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The Optigan is the most common of these and easiest to find, being mass manufactured by toy company Mattel.
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Optigan and is
Also of considerable note is the band Optiganally Yours, featuring keyboardist Pea Hix ; they base their original compositions around the Optigan and employ it and similar keyboard instruments on virtually all of their recordings.
Hix is also the founder and webmaster of Optigan. com, a major source of information used in this article.
On the album White Chalk by PJ Harvey, an Optigan is played by Eric Drew Feldman.
An Optigan sample is used on the track " Eat Yourself ," by Goldfrapp.
It is the professional version of the Mattel Optigan.
Although the model A Orchestron is identical to the Optigan, the model B, C, and D models follow the designs of the Chilton Talentmaker.
The Orchestron uses basically the same principle as the Optigan: each note of the keyboard is recorded in an infinite track on a pre-recorded, interchangeable optical disc.
The Hammond B3 sound is also taken from an Optigan disk: " Big Organ And Drums ".
Optiganally Yours is a band formed around the Optigan, a toy organ produced by Mattel in the 1970s that plays the sounds of instruments that have been recorded onto celluloid disks.
Optigan and these
While the same fidelity limitations of the Optigan applied to the Orchestron, these instruments were built to be more reliable and were used successfully in commercial recordings.
While the same fidelity limitations of the Optigan applied to the Orchestron, these instruments were built to be more reliable and were used successfully in commercial recordings.
Optigan and by
The Optigan was released in 1971 by Optigan Corporation, a subsidiary of toy manufacturer Mattel, Incorporated of El Segundo, California with the manufacturing plant located nearby in Compton, California.
The Optigan's songbooks were written and arranged by Optigan Corporation's music director, Johnny Largo.
Vako Synthesizers Incorporated, founded by electronic instrument pioneer David Van Koevering, and who built licensed versions of the Optigan under the name Orchestron in the mid 1970s.
One of the earliest recordings that used the Optigan was an album by European dance music pioneer Alan Steward.
American producer Brian Coombes has used the Optigan on releases by singer / songwriter Christian Cuff ( Silo and Chalkboard ), singer / songwriter Will Kindler ( Trifles for Queen Jane ), and many other artists.
Chamberlin Co. also continued to earn revenue by licensing certain Chamberlin patents to Mattel for their Optigan keyboard, which used the pre-recorded loop designs by Chamberlin as well as some of the Chamberlin music tapes for the Optigan library.
Vako Synthesizers Incorporated, founded by electronic instrument pioneer and former Moog technician and salesperson David Van Koevering, started to build improved versions of the Optigan under the name Orchestron in 1975.
* Model A-( 1974 ) an updated version of the Optigan ( used by Kraftwerk )
Optigan and Mattel
** Mattel Optigan
Optigan and .
Keyboard overview of a model 35002 Optigan.
The Optigan ( a portmanteau of Optical Organ ) was an electronic keyboard instrument designed for the consumer market.
The immediate predecessors of the Optigan were the " Welte Lichtton-Orgel " of 1936 and the Lumigraph of 1950.
All rights to the Optigan, the disc format, and all previous discs were sold in 1973 to Miner Industries of New York, an organ manufacturer who formed a subsidiary, Opsonar, to produce it.
However, sales declined shortly thereafter and production of the Optigan and its discs ceased in 1976.
The Optigan looked like a scaled-down version of the electronic organs of the day.
The Optigan played in stereo through two solid state amplifiers with the right-hand keyboard assigned to the instrument's right channel and the chords and effects assigned to the left.
A broad, flat, white plastic cleaning tool with a purple, simulated velvet cleaning surface was supplied with each Optigan to allow periodic cleaning of the photoelectric cell, located near the rear of the instrument.
Cover of the beginner's music book shipped with each new Optigan.
There was also an optical metronome incorporated into the discs which showed as a red flashing light for the downbeat and white for the upbeats inside the Optigan badge above the keyboard.
The " Starter Set " sold with the Optigan contained discs with fairly self-explanatory titles: " Big Organ & Drums ", " Pop Piano Plus Guitar ", " Latin Fever ", and " Guitar in 3 / 4 Time.
Despite its use of recordings of actual musical instruments in lieu of internally generated sounds, the Optigan suffered from poor tonal quality due not only to the bandwidth limitations of its optical system but its mechanical system as well.
The Optigan concept was really similar to that of the Mellotron ( early sampling technology ) but while the Mellotron used magnetic tape, the Optigan borrowed its technology from motion picture optical soundtrack technology and its amplitude modulated format.
Since the instrument was aimed at amateur players, the majority of the songs in the Optigan's music books are written in the much simpler keys of F, C and G. The Optigan certainly had its share of detractors, then as now.
Intended for professional use as an alternative to the Mellotron, the Orchestron featured improved recorded sounds over the Optigan.
Regardless of its limitations and its problems with pitch, many notable musicians have used the Optigan, or more likely-samples of the instrument if the recordings are made after the year 2000.
On his 1970s album release " Just Listen ", Alan made extensive use of the Optigan.
is and most
I want the room in the attic prepared for him He is a most unusual lad, quite precocious in many ways.
In fact it has caused us to give serious thought to moving our residence south, because it is not easy for the most objective Southerner to sit calmly by when his host is telling a roomful of people that the only way to deal with Southerners who oppose integration is to send in troops and shoot the bastards down.
but for this discussion the most important division is between those who have been reconstructed and those who haven't.
But apart from racial problems, the old unreconstructed South -- to use the moderate words favored by Mr. Thomas Griffith -- finds itself unsympathetic to most of what is different about the civilization of the North.
The general acceptance of the idea of governmental ( i.e., societal ) responsibility for the economic well-being of the American people is surely one of the two most significant watersheds in American constitutional history.
Accidental war is so sensitive a subject that most of the people who could become directly involved in one are told just enough so they can perform their portions of incredibly complex tasks.
Even though in most cases the completion of the definitive editions of their writings is still years off, enough documentation has already been assembled to warrant drawing a new composite profile of the leadership which performed the heroic dual feats of winning American independence and founding a new nation.
It is clear that, while most writers enjoy picturing the Negro as a woolly-headed, humble old agrarian who mutters `` yassuhs '' and `` sho' nufs '' with blissful deference to his white employer ( or, in Old South terms, `` massuh '' ), this stereotype is doomed to become in reality as obsolete as Caldwell's Lester.
Presenting an individualized Negro character, it would seem, is one of the most difficult assignments a Southern writer could tackle ; ;
All but the most rabid of Confederate flag wavers admit that the Old Southern tradition is defunct in actuality and sigh that its passing was accompanied by the disappearance of many genteel and aristocratic traditions of the reputedly languid ante-bellum way of life.
Yet often fear persists because, even with the most rigid ritual, one is never quite free from the uneasy feeling that one might make some mistake or that in every previous execution one had been unaware of the really decisive act.
Perhaps the most illuminating example of the reduction of fear through understanding is derived from our increased knowledge of the nature of disease.
The consciousness it mirrors may have come earlier to Europe than to America, but it is the consciousness that most `` mature '' societies arrive at when their successes in technological and economic systematization propel them into a time of examining the not-strictly-practical ends of culture.
And the life they lead is undisciplined and for the most part unproductive, even though they make a fetish of devoting themselves to some creative pursuit -- writing, painting, music.
The music which Lautner has composed for this episode is for the most part `` rather pretty and perfectly banal ''.
Presupposed in Plato's system is a doctrine of levels of insight, in which a certain kind of detached understanding is alone capable of penetrating to the most sublime wisdom.
As long as perception is seen as composed only of isolated sense data, most of the quality and interconnectedness of existence loses its objectivity, becomes an invention of consciousness, and the result is a philosophical scepticism.
And it is precisely in this poorer economic class that one finds, and has always found, the most racial friction.
It is something which most of us try to get out from under.
We assume for this illustration that the size of the land plots is so great that the distance between dwellings is greater than the voice can carry and that most of the communication is between nearest neighbors only, as shown in Figure 2.
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