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57-632: This method was widely used in the epoch of analog modular synthesizers and CV/Gate music sequencers , since the introduction of the Roland MC-8 Microcomposer in 1977 through to the 1980s, when it was eventually superseded by the MIDI protocol (introduced in 1983), which is more feature-rich , easier to configure reliably, and more readily supports polyphony . The advent of digital synthesizers also made it possible to store and retrieve voice "patches" – eliminating patch cables and (for

114-428: A capacitor , an energy storage device much like a battery, but capable of charging and releasing energy much faster. In a capacitor-based strobe, the capacitor is charged up to around 300 V. Once the capacitor has been charged, to trigger the flash a small amount of power is diverted into a trigger transformer , a small transformer with a high turns ratio. This generates the weak but high-voltage spike required to ionize

171-491: A delay module to get the chorus effect.) There exist many different types of modules. Modules with the same basic functions may have different inputs, outputs and controls, depending on their degree of complexity. Some examples include the voltage-controlled oscillator (VCO), which may have options for sync (hard or soft), linear or exponential frequency modulation, and variable waveshape; the voltage-controlled filter (VCF) that may have both resonance and bandwidth controls; and

228-463: A strobe , is a device used to produce regular flashes of light . It is one of a number of devices that can be used as a stroboscope . The word originated from the Ancient Greek στρόβος ( stróbos ), meaning "act of whirling". A typical commercial strobe light has a flash energy in the region of 10 to 150 joules , and discharge times as short as a few milliseconds, often resulting in

285-609: A Hz/volt keyboard to a volts/octave synthesizer will likely produce some sound, but it will be completely out of tune. At least one commercial interface has been created to solve the problem, the Korg MS-02 CV/trigger interface. On synthesizers the CV signal may be labelled "CV", "VCO in", "keyboard in", "OSC" or "keyboard voltage". CV control of parameters other than pitch usually follows the same pattern of minimum to maximum voltage. For example, Moog modular synthesizers use

342-404: A U measurement up or down to some closer convenient metric equivalent; for example, the common 5U modules are exactly 8.75 inches (222.25 mm), but non-American manufacturers may prefer 220 or 230 mm. Other differences are in the plugs used, which can match 1/4-inch (6.3 mm) or 3.5 mm phone connectors , banana jacks , or breadboard patch leads; in the main power supply, which

399-997: A base, a LED or group of LEDs, and a cover. A solid state flash controller is located within the base, which allows the LED beacon to operate in a variety of flash patterns. Strobe lights are often used for aircraft anti-collision lighting both on aircraft themselves and also on tall stationary objects, such as television and radio towers. Other applications are in alarm systems , emergency vehicle lighting , theatrical lighting (most notably to simulate lightning ), and as high-visibility aircraft collision avoidance lights . They are still widely used in law enforcement and other emergency vehicles, though they are slowly being replaced by LED technology in this application, as they themselves largely replaced halogen lighting. Strobes are used by scuba divers as an emergency signaling device. Special calibrated strobe lights, capable of flashing up to hundreds of times per second, are used in industry to stop

456-401: A cohesive product, an instrument. Modules may not be swapped out and usually a typical configuration has been pre-wired. The modules are typically not separable and may physically be parts of a contiguous circuit board. However, the manufacturer provides mechanisms to allow the user to connect modules in different orders and often to connect external components or modules (chosen and supplied by

513-414: A flash power of several kilowatts . Larger strobe lights can be used in “continuous” mode, producing extremely intense illumination. The light source is commonly a xenon flash lamp , or flashtube , which has a complex spectrum and a color temperature of approximately 5,600 kelvins . To obtain colored light, colored gels may be used. Strobe lights usually use flashtubes with energy supplied from

570-416: A flashing lamp to make an improved stroboscope for the study of moving objects, eventually resulting in dramatic photographs of objects such as bullets in flight. EG&G [ now a division of URS ] was founded by Harold E. Edgerton, Kenneth J. Germeshausen and Herbert E. Grier in 1947 as Edgerton, Germeshausen and Grier, Inc. and today bears their initials. In 1931, Edgerton and Germeshausen had formed

627-416: A gas-filled tube surrounded by a lens . When electricity is applied, the tube flashes and is magnified by the lens, and a 360 degree light is emitted. The intensity of the light depends on the amount of electricity provided. These lenses come in a variant of colors, mainly clear, yellow, amber, red, blue, and green. The lens color can affect the intensity of light. LED strobe beacons consist of

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684-410: A generally heightened education through the development of virtual synthesis systems such as VCV Rack , MAX/MSP, Pd and Reaktor etc. The basic modular functions are: signal, control, logic and timing. Typically, inputs and outputs are an electric voltage . The difference between a synthesizer module and a stand-alone effects unit is that an effects unit will have connections for input and output of

741-530: A mark on the flywheel on the engine's main axle . The strobe-light tool for such ignition timing is called a timing light . Strobe lighting has also been used to see the movements of the vocal cords in slow motion during speech, a procedure known as video-stroboscopy. Strobelights are often used to give an illusion of slow motion in nightclubs and raves , and are available for home use for special effects or entertainment. The origin of strobe lighting dates to 1931, when Harold Eugene "Doc" Edgerton employed

798-425: A modular fashion. A modular synthesizer has a case or frame into which arbitrary modules can be fitted; modules are usually connected together using patch cords and a system may include modules from different sources, as long as it fits the form factors of the case and uses the same electrical specifications. A semi-modular synthesizer on the other hand is a collection of modules from a single manufacturer that makes

855-517: A new, smaller modular system, the Doepfer A-100. This led to a new standard for modular systems, Eurorack ; as of 2017, over 100 companies, including Moog and Roland, were developing Eurorack modules. Modules can usually be categorized as either sources or processors. Standard modules found in a modular synthesizer are: Sources - characterized by an output, but no signal input; it may have control inputs: Processors - characterized by

912-462: A number of manufacturers like Arturia to include digitally programmable matrices in their analog or virtual analog synthesizers. Many fully digital synthesizers, like the Alesis Ion , make use of the logic and nomenclature of a modulation matrix , even when the graphical layout of a hardware matrix is completely absent. The different modules of a semi-modular synthesizer are wired together into

969-502: A partnership to study high-speed photographic and stroboscopic techniques and their applications. Grier joined them in 1934, and in 1947, EG&G was incorporated. During World War II, the government's Manhattan Project made use of Edgerton's discoveries to photograph atomic explosions; it was a natural evolution that the company would support the Atomic Energy Commission in its weapons research and development after

1026-603: A patch cable that transmits voltage. Changes in that voltage cause changes to one or more parameters of the component. This frequently involved a keyboard transmitting two types of data (CV and gate), or control modules such as LFOs and envelope generators transmitting CV data: The concept of CV is fairly standard on analog synthesizers, but not its implementation. For pitch control via CV, there are two prominent implementations: The table compares notes and corresponding voltage levels in both implementations (this example uses 1 V per octave and 55 Hz/V): The voltages are linked by

1083-817: A signal input and an output and may have control inputs: Hardware offerings range from complete systems in cases to kits for hobbyists. Many manufacturers augment their range with products based on recent re-designs of classic modules; often both the original and subsequent reworked designs are available free on the Internet, the original patents having lapsed. Many hobbyist designers also make available bare PCB boards and front panels for sale to other hobbyists. Many early synthesizer modules had height in integer inches: 11" (e.g., Roland 700), 10" (e.g., Wavemakers), 9" (e.g., Aries), 8" (e.g., ARP 2500), 7" (e.g., Polyfusion, Buchla, Serge), 6" (e.g., Emu) and width in 1/4" inch multiples. More recently it has become more popular to follow

1140-504: A single type of synthesizer and have fixed CV and gate implementation, while some models are more customizable and include methods to switch used implementation. CV/gate is also very easy to implement and it remains an easier alternative for homemade and modern modular synthesizers. Also, various equipment, such as stage lighting, sometimes uses a CV/gate interface. For example, a strobe light can be controlled using CV to set light intensity or color and gate to turn an effect on and off. With

1197-412: A stroboscopic light can give the illusion that white light is tinged with color, known as Fechner color . Within certain ranges, the apparent color can be controlled by the frequency of the flash. Effective stimuli frequencies go from 3 Hz upwards, with optimal frequencies of about 4–6 Hz. The colours are an illusion generated in the mind of the observer and not a real color. The Benham's top demonstrates

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1254-472: A typical configuration but can be re-wired by the user using patch cords. Some examples are the ARP 2600 , Anyware Semtex, Cwejman S1, EML101, Evenfall Minimodular, Future Retro XS, Korg MS-10 / MS-20 / PS-3100 / PS-3200 / PS-3300 , Mungo State Zero, Roland System 100 , Korg Volca Modular and Moog Mother-32 . Reconfigurable systems allow certain signals to be routed through modules in different orders without

1311-683: A variable base MIDI channel plus the next three consecutive MIDI channels and converted up to four MIDI channels into four separate CV/gate outputs able to control four separate CV/gate synthesizers or a four-voice synthesizer like the Oberheim 4 voice analog synthesizer which is made up of four separate monophonic SEM modules. However, the 1990s saw renewed interest in analog synthesizers and various other equipment. In order to facilitate synchronization between these older instruments and newer MIDI-enabled equipment, some companies produced several models of CV/gate-MIDI interfaces. Some models target controlling

1368-408: Is an integer and ω the angular frequency ), the marked point will appear to not move. Any non-integer flash setting will make the mark appear to move forward or backward, e.g. a slight increase of the flash frequency will make the point appear to move backward. A common use of a strobe flash is to optimize a car engine 's efficiency at a certain rotational period by directing the strobe-light towards

1425-471: Is analog and by extension infinitely variable. There is less likelihood of hearing the zipper effect or noticeable steps in resolution over large parameter sweeps. Human hearing is especially sensitive to pitch changes, and for this reason MIDI pitch bend uses 14 bits fundamentally. Beyond the 512 directly defined 14-bit controls, MIDI also defines tens of thousands of 14-bit RPNs (Registered Parameter Number) and NRPNs (Non-Registered Parameter Number), but there

1482-826: Is critical to understand how a manufacturer is producing the CV before attempting to use multiple processors in a system. Moog has facilitated this by producing two interfaces designed to receive and transmit CV in a system, the MP-201 (which includes MIDI) and the CP-251. Examples of effects allowing the use of CV include delays (Electroharmonix DMB and DMTT, Toneczar Echoczar, Line6, Strymon and others), tremolo (Goatkeeper), Flange (Foxrox Paradox), envelope generators/lowpass filters/ring modulators (Big Briar, WMD) and distortion (WMD). Modular synthesizer Modular synthesizers are synthesizers composed of separate modules for different functions. The modules can be connected together by

1539-407: Is most often ±12 V or ±15 V, but can range from 2.5±2.5 V to 0±18 V for different manufacturers or systems; in the trigger or gate voltages (Moog S-trigger or positive gate), with typical audio signal levels (often ±5 V with ±5 V headroom); and with control voltages of volts/octave, typically 1 V/octave , but in some cases 1.2 V/octave . In most analog modular systems

1596-407: Is no method described for going beyond 14 bits. A major difference between CV/gate and MIDI is that in many analog synthesizers no distinction is made between voltages that represent control and voltages that represent audio. This means that audio signals can be used to modify control voltages and vice versa. In MIDI they are completely separate however, and additional software such as Expert Sleepers

1653-400: Is required to convert analog CV signals into numerical MIDI control data. Some software synthesizers emulate control voltages to allow their virtual modules to be controlled as early analog synthesizers were. For example, Reason allows myriad connection possibilities with CV, and allows gate signals to have a "level" rather than a simple on-off (for example, to trigger not just a note, but

1710-461: The Moogerfooger pedals by Moog as well as many guitar oriented devices) include CV/gate connectivity. Many modern studios use a hybrid of MIDI and CV/gate to allow synchronization of older and newer equipment. In modular synthesizers, each synthesizer component (e.g., low frequency oscillation (LFO), voltage controlled filter (VCF), etc.) can be connected to another component by means of

1767-469: The System 100m in 1979. In the late 1970s, modular synthesizers started to be largely supplanted in pop music by highly integrated keyboard synthesizers, racks of MIDI -connected gear, and samplers . By the 1990s, modular synthesizers had fallen out of favor compared to cheaper, smaller digital and software synthesizers. However, there continued to be a community who chose the physically patched approach,

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1824-424: The 0 V - 5 V control voltage for all other parameters. They are represented on the front panel of many synthesizers as knobs, but often a patch bay allows the input or output of the related CV to synchronize multiple modules together. The pitch voltage from a keyboard could also be used to control the rate of an LFO, which could be applied to the volume of the oscillator output, creating a tremolo that becomes faster as

1881-817: The SPOT strobe by Prism Science Works provides a flash duration of order 0.5 μs Some strobes even offer continuous mode of operation whereby the arc is sustained, providing extremely high intensity light, but usually only for small amounts of time to prevent overheating and eventual breakage of the flash tube. A strobe beacon is a flashing electric lamp used in a variety of industries as an attention -getting device, either to warn of possible hazards , or to attract potential customers . Strobe beacons are similar to rotating beacons, but are more energy efficient , and with no moving parts, are more reliable and less likely to break. Gas strobe beacons include Xenon flash lamp and halogen varieties. Gas strobe beacons consist of

1938-417: The appearance of motion of rotating and other repetitively operating machinery and to measure, or adjust, the rotation speeds or cycle times. Since this stop is only apparent, a marked point on the rotating body will either appear to move backward or forward, or not move, depending on the frequency of the strobe-flash. If the flash occurs equal to the period of rotation (or an even multiple, i.e. 2*π*n/ω, where n

1995-411: The audio signal and knobs or switches for users to control various parameters of the device (for example, the modulation rate for a chorus effect) while a synthesizer module may have connections for input and output, but will also have connections so that the device's parameters can be further controlled by other modules (for example, to connect a low-frequency oscillator module to the modulation input of

2052-492: The continuously variable nature of knobs and sliders, reproducing an exact patch can be difficult. There are also software synthesizers for personal computers which are organized as interconnectable modules. Many of these are virtual analog synthesizers, where the modules simulate hardware functionality. Some of them are also virtual modular systems, which simulate real historical modular synthesizers. Computers have grown so powerful that software programs can realistically model

2109-409: The effect.     Sometimes strobe lighting can trigger seizures . Several public incidents of photosensitive epilepsy have occurred. Most strobe lights on sale to the public are factory-limited to about 10–12 Hz (10–12 flashes per second) in their internal oscillators , although externally triggered strobe lights will often flash as frequently as possible. Studies have shown that

2166-549: The effects of LSD trips. Ken Kesey used strobe lighting in coordination with the music of the Grateful Dead during his Acid Tests . In early 1966, Andy Warhol 's lights engineer, Danny Williams, pioneered the use of multiple stroboscopes, slides and film projections simultaneously onstage during the 1966 Exploding Plastic Inevitable shows, and at Bill Graham 's request, Williams built an enhanced stroboscopic light show to be used at Fillmore West . Rapid flashing of

2223-653: The envelope generator which may provide outputs at each stage of the process. Examples of more complex modules include the frequency shifter, sequencer, and vocoder. Modular synthesizers may be bulky and expensive. There are some standards that manufacturers follow for their range of physical synthesizers, such as 1 V/octave control voltages, and gate and trigger thresholds providing general compatibility; however, connecting synthesizers from different manufacturers may require cables with different kinds of plugs. German engineer Dieter Doepfer believed modular synthesizers could still be useful for creating unique sounds, and created

2280-408: The flexibility and the sound of traditional modular systems. Since the late 1990s, there has been a resurgence in the popularity of analog synthesizers aided by physical standardization practices, an increase in available retro gear and interest, decreased production costs and increased electronic reliability and stability, the rediscovered ability of modules to control things other than sound, and

2337-513: The formula V h z = 2 V o c t − 1 {\displaystyle V_{hz}=2^{V_{oct}-1}} , which can also be written V o c t = l n 2 ( V h z ) + 1 {\displaystyle V_{oct}=ln_{2}(V_{hz})+1} . These two implementations are not critically incompatible: voltage levels used are comparable and there are no other safety concerns. So, for example, connecting

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2394-401: The frequency is exponentially related to the control voltage (such as 1 volt/octave or 1.2 volts/octave), sometimes called linear because the human ear perceives frequencies in a logarithmic fashion, with each octave having the same perceptual size. Some synthesizers (such as Korg MS-20 , ETI 4600 ) use a system where the frequency (but not the perceived pitch) is linear with voltage. Due to

2451-646: The gate/trigger signal may be labelled "gate", "trig" or "S-trig". Since the publishing of the MIDI standard in 1983, usage of CV/gate to control synthesizers has decreased dramatically. The most criticized aspect of the CV/gate interface is the allowance of only a single note to sound at a single moment of time. Shortly after the MIDI standard came out Roland introduced the Roland MPU-101, a MIDI to CV/gate converter that takes an input from four MIDI channels; i.e.

2508-623: 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 , connected by patch cords . The Japanese company Roland released the Roland System 100 in 1975, followed by the System 700 in 1976 and

2565-512: The most part) control voltages. However, numerous companies – including Doepfer , who designed a modular system for Kraftwerk in 1992, Buchla , MOTM , Analogue Systems , and others continue to manufacture modular synthesizers that are increasingly popular and rely primarily on analog CV/gate signals for communication. Additionally, some recent non-modular synthesizers (such as the Alesis Andromeda ) and many effects devices (including

2622-450: The pitch rises. Modules that can be controlled by CV include VCF, VCA, high and low frequency oscillators, ring modulators, sample and hold circuits and noise injection. Trigger also has two implementations: Depending on the voltage level, connecting an incompatible triggering system will either yield no sound at all or reverse all keypress events (i.e. sound will be produced with no keys pressed and muted on keypress). On older equipment,

2679-667: The power supply line. The duration of a single flash depends on the particular strobe being used and its settings. Strobes for studio lighting often have a range of power settings. For a given strobe, higher light output corresponds to a longer flash duration. For example, the Flashpoint Rapid 1200 HSS Monolight has a flash duration as long as 5.6 ms (1/180 sec) at its highest output setting, or as short as 68 μs (1/14,814 sec) at its lowest output setting. Strobes with significantly shorter flash durations are commercially available, some with flash durations less than 1 μs. For example,

2736-625: The resurgence of non-modular analog synthesizers, the exposure of synthesizer parameters via CV/gate provided a way to achieve some of the flexibility of modular synthesizers. Some synthesizers could also generate CV/gate signals and be used to control other synthesizers. One of the main advantages of CV/gate over MIDI is in the resolution. The fundamental MIDI control message uses seven bits or 128 possible steps for resolution. Thirty two controls per channel allow MSB (Most Significant Byte) and LSB (Least Significant Byte) together to specify 14 bits or 16,384 possible steps of total resolution. Control voltage

2793-412: The signals, sounds, and patchability of modular synthesizers. While potentially lacking the physical presence of desirable analog sound generation, real voltage manipulation, knobs, sliders, cables, and LEDs , software modular synthesizers offer the infinite variations and visual patching at a more affordable price and in a compact form factor. The popular plugin formats such as VST may be combined in

2850-422: The standard 19" rack unit system: 6U (Wiard), 5U (8.75" e.g., Moog/Modcan), 4U (e.g., Serge), 3U ( Eurorack ). Two 3U unit standards, in particular, are notable: Frac Rack (e.g., PAiA), which uses the entire 3U for the front panel, and Eurorack (e.g., Doepfer) which has a 2 mm horizontal lip that the front panels are seated between. Further minor variations exist where European or Japanese manufacturers round

2907-429: The tube once it's fired. This type of strobe requires no charging time and allows for much quicker flash rates, but drastically reduces the lifetime of the flash tube if powered for significant periods of time. Such strobes require a form of current limiting , without which the flash tube would attempt to draw high currents from the electricity source, potentially tripping electrical breakers or causing voltage drops in

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2964-583: The use of patch cords. Examples include the Oberheim Matrix and Rhodes Chroma , and Moog Voyager. Hybrid synthesizers use hardware and software in combination to realize patches. Examples include the Arturia Origin by Arturia (fully self-contained), Clavia Nord Modular and Clavia Nord Modular G2 (these need an external computer to edit patches) and Audiocubes . Strobe light A strobe light or stroboscopic lamp , commonly called

3021-423: The user to create a patch . The outputs from the modules may include audio signals , analog control voltages , or digital signals for logic or timing conditions. Typical modules are voltage-controlled oscillators , voltage-controlled filters , voltage-controlled amplifiers and envelope generators . The first modular synthesizer was developed by German engineer Harald Bode in the late 1950s. The 1960s saw

3078-632: The user) between those of the instrument. Matrix systems use pin matrices or other crosspoint switches rather than patch cords. The ARP 2500 was the first synthesizer to use a fixed switch matrix. The pin matrix was made popular in the EMS VCS-3 and its descendants like the EMS Synthi 100 . Other systems include the ETI 4600, and the Maplin 5600s. The clean logical layout of these matrices has inspired

3135-552: The velocity of that note). In 2009, Mark of the Unicorn (MOTU) released a virtual instrument plug-in, Volta, allowing Mac-based audio workstations with Audio Units support to control some hardware devices. CV control is based on the audio interface line level outputs, and as such only supports a limited number of synthesizers. In recent years, many guitar effects processors have been designed with CV input. Implementations vary widely and are not compatible with one another so it

3192-543: The war. This work for the Commission provided the historic foundation to the Company's present-day technology base. Internally triggered Strobotrons (light-output optimized thyratrons ) were available as well as flood-beam-CRT -type, grid-controlled Vacuum stroboscopic light sources with fast phosphors . The strobe light was popularized on the club scene during the 1960s when it was used to reproduce and enhance

3249-406: The xenon gas in a flash tube. An arc is created inside the tube, which acts as a path for the capacitor to discharge through, allowing the capacitor to quickly release its energy into the arc. The capacitor's energy rapidly heats the xenon gas, creating an extremely bright plasma discharge, which is seen as a flash. A strobe without a capacitor storage device simply discharges mains voltages across

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