In the early 1950's electronic music pioneer Dick Raaijmakers started doing fundamental user experience research into the first synthesizers, resulting in internationally acclaimed electronic music and jazz music.
The Philips Physics Laboratory electro-acoustic research facility focused on the invention and development of instruments such as the electronic drum, synthesizers, tape recorders and mixers.
By using multiple tone generators to mimic the timbre of instruments, and by using multiple tape recorders to apply effects, the first incarnation rhythmic music produced with electronic instruments was created and put on vinyl for the first time:
Popular Electronics: Early Dutch Electronic Music 1956-1963
The early to mid-1990s saw the rise of the legendary Dutch underground techno and electro scene and electronic dance music is today one of the main cultural exports of the Netherlands.
It was not until recently that instruments could be digitally reproduced in large scale due to the of lack of computing power. This is where AeonWave steps in. Unlike synthesizers AeonWave simulates acoustic and electric instruments starting with the resonator and applying all the applicable acoustic and/or electronic filters and effects coloring the tone along the way to reproduce the characteristics of the instrument. Whether it is being played softly or loud, AeonWave is able to reproduce the distinct differences when configured properly.
Take for instance the tenor saxophone: AeonWave controls 10 output parameters based on 7 input settings (one of which is which one of the 38 notes to be played) resulting in 440 different static tones for the instrument. Which does not include how the effects continuously responds to volume changes, pitch control and user frequency filtering and chorus settings.
Digitally simulating instruments opens up a whole new set of possibilities for creating new sounds. The Bass Pad for example was created by combining the timbre of the bagpipe and a tweaked version of the acoustic body of the Tenor Saxophone with a bit of added low-frequency randomness giving it a raw and acoustic feel unlike any real acoustic instrument.
Another option is to take one, or more, of the instrument parameters to the extreme, into regions an acoustic or electric instrument would never exceed.
Continue to the synthesizer section.