The origins of electronic music can be traced back to the late 19th and early 20th centuries with the invention of electronic instruments such as the Telharmonium and the Theremin. These early devices paved the way for further exploration into the possibilities of generating and manipulating sound through electronic means. One of the most significant milestones in the history of electronic music came in the mid-20th century with the development of the first electronic synthesizers. In the 1950s and 1960s, pioneers such as Robert Moog, Don Buchla, and Raymond Scott introduced modular synthesizers capable of producing a wide range of sounds. Through voltage-controlled oscillators, filters, and amplifiers. These instruments revolutionized the way musicians created and performed music, allowing for unprecedented control over timbre, pitch, and other sonic parameters.
The origins of electronic music can be traced back to the late 19th and early 20th centuries with the invention of electronic instruments such as the Telharmonium and the Theremin. These early devices paved the way for further exploration into the possibilities of generating and manipulating sound through electronic means. One of the most significant milestones in the history of electronic music came in the mid-20th century with the development of the first electronic synthesizers. In the 1950s and 1960s, pioneers such as Robert Moog, Don Buchla, and Raymond Scott introduced modular synthesizers capable of producing a wide range of sounds. Through voltage-controlled oscillators, filters, and amplifiers. These instruments revolutionized the way musicians created and performed music, allowing for unprecedented control over timbre, pitch, and other sonic parameters.
The Wire Adventures in Sound and Music Magazine
The origins of electronic music can be traced back to the late 19th and early 20th centuries with the invention of electronic instruments such as the Telharmonium and the Theremin. These early devices paved the way for further exploration into the possibilities of generating and manipulating sound through electronic means. One of the most significant milestones in the history of electronic music came in the mid-20th century with the development of the first electronic synthesizers. In the 1950s and 1960s, pioneers such as Robert Moog, Don Buchla, and Raymond Scott introduced modular synthesizers capable of producing a wide range of sound. Through voltage-controlled oscillators, filters, and amplifiers. These instruments revolutionized the way musicians created and performed music, allowing for unprecedented control over timbre, pitch, and other sonic parameters.
Melody & Verse
[4]ONE.–Firettita
The 1980s and 1990s witnessed the explosion of electronic dance music, fueled by the widespread availability of affordable synthesizers, drum machines, and MIDI technology. Genres such as house, techno, trance, and breakbeat gained popularity in clubs and underground music scenes around the world, while artists like Aphex Twin, The Prodigy, and Daft Punk pushed the boundaries of electronic music with their innovative productions and performances. The 21st century has seen electronic music continue to evolve and diversify, with the emergence of new genres and subgenres such as dubstep, trap, and future bass.
Today, electronic music encompasses a vast spectrum of styles and influences, from ambient and experimental to pop and hip-hop. It continues to be a driving force in contemporary music, shaping the sound of popular culture and inspiring new generations of artists and musicians to explore the possibilities of sound and technology. The late 1980s and early 1990s saw the rise of rave culture, particularly in the UK and Europe, fueled by the popularity of acid house music. Characterized by hypnotic rhythms, squelching basslines, and the heavy use of Roland's TB-303 synthesizer, acid house became synonymous with the underground warehouse parties and outdoor raves of the era.
ACID HOUSE
Roland TB-303, Synthesizer, 44 Acid House, 130 BPM
There are many scenarios where multiple weights—if not multiple styles—are not just desired, but essential.
British Audio Magazine
Publishing Out of London.
Since 1982.
The first electronic sound synthesizer, an instrument of awesome dimensions, was developed by the American acoustical engineers Harry Olson and Herbert Belar in 1955 at the Radio Corporation of America (RCA) laboratories at Princeton, New Jersey. The information was fed to the synthesizer encoded on a punched paper tape. It was designed for research into the properties of sound and attracted composers seeking to extend the range of available sound or to achieve total control of their music.
During the 1960s, synthesizers of more compact design were produced—first the Moog (see photograph), and others soon after, including the Buchla and Syn-Ket, the last approximately the size of an upright piano. Most synthesizers have had piano-like keyboards, although other types of performing mechanisms have been used. The Moog III, developed by the American physicist Robert Moog, had two five-octave keyboards that controlled voltage changes (and thus pitch, timbre, attack, decay of tone, and other aspects of sound), allowing the composer or musician an almost infinite variety of tonal control.
This type of analogue technology became the basis of both modular and portable synthesizers mass-produced in the 1960s and ’70s. A notable use of the Moog was in Alwin Nikolais’s television ballet The Relay. The Buchla synthesizer, developed by the American scientist Donald Buchla, was activated by a “keyboard” that was a touch-sensitive metal plate without movable keys, somewhat comparable to a violin fingerboard. It was used in such works as Morton Subotnick’s Silver Apples of the Moon (1967) and The Wild Bull (1968).
Olle 1Xtra
LDn. 1853
Geotype (238-60L) Rub-on Graphic specimen of Futura Extra Bold Condensed
Ceresit's renovation banner
Info
Refusit is a typeface that is based on the popular typeface Futura Black. Futura Black is a sans-serif font that was designed by Paul Renner in 1929, and it became popular for its geometric shapes and clean lines. Refusit builds upon this foundation, but introduces some key differences that make it unique. Firstly, Refusit has a slightly more condensed design than Futura Black. This means that each letter is slightly narrower, which can make it appear more compact and modern. Additionally, Refusit has some slight variations in letter shapes, particularly in the curves and angles of the characters. These variations give the typeface a more organic, hand-drawn feel, while still maintaining the clean lines and modern sensibility of Futura Black. Another key difference between Refusit and Futura Black is in the overall tone and personality of the typeface. While Futura Black has a straightforward, no-nonsense feel, Refusit has a more playful and experimental quality. This is particularly true in the bold weight of the font, where the thick strokes and exaggerated shapes can create a dynamic and energetic effect.
Credits
Mastering: Matej Vojtuš
Classification: Sans Serif
Release: 2024
Supported Languages
Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Azerbaijani, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Cornish, Corsican, Creek, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut), Guadeloupean Creole, Gwich’in, Haitian Creole, Hän, Hawaiian, Hiligaynon, Hopi, Hotcąk (Latin), Hungarian, Icelandic, Ido, Igbo, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese (Latin), Jèrriais, Kaingang, Kala Lagaw Ya, Kapampangan (Latin), Kaqchikel, Karakalpak (Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Kurdish (Latin), Ladin, Latin, Latino sine Flexione, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Māori, Marquesan, Megleno-Romanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese Creole, Nahuatl, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Old Icelandic, Old Norse, Onĕipŏt, Oshiwambo, Ossetian (Latin), Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami (Inari Sami), Sami (Lule Sami), Sami (Northern Sami), Sami (Southern Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio (Latin), Somali, Sorbian (Lower Sorbian), Sorbian (Upper Sorbian), Sotho (Northern), Sotho (Southern), Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Tzotzil, Uzbek (Latin), Venetian, Vepsian, Volapük, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zarma, Zazaki, Zulu, Zuni
Downloads
Trial Font
PDF Specimen
Other typefaces
The origins of electronic music can be traced back to the late 19th and early 20th centuries with the invention of electronic instruments such as the Telharmonium and the Theremin. These early devices paved the way for further exploration into the possibilities of generating and manipulating sound through electronic means. One of the most significant milestones in the history of electronic music came in the mid-20th century with the development of the first electronic synthesizers. In the 1950s and 1960s, pioneers such as Robert Moog, Don Buchla, and Raymond Scott introduced modular synthesizers capable of producing a wide range of sounds.
The origins of electronic music can be traced back to the late 19th and early 20th centuries with the invention of electronic instruments such as the Telharmonium and the Theremin. These early devices paved the way for further exploration into the possibilities of generating and manipulating sound through electronic means. One of the most significant milestones in the history of electronic music came in the mid-20th century with the development of the first electronic synthesizers. In the 1950s and 1960s, pioneers such as Robert Moog, Don Buchla, and Raymond Scott introduced modular synthesizers capable of producing a wide range of sounds.
The Wire
Adventures
in Sound
and
Music
Magazine
The origins of electronic music can be traced back to the late 19th and early 20th centuries with the invention of electronic instruments such as the Telharmonium and the Theremin. These early devices paved the way for further exploration into the possibilities of generating and manipulating sound through electronic means.
Melody
& Verse
[4]ONE.–
Firettita
The 1980s and 1990s witnessed the explosion of electronic dance music, fueled by the widespread availability of affordable synthesizers, drum machines, and MIDI technology. Genres such as house, techno, trance, and breakbeat gained popularity in clubs and underground music scenes around the world, while artists like Aphex Twin, The Prodigy, and Daft Punk pushed the boundaries of electronic music with their innovative productions and performances.
Today, electronic music encompasses a vast spectrum of styles and influences, from ambient and experimental to pop and hip-hop. It continues to be a driving force in contemporary music, shaping the sound of popular culture and inspiring new generations of artists and musicians to explore the possibilities of sound and technology.
ACID
HOUSE
Roland
TB-303
Synthesizer
44 Acid
House
130 BPM
There are many scenarios where multiple weights—if not multiple styles—are not just desired, but essential.
British Audio
Magazine
Publishing
Out of London.
Since 1982.
The first electronic sound synthesizer, an instrument of awesome dimensions, was developed by the American acoustical engineers Harry Olson and Herbert Belar in 1955 at the Radio Corporation of America (RCA) laboratories at Princeton, New Jersey. The information was fed to the synthesizer encoded on a punched paper tape. It was designed for research into the properties of sound and attracted composers seeking to extend the range of available sound or to achieve total control of their music.
Olle
1Xtra
LDn.
1853
Geotype (238-60L) Rub-on Graphic specimen of Futura Extra Bold Condensed
Ceresit's renovation banner
Info
RL Refusit is inspired by metal type printing history as well as engineered letters stamped onto shipping boxes. It uses the visual gesture of ink spreading under pressure as a stylistic device, offering an alternative to more spindly typefaces of the digital age.
Credits
Mastering: Žofia Kosová
Classification: Monospace
Release: 2024
Supported Languages
Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Azerbaijani, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Cornish, Corsican, Creek, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut), Guadeloupean Creole, Gwich’in, Haitian Creole, Hän, Hawaiian, Hiligaynon, Hopi, Hotcąk (Latin), Hungarian, Icelandic, Ido, Igbo, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese (Latin), Jèrriais, Kaingang, Kala Lagaw Ya, Kapampangan (Latin), Kaqchikel, Karakalpak (Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Kurdish (Latin), Ladin, Latin, Latino sine Flexione, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Māori, Marquesan, Megleno-Romanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese Creole, Nahuatl, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Old Icelandic, Old Norse, Onĕipŏt, Oshiwambo, Ossetian (Latin), Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami (Inari Sami), Sami (Lule Sami), Sami (Northern Sami), Sami (Southern Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio (Latin), Somali, Sorbian (Lower Sorbian), Sorbian (Upper Sorbian), Sotho (Northern), Sotho (Southern), Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Tzotzil, Uzbek (Latin), Venetian, Vepsian, Volapük, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zarma, Zazaki, Zulu, Zuni
Downloads
Trial Font
PDF Specimen
Other typefaces
Regular Lines TF © 2024
