The term “electronic keyboard” refers to any instrument which produces sound by the pressing or striking of keys, and uses electricity, somehow, to facilitate the development of that sound. Using an electronic keyboard to produce music follows an unavoidable evolutionary line from the first musical keyboard instruments, the pipe organ, clavichord, and harpsichord. The pipe organ is the oldest of such, initially developed by the Romans within the 3rd century B.C., and referred to as hydraulis. The hydraulis produced sound by forcing air through reed pipes, and was powered by means of a manual water pump or a natural water source like a waterfall.
From it’s first manifestation in ancient Rome till the 14th century, the organ remained the sole keyboard instrument. Many times, it failed to include a keyboard at all, instead utilizing large levers or buttons that have been operated by using the whole hand.
The subsequent appearance from the clavichord and harpsichord in the 1300’s was accelerated through the standardization of the 12-tone keyboard of white natural keys and black sharp/flat keys present in all keyboard instruments these days. The buzz in the clavichord and harpsichord was eventually eclipsed through the development and widespread adoption in the piano within the 18th century. The look at this web-site was a revolutionary advancement in acoustic musical keyboards since a pianist could vary the volume (or dynamics) from the sound the instrument produced by varying the force that each key was struck.
The emergence of electronic sound technology within the 18th century was the next essential part of the creation of the present day electronic keyboard. The first electrified musical instrument was thought to be the Denis d’or (built by Vaclav Prokop Dovis), dating from about 1753. This is shortly then the “clavecin electrique” designed by Jean Baptiste Thillaie de Laborde around 1760. The former instrument consisted of over 700 strings temporarily electrified to improve their sonic qualities. The later was a keyboard instrument featuring plectra, or picks, that have been activated electrically.
While being electrified, neither the Denis d’or or even the clavecin used electricity as a sound source. In 1876, Elisha Gray invented this type of instrument called the “musical telegraph.,” which had been, essentially, the 1st analog electronic synthesizer. Gray learned that he could control sound coming from a self-vibrating electromagnetic circuit, and thus invented a simple single note oscillator. His musical telegraph created sounds through the electromagnetic oscillation of steel reeds and transmitted them over a telephone line. Grey continued to include a simple loudspeaker into his later models which consisted of a diaphragm vibrating in a magnetic field, making the tone oscillator audible.
Lee De Forrest, the self-styled “Father Of Radio,” was another major reason for the creation of the electronic keyboard. In 1906 he invented the triode electronic valve or “audion valve.” The audion valve was the first thermionic valve or “vacuum tube,” and De Forrest built the first vacuum tube instrument, the electric piano in 1915. The vacuum tube became a necessary component of electronic instruments for the next half a century until the emergence and widespread adoption of transistor technology.
The decade of the 1920’s brought a great deal of new electronic instruments to the scene such as the Theremin, the Ondes Martenot, as well as the Trautonium.
The next major breakthrough within the background of electronic keyboards came in 1935 with the development of the Hammond Organ. The Hammond was the very first electronic instrument capable of producing polyphonic sounds, and remained so until the invention of the Chamberlin Music Maker, as well as the Mellotron in the late 1940’s and early 1950’s. The Chamberlin and the Mellotron were the initial ever sample-playback keyboards meant for making music.
The electronic piano made it’s first appearance within the 1940’s with all the “Pre-Piano” by Rhodes (later Fender Rhodes). It was a 3 along with a half octave instrument created from 1946 until 1948 that came equipped with self-amplification. In 1955 the Wurlitzer Company debuted their first electric piano, “The 100.”
The rise of music synthesizers in the 1960’s gave an effective push for the evolution of the electronic musical keyboards we now have today. The initial synthesizers were extremely large, unwieldy machines used only in recording studios. The technological advancements and proliferation of miniaturized solid state components soon allowed producing synthesizers that were self-contained, portable instruments capable of being utilized in live performances.
This began in 1964 when Bob Moog produced his “Moog Synthesizer.” Lacking a keyboard, the Moog Synthesizer had not been truly a digital keyboard. Then, in 1970, Moog debuted his “Minimoog,” a non-modular synthesizer with a built-in keyboard, and this instrument further standardized the design of electronic musical keyboards.
Most early analog synthesizers, like the Minimoog and the Roland SH-100, were monophonic, able to producing just one tone at any given time. A couple of, such as the EML 101, ARP Odyssey, and the Moog Sonic Six, could produce two different tones at the same time when two keys were pressed. True polyphony (the creation of multiple simultaneous tones which allow for the playing of chords) qhscvn only obtainable, in the beginning, using electronic organ designs. There were a number of electronic keyboards produced which combined organ circuits with synthesizer processing. These included Moog’s Polymoog, Opus 3, as well as the ARP Omni.
By 1976, additional design advancements had allowed the look of polyphonic synthesizers such as the Oberheim Four-Voice, as well as the Yamaha series CS-50, CS-60, and CS-80. The first truly practical polyphonic synth, introduced in 1977, was the Sequential Circuits Prophet-5. This instrument was the first one to use a microprocessor being a controller, and also allowed all knob settings to be saved in computer memory and recalled by simply pushing some control. The Prophet-5’s design soon became the new standard within the electronic keyboards industry.
The adoption of Musical Instrumental Digital Interface (MIDI) as the standard for digital code transmission (allowing electronic keyboards to be connected into computers along with other devices for input and programming), as well as the ongoing digital technological revolution have produced tremendous advancements in most aspects of weighted electric piano, construction, function, quality of sound, and cost. Today’s manufactures, like Casio, Yamaha, Korg, Rolland, and Kurzweil, are producing a good amount of well-built, lightweight, versatile, great sounding, and affordable electronic keyboard musical instruments and will continue to accomplish this well to the foreseeable future.