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Music workstation
From Wikipedia, the free encyclopedia

A music workstation is an electronic musical instrument providing the facilities of:

a sound module,
a music sequencer and
(usually) a musical keyboard.

It enables a musician to compose electronic music using just one piece of equipment.[1]

Contents
1 History
1.1 Key technologies for the first generation
2 Second generation music workstations
2.1 Key technologies for the second generation
3 Third generation music workstations
3.1 Key technologies for the third generation
4 Modern music workstations
5 Evaluation of a music workstation
6 References

History
The concept of a music sequencer combined with a synthesizer originated in the late 1970s with the
combination of microprocessors, mini-computers, digital synthesis, disk-based storage, and control devices
such as musical keyboards becoming feasible to combine into a single piece of equipment that was
affordable to high-end studios and producers, as well as being portable for performers. Prior to this, the
integration between sequencing and synthesis was generally a manual function based on wiring of
components in large modular synthesizers, and the storage of notes was simply based on potentiometer
settings in an analog sequencer.

Examples of early music workstations included the New England Digital Synclavier and the Fairlight CMI.

Key technologies for the first generation

Low-cost computer hardware - leveraging the technology of personal computers, adding a

microprocessor enabled complex control functions to be expressed in software rather than wiring. In
1977, the Sequential Circuits Prophet-5 and other polyphonic synthesizers had used microprocessors
to control patch storage and recall, and the music workstations applied it to control sequence storage
and recall as well. The Fairlight used a dual Motorola 6800 configuration, while the Synclavier used a
mini-computer called the ABLE[2].

Digital synthesis - while it was possible to create a music workstation with digitally-controlled analog
synthesis modules, few companies did this, instead seeking to produce new sounds and capabilities
based on digital synthesis (early units were based on FM synthesis or sample playback).

Disk-based storage - again leveraging the technology of personal computers, music workstations used

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floppy disks to record patches, sequences, and sample. Hard disk storage appeared in the second
generation.

Control devices - in a music workstation, the keyboard was not directly connected to the synthesis
modules, as in a Minimoog or ARP Odyssey. Instead, the keyboard switches were digitally scanned,
and control signals sent over a computer backplane where they were inputs to the computer processor,
which would then route the signals to the synthesis modules, which were output devices on the
backplane[3][4]. This approach had been used for years in computer systems, and allowed the addition
of new input and output peripherals without obsoleting the entire computer. In the case of the music
workstations, the next output devices to be added were typically computer terminal displays (some
with graphics), and in the case of the Fairlight, the next input device was a light pen for "drawing" on
the display screen[5].

The result was that music workstations evolved rapidly during this period, as new software releases could
add more functionality, new voice cards developed, and new input technologies added.

Second generation music workstations

By 1982, the Fairlight CMI Series II represented another advance as it now offered more RAM-based
sample memory than any other system with an improved sample rate, and in the Series III (1985) changed
from 8-bit to 16-bit samples. The Synclavier introduced hard-disk based sampling in 1982, storing megabytes
of samples for the first time.

Other products also combined synthesis and sequencing. For instance the Sequential Circuits Six-Trak
provided this possibility. The Six-Trak was a polyphonic analog synthesizer, which featured an on-board
six-track sequencer.

Still other products focused on combining sampling and sequencing. For instance the E-mu Emulator models,
first introduced in 1982, combined sample memory (read from floppy disks) with a simple sequencer in the
initial model, and an 8-track sequencer in later models.

The biggest change in the industry was the development of the MIDI standard in 1982 for representing
musical note sequences. For the first time, sequences could be moved from one digitally-controlled music
device to another.

In the late 1980s, on-board MIDI sequencers began to appear more frequently on professional synthesizers.
The Korg M1 (released 1988) was the first widely-known and popular music workstation, and became the
world's best-selling digital keyboard synthesizer of all time.[6] During its six-year production period, more
than 250,000 units were sold.

Key technologies for the second generation

MIDI - as mentioned above, MIDI data represents pitches, velocities, and controller events (e.g. pitch
bend, modulation wheel). MIDI information could be used on the backplane that linked the elements
of the workstation together, connecting the input devices to the synthesizers, or it could be sent to
another device or received from another device.

Display technologies - music workstations adopted the most effective input/output devices available
for their price range, since there complex control settings to display, complex waveforms, and
complex sequences. The lower-end devices began to use LED displays that showed multiple lines of
characters and later simple graphics, while the higher-end devices began to adopt personal computers
with graphics as their front-ends (the Synclavier PostPro used an Apple Macintosh).

Large memory banks - music workstations soon had megabytes of memory, located on large racks of

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cards.

Modular software - music workstations had software that was organized around a set of common
control functions, and then a set of options. In many cases, these options were organized as 'pages'.
The Fairlight was known for its "Page R" functions[7] which provided real-time composition in a
graphical form which was similar to that later used on drum machines such as the Roland TR-808. The
Synclavier offered music notation.

Digital signal processing - this enabled the music workstation to generate effects such as reverb or
chorus within its hardware, rather than relying on external devices.

SMPTE - since the primary users of the high-end workstations were film composers, the music
workstations added hardware and software to generate SMPTE timecode, which is a standard in the
motion picture industry. This allowed one to generate events that were matched to scenes and cuts in
the film.

Third generation music workstations

Although many music workstations have a keyboard, this is not always the case. In the 1990s, Yamaha, and
then Roland, released a series of portable music workstations (starting with the Yamaha QY10). These are
sometimes called walkstations.

The concept of the workstation mutated around 1996 and gave birth to the groovebox - a keyless version of
a workstation, still with a self-contained sound source and sequencer, mostly aimed at dance. Again,
nowadays they also feature a sampler. Roland more or less started the hype with the MC-303, then Korg and
Yamaha followed suit. Korg created the much-used Electribe series.

Akai developed and refined the idea of the keyboard-less workstation, with the Music Production Center
series of sampler workstations. The MPC breed of sampler freed the composer from the rigidity of step
sequencing which was a limitation of earlier grooveboxes.

Key technologies for the third generation

Low-cost, high-capacity memory - by 1995, a music workstation might have 16 to 64 megabytes of
memory in a few chips[8], which had required a rack of cards in 1985.

Sample libraries - while a second-generation workstation could be sold with just a few sounds or
samples and the ability for the owner to create more, by 1995 most workstations had several
additional sample sets available for purchase on ROM, and an industry had been created for
third-party sample libraries. In addition, there were now standard formats for sound samples to
achieve interoperability.

Battery power - since music workstations were now used by wide range of performers, down to
individual dance music DJ's and even street performers, portable designs avoided power-intensive
components such as disk storage and began to rely on persistent memory and later flash-memory
storage.

Interoperability with personal computers - initially through custom interfaces and later USB standards.

Modern music workstations

Yamaha, Roland and Korg now have sampling as a default option with the Yamaha Motif line (introduced
2001), the Roland Fantom series (introduced 2001) and the Korg Triton (introduced 1999), Korg OASYS,

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and Korg M3 Workstations have a fairly large screen to give a comprehensive overview of the sound,
sequencer and sampling options. Since the display is one of the most expensive components of these
workstations, Roland and Yamaha initially chose to keep costs down by not using a touch screen or
high-resolution display, but have added such in later models.

Another path of music product development that started with the feature set of music workstations is to
provide entirely software-based products, using virtual instruments. This is the concept of the digital audio
workstation, and many of these products have emulated the multitrack recording metaphors of sequencers
first developed in the music workstations.

Open Labs introduced the Production Station in 2008[9], which changed the relationship of the music
workstation and the personal computer from a model where the music workstation interfaces to the PC into
one where the music workstation is a PC with a music keyboard and a touch screen display.

Evaluation of a music workstation

While advances in digital technology have greatly reduced the price of a professional-grade music
workstation, the 'time cost' of learning to operate a complex instrument like this cannot be underestimated.
Hence, product selection is critical, and is typically based upon:

Ease of use
Number of tracks in the sequencer
Expansion options and modularity
Size of user and support community
Support for standards such as MIDI, SMPTE, Internet, etc.
Reliable functioning
Adaptation to most requirements of music production.

References
1. ^ Review: Korg Karma music workstation (http://www.dansdata.com/karma.htm)
2. ^ Computer architecture: a minimalist perspective (http://books.google.com/books?id=qbTxtIPRKUIC&
pg=PA53&lpg=PA53&dq=new+england+digital+ABLE#v=onepage&q=new%20england%20digital%20ABLE&
f=false)
3. ^ The Synclavier II - An Introduction (http://www.500sound.com/SyncII/sync2intro.htm)
4. ^ Synclavier II Architecture (http://www.500sound.com/SyncII/sync2arch.jpg)
5. ^ Fairlight history (http://www.anerd.com/fairlight/fairlightstory.htm)
6. ^ Colbeck, Julian (June 2001). "Korg M1" (http://emusician.com/elecinstruments/emusic_korg/index.html) .
Electronic Musician. http://emusician.com/elecinstruments/emusic_korg/index.html.
7. ^ http://www.hollowsun.com/vintage/fairlight/index.html
8. ^ Vintage Synth Explorer : Roland XP-80 (http://www.vintagesynth.com/roland/xp80.php)
9. ^ Open Labs Production Station User Manual (http://www.openlabs.com/manuals/Gen4_User_Manual.pdf)
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Categories: Workstations | Electronic music instruments | Sound production technology

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