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Additive synthesis aims to exploit this property of sound in order to construct timbre from the ground up. By adding together pure frequencies (sine waves) of varying frequencies and amplitudes, we can precisely define the timbre of the sound that we want to create. | The sounds that are heard in everyday life are not characterized by a single frequency. Instead, they consist of a sum of pure sine frequencies, each one at a different amplitude. When humans hear these frequencies simultaneously, we can recognize the sound. This is true for both "non-musical" sounds (e.g. water splashing, leaves rustling, etc.) and for "musical sounds" (e.g. a piano note, a bird's tweet, etc.). This set of parameters (frequencies, their relative amplitudes, and how the relative amplitudes change over time) are encapsulated by the "timbre" of the sound. Fourier analysis is the technique that is used to determine these exact timbre parameters from an overall sound signal; conversely, the resulting set of frequencies and amplitudes is called the Fourier series of the original sound signal. | 1 |
Additive synthesis aims to exploit this property of sound in order to construct timbre from the ground up. By adding together pure frequencies (sine waves) of varying frequencies and amplitudes, we can precisely define the timbre of the sound that we want to create. | Each envelope formula_21 should vary slowly relative to the frequency spacing between adjacent sinusoids. The bandwidth of formula_21 should be significantly less than formula_20. | 0 |
Harmonic additive synthesis is closely related to the concept of a Fourier series which is a way of expressing a periodic function as the sum of sinusoidal functions with frequencies equal to integer multiples of a common fundamental frequency. These sinusoids are called harmonics, overtones, or generally, partials. In general, a Fourier series contains an infinite number of sinusoidal components, with no upper limit to the frequency of the sinusoidal functions and includes a DC component (one with frequency of 0 Hz). Frequencies outside of the human audible range can be omitted in additive synthesis. As a result, only a finite number of sinusoidal terms with frequencies that lie within the audible range are modeled in additive synthesis. | The Fourier series of a periodic function is mathematically expressed as: | 1 |
Harmonic additive synthesis is closely related to the concept of a Fourier series which is a way of expressing a periodic function as the sum of sinusoidal functions with frequencies equal to integer multiples of a common fundamental frequency. These sinusoids are called harmonics, overtones, or generally, partials. In general, a Fourier series contains an infinite number of sinusoidal components, with no upper limit to the frequency of the sinusoidal functions and includes a DC component (one with frequency of 0 Hz). Frequencies outside of the human audible range can be omitted in additive synthesis. As a result, only a finite number of sinusoidal terms with frequencies that lie within the audible range are modeled in additive synthesis. | Modern-day implementations of additive synthesis are mainly digital. (See section "Discrete-time equations" for the underlying discrete-time theory) | 0 |
The Fourier series of a periodic function is mathematically expressed as: | Harmonic additive synthesis is closely related to the concept of a Fourier series which is a way of expressing a periodic function as the sum of sinusoidal functions with frequencies equal to integer multiples of a common fundamental frequency. These sinusoids are called harmonics, overtones, or generally, partials. In general, a Fourier series contains an infinite number of sinusoidal components, with no upper limit to the frequency of the sinusoidal functions and includes a DC component (one with frequency of 0 Hz). Frequencies outside of the human audible range can be omitted in additive synthesis. As a result, only a finite number of sinusoidal terms with frequencies that lie within the audible range are modeled in additive synthesis. | 1 |
The Fourier series of a periodic function is mathematically expressed as: | By modifying the sum of sinusoids representation, timbral alterations can be made prior to resynthesis. For example, a harmonic sound could be restructured to sound inharmonic, and vice versa. Sound hybridisation or "morphing" has been implemented by additive resynthesis. | 0 |
Being inaudible, the DC component, formula_12, and all components with frequencies higher than some finite limit, formula_13, are omitted in the following expressions of additive synthesis. | Harmonic additive synthesis is closely related to the concept of a Fourier series which is a way of expressing a periodic function as the sum of sinusoidal functions with frequencies equal to integer multiples of a common fundamental frequency. These sinusoids are called harmonics, overtones, or generally, partials. In general, a Fourier series contains an infinite number of sinusoidal components, with no upper limit to the frequency of the sinusoidal functions and includes a DC component (one with frequency of 0 Hz). Frequencies outside of the human audible range can be omitted in additive synthesis. As a result, only a finite number of sinusoidal terms with frequencies that lie within the audible range are modeled in additive synthesis. | 1 |
Being inaudible, the DC component, formula_12, and all components with frequencies higher than some finite limit, formula_13, are omitted in the following expressions of additive synthesis. | Additive synthesis can also produce inharmonic sounds (which are aperiodic waveforms) in which the individual overtones need not have frequencies that are integer multiples of some common fundamental frequency. While many conventional musical instruments have harmonic partials (e.g. an oboe), some have inharmonic partials (e.g. bells). Inharmonic additive synthesis can be described as | 0 |
It is possible to analyze the frequency components of a recorded sound giving a "sum of sinusoids" representation. This representation can be re-synthesized using additive synthesis. One method of decomposing a sound into time varying sinusoidal partials is short-time Fourier transform (STFT)-based McAulay-Quatieri Analysis. | By modifying the sum of sinusoids representation, timbral alterations can be made prior to resynthesis. For example, a harmonic sound could be restructured to sound inharmonic, and vice versa. Sound hybridisation or "morphing" has been implemented by additive resynthesis. | 1 |
It is possible to analyze the frequency components of a recorded sound giving a "sum of sinusoids" representation. This representation can be re-synthesized using additive synthesis. One method of decomposing a sound into time varying sinusoidal partials is short-time Fourier transform (STFT)-based McAulay-Quatieri Analysis. | The following is a timeline of historically and technologically notable analog and digital synthesizers and devices implementing additive synthesis. | 0 |
By modifying the sum of sinusoids representation, timbral alterations can be made prior to resynthesis. For example, a harmonic sound could be restructured to sound inharmonic, and vice versa. Sound hybridisation or "morphing" has been implemented by additive resynthesis. | It is possible to analyze the frequency components of a recorded sound giving a "sum of sinusoids" representation. This representation can be re-synthesized using additive synthesis. One method of decomposing a sound into time varying sinusoidal partials is short-time Fourier transform (STFT)-based McAulay-Quatieri Analysis. | 1 |
By modifying the sum of sinusoids representation, timbral alterations can be made prior to resynthesis. For example, a harmonic sound could be restructured to sound inharmonic, and vice versa. Sound hybridisation or "morphing" has been implemented by additive resynthesis. | Additive synthesis most directly generates sound by adding the output of multiple sine wave generators. Alternative implementations may use pre-computed wavetables or the inverse Fast Fourier transform. | 0 |
Additive analysis/resynthesis has been employed in a number of techniques including Sinusoidal Modelling, Spectral Modelling Synthesis (SMS), and the Reassigned Bandwidth-Enhanced Additive Sound Model. Software that implements additive analysis/resynthesis includes: SPEAR, LEMUR, LORIS, SMSTools, ARSS. | By modifying the sum of sinusoids representation, timbral alterations can be made prior to resynthesis. For example, a harmonic sound could be restructured to sound inharmonic, and vice versa. Sound hybridisation or "morphing" has been implemented by additive resynthesis. | 1 |
Additive analysis/resynthesis has been employed in a number of techniques including Sinusoidal Modelling, Spectral Modelling Synthesis (SMS), and the Reassigned Bandwidth-Enhanced Additive Sound Model. Software that implements additive analysis/resynthesis includes: SPEAR, LEMUR, LORIS, SMSTools, ARSS. | Harmonic additive synthesis is closely related to the concept of a Fourier series which is a way of expressing a periodic function as the sum of sinusoidal functions with frequencies equal to integer multiples of a common fundamental frequency. These sinusoids are called harmonics, overtones, or generally, partials. In general, a Fourier series contains an infinite number of sinusoidal components, with no upper limit to the frequency of the sinusoidal functions and includes a DC component (one with frequency of 0 Hz). Frequencies outside of the human audible range can be omitted in additive synthesis. As a result, only a finite number of sinusoidal terms with frequencies that lie within the audible range are modeled in additive synthesis. | 0 |
New England Digital Synclavier had a resynthesis feature where samples could be analyzed and converted into ”timbre frames" which were part of its additive synthesis engine. Technos acxel, launched in 1987, utilized the additive analysis/resynthesis model, in an FFT implementation. | "spectral peak processing" (SPP) technique similar to modified phase-locked vocoder (an improved phase vocoder for formant processing). Using these techniques, spectral components ("formants") consisting of purely harmonic partials can be appropriately transformed into desired form for sound modeling, and sequence of short samples ("diphones" or "phonemes") constituting desired phrase, can be smoothly connected by interpolating matched partials and formant peaks, respectively, in the inserted transition region between different samples. (See also Dynamic timbres) | 1 |
New England Digital Synclavier had a resynthesis feature where samples could be analyzed and converted into ”timbre frames" which were part of its additive synthesis engine. Technos acxel, launched in 1987, utilized the additive analysis/resynthesis model, in an FFT implementation. | Additive synthesis can also produce inharmonic sounds (which are aperiodic waveforms) in which the individual overtones need not have frequencies that are integer multiples of some common fundamental frequency. While many conventional musical instruments have harmonic partials (e.g. an oboe), some have inharmonic partials (e.g. bells). Inharmonic additive synthesis can be described as | 0 |
Also a vocal synthesizer, Vocaloid have been implemented on the basis of additive analysis/resynthesis: its spectral voice model called Excitation plus Resonances (EpR) model | "spectral peak processing" (SPP) technique similar to modified phase-locked vocoder (an improved phase vocoder for formant processing). Using these techniques, spectral components ("formants") consisting of purely harmonic partials can be appropriately transformed into desired form for sound modeling, and sequence of short samples ("diphones" or "phonemes") constituting desired phrase, can be smoothly connected by interpolating matched partials and formant peaks, respectively, in the inserted transition region between different samples. (See also Dynamic timbres) | 1 |
Also a vocal synthesizer, Vocaloid have been implemented on the basis of additive analysis/resynthesis: its spectral voice model called Excitation plus Resonances (EpR) model | In linguistics research, harmonic additive synthesis was used in 1950s to play back modified and synthetic speech spectrograms. | 0 |
"spectral peak processing" (SPP) technique similar to modified phase-locked vocoder (an improved phase vocoder for formant processing). Using these techniques, spectral components ("formants") consisting of purely harmonic partials can be appropriately transformed into desired form for sound modeling, and sequence of short samples ("diphones" or "phonemes") constituting desired phrase, can be smoothly connected by interpolating matched partials and formant peaks, respectively, in the inserted transition region between different samples. (See also Dynamic timbres) | New England Digital Synclavier had a resynthesis feature where samples could be analyzed and converted into ”timbre frames" which were part of its additive synthesis engine. Technos acxel, launched in 1987, utilized the additive analysis/resynthesis model, in an FFT implementation. | 1 |
"spectral peak processing" (SPP) technique similar to modified phase-locked vocoder (an improved phase vocoder for formant processing). Using these techniques, spectral components ("formants") consisting of purely harmonic partials can be appropriately transformed into desired form for sound modeling, and sequence of short samples ("diphones" or "phonemes") constituting desired phrase, can be smoothly connected by interpolating matched partials and formant peaks, respectively, in the inserted transition region between different samples. (See also Dynamic timbres) | Additive synthesis can be implemented using a bank of sinusoidal oscillators, one for each partial. | 0 |
Harmonic analysis was discovered by Joseph Fourier, who published an extensive treatise of his research in the context of heat transfer in 1822. The theory found an early application in prediction of tides. Around 1876, William Thomson (later ennobled as Lord Kelvin) constructed a mechanical tide predictor. It consisted of a "harmonic analyzer" and a "harmonic synthesizer", as they were called already in the 19th century. The analysis of tide measurements was done using James Thomson's "integrating machine". The resulting Fourier coefficients 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. The synthesizer drew a graph of the combination waveform, which was used chiefly for visual validation of the analysis. | In Helmholtz's time, electronic amplification was unavailable. For synthesis of tones with harmonic partials, Helmholtz built an electrically excited array of tuning forks and acoustic resonance chambers that allowed adjustment of the amplitudes of the partials. Built at least as early as in 1862, these were in turn refined by Rudolph Koenig, who demonstrated his own setup in 1872. For harmonic synthesis, Koenig also built a large apparatus based on his "wave siren". It was pneumatic and utilized cut-out tonewheels, and was criticized for low purity of its partial tones. Also tibia pipes of pipe organs have nearly sinusoidal waveforms and can be combined in the manner of additive synthesis. | 1 |
Harmonic analysis was discovered by Joseph Fourier, who published an extensive treatise of his research in the context of heat transfer in 1822. The theory found an early application in prediction of tides. Around 1876, William Thomson (later ennobled as Lord Kelvin) constructed a mechanical tide predictor. It consisted of a "harmonic analyzer" and a "harmonic synthesizer", as they were called already in the 19th century. The analysis of tide measurements was done using James Thomson's "integrating machine". The resulting Fourier coefficients 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. The synthesizer drew a graph of the combination waveform, which was used chiefly for visual validation of the analysis. | In the case of harmonic, quasi-periodic musical tones, wavetable synthesis can be as general as time-varying additive synthesis, but requires less computation during synthesis. As a result, an efficient implementation of time-varying additive synthesis of harmonic tones can be accomplished by use of "wavetable synthesis". | 0 |
Harmonic analysis was discovered by Joseph Fourier, who published an extensive treatise of his research in the context of heat transfer in 1822. The theory found an early application in prediction of tides. Around 1876, William Thomson (later ennobled as Lord Kelvin) constructed a mechanical tide predictor. It consisted of a "harmonic analyzer" and a "harmonic synthesizer", as they were called already in the 19th century. The analysis of tide measurements was done using James Thomson's "integrating machine". The resulting Fourier coefficients 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. The synthesizer drew a graph of the combination waveform, which was used chiefly for visual validation of the analysis. | 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. Helmholtz believed that the psychological perception of tone color is subject to learning, while hearing in the sensory sense is purely physiological. 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. Helmholtz agreed with the finding of Ernst Chladni from 1787 that certain sound sources have inharmonic vibration modes. | 1 |
Harmonic analysis was discovered by Joseph Fourier, who published an extensive treatise of his research in the context of heat transfer in 1822. The theory found an early application in prediction of tides. Around 1876, William Thomson (later ennobled as Lord Kelvin) constructed a mechanical tide predictor. It consisted of a "harmonic analyzer" and a "harmonic synthesizer", as they were called already in the 19th century. The analysis of tide measurements was done using James Thomson's "integrating machine". The resulting Fourier coefficients 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. The synthesizer drew a graph of the combination waveform, which was used chiefly for visual validation of the analysis. | The timbre of musical instruments can be considered in the light of Fourier theory to consist of multiple harmonic or inharmonic "partials" or overtones. Each partial is a sine wave of different frequency and amplitude that swells and decays over time due to modulation from an ADSR envelope or low frequency oscillator. | 0 |
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. Helmholtz believed that the psychological perception of tone color is subject to learning, while hearing in the sensory sense is purely physiological. 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. Helmholtz agreed with the finding of Ernst Chladni from 1787 that certain sound sources have inharmonic vibration modes. | 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. | 1 |
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. Helmholtz believed that the psychological perception of tone color is subject to learning, while hearing in the sensory sense is purely physiological. 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. Helmholtz agreed with the finding of Ernst Chladni from 1787 that certain sound sources have inharmonic vibration modes. | Additive synthesis is a sound synthesis technique that creates timbre by adding sine waves together. | 0 |
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. Helmholtz believed that the psychological perception of tone color is subject to learning, while hearing in the sensory sense is purely physiological. 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. Helmholtz agreed with the finding of Ernst Chladni from 1787 that certain sound sources have inharmonic vibration modes. | Harmonic analysis was discovered by Joseph Fourier, who published an extensive treatise of his research in the context of heat transfer in 1822. The theory found an early application in prediction of tides. Around 1876, William Thomson (later ennobled as Lord Kelvin) constructed a mechanical tide predictor. It consisted of a "harmonic analyzer" and a "harmonic synthesizer", as they were called already in the 19th century. The analysis of tide measurements was done using James Thomson's "integrating machine". The resulting Fourier coefficients 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. The synthesizer drew a graph of the combination waveform, which was used chiefly for visual validation of the analysis. | 1 |
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. Helmholtz believed that the psychological perception of tone color is subject to learning, while hearing in the sensory sense is purely physiological. 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. Helmholtz agreed with the finding of Ernst Chladni from 1787 that certain sound sources have inharmonic vibration modes. | Modern-day implementations of additive synthesis are mainly digital. (See section "Discrete-time equations" for the underlying discrete-time theory) | 0 |
In Helmholtz's time, electronic amplification was unavailable. For synthesis of tones with harmonic partials, Helmholtz built an electrically excited array of tuning forks and acoustic resonance chambers that allowed adjustment of the amplitudes of the partials. Built at least as early as in 1862, these were in turn refined by Rudolph Koenig, who demonstrated his own setup in 1872. For harmonic synthesis, Koenig also built a large apparatus based on his "wave siren". It was pneumatic and utilized cut-out tonewheels, and was criticized for low purity of its partial tones. Also tibia pipes of pipe organs have nearly sinusoidal waveforms and can be combined in the manner of additive synthesis. | 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. | 1 |
In Helmholtz's time, electronic amplification was unavailable. For synthesis of tones with harmonic partials, Helmholtz built an electrically excited array of tuning forks and acoustic resonance chambers that allowed adjustment of the amplitudes of the partials. Built at least as early as in 1862, these were in turn refined by Rudolph Koenig, who demonstrated his own setup in 1872. For harmonic synthesis, Koenig also built a large apparatus based on his "wave siren". It was pneumatic and utilized cut-out tonewheels, and was criticized for low purity of its partial tones. Also tibia pipes of pipe organs have nearly sinusoidal waveforms and can be combined in the manner of additive synthesis. | The following is a timeline of historically and technologically notable analog and digital synthesizers and devices implementing additive synthesis. | 0 |
In Helmholtz's time, electronic amplification was unavailable. For synthesis of tones with harmonic partials, Helmholtz built an electrically excited array of tuning forks and acoustic resonance chambers that allowed adjustment of the amplitudes of the partials. Built at least as early as in 1862, these were in turn refined by Rudolph Koenig, who demonstrated his own setup in 1872. For harmonic synthesis, Koenig also built a large apparatus based on his "wave siren". It was pneumatic and utilized cut-out tonewheels, and was criticized for low purity of its partial tones. Also tibia pipes of pipe organs have nearly sinusoidal waveforms and can be combined in the manner of additive synthesis. | In 1938, with significant new supporting evidence, 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. 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 ones. 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"". 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. 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". | 1 |
In Helmholtz's time, electronic amplification was unavailable. For synthesis of tones with harmonic partials, Helmholtz built an electrically excited array of tuning forks and acoustic resonance chambers that allowed adjustment of the amplitudes of the partials. Built at least as early as in 1862, these were in turn refined by Rudolph Koenig, who demonstrated his own setup in 1872. For harmonic synthesis, Koenig also built a large apparatus based on his "wave siren". It was pneumatic and utilized cut-out tonewheels, and was criticized for low purity of its partial tones. Also tibia pipes of pipe organs have nearly sinusoidal waveforms and can be combined in the manner of additive synthesis. | Additive synthesis:2218 | 0 |
In 1938, with significant new supporting evidence, 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. 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 ones. 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"". 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. 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". | Harmonic analysis was discovered by Joseph Fourier, who published an extensive treatise of his research in the context of heat transfer in 1822. The theory found an early application in prediction of tides. Around 1876, William Thomson (later ennobled as Lord Kelvin) constructed a mechanical tide predictor. It consisted of a "harmonic analyzer" and a "harmonic synthesizer", as they were called already in the 19th century. The analysis of tide measurements was done using James Thomson's "integrating machine". The resulting Fourier coefficients 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. The synthesizer drew a graph of the combination waveform, which was used chiefly for visual validation of the analysis. | 1 |
In 1938, with significant new supporting evidence, 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. 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 ones. 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"". 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. 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". | Modern-day implementations of additive synthesis are mainly digital. (See section "Discrete-time equations" for the underlying discrete-time theory) | 0 |
In 1938, with significant new supporting evidence, 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. 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 ones. 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"". 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. 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". | 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. | 1 |
In 1938, with significant new supporting evidence, 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. 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 ones. 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"". 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. 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". | The Fourier series of a periodic function is mathematically expressed as: | 0 |
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. | Harmonic analysis was discovered by Joseph Fourier, who published an extensive treatise of his research in the context of heat transfer in 1822. The theory found an early application in prediction of tides. Around 1876, William Thomson (later ennobled as Lord Kelvin) constructed a mechanical tide predictor. It consisted of a "harmonic analyzer" and a "harmonic synthesizer", as they were called already in the 19th century. The analysis of tide measurements was done using James Thomson's "integrating machine". The resulting Fourier coefficients 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. The synthesizer drew a graph of the combination waveform, which was used chiefly for visual validation of the analysis. | 1 |
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. | In the case of harmonic, quasi-periodic musical tones, wavetable synthesis can be as general as time-varying additive synthesis, but requires less computation during synthesis. As a result, an efficient implementation of time-varying additive synthesis of harmonic tones can be accomplished by use of "wavetable synthesis". | 0 |
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. | In 1938, with significant new supporting evidence, 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. 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 ones. 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"". 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. 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". | 1 |
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. | The timbre of musical instruments can be considered in the light of Fourier theory to consist of multiple harmonic or inharmonic "partials" or overtones. Each partial is a sine wave of different frequency and amplitude that swells and decays over time due to modulation from an ADSR envelope or low frequency oscillator. | 0 |
The plot is loosely based on the plot of the film, "The Wages of Fear"; transporting nitroglycerin by trucks. | Burma, 6th of March, 1956: Colonel Neddie Seagoon of the 4th Armoured Thunderboxes reads a telegram that Major Bloodnok failed to show him in 1945 because he thought it was a practical joke. The telegram states that World War II ended in August 1945, which comes as a shock because Seagoon and the others have been fighting the Imperial Japanese Army, now confined to a tree, for the last fourteen years. | 1 |
The plot is loosely based on the plot of the film, "The Wages of Fear"; transporting nitroglycerin by trucks. | Like many of "The Goon Show" titles, it was a parody of a contemporary film, The Wages of Fear (1953). | 0 |
Burma, 6th of March, 1956: Colonel Neddie Seagoon of the 4th Armoured Thunderboxes reads a telegram that Major Bloodnok failed to show him in 1945 because he thought it was a practical joke. The telegram states that World War II ended in August 1945, which comes as a shock because Seagoon and the others have been fighting the Imperial Japanese Army, now confined to a tree, for the last fourteen years. | Fortunately, however, General Yakamoto emerges from the tree with a white flag, wishing to borrow more ammunition to keep fighting. The British refuse and so the Japanese surrender, voluntarily giving up their supplies: one thousand cans of nitroglycerine and two thousand cans of sake. The ever-degenerate Bloodnok takes command of the sake, leaving Seagoon to telephone the War Office with news of the victory. Naturally, his first attempt is a "wrong number". After intoning a noble speech as he dials and listens to the phone ring, he hears the greeting (in the voice of Willium again), "Battersea Dogs Home, mate!". | 1 |
Burma, 6th of March, 1956: Colonel Neddie Seagoon of the 4th Armoured Thunderboxes reads a telegram that Major Bloodnok failed to show him in 1945 because he thought it was a practical joke. The telegram states that World War II ended in August 1945, which comes as a shock because Seagoon and the others have been fighting the Imperial Japanese Army, now confined to a tree, for the last fourteen years. | The Fear of Wages:8876863 | 0 |
Fortunately, however, General Yakamoto emerges from the tree with a white flag, wishing to borrow more ammunition to keep fighting. The British refuse and so the Japanese surrender, voluntarily giving up their supplies: one thousand cans of nitroglycerine and two thousand cans of sake. The ever-degenerate Bloodnok takes command of the sake, leaving Seagoon to telephone the War Office with news of the victory. Naturally, his first attempt is a "wrong number". After intoning a noble speech as he dials and listens to the phone ring, he hears the greeting (in the voice of Willium again), "Battersea Dogs Home, mate!". | The plot is loosely based on the plot of the film, "The Wages of Fear"; transporting nitroglycerin by trucks. | 1 |
Fortunately, however, General Yakamoto emerges from the tree with a white flag, wishing to borrow more ammunition to keep fighting. The British refuse and so the Japanese surrender, voluntarily giving up their supplies: one thousand cans of nitroglycerine and two thousand cans of sake. The ever-degenerate Bloodnok takes command of the sake, leaving Seagoon to telephone the War Office with news of the victory. Naturally, his first attempt is a "wrong number". After intoning a noble speech as he dials and listens to the phone ring, he hears the greeting (in the voice of Willium again), "Battersea Dogs Home, mate!". | The Fear of Wages:8876863 | 0 |
The scene shifts to the Army Pay Corps, where Chief Cashier Hercules Grytpype-Thynne is blatantly stealing money from the army’s wages and hiding it in a variety of bizarre places, with the help of Moriarty. They receive a telephone call telling them of the miraculous return of the lost regiment. The two thieves are horrified as they have spent all the back pay due to the soldiers. While Moriarty panics and Grytpype ponders the situation, the show goes into its first musical interlude. | Back in Burma, Seagoon informs Bloodnok that Whitehall denies that the regiment's soldiers are alive. The only way to get their back pay is to take the Japanese army, in their tree, back to London. Seagoon announces that they should leave the nitroglycerine behind, but just then Grytpype telephones to say that they won't get paid unless all the supplies are accounted for. That means that someone must drive the truck full of nitroglycerin, which leads to a lengthy discussion. Seagoon refuses and Bloodnok has generously volunteered to drive the truck full of the sake, so Eccles (who appears off a record) is ordered to drive the truck, which quickly explodes. However, Eccles reveals he wasn't really driving the truck, and the unfortunate Bluebottle was asleep in the back. | 1 |
The scene shifts to the Army Pay Corps, where Chief Cashier Hercules Grytpype-Thynne is blatantly stealing money from the army’s wages and hiding it in a variety of bizarre places, with the help of Moriarty. They receive a telephone call telling them of the miraculous return of the lost regiment. The two thieves are horrified as they have spent all the back pay due to the soldiers. While Moriarty panics and Grytpype ponders the situation, the show goes into its first musical interlude. | Like many of "The Goon Show" titles, it was a parody of a contemporary film, The Wages of Fear (1953). | 0 |
The scene shifts to the Army Pay Corps, where Chief Cashier Hercules Grytpype-Thynne is blatantly stealing money from the army’s wages and hiding it in a variety of bizarre places, with the help of Moriarty. They receive a telephone call telling them of the miraculous return of the lost regiment. The two thieves are horrified as they have spent all the back pay due to the soldiers. While Moriarty panics and Grytpype ponders the situation, the show goes into its first musical interlude. | The show ends with Bluebottle asking the announcer, Wallace Greenslade to inform the audience that he was not killed in this episode. | 1 |
The scene shifts to the Army Pay Corps, where Chief Cashier Hercules Grytpype-Thynne is blatantly stealing money from the army’s wages and hiding it in a variety of bizarre places, with the help of Moriarty. They receive a telephone call telling them of the miraculous return of the lost regiment. The two thieves are horrified as they have spent all the back pay due to the soldiers. While Moriarty panics and Grytpype ponders the situation, the show goes into its first musical interlude. | Wallace Greenslade initially announces that title as ""Le Salaire de la peur", meaning "The Wages of Fear", or in English...". Sellers then announces, as Willium ("Mate"), "The Fear of Wages! Ohhh!". | 0 |
The scene shifts to the Army Pay Corps, where Chief Cashier Hercules Grytpype-Thynne is blatantly stealing money from the army’s wages and hiding it in a variety of bizarre places, with the help of Moriarty. They receive a telephone call telling them of the miraculous return of the lost regiment. The two thieves are horrified as they have spent all the back pay due to the soldiers. While Moriarty panics and Grytpype ponders the situation, the show goes into its first musical interlude. | After the second musical interlude, we discover that the truck convoy has been driving back to England for five weeks. Bloodnok has been continually drinking the sake all that time, which worries Seagoon as it means they won't get their back pay. In an aside to the audience, General Yakamoto reveals that he switched the sake with the nitroglycerin. | 1 |
The scene shifts to the Army Pay Corps, where Chief Cashier Hercules Grytpype-Thynne is blatantly stealing money from the army’s wages and hiding it in a variety of bizarre places, with the help of Moriarty. They receive a telephone call telling them of the miraculous return of the lost regiment. The two thieves are horrified as they have spent all the back pay due to the soldiers. While Moriarty panics and Grytpype ponders the situation, the show goes into its first musical interlude. | The plot is loosely based on the plot of the film, "The Wages of Fear"; transporting nitroglycerin by trucks. | 0 |
Back in Burma, Seagoon informs Bloodnok that Whitehall denies that the regiment's soldiers are alive. The only way to get their back pay is to take the Japanese army, in their tree, back to London. Seagoon announces that they should leave the nitroglycerine behind, but just then Grytpype telephones to say that they won't get paid unless all the supplies are accounted for. That means that someone must drive the truck full of nitroglycerin, which leads to a lengthy discussion. Seagoon refuses and Bloodnok has generously volunteered to drive the truck full of the sake, so Eccles (who appears off a record) is ordered to drive the truck, which quickly explodes. However, Eccles reveals he wasn't really driving the truck, and the unfortunate Bluebottle was asleep in the back. | The show ends with Bluebottle asking the announcer, Wallace Greenslade to inform the audience that he was not killed in this episode. | 1 |
Back in Burma, Seagoon informs Bloodnok that Whitehall denies that the regiment's soldiers are alive. The only way to get their back pay is to take the Japanese army, in their tree, back to London. Seagoon announces that they should leave the nitroglycerine behind, but just then Grytpype telephones to say that they won't get paid unless all the supplies are accounted for. That means that someone must drive the truck full of nitroglycerin, which leads to a lengthy discussion. Seagoon refuses and Bloodnok has generously volunteered to drive the truck full of the sake, so Eccles (who appears off a record) is ordered to drive the truck, which quickly explodes. However, Eccles reveals he wasn't really driving the truck, and the unfortunate Bluebottle was asleep in the back. | Wallace Greenslade initially announces that title as ""Le Salaire de la peur", meaning "The Wages of Fear", or in English...". Sellers then announces, as Willium ("Mate"), "The Fear of Wages! Ohhh!". | 0 |
Back in Burma, Seagoon informs Bloodnok that Whitehall denies that the regiment's soldiers are alive. The only way to get their back pay is to take the Japanese army, in their tree, back to London. Seagoon announces that they should leave the nitroglycerine behind, but just then Grytpype telephones to say that they won't get paid unless all the supplies are accounted for. That means that someone must drive the truck full of nitroglycerin, which leads to a lengthy discussion. Seagoon refuses and Bloodnok has generously volunteered to drive the truck full of the sake, so Eccles (who appears off a record) is ordered to drive the truck, which quickly explodes. However, Eccles reveals he wasn't really driving the truck, and the unfortunate Bluebottle was asleep in the back. | Meanwhile, Grytpype (aware that his plot to blow up Seagoon and the others has failed) has called a governmental meeting and informs the Chancellor of the Exchequer that the regiment's combined back pay amounts to millions of pounds, which will ruin the country's annual budget. The decision is made to stop the convoy by getting the Japanese to declare war again. | 1 |
Back in Burma, Seagoon informs Bloodnok that Whitehall denies that the regiment's soldiers are alive. The only way to get their back pay is to take the Japanese army, in their tree, back to London. Seagoon announces that they should leave the nitroglycerine behind, but just then Grytpype telephones to say that they won't get paid unless all the supplies are accounted for. That means that someone must drive the truck full of nitroglycerin, which leads to a lengthy discussion. Seagoon refuses and Bloodnok has generously volunteered to drive the truck full of the sake, so Eccles (who appears off a record) is ordered to drive the truck, which quickly explodes. However, Eccles reveals he wasn't really driving the truck, and the unfortunate Bluebottle was asleep in the back. | The plot is loosely based on the plot of the film, "The Wages of Fear"; transporting nitroglycerin by trucks. | 0 |
Back in Burma, Seagoon informs Bloodnok that Whitehall denies that the regiment's soldiers are alive. The only way to get their back pay is to take the Japanese army, in their tree, back to London. Seagoon announces that they should leave the nitroglycerine behind, but just then Grytpype telephones to say that they won't get paid unless all the supplies are accounted for. That means that someone must drive the truck full of nitroglycerin, which leads to a lengthy discussion. Seagoon refuses and Bloodnok has generously volunteered to drive the truck full of the sake, so Eccles (who appears off a record) is ordered to drive the truck, which quickly explodes. However, Eccles reveals he wasn't really driving the truck, and the unfortunate Bluebottle was asleep in the back. | The scene shifts to the Army Pay Corps, where Chief Cashier Hercules Grytpype-Thynne is blatantly stealing money from the army’s wages and hiding it in a variety of bizarre places, with the help of Moriarty. They receive a telephone call telling them of the miraculous return of the lost regiment. The two thieves are horrified as they have spent all the back pay due to the soldiers. While Moriarty panics and Grytpype ponders the situation, the show goes into its first musical interlude. | 1 |
Back in Burma, Seagoon informs Bloodnok that Whitehall denies that the regiment's soldiers are alive. The only way to get their back pay is to take the Japanese army, in their tree, back to London. Seagoon announces that they should leave the nitroglycerine behind, but just then Grytpype telephones to say that they won't get paid unless all the supplies are accounted for. That means that someone must drive the truck full of nitroglycerin, which leads to a lengthy discussion. Seagoon refuses and Bloodnok has generously volunteered to drive the truck full of the sake, so Eccles (who appears off a record) is ordered to drive the truck, which quickly explodes. However, Eccles reveals he wasn't really driving the truck, and the unfortunate Bluebottle was asleep in the back. | Wallace Greenslade initially announces that title as ""Le Salaire de la peur", meaning "The Wages of Fear", or in English...". Sellers then announces, as Willium ("Mate"), "The Fear of Wages! Ohhh!". | 0 |
After the second musical interlude, we discover that the truck convoy has been driving back to England for five weeks. Bloodnok has been continually drinking the sake all that time, which worries Seagoon as it means they won't get their back pay. In an aside to the audience, General Yakamoto reveals that he switched the sake with the nitroglycerin. | The show ends with Bluebottle asking the announcer, Wallace Greenslade to inform the audience that he was not killed in this episode. | 1 |
After the second musical interlude, we discover that the truck convoy has been driving back to England for five weeks. Bloodnok has been continually drinking the sake all that time, which worries Seagoon as it means they won't get their back pay. In an aside to the audience, General Yakamoto reveals that he switched the sake with the nitroglycerin. | "The Fear of Wages" is an episode of "The Goon Show", a British radio comedy, written by Spike Milligan and Larry Stephens. As the 25th episode of the sixth series, it was first broadcast on 6 March 1956 and was among the shows first repeated in the 1970s following the success of The Last Goon Show of All in 1972. Appearing on a program entitled 'Goons Night' on BBC Radio 2, broadcast 29 May 2001, Spike Milligan announced this as his favourite episode of The Goon Show. | 0 |
After the second musical interlude, we discover that the truck convoy has been driving back to England for five weeks. Bloodnok has been continually drinking the sake all that time, which worries Seagoon as it means they won't get their back pay. In an aside to the audience, General Yakamoto reveals that he switched the sake with the nitroglycerin. | Meanwhile, Grytpype (aware that his plot to blow up Seagoon and the others has failed) has called a governmental meeting and informs the Chancellor of the Exchequer that the regiment's combined back pay amounts to millions of pounds, which will ruin the country's annual budget. The decision is made to stop the convoy by getting the Japanese to declare war again. | 1 |
After the second musical interlude, we discover that the truck convoy has been driving back to England for five weeks. Bloodnok has been continually drinking the sake all that time, which worries Seagoon as it means they won't get their back pay. In an aside to the audience, General Yakamoto reveals that he switched the sake with the nitroglycerin. | While Seagoon begins the story as Bloodnok's commanding officer, in Part 2 he acts as Bloodnok's subordinate, being addressed as "Seagoon" and addressing Bloodnok as "Sir". This is noticeable when the Japanese commander runs out of ammunition for the second time and asks how much he owes the British, at which point Bloodnok tells Seagoon to "play back their account", which turns out to be a gramophone record. | 0 |
After the second musical interlude, we discover that the truck convoy has been driving back to England for five weeks. Bloodnok has been continually drinking the sake all that time, which worries Seagoon as it means they won't get their back pay. In an aside to the audience, General Yakamoto reveals that he switched the sake with the nitroglycerin. | Back in Burma, Seagoon informs Bloodnok that Whitehall denies that the regiment's soldiers are alive. The only way to get their back pay is to take the Japanese army, in their tree, back to London. Seagoon announces that they should leave the nitroglycerine behind, but just then Grytpype telephones to say that they won't get paid unless all the supplies are accounted for. That means that someone must drive the truck full of nitroglycerin, which leads to a lengthy discussion. Seagoon refuses and Bloodnok has generously volunteered to drive the truck full of the sake, so Eccles (who appears off a record) is ordered to drive the truck, which quickly explodes. However, Eccles reveals he wasn't really driving the truck, and the unfortunate Bluebottle was asleep in the back. | 1 |
After the second musical interlude, we discover that the truck convoy has been driving back to England for five weeks. Bloodnok has been continually drinking the sake all that time, which worries Seagoon as it means they won't get their back pay. In an aside to the audience, General Yakamoto reveals that he switched the sake with the nitroglycerin. | While Seagoon begins the story as Bloodnok's commanding officer, in Part 2 he acts as Bloodnok's subordinate, being addressed as "Seagoon" and addressing Bloodnok as "Sir". This is noticeable when the Japanese commander runs out of ammunition for the second time and asks how much he owes the British, at which point Bloodnok tells Seagoon to "play back their account", which turns out to be a gramophone record. | 0 |
Meanwhile, Grytpype (aware that his plot to blow up Seagoon and the others has failed) has called a governmental meeting and informs the Chancellor of the Exchequer that the regiment's combined back pay amounts to millions of pounds, which will ruin the country's annual budget. The decision is made to stop the convoy by getting the Japanese to declare war again. | The scene shifts to the Army Pay Corps, where Chief Cashier Hercules Grytpype-Thynne is blatantly stealing money from the army’s wages and hiding it in a variety of bizarre places, with the help of Moriarty. They receive a telephone call telling them of the miraculous return of the lost regiment. The two thieves are horrified as they have spent all the back pay due to the soldiers. While Moriarty panics and Grytpype ponders the situation, the show goes into its first musical interlude. | 1 |
Meanwhile, Grytpype (aware that his plot to blow up Seagoon and the others has failed) has called a governmental meeting and informs the Chancellor of the Exchequer that the regiment's combined back pay amounts to millions of pounds, which will ruin the country's annual budget. The decision is made to stop the convoy by getting the Japanese to declare war again. | Like many of "The Goon Show" titles, it was a parody of a contemporary film, The Wages of Fear (1953). | 0 |
Meanwhile, Grytpype (aware that his plot to blow up Seagoon and the others has failed) has called a governmental meeting and informs the Chancellor of the Exchequer that the regiment's combined back pay amounts to millions of pounds, which will ruin the country's annual budget. The decision is made to stop the convoy by getting the Japanese to declare war again. | Back in Burma, Seagoon informs Bloodnok that Whitehall denies that the regiment's soldiers are alive. The only way to get their back pay is to take the Japanese army, in their tree, back to London. Seagoon announces that they should leave the nitroglycerine behind, but just then Grytpype telephones to say that they won't get paid unless all the supplies are accounted for. That means that someone must drive the truck full of nitroglycerin, which leads to a lengthy discussion. Seagoon refuses and Bloodnok has generously volunteered to drive the truck full of the sake, so Eccles (who appears off a record) is ordered to drive the truck, which quickly explodes. However, Eccles reveals he wasn't really driving the truck, and the unfortunate Bluebottle was asleep in the back. | 1 |
Meanwhile, Grytpype (aware that his plot to blow up Seagoon and the others has failed) has called a governmental meeting and informs the Chancellor of the Exchequer that the regiment's combined back pay amounts to millions of pounds, which will ruin the country's annual budget. The decision is made to stop the convoy by getting the Japanese to declare war again. | While Seagoon begins the story as Bloodnok's commanding officer, in Part 2 he acts as Bloodnok's subordinate, being addressed as "Seagoon" and addressing Bloodnok as "Sir". This is noticeable when the Japanese commander runs out of ammunition for the second time and asks how much he owes the British, at which point Bloodnok tells Seagoon to "play back their account", which turns out to be a gramophone record. | 0 |
Meanwhile, Grytpype (aware that his plot to blow up Seagoon and the others has failed) has called a governmental meeting and informs the Chancellor of the Exchequer that the regiment's combined back pay amounts to millions of pounds, which will ruin the country's annual budget. The decision is made to stop the convoy by getting the Japanese to declare war again. | However, the Japanese run out of ammunition again and again are refused to be lent any by the British. However, when Bloodnok tries to cut the tree down, the Japanese reveal they have suddenly got more ammunition (presumably, as Bloodnok suggests, in a Red Cross package from home). Bloodnok and Seagoon jump into the bulletproof driving cab of the truck and continue driving back to England, fighting with the Japanese all the way. | 1 |
Meanwhile, Grytpype (aware that his plot to blow up Seagoon and the others has failed) has called a governmental meeting and informs the Chancellor of the Exchequer that the regiment's combined back pay amounts to millions of pounds, which will ruin the country's annual budget. The decision is made to stop the convoy by getting the Japanese to declare war again. | While Seagoon begins the story as Bloodnok's commanding officer, in Part 2 he acts as Bloodnok's subordinate, being addressed as "Seagoon" and addressing Bloodnok as "Sir". This is noticeable when the Japanese commander runs out of ammunition for the second time and asks how much he owes the British, at which point Bloodnok tells Seagoon to "play back their account", which turns out to be a gramophone record. | 0 |
However, the Japanese run out of ammunition again and again are refused to be lent any by the British. However, when Bloodnok tries to cut the tree down, the Japanese reveal they have suddenly got more ammunition (presumably, as Bloodnok suggests, in a Red Cross package from home). Bloodnok and Seagoon jump into the bulletproof driving cab of the truck and continue driving back to England, fighting with the Japanese all the way. | Meanwhile, Grytpype (aware that his plot to blow up Seagoon and the others has failed) has called a governmental meeting and informs the Chancellor of the Exchequer that the regiment's combined back pay amounts to millions of pounds, which will ruin the country's annual budget. The decision is made to stop the convoy by getting the Japanese to declare war again. | 1 |
However, the Japanese run out of ammunition again and again are refused to be lent any by the British. However, when Bloodnok tries to cut the tree down, the Japanese reveal they have suddenly got more ammunition (presumably, as Bloodnok suggests, in a Red Cross package from home). Bloodnok and Seagoon jump into the bulletproof driving cab of the truck and continue driving back to England, fighting with the Japanese all the way. | While Seagoon begins the story as Bloodnok's commanding officer, in Part 2 he acts as Bloodnok's subordinate, being addressed as "Seagoon" and addressing Bloodnok as "Sir". This is noticeable when the Japanese commander runs out of ammunition for the second time and asks how much he owes the British, at which point Bloodnok tells Seagoon to "play back their account", which turns out to be a gramophone record. | 0 |
However, the Japanese run out of ammunition again and again are refused to be lent any by the British. However, when Bloodnok tries to cut the tree down, the Japanese reveal they have suddenly got more ammunition (presumably, as Bloodnok suggests, in a Red Cross package from home). Bloodnok and Seagoon jump into the bulletproof driving cab of the truck and continue driving back to England, fighting with the Japanese all the way. | After the second musical interlude, we discover that the truck convoy has been driving back to England for five weeks. Bloodnok has been continually drinking the sake all that time, which worries Seagoon as it means they won't get their back pay. In an aside to the audience, General Yakamoto reveals that he switched the sake with the nitroglycerin. | 1 |
However, the Japanese run out of ammunition again and again are refused to be lent any by the British. However, when Bloodnok tries to cut the tree down, the Japanese reveal they have suddenly got more ammunition (presumably, as Bloodnok suggests, in a Red Cross package from home). Bloodnok and Seagoon jump into the bulletproof driving cab of the truck and continue driving back to England, fighting with the Japanese all the way. | The Fear of Wages:8876863 | 0 |
However, the Japanese run out of ammunition again and again are refused to be lent any by the British. However, when Bloodnok tries to cut the tree down, the Japanese reveal they have suddenly got more ammunition (presumably, as Bloodnok suggests, in a Red Cross package from home). Bloodnok and Seagoon jump into the bulletproof driving cab of the truck and continue driving back to England, fighting with the Japanese all the way. | The scene shifts to the Army Pay Corps, where Chief Cashier Hercules Grytpype-Thynne is blatantly stealing money from the army’s wages and hiding it in a variety of bizarre places, with the help of Moriarty. They receive a telephone call telling them of the miraculous return of the lost regiment. The two thieves are horrified as they have spent all the back pay due to the soldiers. While Moriarty panics and Grytpype ponders the situation, the show goes into its first musical interlude. | 1 |
However, the Japanese run out of ammunition again and again are refused to be lent any by the British. However, when Bloodnok tries to cut the tree down, the Japanese reveal they have suddenly got more ammunition (presumably, as Bloodnok suggests, in a Red Cross package from home). Bloodnok and Seagoon jump into the bulletproof driving cab of the truck and continue driving back to England, fighting with the Japanese all the way. | Like many of "The Goon Show" titles, it was a parody of a contemporary film, The Wages of Fear (1953). | 0 |
At a British government Cabinet meeting, Grytpype finally concedes and admits that they will probably have to pay the regiment their owed wages. The truck pulls up outside and Seagoon and Bloodnok demand their back pay. In turn, Grytpype demands their supplies, willing to take the sake if not the nitroglycerin. Seagoon and the others tip Bloodnok upside down in an attempt to make him vomit up the sake, but as he really drank the nitroglycerin, he explodes. | Meanwhile, Grytpype (aware that his plot to blow up Seagoon and the others has failed) has called a governmental meeting and informs the Chancellor of the Exchequer that the regiment's combined back pay amounts to millions of pounds, which will ruin the country's annual budget. The decision is made to stop the convoy by getting the Japanese to declare war again. | 1 |
At a British government Cabinet meeting, Grytpype finally concedes and admits that they will probably have to pay the regiment their owed wages. The truck pulls up outside and Seagoon and Bloodnok demand their back pay. In turn, Grytpype demands their supplies, willing to take the sake if not the nitroglycerin. Seagoon and the others tip Bloodnok upside down in an attempt to make him vomit up the sake, but as he really drank the nitroglycerin, he explodes. | The Fear of Wages:8876863 | 0 |
At a British government Cabinet meeting, Grytpype finally concedes and admits that they will probably have to pay the regiment their owed wages. The truck pulls up outside and Seagoon and Bloodnok demand their back pay. In turn, Grytpype demands their supplies, willing to take the sake if not the nitroglycerin. Seagoon and the others tip Bloodnok upside down in an attempt to make him vomit up the sake, but as he really drank the nitroglycerin, he explodes. | Back in Burma, Seagoon informs Bloodnok that Whitehall denies that the regiment's soldiers are alive. The only way to get their back pay is to take the Japanese army, in their tree, back to London. Seagoon announces that they should leave the nitroglycerine behind, but just then Grytpype telephones to say that they won't get paid unless all the supplies are accounted for. That means that someone must drive the truck full of nitroglycerin, which leads to a lengthy discussion. Seagoon refuses and Bloodnok has generously volunteered to drive the truck full of the sake, so Eccles (who appears off a record) is ordered to drive the truck, which quickly explodes. However, Eccles reveals he wasn't really driving the truck, and the unfortunate Bluebottle was asleep in the back. | 1 |
At a British government Cabinet meeting, Grytpype finally concedes and admits that they will probably have to pay the regiment their owed wages. The truck pulls up outside and Seagoon and Bloodnok demand their back pay. In turn, Grytpype demands their supplies, willing to take the sake if not the nitroglycerin. Seagoon and the others tip Bloodnok upside down in an attempt to make him vomit up the sake, but as he really drank the nitroglycerin, he explodes. | Wallace Greenslade initially announces that title as ""Le Salaire de la peur", meaning "The Wages of Fear", or in English...". Sellers then announces, as Willium ("Mate"), "The Fear of Wages! Ohhh!". | 0 |
At a British government Cabinet meeting, Grytpype finally concedes and admits that they will probably have to pay the regiment their owed wages. The truck pulls up outside and Seagoon and Bloodnok demand their back pay. In turn, Grytpype demands their supplies, willing to take the sake if not the nitroglycerin. Seagoon and the others tip Bloodnok upside down in an attempt to make him vomit up the sake, but as he really drank the nitroglycerin, he explodes. | The show ends with Bluebottle asking the announcer, Wallace Greenslade to inform the audience that he was not killed in this episode. | 1 |
At a British government Cabinet meeting, Grytpype finally concedes and admits that they will probably have to pay the regiment their owed wages. The truck pulls up outside and Seagoon and Bloodnok demand their back pay. In turn, Grytpype demands their supplies, willing to take the sake if not the nitroglycerin. Seagoon and the others tip Bloodnok upside down in an attempt to make him vomit up the sake, but as he really drank the nitroglycerin, he explodes. | While Seagoon begins the story as Bloodnok's commanding officer, in Part 2 he acts as Bloodnok's subordinate, being addressed as "Seagoon" and addressing Bloodnok as "Sir". This is noticeable when the Japanese commander runs out of ammunition for the second time and asks how much he owes the British, at which point Bloodnok tells Seagoon to "play back their account", which turns out to be a gramophone record. | 0 |
The show ends with Bluebottle asking the announcer, Wallace Greenslade to inform the audience that he was not killed in this episode. | However, the Japanese run out of ammunition again and again are refused to be lent any by the British. However, when Bloodnok tries to cut the tree down, the Japanese reveal they have suddenly got more ammunition (presumably, as Bloodnok suggests, in a Red Cross package from home). Bloodnok and Seagoon jump into the bulletproof driving cab of the truck and continue driving back to England, fighting with the Japanese all the way. | 1 |
The show ends with Bluebottle asking the announcer, Wallace Greenslade to inform the audience that he was not killed in this episode. | "The Fear of Wages" is an episode of "The Goon Show", a British radio comedy, written by Spike Milligan and Larry Stephens. As the 25th episode of the sixth series, it was first broadcast on 6 March 1956 and was among the shows first repeated in the 1970s following the success of The Last Goon Show of All in 1972. Appearing on a program entitled 'Goons Night' on BBC Radio 2, broadcast 29 May 2001, Spike Milligan announced this as his favourite episode of The Goon Show. | 0 |
The show ends with Bluebottle asking the announcer, Wallace Greenslade to inform the audience that he was not killed in this episode. | Meanwhile, Grytpype (aware that his plot to blow up Seagoon and the others has failed) has called a governmental meeting and informs the Chancellor of the Exchequer that the regiment's combined back pay amounts to millions of pounds, which will ruin the country's annual budget. The decision is made to stop the convoy by getting the Japanese to declare war again. | 1 |
The show ends with Bluebottle asking the announcer, Wallace Greenslade to inform the audience that he was not killed in this episode. | Fortunately, however, General Yakamoto emerges from the tree with a white flag, wishing to borrow more ammunition to keep fighting. The British refuse and so the Japanese surrender, voluntarily giving up their supplies: one thousand cans of nitroglycerine and two thousand cans of sake. The ever-degenerate Bloodnok takes command of the sake, leaving Seagoon to telephone the War Office with news of the victory. Naturally, his first attempt is a "wrong number". After intoning a noble speech as he dials and listens to the phone ring, he hears the greeting (in the voice of Willium again), "Battersea Dogs Home, mate!". | 0 |
The show ends with Bluebottle asking the announcer, Wallace Greenslade to inform the audience that he was not killed in this episode. | At a British government Cabinet meeting, Grytpype finally concedes and admits that they will probably have to pay the regiment their owed wages. The truck pulls up outside and Seagoon and Bloodnok demand their back pay. In turn, Grytpype demands their supplies, willing to take the sake if not the nitroglycerin. Seagoon and the others tip Bloodnok upside down in an attempt to make him vomit up the sake, but as he really drank the nitroglycerin, he explodes. | 1 |
The show ends with Bluebottle asking the announcer, Wallace Greenslade to inform the audience that he was not killed in this episode. | "The Fear of Wages" is an episode of "The Goon Show", a British radio comedy, written by Spike Milligan and Larry Stephens. As the 25th episode of the sixth series, it was first broadcast on 6 March 1956 and was among the shows first repeated in the 1970s following the success of The Last Goon Show of All in 1972. Appearing on a program entitled 'Goons Night' on BBC Radio 2, broadcast 29 May 2001, Spike Milligan announced this as his favourite episode of The Goon Show. | 0 |
Lostwithiel railway station:2889196 | The station is on the banks of the River Fowey in Cornwall. At the east end of the station is a level crossing while at the west end the line is carried over the river, beyond which is the junction for the Fowey branch which is now used by china clay trains only. Between the station and the river stand the remains of the Cornwall Railway workshops, converted and extended in 2004 as a housing development. | 1 |
Lostwithiel railway station:2889196 | The main entrance is on the platform served by trains to , this is the platform nearest the town. A second platform for trains to is reached from the level crossing. The opposite face of this platform used to be served by trains on the branch line. | 0 |
Lostwithiel railway station serves the town of Lostwithiel in Cornwall, England. It is from via . Great Western Railway operates the station along with every other station in Cornwall. | Lostwithiel railway station:2889196 | 1 |
Lostwithiel railway station serves the town of Lostwithiel in Cornwall, England. It is from via . Great Western Railway operates the station along with every other station in Cornwall. | Lostwithiel is situated on the Cornish Main Line which links and . Most trains are operated by Great Western Railway with some running through to or from or London Paddington station. A limited number of additional services are provided by a CrossCountry to or from the North of England and Scotland. | 0 |
The station is on the banks of the River Fowey in Cornwall. At the east end of the station is a level crossing while at the west end the line is carried over the river, beyond which is the junction for the Fowey branch which is now used by china clay trains only. Between the station and the river stand the remains of the Cornwall Railway workshops, converted and extended in 2004 as a housing development. | Lostwithiel's famous medieval bridge is just outside the station, with the town on the opposite bank of the river. | 1 |
The station is on the banks of the River Fowey in Cornwall. At the east end of the station is a level crossing while at the west end the line is carried over the river, beyond which is the junction for the Fowey branch which is now used by china clay trains only. Between the station and the river stand the remains of the Cornwall Railway workshops, converted and extended in 2004 as a housing development. | The Lostwithiel and Fowey Railway opened for goods traffic on 1 June 1869. A more direct route from Par to Fowey stole most of the traffic and the trains from Lostwithiel were suspended on 1 January 1880. The Cornwall Railway subsequently leased a part of the line to store rolling stock. The line was reopened by the Cornwall Minerals Railway on 16 September 1895 for both goods and passengers. The passenger service was withdrawn on 4 January 1965 but the line remains open to carry china clay to the jetties at Fowey. | 0 |
Lostwithiel's famous medieval bridge is just outside the station, with the town on the opposite bank of the river. | The station is on the banks of the River Fowey in Cornwall. At the east end of the station is a level crossing while at the west end the line is carried over the river, beyond which is the junction for the Fowey branch which is now used by china clay trains only. Between the station and the river stand the remains of the Cornwall Railway workshops, converted and extended in 2004 as a housing development. | 1 |
Lostwithiel's famous medieval bridge is just outside the station, with the town on the opposite bank of the river. | Lostwithiel signal box is situated at the northern end of Platform 1. Since the Bodmin Road Signal Box was closed, the sidings at Bodmin Parkway connecting to the Bodmin and Wenford Railway are controlled by the box here at Lostwithiel. | 0 |
The station opened with the Cornwall Railway on 4 May 1859. A report at the time claimed that it "is generally admitted to be the handsomest station on the line, and looks as gay and bright as fresh paint can make it. It consists, first, of a departure station, a wooden building covered by rusticated boarding, having a projecting verandah, extending eight feet on each side of the carriage approaches, and extending over the railway platform. This contains a spacious first class waiting room, second class ditto, ticket, and other necessary offices, and conveniences. Immediately opposite to this, is the arrival station, which is also of wooden erection, having spacious waiting rooms, and porter and lamp rooms. The roof also projects over the platform in a similar way to that of the departure station. A short distance lower down the line is a convenient goods shed, 75 feet long by 42 feet span of roof. Near to the departure station is the train shed, 100 feet long, in which, in addition to the engines employed on the line, it is intended to contain first, second, and third class carriages, in order to meet any extra requirements that may at any time arise." | The Lostwithiel and Fowey Railway opened for goods traffic on 1 June 1869. A more direct route from Par to Fowey stole most of the traffic and the trains from Lostwithiel were suspended on 1 January 1880. The Cornwall Railway subsequently leased a part of the line to store rolling stock. The line was reopened by the Cornwall Minerals Railway on 16 September 1895 for both goods and passengers. The passenger service was withdrawn on 4 January 1965 but the line remains open to carry china clay to the jetties at Fowey. | 1 |
The station opened with the Cornwall Railway on 4 May 1859. A report at the time claimed that it "is generally admitted to be the handsomest station on the line, and looks as gay and bright as fresh paint can make it. It consists, first, of a departure station, a wooden building covered by rusticated boarding, having a projecting verandah, extending eight feet on each side of the carriage approaches, and extending over the railway platform. This contains a spacious first class waiting room, second class ditto, ticket, and other necessary offices, and conveniences. Immediately opposite to this, is the arrival station, which is also of wooden erection, having spacious waiting rooms, and porter and lamp rooms. The roof also projects over the platform in a similar way to that of the departure station. A short distance lower down the line is a convenient goods shed, 75 feet long by 42 feet span of roof. Near to the departure station is the train shed, 100 feet long, in which, in addition to the engines employed on the line, it is intended to contain first, second, and third class carriages, in order to meet any extra requirements that may at any time arise." | The station is on the banks of the River Fowey in Cornwall. At the east end of the station is a level crossing while at the west end the line is carried over the river, beyond which is the junction for the Fowey branch which is now used by china clay trains only. Between the station and the river stand the remains of the Cornwall Railway workshops, converted and extended in 2004 as a housing development. | 0 |
The station opened with the Cornwall Railway on 4 May 1859. A report at the time claimed that it "is generally admitted to be the handsomest station on the line, and looks as gay and bright as fresh paint can make it. It consists, first, of a departure station, a wooden building covered by rusticated boarding, having a projecting verandah, extending eight feet on each side of the carriage approaches, and extending over the railway platform. This contains a spacious first class waiting room, second class ditto, ticket, and other necessary offices, and conveniences. Immediately opposite to this, is the arrival station, which is also of wooden erection, having spacious waiting rooms, and porter and lamp rooms. The roof also projects over the platform in a similar way to that of the departure station. A short distance lower down the line is a convenient goods shed, 75 feet long by 42 feet span of roof. Near to the departure station is the train shed, 100 feet long, in which, in addition to the engines employed on the line, it is intended to contain first, second, and third class carriages, in order to meet any extra requirements that may at any time arise." | The workshops had been established during the construction of the railway to prepare the timber needed for the wooden viaducts, stations and track. It expanded to also maintain the carriages and wagons of the railway and was retained for some years by the Great Western Railway when the two companies amalgamated on 1 July 1889. | 1 |
The station opened with the Cornwall Railway on 4 May 1859. A report at the time claimed that it "is generally admitted to be the handsomest station on the line, and looks as gay and bright as fresh paint can make it. It consists, first, of a departure station, a wooden building covered by rusticated boarding, having a projecting verandah, extending eight feet on each side of the carriage approaches, and extending over the railway platform. This contains a spacious first class waiting room, second class ditto, ticket, and other necessary offices, and conveniences. Immediately opposite to this, is the arrival station, which is also of wooden erection, having spacious waiting rooms, and porter and lamp rooms. The roof also projects over the platform in a similar way to that of the departure station. A short distance lower down the line is a convenient goods shed, 75 feet long by 42 feet span of roof. Near to the departure station is the train shed, 100 feet long, in which, in addition to the engines employed on the line, it is intended to contain first, second, and third class carriages, in order to meet any extra requirements that may at any time arise." | Lostwithiel is situated on the Cornish Main Line which links and . Most trains are operated by Great Western Railway with some running through to or from or London Paddington station. A limited number of additional services are provided by a CrossCountry to or from the North of England and Scotland. | 0 |
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