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Siemens Synthesizer – Wikipedia

Siemens Synthesizer – Wikipedia

2023-05-19 10:22:13

From Wikipedia, the free encyclopedia

The Siemens Synthesizer (ca.1959) as seen within the Deutsches Museum in Munich (Germany)

The Siemens Synthesizer (or “Siemens Studio für Elektronische Musik“) was developed in Germany in 1959 by the German electronics producer Siemens, initially to compose dwell digital music for its personal promotional movies.[1]

From 1956 to 1967, it had a big affect on the event of digital music. Amongst others, Mauricio Kagel, Henri Pousseur, Herbert Brün and Ernst Krenek accomplished necessary digital works there.[1]

Historical past[edit]

In 1955, Siemens established an audio laboratory, the Siemens Studio für Elektronische Musik, in its Munich services to provide digital music for its publicity movies. Siemens engineers Helmut Klein and Alexander Schaaf have been charged with assembling the parts for the studio and offering a method for controlling the composition, synthesis, and recording of music. The group of the studio was accomplished by 1959.[1][2] A second mannequin was put in in 1964.[2]

The studio was closed in 1967 however its major management room and gear have been preserved as a part of a museum exhibit on the Deutsches Museum in Munich.[3]

From 1959 till its closure, Josef Anton Riedl was director of the studio.[4]

Modified Hohner Hohnerola – hybrid electronically-amplified electrically-blown reed organ


The Siemens Synthesizer was managed by a set of 4 punch paper rolls controlling the timbre, envelope, pitch and quantity. Gear discovered within the studio included a financial institution of 20 oscillators, a white noise generator, a Hohnerola (a hybrid electronically amplified reed instrument marketed by Hohner) and an impulse generator. The synthesizer had a tonal vary of seven octaves.[5]

The Siemens Synthesizer provided a way for controlling its tone-generating services, modification and modulation of the sounds in actual time, and the manipulation of recorded materials into completed works.[1]

Between 1960 and 1966, the studio opened its doorways to many outdoors composers, together with:


See additionally[edit]


  • Stefan Schenk: Das Siemens-Studio für elektronische Musik. In: Münchner Veröffentlichungen zur Musikgeschichte, Band 72. Hans Schneider Verlag 2014, zugleich Dissertation an der Ludwig-Maximilians Universität München 2011, ISBN 978-3-86296-064-4. (Online)
  • Wolf Loeckle: «Was gibt’s Neues?» Josel Anton Riedl, das Elektronische Siemens-Studio, die Natur. In: Neue Zeitschrift für Musik, Ausgabe 2014/2, S. 24–27.
  • Helmut Klein: Klangsynthese und Klanganalyse im elektronischen Studio. In: Frequenz – Journal for RF, Band 16/1962 Nr. 3, S. 109–114
  • Siemens Kulturprogramm (Hrsg.): Siemens-Studio für elektronische Musik. München 1994
  • Siemens Kulturprogramm: Siemens-Studio für elektronische Musik. audiocom multimedia, 1998 (CD mit Kompositionen aus dem Studio)


  1. ^ a b c d e f g h i Holmes, Thom (22 Could 2012). “Early Synthesizers and Experimenters”. Digital and Experimental Music: Expertise, Music, and Tradition (4th ed.). Routledge (printed 2012). pp. 190192. ISBN 978-1-136-46895-7. (See additionally excerpt of pp. 157160 from Holmes 2008)
  2. ^ a b c d Schmidt, Dörte. 2001. “Riedl, Josef Anton”. The New Grove Dictionary of Music and Musicians, second version, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
  3. ^ Museum, Deutsches. “Deutsches Museum: Projects”. Retrieved 2021-03-03.
  4. ^ The New Grove Dictionary of Music and Musicians (2nd version (January 1, 2001) ed.). Oxford University Press. 2001. ISBN 978-0195170672.
  5. ^ “The ‘Siemens Synthesiser’ H.Klein & W.Schaaf. Germany, 1959”. 120 Years of Digital Music. 2013-09-21. Retrieved 2021-03-02.
  6. ^ a b c d e “history Siemens”. 2010-11-25. Archived from the original on 2010-11-25. Retrieved 2021-03-03.

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