Editing Additive synthesis (section)

==History==

{{multiple image |direction=horizontal
|header         = [[Lord Kelvin]]'s [[Tide-predicting machine]]
|caption1       = Harmonic synthesizer
|image1         = DSCN1739-thomson-tide-machine.jpg |width1=109
|caption2       = [[Differential analyser|Harmonic analyzer]]
|image2         = Harmonic analyser.jpg             |width2=224
}}

[[Harmonic analysis]] was discovered by [[Joseph Fourier]],<ref name="prestini2004">{{Cite book |last=Prestini |first=Elena |url=https://books.google.com/books?id=fye--TBu4T0C |title=The Evolution of Applied Harmonic Analysis: Models of the Real World |publisher=Birkhäuser Boston |others=trans. |year=2004 |isbn=978-0-8176-4125-2 |location=New York, USA |pages=114–115 |access-date=6 February 2012 |orig-date=Rev. ed of: Applicazioni dell'analisi armonica. Milan: Ulrico Hoepli, 1996}}</ref> who published an extensive treatise of his research in the context of [[heat transfer]] in 1822.<ref>{{Cite book |last=Fourier |first=Jean Baptiste Joseph |author-link=Joseph Fourier |url=https://archive.org/details/thorieanalytiqu00fourgoog |title=Théorie analytique de la chaleur |publisher=Chez Firmin Didot, père et fils |year=1822 |isbn=9782876470460 |location=Paris, France |language=fr |trans-title=The Analytical Theory of Heat}}</ref> The theory found an early application in [[Theory of tides#Harmonic analysis|prediction of tides]]. Around 1876,<ref name="miller1916" /> William Thomson (later ennobled as [[Lord Kelvin]]) constructed a mechanical [[Tide-predicting machine|tide predictor]]. It consisted of a ''harmonic analyzer'' and a ''harmonic synthesizer'', as they were called already in the 19th century.<ref name="philmag1875">{{Cite journal |year=1875 |journal=The London, Edinburgh, and Dublin Philosophical Magazine and Journal of Science |publisher=Taylor & Francis |volume=49 |page=490}}{{failed verification|date=July 2024}}</ref><ref name="thomson1878">{{Cite journal |last=Thomson |first=Sir W. |year=1878 |title=Harmonic analyzer |url=https://zenodo.org/record/1432065 |journal=Proceedings of the Royal Society of London |publisher=Taylor and Francis |volume=27 |issue=185–189 |pages=371–373 |doi=10.1098/rspl.1878.0062 |jstor=113690 |doi-access=free}}</ref> The analysis of tide measurements was done using [[James Thomson (engineer)|James Thomson]]'s ''[[Differential analyser|integrating machine]]''. The resulting [[Fourier coefficient]]s were input into the synthesizer, which then used a system of cords and pulleys to generate and sum harmonic sinusoidal partials for prediction of future tides. In 1910, a similar machine was built for the analysis of periodic waveforms of sound.<ref name="cahan1993" /> The synthesizer drew a graph of the combination waveform, which was used chiefly for visual validation of the analysis.<ref name="cahan1993" />

{{multiple image |direction=horizontal
|caption1       = [[Helmholtz resonator]]
|image1         = Helmholtz_Resonator.png |width1=100
|caption2       = Tone-generator utilizing it <!-- utilizing electromagnetic vibrator, tuning folk, and Helmholtz resonator as amplifier -->
|image2         = Helmholtz resonator 2.jpg |width2=148
}}

[[Georg Ohm]] applied Fourier's theory to sound in 1843. The line of work was greatly advanced by [[Hermann von Helmholtz]], who published his eight years worth of research in 1863.<ref name="helmholtz1863">{{Cite book |last=Helmholtz, von |first=Hermann |url=http://vlp.mpiwg-berlin.mpg.de/library/data/lit3483/index_html?pn=1&ws=1.5 |title=Die Lehre von den Tonempfindungen als physiologische Grundlage für die Theorie der Musik |publisher=Leopold Voss |year=1863 |edition=1st |location=Leipzig |pages=v |language=de |trans-title=On the sensations of tone as a physiological basis for the theory of music}}</ref> Helmholtz believed that the psychological perception of tone color is subject to learning, while hearing in the sensory sense is purely physiological.<ref name="christensen2002">{{Cite book |last=Christensen |first=Thomas Street |url=https://books.google.com/books?id=ioa9uW2t7AQC |title=The Cambridge History of Western Music |publisher=Cambridge University Press |year=2002 |isbn=978-0-521-62371-1 |location=Cambridge, United Kingdom |pages=251, 258}}</ref> He supported the idea that perception of sound derives from signals from nerve cells of the basilar membrane and that the elastic appendages of these cells are sympathetically vibrated by pure sinusoidal tones of appropriate frequencies.<ref name="cahan1993">{{Cite book |last=Cahan |first=David |url=https://books.google.com/books?id=lfdJNRgzKyUC |title=Hermann von Helmholtz and the foundations of nineteenth-century science |publisher=University of California Press |year=1993 |isbn=978-0-520-08334-9 |editor-last=Cahan |editor-first=David |location=Berkeley and Los Angeles, USA |pages=110–114, 285–286}}</ref> Helmholtz agreed with the finding of [[Ernst Chladni]] from 1787 that certain sound sources have inharmonic vibration modes.<ref name="christensen2002" />

{{multiple image |direction=horizontal
|header         = [[Rudolph Koenig]]'s sound analyzer and synthesizer
|caption1       = sound synthesizer
|image1         = Synthesizer after Helmholtz by Koenig 1865.jpg |width1=231
|caption2       = sound analyzer
|image2         = Koenig - klankanalysator purchased in 1996.jpg |width2=102
}}

In Helmholtz's time, [[electronic amplifier|electronic amplification]] was unavailable. For synthesis of tones with harmonic partials, Helmholtz built an electrically [[Excitation (magnetic)|excited]] array of [[tuning fork]]s and acoustic [[Helmholtz resonator|resonance chambers]] that allowed adjustment of the amplitudes of the partials.<ref name="helmholtz1875" /> Built at least as early as in 1862,<ref name="helmholtz1875" /> these were in turn refined by [[Rudolph Koenig]], who demonstrated his own setup in 1872.<ref name="helmholtz1875">{{Cite book |last=von Helmholtz |first=Hermann |url=https://archive.org/details/onsensationston00helmgoog |title=On the sensations of tone as a physiological basis for the theory of music |publisher=Longmans, Green, and co. |year=1875 |location=London, United Kingdom |pages=xii, 175–179}}</ref> For harmonic synthesis, Koenig also built a large apparatus based on his ''wave siren''. It was pneumatic and utilized cut-out [[tonewheel]]s, and was criticized for low purity of its partial tones.<ref name="miller1916" /> Also [[tibia pipe]]s of [[pipe organ]]s have nearly sinusoidal waveforms and can be combined in the manner of additive synthesis.<ref name="miller1916">{{Cite book |last=Miller |first=Dayton Clarence |author-link=Dayton Miller |url=https://archive.org/details/scienceofmusical028670mbp |title=The Science of Musical Sounds |publisher=The Macmillan Company |year=1926 |location=New York |pages=[https://archive.org/details/scienceofmusical028670mbp/page/n127 110], 244–248 |orig-date=1916}}</ref>

In 1938, with significant new supporting evidence,<ref>{{Cite book |last=Russell |first=George Oscar |author-link=George Oscar Russell |url=https://archive.org/details/yearbookcarne35193536carn |title=Year book - Carnegie Institution of Washington (1936) |publisher=Carnegie Institution of Washington |year=1936 |series=Carnegie Institution of Washington: Year Book |volume=35 |location=Washington |pages=[https://archive.org/details/yearbookcarne35193536carn/page/359 359]–363}}</ref> it was reported on the pages of [[Popular Science Monthly]] that the human vocal cords function like a fire siren to produce a harmonic-rich tone, which is then filtered by the vocal tract to produce different vowel tones.<ref>{{Cite journal |last=Lodge |first=John E. |date=April 1938 |editor-last=Brown |editor-first=Raymond J. |title=Odd Laboratory Tests Show Us How We Speak: Using X Rays, Fast Movie Cameras, and Cathode-Ray Tubes, Scientists Are Learning New Facts About the Human Voice and Developing Teaching Methods To Make Us Better Talkers |url=https://books.google.com/books?id=wigDAAAAMBAJ&pg=PA32 |journal=Popular Science Monthly |location=New York, USA |publisher=Popular Science Publishing |volume=132 |issue=4 |pages=32–33}}</ref> By the time, the additive Hammond organ was already on market. Most early electronic organ makers thought it too expensive to manufacture the plurality of oscillators required by additive organs, and began instead to build [[subtractive synthesis|subtractive]] ones.<ref name="comerford1993">{{Cite journal |last=Comerford |first=P. |year=1993 |title=Simulating an Organ with Additive Synthesis |journal=Computer Music Journal |volume=17 |issue=2 |pages=55–65 |doi=10.2307/3680869 |jstor=3680869}}</ref> In a 1940 [[Institute of Radio Engineers]] meeting, the head field engineer of Hammond elaborated on the company's new ''Novachord'' as having a ''"subtractive system"'' in contrast to the original Hammond organ in which ''"the final tones were built up by combining sound waves"''.<ref>{{Cite journal |year=1940 |title=Institute News and Radio Notes |journal=Proceedings of the IRE |volume=28 |issue=10 |pages=487–494 |doi=10.1109/JRPROC.1940.228904}}</ref> Alan Douglas used the qualifiers ''additive'' and ''subtractive'' to describe different types of electronic organs in a 1948 paper presented to the [[Royal Musical Association]].<ref name="Douglas1948">{{Cite journal |last=Douglas |first=A. |year=1948 |title=Electrotonic Music |journal=Proceedings of the Royal Musical Association |volume=75 |pages=1–12 |doi=10.1093/jrma/75.1.1}}</ref> <!--Also, in the 1968 edition of his 1947 book ''The Electronic Musical Instrument Manual'', in the section ''Production and Mixing of Electrical Oscillations'' a distinction is made between ''additive tone-forming'' and ''subtractive tone-forming''.--> The contemporary wording ''additive synthesis'' and ''subtractive synthesis'' can be found in his 1957 book ''The electrical production of music'', in which he categorically lists three methods of forming of musical tone-colours, in sections titled ''Additive synthesis'', ''Subtractive synthesis'', and ''Other forms of combinations''.<ref name="douglas1957">{{Cite book |last=Douglas |first=Alan Lockhart Monteith |url=https://archive.org/details/electricalproduc00doug |title=The Electrical Production of Music |publisher=Macdonald |year=1957 |location=London, UK |pages=[https://archive.org/details/electricalproduc00doug/page/140 140], 142 |url-access=limited}}</ref>

A typical modern additive synthesizer produces its output as an [[electrical]], [[analog signal]], or as [[digital audio]], such as in the case of [[software synthesizers]], which became popular around year 2000.<ref name="pejrolo2007">{{Cite book |last=Pejrolo |first=Andrea |title=Acoustic and MIDI orchestration for the contemporary composer |last2=DeRosa |first2=Rich |publisher=Elsevier |year=2007 |location=Oxford, UK |pages=53–54}}</ref>

=== Timeline ===

The following is a timeline of historically and technologically notable analog and digital synthesizers and devices implementing additive synthesis.
{| class="wikitable" width="100%"
! width="50" | Research implementation or publication
! width="50" | Commercially available
! width="100" class="unsortable" | Company or institution
! width="50" class="unsortable" | Synthesizer or synthesis device
! class="unsortable" | Description
! width="85" class="unsortable" | Audio samples
|-
| 1900<ref name="weidenaar1995">{{Cite book |last=Weidenaar |first=Reynold |url=https://archive.org/details/bub_gb_Gr2kq-598-YC |title=Magic Music from the Telharmonium |publisher=Scarecrow Press |year=1995 |isbn=978-0-8108-2692-2 |location=Lanham, MD}}</ref>
| 1906<ref name="weidenaar1995" />
| New England Electric Music Company
| [[Telharmonium]]
| The first polyphonic, touch-sensitive music synthesizer.<ref name="moog1977">{{Cite journal |last=Moog, Robert A. |date=October–November 1977 |title=Electronic Music |journal=Journal of the Audio Engineering Society |volume=25 |issue=10/11 |page=856}}</ref> Implemented sinuosoidal additive synthesis using [[tonewheel]]s and [[alternator]]s. Invented by [[Thaddeus Cahill]].
| ''no known recordings''<ref name="weidenaar1995" />
|-
| 1933<ref name="harvey2011">{{Cite web |last=Olsen |first=Harvey |date=14 December 2011 |editor-last=Brown, Darren T. |title=Leslie Speakers and Hammond organs: Rumors, Myths, Facts, and Lore |url=http://www.hammond-organ.com/History/hammond_lore.htm |archive-url=https://web.archive.org/web/20120901005950/http://hammond-organ.com/History/hammond_lore.htm |archive-date=1 September 2012 |access-date=20 January 2012 |website=The Hammond Zone |publisher=Hammond Organ in the U.K. |df=dmy-all}}</ref>
| 1935<ref name="harvey2011" />
| [[Hammond Organ|Hammond Organ Company]]
| [[Hammond Organ]]
| An electronic additive synthesizer that was commercially more successful than Telharmonium.<ref name="moog1977" /> Implemented sinusoidal additive synthesis using [[tonewheel]]s and [[Pickup (music technology)#Magnetic pickups|magnetic pickups]]. Invented by [[Laurens Hammond]].
| {{Audio|Hammond Organ - Model A Medley.ogg|Model A}}
|-
| 1950 or earlier<ref name="cooper1951">{{Cite journal |last=Cooper |first=F. S. |last2=Liberman |first2=A. M. |last3=Borst |first3=J. M. |date=May 1951 |title=The interconversion of audible and visible patterns as a basis for research in the perception of speech |journal=Proc. Natl. Acad. Sci. U.S.A. |volume=37 |issue=5 |pages=318–25 |bibcode=1951PNAS...37..318C |doi=10.1073/pnas.37.5.318 |pmc=1063363 |pmid=14834156 |doi-access=free}}</ref>
| &nbsp;
| [[Haskins Laboratories]]
| [[Pattern playback|Pattern Playback]]
| A speech synthesis system that controlled amplitudes of harmonic partials by a spectrogram that was either hand-drawn or an analysis result. The partials were generated by a multi-track optical [[tonewheel]].<ref name="cooper1951" />
| [http://www.haskins.yale.edu/featured/sentences/ppsentences.html samples]
|-
| 1958<ref name="holzer2010">{{Cite web |last=Holzer |first=Derek |date=22 February 2010 |title=A brief history of optical synthesis |url=http://www.umatic.nl/tonewheels_historical.html |access-date=13 January 2012}}</ref>
| &nbsp;
| &nbsp;
| [[ANS synthesizer|ANS]]
| An additive synthesizer<ref name="vail2002">{{Cite magazine |last=Vail |first=Mark |date=1 November 2002 |title=Eugeniy Murzin's ANS – Additive Russian synthesizer |magazine=[[Keyboard Magazine]] |page=120}}</ref> that played microtonal [[spectrogram]]-like scores using multiple multi-track optical [[tonewheel]]s. Invented by [[Evgeny Murzin]]. A similar instrument that utilized electronic oscillators, the ''Oscillator Bank'', and its input device ''Spectrogram'' were realized by [[Hugh Le Caine]] in 1959.<ref name="young1999a">{{Cite web |last=Young |first=Gayle |title=Oscillator Bank (1959) |url=http://www.hughlecaine.com/en/oscbank.html}}</ref><ref name="young1999b">{{Cite web |last=Young |first=Gayle |title=Spectrogram (1959) |url=http://www.hughlecaine.com/en/spectro.html}}</ref>
| {{Audio|The ANS Synthesizer playing doodles (live).ogg|1964 model}}
|-
| 1963<ref name="luce1963">{{Cite thesis |last=Luce |first=David Alan |title=Physical correlates of nonpercussive musical instrument tones |degree=Thesis |publisher=Massachusetts Institute of Technology |year=1963 |hdl=1721.1/27450 |location=Cambridge, Massachusetts, U.S.A.}}</ref>
| &nbsp;
| [[Massachusetts Institute of Technology|MIT]]
| &nbsp;
| An off-line system for digital spectral analysis and resynthesis of the attack and steady-state portions of musical instrument timbres by David Luce.<ref name="luce1963" />
| &nbsp;
|-
| 1964<ref name="beauchamp2009">{{Cite web |last=Beauchamp |first=James |date=17 November 2009 |title=The Harmonic Tone Generator: One of the First Analog Voltage-Controlled Synthesizers |url=http://cmp.music.illinois.edu/beaucham/htg.html |website=Prof. James W. Beauchamp Home Page}}</ref>
| &nbsp;
| [[University of Illinois]]
| [[Experimental Music Studios|Harmonic Tone Generator]]
| An electronic, harmonic additive synthesis system invented by James Beauchamp.<ref name="beauchamp2009" /><ref name="beauchamp1966">{{Cite journal |last=Beauchamp |first=James W. |date=October 1966 |title=Additive Synthesis of Harmonic Musical Tones |url=http://www.aes.org/e-lib/browse.cfm?elib=1129 |journal=Journal of the Audio Engineering Society |volume=14 |issue=4 |pages=332–342}}</ref>
| [https://web.archive.org/web/20131228061841/http://ems.music.uiuc.edu/beaucham/htg_sounds/ samples] ([https://web.archive.org/web/20120322191551/http://ems.music.uiuc.edu/beaucham/htg.html info])
|-
| 1974 or earlier<ref name="synthmuseum-RMI" /><ref name="reid2001"/>
| 1974<ref name="synthmuseum-RMI">{{Cite web |title=RMI Harmonic Synthesizer |url=http://www.synthmuseum.com/rmi/rmihar01.html |url-status=live |archive-url=https://web.archive.org/web/20110609205852/http://www.synthmuseum.com/rmi/rmihar01.html |archive-date=9 June 2011 |access-date=12 May 2011 |publisher=Synthmuseum.com}}</ref><ref name="reid2001">
 {{Cite journal |last=Reid |first=Gordon   <!-- date   = December 2011 --> |title=PROG SPAWN! The Rise And Fall of Rocky Mount Instruments (Retro) |url=http://www.soundonsound.com/sos/dec01/articles/retrozone1201.asp |journal=Sound on Sound |issue=December 2001 |archive-url=https://web.archive.org/web/20111225162843/http://www.soundonsound.com/sos/dec01/articles/retrozone1201.asp |archive-date=25 December 2011 |access-date=22 January 2012}}</ref>
| [[Rocky Mount Instruments|RMI]]
| Harmonic Synthesizer
| The first synthesizer product that implemented additive<ref name="flint2008">
 {{Cite journal |last=Flint |first=Tom   <!-- |date=February 2008 --> |title=Jean Michel Jarre: 30 Years of Oxygene |url=http://www.soundonsound.com/sos/feb08/articles/jmjarre.htm |journal=Sound on Sound |issue=February 2008 |access-date=22 January 2012}}</ref> synthesis using digital oscillators.<ref name="synthmuseum-RMI" /><ref name="reid2001" /> The synthesizer also had a time-varying analog filter.<ref name="synthmuseum-RMI" /> RMI was a subsidiary of [[Allen Organ Company]], which had released the first commercial [[Electronic organ#Digital church organs|digital church organ]], the ''Allen Computer Organ'', in 1971, using digital technology developed by [[North American Rockwell]].<ref name="fundinguniverse">{{Cite web |title=Allen Organ Company |url=http://www.fundinguniverse.com/company-histories/Allen-Organ-company-company-History.html |website=fundinguniverse.com}}</ref>
| [https://soundcloud.com/doombient-music/rmi-harmonic-drones 1] [https://soundcloud.com/doombient-music/rmi-harmonic-demos 2] [https://soundcloud.com/doombient-music/rmi-harmonic-arpeggiator-demo 3] [https://soundcloud.com/doombient-music/rmi-harmonic-intermodulation 4]
|-
| 1974<ref name="cosimi2009">{{Cite journal |last=Cosimi |first=Enrico |date=20 May 2009 |title=EMS Story - Prima Parte |trans-title=EMS Story - Part One |url=http://audio.accordo.it/articles/2009/05/23828/ems-story-prima-parte.html |journal=Audio Accordo.it |language=it |archive-url=https://web.archive.org/web/20090522022413/http://audio.accordo.it/articles/2009/05/23828/ems-story-prima-parte.html |archive-date=22 May 2009 |access-date=21 January 2012}}</ref>
| &nbsp;
| [[Electronic Music Studios|EMS]] (London)
| Digital Oscillator Bank
| A bank of digital oscillators with arbitrary waveforms, individual frequency and amplitude controls,<ref name="hinton2002">{{Cite web |last=Hinton |first=Graham |year=2002 |title=EMS: The Inside Story |url=http://www.ems-synthi.demon.co.uk/emsstory.html |archive-url=https://web.archive.org/web/20130521015858/http://www.ems-synthi.demon.co.uk/emsstory.html |archive-date=21 May 2013 |publisher=Electronic Music Studios (Cornwall)}}</ref> intended for use in analysis-resynthesis with the digital ''Analysing Filter Bank'' (AFB) also constructed at EMS.<ref name="cosimi2009" /><ref name="hinton2002" /> Also known as: ''DOB''.
| in The New Sound of Music<ref>{{Cite AV media |title=The New Sound of Music |date=1979 |type=TV |publisher=BBC |place=UK}} Includes a demonstration of DOB and AFB.</ref>
|-
| 1976<ref name="leete1999">
 {{Cite journal |last=Leete |first=Norm   <!-- |date=April 1999 --> |title=Fairlight Computer – Musical Instrument (Retro) |url=http://www.soundonsound.com/sos/apr99/articles/fairlight.htm |journal=Sound on Sound |issue=April 1999 |access-date=29 January 2012}}</ref>
| 1976<ref name="twyman2004">{{Cite thesis |last=Twyman |first=John |title=(inter)facing the music: The history of the Fairlight Computer Musical Instrument |date=1 November 2004 |access-date=29 January 2012 |degree=Bachelor of Science (Honours) |publisher=Unit for the History and Philosophy of Science, University of Sydney |url=http://www.geosci.usyd.edu.au/users/john/thesis/thesis_web.pdf}}</ref>
| [[Fairlight (company)|Fairlight]]
| [[Fairlight CMI|Qasar M8]]
| An all-digital synthesizer that used the [[fast Fourier transform]]<ref name="street2000">{{Cite web |last=Street |first=Rita |date=8 November 2000 |title=Fairlight: A 25-year long fairytale |url=http://www.audiomedia.com/archive/features/uk-1000/uk-1000-fairlight/uk-1000-fairlight.htm |archive-url=https://web.archive.org/web/20031008201831/http://www.audiomedia.com/archive/features/uk-1000/uk-1000-fairlight/uk-1000-fairlight.htm |archive-date=8 October 2003 |access-date=29 January 2012 |website=Audio Media magazine |publisher=IMAS Publishing UK}}</ref> to create samples from interactively drawn amplitude envelopes of harmonics.<ref>{{Cite web |year=1978 |title=Computer Music Journal |url=http://egrefin.free.fr/images/Fairlight/CMJfall78.jpg |access-date=29 January 2012 |format=JPG}}</ref>
| [http://anerd.com/fairlight/audioarchives/index.htm samples]
|-
| 1977<ref name="Leider2004">{{Cite book |last=Leider |first=Colby |title=Digital Audio Workstation |publisher=[[McGraw-Hill]] |year=2004 |page=58 |chapter=The Development of the Modern DAW}}</ref>
| &nbsp;
| [[Bell Labs]]
| [[Bell Labs Digital Synthesizer|Digital Synthesizer]]
| A [[real-time computing|real-time]], digital additive synthesizer<ref name="Leider2004" /> that has been called the first true digital synthesizer.<ref name="chadabe1997">{{Cite book |last=Joel |first=Chadabe |author-link=Joel Chadabe |url=http://www.pearsonhighered.com/educator/product/Electric-Sound-The-Past-and-Promise-of-Electronic-Music/9780133032314.page |title=Electric Sound |publisher=Prentice Hall |year=1997 |isbn=978-0-13-303231-4 |location=Upper Saddle River, N.J., U.S.A. |pages=177–178, 186}}</ref> Also known as: ''Alles Machine'', ''Alice''.
| [http://retiary.org/ls/music/realaudio/ob_sys/05_alles_synth_improv.rm sample] ([http://retiary.org/ls/obsolete_systems/ info])
|-
| 1979<ref name="chadabe1997" />
| 1979<ref name="chadabe1997" />
| [[New England Digital]]
| [[Synclavier II]]
| A commercial digital synthesizer that enabled development of timbre over time by smooth cross-fades between waveforms generated by additive synthesis.
| {{Audio|Jon Appleton - Sashasonjon.oga|Jon Appleton - Sashasonjon}}
|-
|
|1996<ref>{{Cite web |title=Kawai K5000 {{!}} Vintage Synth Explorer |url=https://www.vintagesynth.com/kawai/k5000 |access-date=2024-01-21 |website=www.vintagesynth.com}}</ref>
|[[Kawai Musical Instruments|Kawai]]
|[[Kawai K5000|K5000]]
|A commercial digital synthesizer workstation capable of polyphonic, digital additive synthesis of up to 128 sinusodial waves, as well as combing PCM waves.<ref>{{Cite web |title=Kawai K5000R & K5000S |url=https://www.soundonsound.com/reviews/kawai-k5000r-k5000s |access-date=2024-01-21 |website=www.soundonsound.com}}</ref> 
|
|}