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music malzers by ROLAND GELATI THIS BEING the Age of Automation, it was only a matter of time until someone got around to devising a machine that would create music automatically and show up the fallible human instrumentalist for the butterfingered duffer that he is. That machine has now been built and the day has dawned when we can hear music untouched by human hands. Down at the David Sarnoff Research Center, in Princeton, New Jersey, the celebrated Dr. Harry F. Olson and a group of associated engineers have been engaged for several years constructing the RCA Electronic Music Synthesizer. It was formally introduced to the American Institute of Electrical Engineers on January 31, and its accomplishments can now be sampled on RCA VICTOR LM 1922, a twelve -inch LP entitled The Sounds and Music of the RCA Electronic Music Synthesizer. The record is both impressive and rather laughable. Dr. Johnson described this kind of endeavor for all time when he said: "Sir, a woman preaching is like a dog's walking on his hind legs. It is not done well; but you are surprised to find it done at all." No one with an ounce of musical discrimination could say that these trial runs of RCA's Synthesizer are particularly well done; but just to hear music artificially produced by circuits of vacuum tubes working at the behest of a coded paper tape is enough to give you pause. To expect a pause that refreshes would be asking too much. The dance band, the piano, the hillbilly ensemble on this record are all too palpably electronic for genuine musical content- ment. They sound like nothing else than bad imitations of the real thing. But before laughing LM 1922 off the turntable, it might be instructive to play a Berliner Gramophone Record of 1895. It is always difficult to keep a straight face when confronted with first flights like these. Later on, the early laughs sometimes begin to sound just a little hollow. Dr. Olson began his work on the Synthesizer by analyzing musical tones and determining their basic proper- AUGUST 1955 ties, which he describes as frequency, intensity, growth, duration, decay, portamento, timbre, vibrato, and deviations. Having isolated these properties, his next job was to design and have built a set of electronic circuits that would produce them artificially and mix them together in any way desired. Thus far he was not break- ing any spectacular new ground. Electronic instruments have been created in abundance (the electrical organ is a common example of one), but all - prior to Dr. Olson's - have had to be played. RCA's Synthesizer differs from other electronic instruments in being independent of performers. It produces music accord- Keyboard of Dr. Olson's Synthesizer. ing to the signals it receives from a prerecorded paper tape, and - like a phonograph - it can repeat the same performance again and again. That tape is analogous to musical notation; it embodies tempo, pitch, rhythm, quality, and phrasing. The code is different from the one promulgated by Guido d'Arezzo in the eleventh century, but it is no less a system of notation for that. Why did Dr. Olson spend five years of his time and $15o,000 of RCA's money on the Synthesizer? He assured me, when I visited him earlier this summer in Princeton, that it was built for strictly practical purposes. RCA believes it to be a potentially valuable source of musical material for records - especially for short pop records, where its ability to create exotic scales and sonorities can provide some new, off -beat enticements in a strongly competitive market. A new and im- proved Synthesizer is now being constructed for the Victor Record Division and is due to be installed in Victor's Twenty- fourth Street Studio within a few months. After that, great things are expected of it. Dr. Olson and his associates in Princeton realize that the music synthesized so far has been something less than awe- inspiring in artistic impact, for the sole creator of music on RCA's instrument to date has been an acoustical engineer (Herbert Belar) and not a musician. Mr. Belar has had to content himself with making reasonably accurate copies of familiar music. When composers and performers begin to work with the Synthesizer, creating new combinations of sounds and rhythms, the people at RCA feel that its scope and capabilities will become far more evident. Since building the Synthesizer, Messrs. Olson and Belar have been experimenting with a device which chops off a sliver of recorded music, one -sixteenth of a second long, and plays this sliver continuously so that its tonal properties can be studied at leisure. With this new sound analyzer, RCA's engineers expect to find the key to more successful operation of the Synthesizer. They maintain that the Synthesizer can re- create perfectly any musical sound if only the operator knows precisely what he wants and how to code it properly on the paper tape. "It won't be long," Dr. Olson volunteered, "before we shall be able to achieve a perfect synthesis of Caruso's voice as it sounds on the old records. Once this is done, we can surround the synthesized Caruso rendition of an aria with a synthesized full orchestra instead of the tinny studio ensembles of his day. In this way we can bring an old recording up to date. But that isn't all. Having c. orked out the correct code for Caruso's voice, we can then go on to synthesize his singing in music he never recorded. Why, we could even put out a synthesized record of Caruso singing Davy Crockett." At this point I asked for my hat and fled. 41
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