‘Graphic 1′ was an hybrid hardware-software graphic input system for digital synthesis that allowed note values to be written on a CRT computer monitor – although very basic by current standards, ‘Graphic 1′ was the precursor to most computer based graphic composition environments such as Cubase, Logic Pro, Ableton Live and so-on.
The IBM704b at Bell Labs used with the Graphics 1 system
‘Graphic 1′ was developed by William Ninke (plus Carl Christensen and Henry S. McDonald) at Bell labs for use by Max Mathews as a graphical front-end for MUSIC IV synthesis software to circumvent the lengthy and tedious process of adding numeric note values to the MUSIC program.
” The Graphic 1 allows a person to insert pictures and graphs directly into a computer memory by the very act of drawing these objects…Moreover the power of the computer is available to modify, erase, duplicate and remember these drawings” Max Mathews quoted from ‘Electronic and Experimental Music: Technology, Music, and Culture’ by Thom Holmes
Lawrence Rosller of Bell labs with Max Mathews in front of the Graphics 1 system c 1967
Graphic 2/ GRIN 2 was later developed in 1976 as a commercial design package based on a faster PDP2 computer and was sold by Bell and DEC as a computer-aided design system for creating circuit designs and logic schematic drawings.
‘The Oramics Machine: From vision to reality’. PETER MANNING. Department of Music, Durham University, Palace Green, Durham, DH1 3RL, UK
M. V. Mathews and L. Rosler’ Perspectives of New Music’ Vol. 6, No. 2 (Spring – Summer, 1968), pp. 92-118
W. H. Ninke, “GRAPHIC I: A Remote Graphical Display Console System,” Proceedings of the Fall Joint Computer Conference of the American Federation of Information Processing Societies 27 (1965), Part I, pp. 839-846.
‘Encyclopedia of Computer Science and Technology: Volume 3 – Ballistics …’ Jack Belzer, Albert G. Holzman, Allen Kent
In 1967 the composer and musician Richard Moore began a collaboration with Max Mathews at Bell Labs exploring performance and expression in computer music in a ‘musician-friendly’ environment. The result of this was a digital-analogue hybrid system called GROOVE (Generated Realtime Operations On Voltage-controlled Equipment) in which a musician played an external analogue synthesiser and a computer monitored and stored the performer’s manipulations of the interface; playing notes, turning knobs and so-on. The objective being to build a real-time musical performance tool by concentrating the computers limited power, using it to store musical parameters of an external device rather than generating the sound itself :
“Computer performance of music was born in 1957 when an IBM 704 in NYC played a 17 second composition on the Music I program which I wrote. The timbres and notes were not inspiring, but the technical breakthrough is still reverberating. Music I led me to Music II through V. A host of others wroteMusic 10, Music 360, Music 15, Csound and Cmix. Many exciting pieces are now performed digitally. TheIBM 704 and its siblings were strictly studio machines–they were far too slow to synthesize music in real-time. Chowning’s FM algorithms and the advent of fast, inexpensive, digital chips made real-time possible, and equally important, made it affordable.” Max Mathews. ”Horizons in Computer Music,” March 8-9, 1997, Indiana University
Richard Moore with the Groove System
The system, written in assembler, only ran on the Honeywell DDP224 computer that Bell had acquired specifically for sound research. The addition of a disk storage device meant that it was also possible to create libraries of programming routines so that users could create their own customised logic patterns for automation or composition. GROOVE allowed users to continually adjust and ‘mix’ different actions in real time, review sections or an entire piece and then re-run the composition from stored data. Music by Bach and Bartok were performed with the GROOVE at the first demonstration at a conference on Music and Technology in Stockholm organized by UNESCO in 1970. Among the participants also several leading figures in electronic music such as Pierre Schaffer and Jean-Claude Risset.
“Starting with the Groove program in 1970, my interests have focused on live performance and what a computer can do to aid a performer. I made a controller, the radio-baton, plus a program, the conductor program, to provide new ways for interpreting and performing traditional scores. In addition to contemporary composers, these proved attractive to soloists as a way of playing orchestral accompaniments. Singers often prefer to play their own accompaniments. Recently I have added improvisational options which make it easy to write compositional algorithms. These can involve precomposed sequences, random functions, and live performance gestures. The algorithms are written in the C language. We have taught a course in this area to Stanford undergraduates for two years. To our happy surprise, the students liked learning and using C. Primarily I believe it gives them a feeling of complete power to command the computer to do anything it is capable of doing.” Max Mathews. ”Horizons in Computer Music,” March 8-9, 1997, Indiana University
The GROOVE System at the Bell Laboratories circa 1970
The GROOVE system consisted of:
14 DAC control lines scanned every 100th/second ( twelve 8-bit and two 12-bit)
An ADC coupled to a multiplexer for the conversion of seven voltage signal: four generated by the same knobs and three generated by 3-dimensional movement of a joystick controller;
Two speakers for audio sound output;
A special keyboard to interface with the knobs to generate On/Off signals
A teletype keyboard for data input
A CDC-9432 disk storage;
A tape recorder for data backup
Antecedents to the GROOVE included similar projects such as PIPER, developed by James Gabura and Gustav Ciamaga at the University of Toronto, and a system proposed but never completed by Lejaren Hiller and James Beauchamp at the University of Illinois . GROOVE was however, the first widely used computer music system that allowed composers and performers the ability to work in real-time. The GROOVE project ended in 1980 due to both the high cost of the system – some $20,000, and also to advances in affordable computing power that allowed synthesisers and performance systems to work together flawlessly .
Joel Chadabe, Electric Sound: The Past and Promise of Electronic Music, Prentice Hall, 1997.
F. Richard Moore, Elements of Computer Music, PTR Prentice Hall, 1990.
Max Mathews was a pioneering, central figure in computer music. After studying engineering at California Institute of Technology and the Massachusetts Institute of Technology in 1954 Mathews went on to develop ‘Music 1′ at Bell Labs; the first of the ‘Music’ family of computer audio programmes and the first widely used program for audio synthesis and composition. Mathews spent the rest of his career developing the ‘Music N’ series of programs and became a key figure in digital audio, synthesis, interaction and performance. ‘Music N’ was the first time a computer had been used to investigate audio synthesis ( Computers had been used to generate sound and music with the CSIR M1 and Ferranti Mk1 as early as 1951, but more as a by-product of machine testing rather than for specific musical objectives) and set the blueprint for computer audio synthesis that remains in use to this day in programmes like CSound, MaxMSP and SuperCollider and graphical modular programmes like Reaktor.
IBM 704 System
“Computer performance of music was born in 1957 when an IBM 704 in NYC played a 17 second composition on the Music I program which I wrote. The timbres and notes were not inspiring, but the technical breakthrough is still reverberating. Music I led me to Music II through V. A host of others wrote Music 10, Music 360, Music 15, Csound and Cmix. Many exciting pieces are now performed digitally. The IBM 704 and its siblings were strictly studio machines – they were far too slow to synthesize music in real-time. Chowning’sFM algorithms and the advent of fast, inexpensive, digital chips made real-time possible, and equally important, made it affordable.”
Max Mathews “Horizons in Computer Music”, March 8–9, 1997, Indiana University:
MUSIC I 1957
Music 1 was written in Assembler/machine code to make the most of the technical limitations of the IBM704 computer. The audio output was a simple monophonic triangle wave tone with no attack or decay control. It was only possible to set the parameters of amplitude, frequency and duration of each sound. The output was stored on magnetic tape and then converted by a DAC to make it audible (Bell Laboratories, in those years, were the only ones in the United States, to have a DAC; a 12-Bit valve technology converter, developed by EPSCO), Mathews says;
“In fact, we are the only ones in the world at the time who had the right kind of a digital-to-analog converter hooked up to a digital tape transport that would play a computer tape. So we had a monopoly, if you will, on this process“.
In 1957 Mathews and his colleague Newman Guttman created a synthesised 17 second piece using Music I, titled ‘The Silver Scale’ ( often credited as being the first proper piece of computer generated music) and a one minute piece later in the same year called ‘Pitch Variations’ both of which were released on an anthology called ’Music From Mathematics’ edited by Bell Labs in 1962.
Mathews and the IBM 7094
MUSIC II 1958
Was an updated more versatile and functional version of Music I . Music II still used assembler but for the transistor (rather than valve) based, much faster IBM 7094 series. Music II had four-voice polyphony and a was capable of generating sixteen wave shapes via the introduction of a wavetable oscillator.
MUSIC III 1960
“MUSIC 3 was my big breakthrough, because it was what was called a block diagram compiler, so that we could have little blocks of code that could do various things. One was a generalized oscillator … other blocks were filters, and mixers, and noise generators.” Max Mathews 2011 interview with Geeta Dayal, Frieze.
The introduction of Unit Generators (UG) in MUSIC III was an evolutionary leap in music computing proved by the fact that almost all current programmes use the UG concept in some form or other. A Unit generator is essentially a pre-built discreet function within the program; oscillators, filters, envelope shapers and so-on, allowing the composer to flexibly connect multiple UGs together to generate a specific sound. A separate ‘score’ stage was added where sounds could be arranged in a musical chronological fashion. Each event was assigned to an instrument, and consisted of a series of values for the unit generators’ various parameters (frequency, amplitude, duration, cutoff frequency, etc). Each unit generator and each note event was entered onto a separate punch-card, which while still complex and archaic by today’s standards, was the first time a computer program used a paradigm familiar to composers.
“The crucial thing here is that I didn’t try to define the timbre and the instrument. I just gave the musician a tool bag of what I call unit generators, and he could connect them together to make instruments, that would make beautiful music timbres. I also had a way of writing a musical score in a computer file, so that you could, say, play a note at a given pitch at a given moment of time, and make it last for two and a half seconds, and you could make another note and generate rhythm patterns. This sort of caught on, and a whole bunch of the programmes in the United States were developed from that. Princeton had a programme called Music 4B, that was developed from my MUSIC 4 programme. And (theMIT professor) Barry Vercoe came to Princeton. At that time, IBM changed computers from the old 1794 to the IBM 360 computers, so Barry rewrote the MUSIC programme for the 360, which was no small job in those days. You had to write it in machine language.” Max Mathews 2011 interview with Geeta Dayal, Frieze.
Max Mathews and Joan Miller at Bell labs
MUSIC IV was the result of the collaboration between Max Mathews and Joan Miller completed in 1963 and was a more complete version of the MUSIC III system using a modified macro enabled version of the assembler language. These programming changes meant that MUSIC IV would only run on the Bell Labs IBM 7094.
“Music IV was simply a response to a change in the language and the computer. It Had some technical advantages from a computer programming standpoint. It made heavy use of a macro assembly program Which Existed at the time.”
Max Mathews 1980
MUSIC IVB, IVBF and IVF
Due to the lack of portability of the MUSIC IV system other versions were created independently of Mathews and the Bell labs team, namely MUSIC IVB at Princeton and MUSIC IVBF at the Argonne Labs. These versions were built using FORTRAN rather than assembler language.
MUSIC V was probably the most popular of the MUSIC N series from Bell Labs. Similar to MUSIC IVB/F versions, Mathews abandoned assembler and built MUSIC V in the FORTRAN language specifically for the IBM 360 series computers. This meant that the programme was faster, more stable and could run on any IBM 360 machines outside of Bell Laboratories. The data entry procedure was simplified, both in Orchestra and in Score section. One of the most interesting news features was the definition of new modules that allow you to import analogue sounds into Music V. Mathews persuaded Bell Labs not to copyright the software meaning that MUSIC V was probably one of the first open-source programmes, ensuring it’s adoption and longevity leading directly to today’s CSound.
“… The last programme I wrote, MUSIC 5, came out in 1967. That was my last programme, because I wrote it in FORTRAN. FORTRAN is still alive today, it’s still in very good health, so you can recompile it for the new generation of computers. Vercoe wrote it for the 360, and then when the 360 computers died, he rewrote another programme called MUSIC 11 for the PDP-11, and when that died he got smart, and he wrote a programme in the C language called CSound. That again is a compiler language and it’s still a living language; in fact, it’s the dominant language today. So he didn’t have to write any more programmes.” Max Mathews 2011 interview with Geeta Dayal, Frieze.
MUSIC V marked the end of Mathews involvement in MUSIC N series but established it as the parent for all future music programmes. Because of his experience with the real-time limitations of computer music, Mathews became interested in developing ideas for performance based computer music such as the GROOVE system (with Richard Moore in 1970) system in and The ‘Radio Baton’ (with Tom Oberheim in 1985 ).