Digital In, Analog Out

In the early 1980s, a significant shift occurred in music technology with the arrival of digital synthesizers. Before, electronic sounds were primarily produced using analog circuitry. Digital sampling revolutionized the process by allowing samples of audio recordings to be digitized and stored in memory. This advancement enabled synthesizers to produce new, unexpected sounds in the realm of synthesizers sounds, transforming the landscape of electronic music.

Initially, the storage capacity of the early digital machines was quite limited, allowing only short snippets of sound to be sampled, often just a few hundred milliseconds. This is why sampling technology first found its way into electronic drum machines, with the Linndrum being a notable example that inspired the 1980s. Although sampling technology was still in its infancy and had many imperfections, we now appreciate these as unique strengths. The LinnDrum, with its limited sample rate and bit depth, had a gritty character that defined an entire decade of music. Additionally, I incorporated the Fairlight CMI, a groundbreaking digital workstation and sampler that was quite expensive at the time. Its iconic ARR1 sound, characterized by a breathy, voice-like quality, became a defining feature of its unique sound palette.

An important concept in audio engineering is the Nyquist frequency, which sets a limit for digital systems. When signals exceed this frequency, digital devices can produce unwanted frequencies not present in the original sound, a phenomenon known as aliasing. In the early days of digital synthesizers, the Nyquist frequency was relatively low, making it easy for listeners to encounter these artifacts. As an audio engineer, I developed a dislike for the sound of aliasing, even in small amounts. However, I must admit that I find it quite charming in larger doses, especially in classic drum machines like the Linndrum!

This soundscape features a mix of analog and digital sounds, a typical blend of the early 1980s. Digital reverb machines were gaining popularity then, and producers enjoyed throwing reverb on almost everthing. We did that too.

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