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John Chowning, Computer Music, DX7 & FM Discovery
John Chowning, Computer Music, DX7 & FM Discovery
#John #Chowning #Computer #Music #DX7 #Discovery
“Anthony Marinelli Music”
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Bravo! Bravo!
This was informative. Im interested in sound and computers.
Most i like is SID (c64) sounds.
Fantastic interview. Check out John Chowning's 1972 FM piece "Turenas" ("natures" re-arranged) elsewhere on YouTube – remarkable considering it was created on computer and not just noodling away on a DX7 or Syncalvier 🙂
Probably the best video about FM ever made! John Chowning is an absolute legend and a gentleman. More of this, Anthony!
Anthony your interviews are totally to the point, full of curiosity, very well prepared and above all you are very respectful to your guests.
John Chowning he is a legend and very humble which makes the whole interview one of a kind.
Thank you
Thank you, dear John and Anthony, for sharing your experience, knowledge and wisdom with us. This conversation is extraordinary and very touching – on many levels.
And thanks a lot to the AMM-team for the outstanding and exemplary presentation of this content.
I had a synclavier and probably my best ever fm synth
Back in the days, I was the first owner of a DX7 in Holland. It was demonstrated in Utrecht and I knew right away that it was the synth for me! I orderd it the same day at Servaas music in The Hague, had to wait a long time for it to be shipped. I loved programming it and was able to put sounds on internet later with my Atari computer. It was a wonderfull time !
this interview is SO priceless and important to the transmission of FM pedagogy… thank you you both so much for your contributions!!
So Cool!
Thank you John, Thank you Anthony. I never seen such an Interview where both Partners have a real similar admiration firceach other and could make such an marvelous Interview. Thank you Anthony (and Team of course ) for this awesome additional inserts. I really can‘t wait for Part. 2 Anthony nerding out the ‚Basement“ 😂. Thank your the best hour of FM I ever could see.
What a wonderful and fascinating conversation. Anthony, I think you would appreciate trying out a Korg Opsix FM synth.
Very special interview and greatly appreciate you both! Thank you!
Men in their 80s are the most fascinating minds on the planet. If you're a musician or artist of any stripe, be sure to befriend people in their 80's.
Excellent my friend… he is a Legend… and not only in FM synth… many fields.. and musicians..! Great , I have learned a lot of you Guys..!!
Fascinating stuff. Thanks for this Anthony and John.
thanks for doing this interview. John is an inspiring figure and person. You seem very excited yourself interviewing him, couple of times I wish you let John finish his sentences and ideas and let the interview run on a bit longer. Great interview otherwise.
I wish you let John finish his sentences and ideas but thanks for doing this interview. John is an inspiring figure and person
I adore the Synclavier in no small part due to the artists I grew up listening to, but the producers and artists behind the scenes had wildly different opinions about the NED machine. Trevor Horn has said it was the biggest waste of his own money having invested in one, and his Synclavier output pails in comparison to his more well known, pioneering use of the Fairlight CMI. Conversely, Harold Faltermeyer harnessed every last ounce of the Synclavier’s offerings, and it in part was responsible for what I still consider to be some of Pet Shop Boys’ finest recordings, namely those from their Behaviour era output. As for the DX7, it often gets a roasting from the unwilling to dig under the hood crowd, but yet again some of the most revered and hallowed electronic artists have used it to exquisite effect. Many of Richard D James’ early stuff was heavy with FM synthesis goodness. Another fab video Mr Marinelli, thanks
Such a fascinating process, it also seems «stars» aligned to make it happen at the right time through the right vessel, what a great person.
I share your emotion Anthony. This has to be one of the best lessons on sound design I have heard since I became a keyboard musician at in 1984. The DX7 was my first synth and I never managed to master the beast because I was lacking an understanding of sound design with terrible UX design on the DX7 with no knobs. I now understand that I totally underestimated the amazing contribution that John Chowning brought to the electronic music industry. Thanks for capturing this amazing monument of the industry.
One of the most beautiful interviews i've ever seen. Thanks !!!
Um…………..wow.
Thanks for this. What a great story. Learning about Synthesizers gives me goosebumps.
Darpa again for the win.
Mr Chowning is a lovely man. We are so lucky to have him. Thank you for this great interview.
A huge thanks to Anthony. He is giving us culture and know-how. High value and completely free. Really incredible. And thanks to John too…
@Anthony Marinelli Music great Video and Information. This video is going to inspire and help us creators to become more dedicated and start creating the music that we only can hear and imagine in our own minds, without fear. And that's going to start the next new music revolution. And we'll create the World's next big STARS, instead of personalities. Thank you guys so much for this video.
I think this video will become historical! Thanks to everyone who was involved!
19:02 Why does the radio need to modulate the original signal? Is it so it will reach a higher frequency that can be transmitted? Or what?
What an inspiring and insightful interview! Excellent 👍🏻🎹
I love this Anthony, you’ve revisited my senior year of college in detail when my advisor & mentor designed my curriculum around computer music, emergent technologies and “new music”. What an awesome video to wake up to on an otherwise bland Tuesday morning! Thank you!
Such an amazing person, changed the future of synthesis.
What a wondelful video! ❤
Many thanks Anthony for such an excellent interview. I was struck at the end (55:09) by you musing about learning something about coding and John saying "do it". I think some practical engagment with programming might positively transform your notions about what the word digital means.
What a wonderful interview. Getting flashbacks to my communications theory course at university where we went through the mathematical foundations of modulation and sampling theory. I remember being blown away by the neat mathematical solutions showing how FM of a carrier generates harmonics represented as a series of sin functions. Too long ago to remember any of the details, though!
For what it's worth, Barry Truax is, most likely, the first person to write and implement an algorithm to perform FM (or phase modulation, at least) in real time. John Chowning visited the Institute of Sonology, Utrecht in 1973, premiered Turenas , and talked to Barry Truax:
"I was in the computer room afterwards and [Chowning] said, 'Well, show me what you're doing.' And I showed him my first little crude attempts at sound synthesis with fixed waveforms and amplitude modulation and he basically said, there's a better way, it's called FM. And he sketched out for me the principles of frequency modulation, and within the next two months, I realized an algorithm for doing FM in real time. Last year when they were doing an historical survey at Bourges where Chowning spoke and I asked him afterwards, 'Was my little implementation of FM in 1973 at Utrecht, was that in fact the first real time FM?' And he said, yes it probably was." — Barry Truax. "Interview with Barry Truax," Computer Music Journal 18(3), 1993, pp. 17-24.
Another interesting thing that John Chowning brings up around the 41-minute mark is the fact that he treats the modulator frequency as the pitch center and considers carriers (driven by the same modulator signal) for the spectral character they impart. This may be the fundamental difference between the typical radio engineer's view of FM–in which the modulating signal is expected to have a bandwidth that is tiny compared to the frequency of the sinusoid carrier, and the issue of sidebands wrapping around zero is considered insignificant. In FM (or PM) synthesis, the idea of a modulator whose frequency or bandwidth are at least as high/wide as that of the carrier is common, and significant, audible wraparound of sidebands around zero goes with the territory.