonic Workshop had. and , with created what has become known as the Delaware Theme. It was not well received and was not used on any BBC Broadcast in the UK. However, it had already been applied to several episodes before being replaced. At least two episodes sent to Australia and broadcast on ABC still had the Delaware Theme.; these were , part 2, (a longer edit than the one used for uk broadcast) and , part 5 (which is a few seconds longer than the uk broadcast).

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The arrival of the called for a new title sequence. 's arrangement, in the key of A Minor, was the first to feature the "" as a default part of the opening (although the rejected "Delaware Theme" and the theme used in : also featured the "middle eight"). The opening and closing themes are very similar, with the opening being longer. No version was made for release as a single. It was used from to the end of the regular series at .

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An algorithm is a step-by-step computational procedure. As such procedures are used in digital sound synthesis, a particular Digital Signal Processor routine or a particular arrangement of elements (for example, operators and interconnections) within a voice generating sub-system may be referred to as an algorithm. In this sense, algorithm is not a synonym for Program or timbre.

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