Creation of new connections inside sound-generating electronic devices to provide sounds unintended by their original designers. A wide range of effects can be achieved, and extra tactile controls such as potentiometers, switches, photocells, and body contacts can be added to control the new effects, the most frequent modification being for pitch control. Often various ‘bends’ are found accidentally by arbitrarily connecting two different points on the circuit board. Circuit bending has attracted considerable attention among persons interested in experimental electronic music and synthesizers, and it can be achieved with limited electronics knowledge and construction skills. Because circuit bending calls for unauthorised, sometimes radical changes to the circuitry’s original pathways, it risks damaging or destroying the device being modified. Toys are often exploited for circuit bending because of their ubiquity and low cost and the small risk of electrical shock from their low voltage. Battery-operated toys such as the Texas Instruments Speak n’ Spell and the Casio SK-1 have latent sonic potential and are prime targets for tinkerers seeking such sounds inexpensively or at no cost and because they tend to ‘glitch’ easily, spewing out fragmented bits of digital speech and strange sounds. Examples of circuit-bent creations include electronic keyboards, sound modules, drum machines, effects pedals, and karaoke machines. Video bending uses these same methods to modify video-game consoles to make abstract visual patterns in addition to novel sounds....
revised by Anne Beetem Acker
[Elektronmusikstudion] (Swed.: ‘electronic music studio’)
The Swedish national centre for electronic music and sound art, in Stockholm. It was preceded by a smaller studio run by the Worker’s Society of Education from 1960. EMS was established by Swedish Radio in 1964 under music director and composer Karl Birger Blomdahl (1916–68), who hired the composer and performer Knut Wiggen (b 1927) to take charge of creating the studios. In 1965 an old radio theatre studio called the klangverstan (‘sound workshop’) opened for composers. Construction of a new facility was begun, but after Blomdahl’s death EMS became independent, funded only in small part by Swedish Radio, and otherwise by Fylkingen (a society for experimental music and arts) and the Swedish Royal Academy of Music.
Wiggen envisioned EMS as both a place to produce electro-acoustic music and a research institution that would give the composer ‘the possibility of describing sounds in psychological terms’. The studio was equipped accordingly. The sound sculpture ...
Hugh Davies, Annette Vande Gorne and Anne Beetem Acker
[Générateur automatique de musique électronique] (Fr.: ‘automatic electronic music generator’)
Composition machine developed by the Belgian composer Léo Küpper (b Nidrum, 16 April 1935) in Brussels between 1968 and 1978. Küpper had begun experimenting with electronic music in 1959 while a student at Liège University, using two Brüel & Kjaer oscillators and a tape recorder. In 1962 he began work in Brussels at APELAC, the first Belgian electronic music studio, and joined the musical sound-effects department of the RTBF. The GAME system formed the basis of Küpper’s electronic music studio in Brussels, the Studio de Recherches et de Structurations Electroniques Auditives, which he founded in 1967. The first version of the GAME, completed in 1971, was used in concerts and installations. It consisted of 60 separate modules, using a combination of analogue and digital techniques, which could be freely selected and combined. The modules were programmed in an upright console approximately 4 × 2 metres by making a large number of patchcord interconnections, so that the surface of the console was festooned with cables. Most of the controls operated during a performance were placed in front of the console....
[iPhone, Android, smartphone]
Portable electronic communication device. These have become robust platforms for digital audio production, composition, and music performance since the beginning of the 21st century. Recent compositions for mobile-phone ringtones might represent an emerging music genre. Since 2008, many commercial apps have transformed mobile devices into miniature synthesizers. Popular virtual-instrument programs such as Ocarina (2008) by the Smule Corporation and Band (2008) by MooCowMusic harness the phone’s numerous interfaces in various ways. Multi-point touch screens offer players the ability to manipulate graphical fingerholes, fretboards, drum pads, and keyboards, thus approximating the playing experience of acoustic wind, string, percussion, and keyboard instruments. Beyond its use in voice recording and transmission, a device’s microphone can register breath intensity, enabling users to initiate tones and alter dynamics as though playing a wind instrument.
Some mobile sound-production programs feature real-time voice manipulation, including auto-tune or pitch correction. Additional levels of musical functionality can be mapped to a phone’s accelerometer (an internal speed and direction detector). When the device is swung, shaken, or tilted, the accelerometer can trigger alterations in timbre, vibrato, pitch, and other variables. More advanced uses have been proposed. For example, a phone’s camera, acting as a real-time motion sensor, could affect many aspects of sound synthesis and sequencing; and the GPS (global positioning system) indicator has the potential to take location markers from other phones across the planet and turn those data into sonic information....