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`1111111
`
`How Did Computer Music Tournal Come to Exist
`Authors John Snell
`Source Computer Music Tournal Vol. 30 No.
`Published by The MIT Press
`Stable URL http//www.jstor.org/stable/3682023
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`Apple Exhibit 4174
`Apple v. SightSound Technologies
`CBM2013-00020
`Page 00001
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`

`

`John Snell
`Timbre Engineering
`Box 337
`San Geronimo California 94963 USA
`cmj@timbre.com
`
`How Did Computer MUSIC
`Journal Come to Exist
`
`Editors note To celebrate the 30th year of Com-
`puter Music Journals publication we invited the
`founder and original Editor John Snell to con-
`tribute this article about
`the journals origins.
`It was already clear in the 1970s that digital elec-
`and software offered the potential
`to tran-
`limitations of acoustic instruments and
`traditional scores. Yet early musical exploration
`computers revealed the need for a better un-
`derstanding of the fundamentals. Unfortunately
`to
`such knowledge presented formidable chal-
`lenges comprehending psychoacoustics
`the physics
`of acoustic instruments and reverberation and the
`mathematics of digital signal processing exploring
`the ergonomics of human interfaces
`for perfor-
`mance with real-time expression integrating the
`microscopic level of detail into musical composi-
`and designing efficiently structured software
`and computer architecture for real-time control and
`of multiple synchronized channels of
`To investigate all these areas composers had
`to digest graduate-level books journals and confer-
`ence proceedings each addressed to specialists in a
`particular discipline.
`
`Seed
`
`be-scend
`Sci-tronics
`de-with
`po-gain
`Com-tion
`cross-sound.
`develop-performance
`advan-tage
`signal-This
`main-University
`Stan-ordination
`com-ognized
`Pan-dit
`
`Pay It Forward Hyde 1999 and the corresponding
`film Leder 2000 I founded and edited Computer
`Music Journal because I wanted to share the kind of
`multidisciplinary approach to music I had explored
`as a student with support from the National
`ence Foundation. During my formal education
`fore the advent of personal computers digital music
`instruments and compact discs there were no
`gree programs in computer music. Yet many of us
`with access
`to computers realized their musical
`I appreciated the intelligent professors I was
`tential.
`able to study with at Carnegie-Mellon Universitys
`electrical engineering program as well as in music
`theory and composition computer science physics
`audio/video calculus advanced mathematics and
`the physiology and psychology of perception. Work
`experience in the engineering lab of CMUs
`puter Science Department was valuable for learning
`the practical application of theory to the
`ment of state-of-the-art research projects e.g.
`bar connected multiprocessor converters and a
`graphics display processor.
`Through composition classes at the neighboring
`University of Pittsburgh I was able to take
`of the opportunity to compose electronic music
`and musique concrete in a studio set up by Morton
`Subotnick. This analog studio was originally
`equipped with a combination of insightful
`processing and -generation modules designed by
`Don Buchla and later with synthesizers from the
`companies ARP and EMS. With support from Angel
`Jordan whose help was invaluable and Raj Reddy
`I was able to explore computer music using
`frame and minicomputers at CMU. Later I was
`grateful to study digital signal processing at
`ford Universitys Center for Computer Research in
`Music and Acoustics CCRMA and to use its digital
`audio equipment for research and for creating
`puter music. Private lessons in composition and
`theory especially with William Allaudin Mathieu
`as well as classes and workshops
`in raga with
`Pran Nath African music with Hamza El Din
`and others and Balkan Arabic and Balinese music
`helped broaden my understanding of music.
`
`journal was born from the sharing of multidis-
`ciplinary research and ideas in the early artificial
`in-
`telligence AI laboratories and computer science
`departments of Stanford University Massachusetts
`Institute of Technology MIT Carnegie Mellon
`CMU and other universities as well as
`
`in research centers like Institut de Recherche et Co-
`Acoustique/Musique IRCAM and Bell
`in the early to mid 1970s. The benefits
`Laboratories
`of this sort of open cooperative approach can be rec-
`in the more familiar growth of GNU and re-
`lated software e.g. Linux over many years.
`With a philosophy like that expressed in the book
`
`Computer Music iournal 301 pp. 10-20 Spring 2006
`2006 Massachusetts Institute of Technology.
`
`10
`
`Computer Music Journal
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`Page 00002
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`

`

`Figure 1. Cover of the first
`issue of Computer Music
`Journal 1977.
`
`Figure 2. Volume 1
`Number 2.
`
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`I was also influenced by other nonwestern prac-
`tices that maybe related to thinking out of the
`releasing conditioned limits of tradition or
`convention. Vipassana Goldstein 1976 Goldstein
`and Kornfield 1977 Zen Suzuki 1970 and related
`forms of meditation focus concentration allowing
`one to simply experience reality without preconcep-
`tions. They open perception and help one let go of
`bias supporting the practice of scientific observa-
`with clarity of mind. I have found that these
`practices also enhance insight and creativity in de-
`sign composition and improvisation. As one follows
`his or her deep interests throughout life multidisci-
`plinary education can take a variety of forms.
`In starting the journal
`I greatly appreciated en-
`from James A. Moorer Max Mathews
`couragement
`other researchers. Believing that it would pro-
`vide a place to publish articles from CCRMA
`Bell Labs University of Illinois MIT
`CMU Xerox PARC and numerous other research
`I described Computer Music journal at the
`
`first
`
`International Computer Music Conference
`ICMC ICMC was heir to the annual Music
`putation Conferences. Flyers listing the content
`of the journal were distributed at this ICMC as
`well as at CCRMA and other locations during the
`fall of 1976.
`The high cost of fast computer systems which
`inadequate for real-time music synthesis
`were still
`and digital signal processing led many of us to
`sign our own systems. The Homebrew Computer
`Club skillfully moderated by Lee Felsenstein at the
`Stanford Linear Accelerator consisted of an eclectic
`group of engineers and programmers from Silicon
`Valley San Francisco the University of California
`at Berkeley and Stanford University who shared
`ideas and resources to help each other develop
`puters compilers and systems-including some
`digital music graphics and video systems. For
`ample Steve Wozniak and Steve jobs demonstrated
`the first Apple computer to the Homebrew
`puter Club in the spring of 1976. To stimulate
`
`inter-11
`
`Page 00003
`
`

`

`Figure 3. Volume 1
`Number 3.
`
`Figure 4. Volume 1
`Number 4.
`
`Computer Music
`
`vale I N..I
`
`fournal_
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`
`52
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`est in the programming and engineering challenges
`of computer music I distributed flyers for the jour-
`nal at the Homebrew Computer Club.
`
`Research Publication Versus Popular Commercial
`Pressure
`
`Por-riod
`
`for real-time signal processing and enveloping. The
`ability to change pitch in real time requiring at least
`20 bits to maintain tuning was limited by the 8-bit
`arithmetic-logic unit in popular microcomputers.
`The original publisher of this journal was the
`Peoples Computer Company PCC which derived
`its name from making programming accessible to
`youth and the general public before computers were
`common household items. An offspring of the
`tola Institute the organization known for spawning
`the Whole Earth Catalog PCC was a nonprofit
`publisher of computer information in Menlo Park
`California next to Stanford University. Bob Albrecht
`a founder of PCC who was aware of my background
`in computer music invited me to write a book about
`making music with computers. I was concerned
`the musical
`about
`limitations of early
`puters the systems on which popular computer
`publications focused at the time. Instead of a book
`for PCC I started by writing a bibliography of the
`research and theory that formed a foundation for
`
`Computer music was in its infancy during this pe-
`limited by knowledge software hardware
`and expense. Although useful for composition the
`powerful mainframes and minicomputers used by
`researchers were inadequately designed to accom-
`modate real-time interactive performance by
`musicians. It was obvious that the ability of afford-
`able microcomputers to perform musical applica-
`tions would eventually surpass even that of the
`of the time. However
`in 1976
`microcomputers were severely limited in speed
`architecture precision memory and software. For
`example microcomputers lacked a multiplier unit
`
`microcom-supercomputers
`
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`
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`
`Page 00004
`
`

`

`Figure 5. Volume 2
`Number 1.
`
`Figure 6. Volume 2
`Number 2.
`
`ComputerMusic
`biurnal
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`for DIGITAL SYNTHESIZERS
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`IF .
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`1s
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`32 Track Digital Tape Deck
`
`PROCESSING
`SIGNAL
`made comprehensible
`
`Synthesis Techniques
`
`16-bit Processors
`
`r
`
`r
`
`to Synthesizer
`
`Interface
`
`How a Computer
`Makes Music
`
`Software Music
`Composition System
`
`SIGNAL
`
`PROCESSING
`
`X
`
`SPECTRUM
`
`MODIFICATION
`
`X
`
`NIGH
`
`SPEED
`
`LOGIC
`
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`2
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`Lexicon
`
`of Analyzed Tones
`
`THE TRUMPET
`
`-Microcomputer
`pro-raphy
`archi-of
`musi-tude
`
`computer music. This bibliography was intended to
`leader for popular microcomputer applications of
`help readers understand what was needed to create
`dubious musical value owing to the limitations of
`digital music as sonically rich as that produced with
`the early microcomputers. Byte the most popular
`acoustic instruments. My Computer Music Bibliog-
`computer magazine in the 1970s invited me to
`duce my journal through their publisher instead of
`Snell 1976 was published in the August
`through PCC. The offer of a well-equipped music
`1976 issue of Dr. Dobbs journal edited at the time
`studio as well as the gain in income from PCCs
`by Jim Warren for PCC. This bibliography served as
`tiny budget of US$ 300/month were tempting.
`the foundation and springboard for starting Com-
`puter Music journal.
`However
`regardless of financial benefit I had little
`I am grateful to Bob Albrecht and Dennis Allison
`interest in focusing on computers that were
`PCC for their impetus as well as their open atti-
`tecturally inadequate for running interesting
`toward publishing the journal. Our paths
`cal applications. Although a comfortable salary was
`crossed again in the 1990s when I served with Den-
`readily available in Silicon Valley for an engineer
`nis Allison on the editorial board of Michael Slaters with a degree in electrical engineering from a
`utable university my interest in music outweighed
`Report during the evolution of me-
`my economic needs.
`dia processors. Design details and analysis of state-
`I was more drawn to digital
`instruments for
`of-the-art integrated circuits are published in
`for chip architects and mi-
`time expression of musical composition as well as
`Report
`to the design of software and electronics that had
`croelectronics engineers.
`If PCC had been primarily profit-driven Com-
`to create new music as interesting and
`the potential
`puter Music journal would have been the cheer-
`complex as music played on acoustic instruments
`
`rep-Microprocessor
`real-Microprocessor
`
`Snell
`
`13
`
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`on Tue 25 Feb 2014 111349 AM
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`
`All use subject
`
`Page 00005
`
`

`

`Figure 7. Volume 2
`Number 3.
`
`Figure 8. Volume 2
`Number 4.
`
`cater M
`
`go-urnal
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`lumr i
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`Computer Music
`Journal
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`our Cooed Saab astrýutal.
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`The SSSP Digital Synthesizer
`
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`ta Structures for Computer MusicDatato
`
`1978 International Computer Music Conference
`
`Memory and Computer Music Interfaces
`
`from diverse cultures. I thought that a nonprofit ed-
`ucational organization like PCC would support the
`to be more
`Journals research content enabling it
`independent of popular opinion.
`
`Acoustical Society of America Acustica Science
`and Scientific American. Most of my research in
`mathematics and psychoacoustics came from
`books and conference proceedings in university
`yet I also wanted to include articles from
`these disciplines.
`
`li-braries
`
`Influential Models
`
`Production in the Stone Age
`
`In considering models for the Computer Music Jour-
`I appreciated the informality of Bernie Hutchinss
`nal
`Although it was less technically demanding than
`I also wanted to
`excellent newsletter Electronotes.
`my microelectronics and software engineering work
`include articles on composition and music theory
`I had grossly underestimated how much time would
`like those published in Perspectives of New Music
`be required to mechanically typeset edit and lay out
`Journal of Music Theory John Chalmerss Xenhar-
`articles. After years of using virtual cut and paste
`monikon and Source-Music of the Avant Garde.
`on mainframe and minicomputer video screens
`I was very influenced by the Journal of the Audio
`nected to a Xerox Graphics Printer XGP at Al labs
`Society as well as by the numerous
`it was painfully slow to use a typesetting
`journals published by the Institute of Electrical and
`Engineers IEEE and the Association for writer mechanical scissors and sticky paste for
`Computing Machinery ACM. I also hoped to in-
`each edit of text and figures. These tasks
`ally performed by a publishing staff in addition to
`articles like those published in Journal of the
`
`con-Engineering
`type-Electronics
`tradition-clude
`
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`
`Page 00006
`
`

`

`com-ing
`pro-ing
`in-Brun
`introduc-very
`ham-out
`musi-knowledge
`pro-who
`inex-familiarity
`numer-tion.
`excel-of
`
`IEEE kindly granted permission to publish his
`initial editing communicating with authors writ-
`articles and reviews and publicizing the jour-
`prehensive article before it appeared in their journal.
`To bootstrap readers who came from related
`nal consumed 80- to 90-hour weeks during which I
`disciplines the challenging mix of subjects required
`was working mostly by myself. Some of us have
`tutorials and articles with introductory sections. A
`been involved in founding companies however
`tutorial on how a computer makes music was
`with no potential payoff in stock founding and edit-
`vided by James A. Moorer and the editors Moorer
`the journal was an idealistic labor of love.
`1978. F. R. Moore provided an excellent
`I was
`While editing the first
`issue of the Journal
`tion to the mathematics of signal processing
`grateful for the occasional help of Marc Le-
`cluding the FFT Moore 1978a 1978b.
`a knowledgeable mathematician and pro-
`grammer at CCRMA who had a good understanding
`We had appreciated the classes in digital signal
`processing offered by James A. Moorer and later by
`of computer music. Production staff with a back-
`Julius Smith at CCRMA and we expected F. R.
`ground in music mathematics computer science
`Moores articles would serve as an introduction for
`electrical engineering acoustics and psychoacoustics
`filtering Smith 1985
`subsequent articles on digital
`were not available especially at the level of wages
`and advanced applications of mathematics such as
`offered by a nonprofit publisher. Eventually I was
`linear prediction Cann 1979 1980a 1980b. The
`able to hire Maria Kent an intelligent individual
`ability to create and manipulate timbre was
`with an invaluable background
`in typesetting lay-
`and publishing. Ann Miya a talented artist
`pered by the severely limited understanding of its
`nature. A series of introductory articles on timbre
`was helpful
`in graphics design.
`evolved from John Greys valuable research in this
`During production of the second issue of the four-
`from CCRMA
`area Grey Moorer and Snell 1977 Grey Moorer
`nal I hired a bright graduate student
`and Strawn 1977. Articles on efficient yet
`for typesetting. In recognition of his deep musical
`excellent writing and editing skill and
`cally significant algorithms that could run on
`pensive computers were also provided Chowning
`with computer music I promoted John
`1977 LeBrun 1977 Saunders 1977.
`Strawn to Assistant Editor. It was helpful to be able
`Computers had been designed for data processing
`to resolve problems as they arose by discussing
`them with someone involved in our publication
`as opposed to real-time interactive stream
`understood our field. Later when I was ready
`cessing. Therefore we published articles to address
`the design of real-time digital computers for music
`to return to full-time engineering work I would
`have offered him the position of Editor had he been
`and synthesis Snell 1977a Moorer 1977 Moorer
`et al. 1979. Even something as simple as real-time
`available. Understandably his graduate degree pro-
`gram did not leave time for a full-time editing posi- multiplication was expensive and required
`The time spent in editing typeset copy was
`issue of the Journal was
`ous chips before the first
`further reduced when Renny Reynold Wiggins
`I was so convinced by
`published Snell 1977b.
`Chuck Hastingss introduction to high-speed design
`added his knowledge of computers to the produc-
`Hastings 1978 that we changed the early design of
`tion staff. Renny Wiggins later served as the Editor
`Lucasfilms first digital audio signal processor ASP
`of Dr. Dobbs Journal for programmers.
`also known as the SoundDroid from Schottky
`transistor-transistor logic TTL used for most
`digital design at the time to higher-performance
`emitter-coupled logic ECL used in
`ers which was also significantly less noisy than
`TTL. James A. Moorer 1979 also provided an
`lent introduction to reverberation.
`issue of Volume 2 had been
`By the time the first
`published the focus and direction of the Journal
`
`A. Moorer was the first author other than my-
`self to provide an article Signal Processing Aspects
`Computer Music-A Survey Moorer 1977 an
`excellent engineering overview for the first
`issue.
`The Institute of Electrical and Electronics Engineers
`
`Understanding Numerous Disciplines
`
`supercomput-James
`
`Snell
`
`15
`
`on Tue 25 Feb 2014 111349 AM
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`to JSl OR 1 erms and Conditions
`All use subject
`
`Page 00007
`
`

`

`Figure 9. Volume 3
`Number 1.
`
`Figure 10. Volume 3
`Number 2.
`
`Computer Music
`Journal
`
`SS
`
`ý
`
`Computer Music
`Journal
`
`SS.W U fanWa SS
`
`75
`
`Volume HI
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`Number
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`ter.
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`
`Feature MICROPROCESSORS
`Also A Language for Sound Synthesis
`Spectral Surface Plots
`Music Grammars
`Pascal
`
`Digital Reverberation
`
`Timbre Space and Musical Structure
`
`Automated Digital Synthesis Instrument
`
`Non-linear Distortion or Waveshaping
`
`edi-cess
`jour-sign
`de-sign
`in-phase
`au-composition
`pub-ity
`Mu-PCC.
`
`the journal from PCC with production facilities
`more suited to academic journals. Although the
`tors did not receive money from the sale of the
`nal it found a stable home ensuring its future. We
`are especially grateful to Curtis Roads for his ability
`and willingness to adapt to changing circumstances
`and politics while working on the journal which he
`continued to edit for so many years.
`
`was established high-quality articles were being
`submitted for publication and the production pro-
`I wanted to focus on de-
`was finally functional.
`and development of microelectronics and
`software for music as opposed to editing a journal.
`To address the software revolution taking place I
`invited Curtis Abbott to edit an issue of the journal
`and write articles. Curtis started an interesting col-
`umn called Machine Tongues Abbott 1978a
`1978b and 1978c. With hardware and software
`Books Derived from Early Years of Computer
`better covered I wanted to improve coverage of
`music composition in the journal. Curtis Abbott in- Music Journal
`troduced me to Curtis Roads around this time. With
`a background in software a wide perspective on
`and an interest in communication
`Curtis Roads was the perfect Editor for this next
`of the journal. John Strawns excellent under-
`standing of the Journal provided editorial continu-
`during the transition period.
`Our high production standards and extensive
`typesetting of mathematics were challenging for
`MIT Press provided a timely offer to purchase
`
`Curtis Roads John Strawn and I worked with
`thors to revise and update articles from the first
`three volumes of the journal along with new
`vited articles for a two-volume book by MIT Press.
`Our large collection of articles was eventually
`lished in three books Digital Audio Engineering
`Strawn 1985a Digital Audio Signal Processing
`Strawn 1985b and Foundations of Computer
`sic Roads and Strawn 1985 see Tables 1-3. Before
`
`16
`
`Computer Music Journal
`
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`on Tue 25 Feb 2014 111349 AM
`from 198.65.204.101
`to JSTOR Terms and Conditions
`
`All use subject
`
`Page 00008
`
`

`

`Figure 11. Volume 3
`Number 3.
`
`Figure 12. Volume 3
`Number 4.
`
`PComputer MUSi1c
`Journal
`
`Stpp
`
`Computer Music
`Journal
`
`VW.-
`
`i Vnmlr
`
`3
`
`_
`
`3
`
`1Wwa6er 4
`
`E C.r..mTLS. le CwM.15.71
`iý- a
`
`I
`
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`
`ý
`
`1
`
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`
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`
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`
`our
`
`Analysis/Synthesis
`
`Controlled Indeterminacy
`
`Digital Sound Synthesizers
`
`Italian Computer Music
`
`L-- ---- -- - --- - -
`.--Tabl
`
`1. Articles Published in Digital Audio Engi-
`neering. An Anthology
`
`Computer Graphics and Music
`Hearing Music Streams
`Digital Sound Synthesizer
`
`Analysis/Synthesis
`
`2
`
`Table 2. Articles Published in Digital Audio Signal
`Processing
`
`Article
`
`Author
`
`Article
`
`An Introduction to Digital
`Recording and Reproduction
`
`Limitations on the Dynamic
`Range of Digitized Audio
`
`Issues in the
`Architectural
`Design of the Systems Concepts
`Digital Synthesizer
`The FRMBOX-A Modular
`Digital Music Synthesizer
`
`Author
`
`F. R. Moore
`
`J. F. McGill
`
`An Introduction to the Mathematics
`of Digital Signal Processing
`
`R. Talambiras
`
`An Introduction to Digital Filter Theory
`
`J. O. Smith
`
`P. Samson
`
`F. R. Moore
`
`Spiral Synthesis
`
`Signal Processing Aspects of
`Computer Music A Survey
`An Introduction to the Phase Vocoder
`
`T. L. Petersen
`
`J. A. Moorer
`
`J. W. Gordon
`and J. Strawn
`
`The Lucasfilm Digital Audio Facility
`
`J. A. Moorer
`
`Snell
`
`17
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`on Tue 25 Feb 2014 111349 AM
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`
`All use subject
`
`Page 00009
`
`

`

`Com-puter
`
`Table 3. Articles Published in Foundations of
`Music
`
`Article
`
`Author
`
`Article
`
`The Synthesis of Complex Audio Spectra J. Chowning
`by Means of Frequency Modulation
`
`Design of a Digital Oscillator That
`Will Generate up to 256 Low-Distortion
`Sine Waves in Real-Time
`
`Author
`
`J. Snell
`
`Trumpet Algorithms for
`Computer Composition
`Improved FM Audio Synthesis
`Methods for Real-Time Digital
`Music Generation
`
`The Simulation of Natural
`Instruments Tones Using
`Frequency Modulation with a
`Complex Modulating Wave
`A Derivation of the Spectrum of FM
`with a Complex Modulating Wave
`for CM
`Organizational Techniques
`Ratios in Frequency Modulation
`
`A Tutorial on Nonlinear Distortion
`or Waveshaping Synthesis
`
`Brass-Tone Synthesis by
`Spectrum Evolution Matching
`with Nonlinear Functions
`
`An Analysis/Synthesis Tutorial
`
`Granular Synthesis of Sound
`
`D. Morrill
`
`S. Saunders
`
`B. Schottstaedt
`
`Table Lookup Noise for Sinusoidal
`
`F. R. Moore
`
`Digital-Oscillators
`
`A Recipe for Homebrew ECL
`
`The Evolution of the SSSP
`Score-Editing Tools
`
`C. Hastings
`
`W. Buxton
`R. Sniderman
`W. Reeves
`S. Patel and
`R. Baecker
`
`M. LeBrun
`
`Grammars as Representations for Music
`
`C. Roads
`
`B. Truax
`
`C. Roads
`
`J. Beauchamp
`
`The Use of Hierarchy and Instance in
`a Data Structure for Computer Music
`
`A Composers Notes on the
`Development and Implementation
`of Software for a Digital Synthesizer
`
`W. Buxton
`W. Reeves
`R. Baecker
`and L. Mezei
`
`N. Rolnick
`
`Automated Microprogramming for
`
`C. Abbott
`
`R. Cann
`
`C. Roads
`
`Digital Synthesizers
`A Software Approach to Interactive
`Processing of Musical Sound
`
`C. Abbott
`
`PILE-A Language for Sound Synthesis
`
`P. Berg
`
`An Introduction to the PLAY Program
`
`J. Chadabe and
`
`An Introduction to the SSSP
`
`Digital Synthesizer
`
`The DMX-1000 Signal-
`Processing Computer
`
`A Portable Digital Sound-
`Synthesis System
`
`The 4B A One-Card 64-Channel
`Digital Synthesizer
`
`A 256-Channel Performer-Input
`Device
`
`The 4C Machine
`
`W. Buxton
`E. A. Fogels
`G. Fedorkow
`L. Sasaki and
`K. C. Smith
`
`D. Wallraff
`
`H. Allen
`
`H. Allen and
`G. diGiugno
`
`H. Alles
`
`J. A. Moorer
`A. Chauveau
`C. Abbott
`P. Eastty and
`1. Lawson
`
`A Microcomputer-Controlled
`System for Live Performance
`
`R. Meyers
`
`Synthesis M. Bartlett
`
`Considering Human Memory in
`Designing User Interfaces
`for
`Computer Music
`
`An Interview with
`Gottfried Michael Koenig
`
`Controlled Indeterminacy A First
`Step Toward a Semistochastic
`Music Language
`
`Music for an Interactive Network
`
`of Microcomputers
`
`O. Laske
`
`C. Roads
`
`J. Myhill
`
`J. Bischoff
`R. Gold and
`J. Horton
`
`About This Reverberation Business
`
`J. A. Moorer
`
`Timbre Space as a Musical
`Control Structure
`
`D. Wessel
`
`S. McAdams
`and A. Bregman
`
`Use of High-Speed Microprocessors
`
`for Digital Synthesis
`
`J. F. Allouis
`
`Hearing Musical Streams
`
`is
`
`Computer Music Journal
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`on Tue. 25 Feb 2014 111349 AM
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`
`All use subject
`
`Page 00010
`
`

`

`slid-Founder
`alphanu-tor
`syn-mixing
`
`assignment of knobs
`ers switches
`meric displays and LEDs
`to any processing or
`thesis parameter was fully
`programmable.
`
`Figure 13. John Snell
`and original Edi-
`of the Computer Music
`Journal with an all-digital
`console he de-
`signed for Lucasfilm in the
`early 1980s in which the
`
`-
`
`ry
`
`T
`
`fo-cus
`de-and
`re-to
`
`ac-companying
`
`tables.
`
`publication I released my third of this book project
`to John Strawn and Curtis Roads so that I could
`on my work at Lucasfilm.
`I had been working
`for several years with James A. Moorer on the
`development of a large all-digital system
`sign
`with interactive consoles for real-time digital signal
`processing sampling synthesis and multitrack
`recording and editing at Lucasfilm Snell 1982
`Moorer et al. 1985 Moorer et al. 1986. I felt a
`the authors I had worked with over
`sponsibility
`many years and I was attached to our books that
`evolved from the journal I had created. However
`most of the editing was complete and I knew John
`Strawn and Curtis Roads would do an excellent jobv
`of publishing this material. Because our collection
`of the edited articles was the essence of this early
`period they are listed with their authors in the
`
`who continues to do an excellent job of editing the
`Journal. Ive especially appreciated his comments
`on this article. Each of the editors has contributed
`in selecting and inviting articles.
`his perspective
`With little financial
`incentive editing is a labor of
`I would also like to thank Curtis Abbott who
`love.
`deepened the Journals software foundation in the
`early years Stephan Kaske Anne Deane Berman
`Chrysa Prestia Keeril Makan James Harley Colby
`Leider George Tzanetakis Brett Terry Margaret
`Cahill and all the editorial staff and referees who
`have significantly contributed to the quality of our
`journal. We all appreciate the members of our
`the years as well as MIT
`torial Advisory Board over
`Press. Ultimately we are all grateful to the authors
`and reviewers without whom the journal would
`not exist.
`
`Conclusion
`
`Considering the articles shared by the authors in
`Computer Music Journal and derivative books over
`the last three decades the Pay It Forward philos-
`came
`ophy see www.payitforwardfoundation.org
`abundantly to fruition with seeds still growing.
`My own consulting practice Timbre Engineering
`sprouted from one of those seeds nurtured by
`seven years of design engineering with James A.
`and others at Lucasfilm Rubin 2005.
`Timbre Engineering has provided research design
`development analysis and reverse engineering of
`microelectronics media processors CPUs routers
`etc. and software-as well as expert work on
`patents-with a focus on real-time interactive and
`high-bandwidth systems for audio and video pro-
`cessing synthesis and networking Snell 1987
`1989b 1992 1995.
`1989a
`am grateful to the editors who maintained the
`I would
`Journal over several decades.
`quality of the j
`especially like to thank to John Strawn and Curtis
`for their superb editing of the journal as well
`as for the distinguished publication of our books.
`am also very grateful to Stephen Travis Pope and
`Thom Blum for their skillful editing of the Journal
`over many selfless years and to Douglas Keislar
`
`I
`
`Edi-Moorer
`Program-I
`Struc-Roads
`
`References
`
`Abbott C. 1978a. Machine Tongues I The C
`ming Language. Computer Music journal 224-5.
`Abbott C. 1978b. Machine Tongues II Programming.
`journal 224-8.
`Computer Music
`Abbott C. 1978c. Machine Tongues III Data
`tures. Computer Music journal 227-9.
`Cann R. 1979. An Analysis/Synthesis Tutorial Part 1.
`Computer Music Journal 336-11.
`Cann R. 1980a. An Analysis/Synthesis Tutorial Part 2.
`Computer Music journal 349-13.
`
`Snell
`
`19
`
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`on Tue 25 Feb 2014 111349 AM
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`to JS1 OR Terms and Conditions
`
`All use subject
`
`Page 00011
`
`

`

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`J. 1976. The Experience of Insight. Boulder
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`Grey J. J. A. Moorer and J. Strawn 1977. Lexicon of An-
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`Hastings C. 1978. A Recipe for Homebrew ECL. Com-
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`Hyde C. R. 1999. Pay It Forward. New York Simon
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`Schuster.
`M. 1977. Notes on Microcomputer Music.
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`M. director. 2000. Pay It Forward. Motion picture.
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`F. R. 1978b. An Introduction to the Mathematics
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`James A. 1977. Signal Processing Aspects of
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