Proliferation Of Electronic Music Research Institutions
, formerly known as Electroacoustic Music in Sweden, is the Swedish national centre for electronic music and . The research organisation started in 1964 and is based in Stockholm.
is a center for in the electronic performing arts, located in Amsterdam, Netherlands. STEIM has existed since 1969. It was founded by , , , , , , and . This group of Dutch composers had fought for the reformation of Amsterdam’s feudal music structures they insisted on Bruno Maderna’s appointment as musical director of the Concertgebouw Orchestra and enforced the first public fundings for experimental and improvised electronic music in the Netherlands.
in Paris became a major center for computer music research and realization and development of the computer system, featuring then revolutionary real-time digital signal processing. ‘s for 24 musicians and 6 soloists used the 4X to transform and route soloists to a loudspeaker system.
describes one of his experiences with early computer sounds:
Released in 1970 by , the was among the first widely available, portable, and relatively affordable synthesizers. It became once the most widely used synthesizer at that time in both popular and electronic art music., playing live with at the beginning of the 1970s, pioneered the use of synthesizers in a touring context, where they were subject to stresses the early machines were not designed for.
The first commercially available sampling synthesizer was the by .
Use As A Graphical Test
The video experienced a resurgence in popularity in the mid-2010s as the shadow puppet-esque video sequence was ported to several second-generation video game consoles and graphing calculators presumed to be incapable of playing back full motion video for retrocomputing and demoscene competitions, becoming a graphical equivalent to the “Hello, World!” programs of obsolete computer systems, but also of modern programming languages.
- In January 2014, a user by the name of fb39ca4 uploaded a video to YouTube showcasing a version of the video and audio running on a TI-84+ SE.
- In June 2014, the “8088 Domination” demo included a section rendering the “Bad Apple” shadow video on an 1981-era IBM 5150 at 640×200 resolution and 30 frames per second.
- In June 2014, about two minutes of “Bad Apple” have been ported to the Commodore 64 as 2000 frames at 12 frames per second on a single side diskette.
Sequencers And Drum Machines
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The early 1980s saw the rise of , the most influential being the , a bass synthesizer and released in late 1981 that later became a fixture in , particularly . One of the first to use it was in 1982, though it wouldn’t be popularized until ‘s “” in 1987. began being used around the mid 20th century, and Tomita’s albums in mid-1970s being later examples. In 1978, Yellow Magic Orchestra were using -based technology in conjunction with a synthesiser to produce popular music, making their early use of the -based sequencer.
, also known as rhythm machines, also began being used around the late-1950s, with a later example being ‘s progressive rock album Benzaiten , which used a rhythm machine along with and a synthesizer. In 1977, ‘s “” was one of the first singles to use the -like of a drum machine. In 1980, released the , one of the first and most popular programmable . The first band to use it was Yellow Magic Orchestra in 1980, and it would later gain widespread popularity with the release of ‘s “” and ‘s “” in 1982. The TR-808 was a fundamental tool in the later Detroit techno scene of the late 1980s, and was the drum machine of choice for and .
The characteristic lo-fi sound of chip music was initially the result of early computer’s and ‘ technical limitations however, the sound has since become sought after in its own right.
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Derivatives: Stylized Shadow Videos
While that video clip was far from being the first one in history to employ shadow and light in an artistic manner, this silhouette art instance launched its own trend of parodies. This was first translated by videos featuring other Japanese CGI models, mostly Miku Miku Dance related clips:
There were also video comparisons/compilations between the original clip and previous fan-made animations:
But overall, many users tried to recreate the initial clip using alternative artistic tools, like Laser Show :
Sand Art Effect :
Apple Peeling :
CNN News: Bad Apple in Stop-Motion
One of the most popular MADs of “Bad Apple!!” uses stop-motion animation where the director printed out every individual frame of the shadow video and uses contextual frame placement, published January 2010:
While most of the parodies, remixes, and MADs were made by people knowing at least a little bit about what Touhou is, the rest of the world was bound to discover the stop-motion animation clip when CNN made a report about it on January 30th 2010 :
However, in it, the reporters mistakenly credited the stop-motion alteration as being the initial video describing how the Stylized Shadow one has been made, which unleashed many fans to leave raging comments about it.
What Makes Friday Night Funkin Bad Apple Different From Other Fnf Mods
Well, this is a mod that reimagines the week when Boyfriend had to fight Mummy Mearest, who is the demonic mother of Girlfriend who does not want her daughter to date this boy, but instead of all the characters looking like they normally do, they are all in shadows, but really well-animated ones, which flow and move realistically. Bad Apple is the name of the custom song you will fight her on.
Of course, the Boyfriend wants to be together with his Girlfriend, so make sure to win the rhythm battle for him to achieve that! When you see the arrows over him match, don’t waste a second and press the same arrow key on your keyboard, and if you get the timing right to the end of the song, you win.
Be careful, because if your timing and focus are not up to par, and you miss multiple notes in a row, you lose the game and have to start again, something you can’t want happening, right?
- Art by PhantomArcade 3K and Evilsk8r
- Music by Kawai Sprite
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Physical Appearance And Abilities
The Bad Apple is a red apple with green eyelids, dark lips, and a green leaf, that reacts as hair. She also wears a belt and a green cloak.
She is very good at manipulating people after knowing their greatest weaknesses. She also wields a belt which gives her spider legs, and allows her to spin webs and create worlds representing the victim’s temptation.
Rise Of Popular Electronic Music
In the late 1960s, and , including and , began to use electronic instruments, like the and , to supplement and define their sound. In his book Electronic and Experimental Music, Thom Holmes recognises the Beatles’ 1966 recording “” as the song that “ushered in a new era in the use of electronic music in rock and pop music” due to the band’s incorporation of tape loops and reversed and speed-manipulated tape sounds. Also in the late 1960s, the music duo and experimental rock bands like and , are regarded as pioneers to the electronic rock and genres for their work in melding psychedelic rock with oscillators and synthesizers.
‘s “” composed in 1969 was the first international electronic dance hit popularised by in 1972 .
By the end of the 1960s, the took a leading place in the sound of emerging with bands including , , , and making them part of their sound. Instrumental prog rock was particularly significant in continental Europe, allowing bands like , , , , and to circumvent the language barrier. Their synthesiser-heavy “”, along with the work of , would be a major influence on subsequent .
was pioneered by King Tubby and other Jamaican , using DJ-inspired electronics, complete with drop-outs, echo, equalization and electronic effects. It featured layering techniques and incorporated elements of , deep and harmonic sounds. Techniques such as a long echo delay were also used. Other notable artists within the genre include , , , , , and .
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- This article is about the Bungo Stray Dogs DEAD APPLE Film. For the manga, see Bungo Stray Dogs DEAD APPLE .
Origins: Late 19th Century To Early 20th Century
At the turn of the 20th century, experimentation with led to the first . These initial inventions were not sold, but were instead used in demonstrations and public performances. The audiences were presented with reproductions of existing music instead of new compositions for the instruments. While some were considered novelties and produced simple tones, the the sound of several orchestral instruments with reasonable precision. It achieved viable public interest and made commercial progress into through .
Critics of musical conventions at the time saw promise in these developments. encouraged the composition of allowed for by electronic instruments. He predicted the use of machines in future music, writing the influential Sketch of a New Esthetic of Music . such as and began composing to evoke the sound of . They predicted expansions in allowed for by electronics in the influential manifesto .
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