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{{nihongo|'''Ikutaro Kakehashi'''|梯 郁太郎|Kakehashi Ikutarō| 7 February 1930 – 1 April 2017}}, also known by the nickname '''Taro''',<ref name="guardian"/> was a Japanese engineer, inventor and entrepreneur. He founded the musical instrument manufacturers [[Ace Tone]], [[Roland Corporation]], and [[Boss Corporation]], and the audiovisual electronics company ATV Corporation. |
{{nihongo|'''Ikutaro Kakehashi'''|梯 郁太郎|Kakehashi Ikutarō| 7 February 1930 – 1 April 2017}}, also known by the nickname '''Taro''',<ref name="guardian"/> was a Japanese engineer, inventor and entrepreneur. He founded the musical instrument manufacturers [[Ace Tone]], [[Roland Corporation]], and [[Boss Corporation]], and the audiovisual electronics company ATV Corporation. |
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Kakehashi founded Ace Tone in 1960 to produce [[electronic organ]]s and [[ |
Kakehashi founded Ace Tone in 1960 to produce [[electronic organ]]s and early [[drum machine]]s. He founded Roland in 1972 and was involved in the development of various influential electronic instruments, such as the [[TR-808]] and [[TR-909]] drum machines and the [[TB-303]] bass synthesizer, in addition to Boss [[guitar amplifier]]s and [[effects pedal]]s. He was also key to the development of [[MIDI]], a technical standard that connects a wide variety of electronic instruments, in the 1980s; in 2013, Kakehashi received a [[Technical Grammy Award]], shared with Dave Smith of Sequential Circuits, for the invention. Kakehashi's inventions are credited with shaping [[popular music]] genres such as [[Electronic music|electronic]], [[Dance music|dance]], [[Hip hop music|hip hop]], [[Contemporary R&B|R&B]], [[Rock music|rock]] and [[pop music]].<ref name="fact">[http://www.factmag.com/2017/04/02/ikutaro-kakehashi-life/ The life and times of Ikutaro Kakehashi, the Roland pioneer modern music owes everything to], ''[[Fact (UK magazine)|Fact]]''</ref><ref name="guardian">{{cite web|url=https://www.theguardian.com/music/2017/apr/02/roland-founder-and-music-pioneer-ikutaro-kakehashi-dies-aged-87|title=Roland founder and music pioneer Ikutaro Kakehashi dies aged 87|first1=Ruth|last1=McKee|first2=Jamie|last2=Grierson|date=2 April 2017|publisher=|accessdate=29 May 2017|via=The Guardian}}</ref><ref>{{cite web|url=https://www.nytimes.com/2017/04/03/arts/music/ikutaro-kakeshashi-roland-808-drum-machine-dead.html|title=Ikutaro Kakehashi, Engineer Behind Revolutionary Drum Machine, Dies at 87|first=Jon|last=Pareles|date=3 April 2017|publisher=|accessdate=29 May 2017|via=NYTimes.com}}</ref><ref name="bbc-world">{{cite web|url=https://www.youtube.com/watch?v=AqTGApbPIzk|title=BBC World Service tribute to the founder of Roland Corporation|first=|last=Creative Media|date=2 April 2017|publisher=|accessdate=29 May 2017|via=YouTube}}</ref><ref>[https://thump.vice.com/en_us/article/ikutaro-kakehashi-founder-of-roland-and-developer-of-the-tr-808-has-died-at-age-87 Ikutaro Kakehashi, Founder of Roland and Developer of the TR-808, Has Died at Age 87], ''[[Vice (magazine)|Vice]]''</ref><ref name="synthtopia">{{cite web|url=http://www.synthtopia.com/content/2017/04/01/roland-founder-ikutaro-kakehashi-has-died/|title=Roland Founder Ikutaro Kakehashi Has Died|website=Synthtopia|accessdate=1 April 2017}}</ref><ref>[http://www.spin.com/2017/04/ikutaro-kakehashi-roland-founder-and-music-pioneer-dies-at-87/ Ikutaro Kakehashi, Roland Founder and Music Pioneer, Dies at 87], ''[[Spin (magazine)|Spin]]''</ref><ref name="sos_roland" /><ref name=":52">{{Cite news|url=http://www.cbc.ca/news/entertainment/slaves-to-the-rhythm-1.771508|title=Slaves to the rhythm|last=Anderson|first=Jason|date=27 November 2008|work=|access-date=16 January 2017|via=|newspaper=CBC News}}</ref><ref name="reverb">{{cite web|url=https://reverb.com/uk/news/tribute-ikutaro-kakehashi-and-rolands-impact-on-music|title=Tribute: Ikutaro Kakehashi and Roland's Impact on Music|website=reverb.com|accessdate=29 May 2017}}</ref> |
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==Biography== |
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Kakehashi was born on 7 February 1930 in [[Osaka]], Japan.<ref name="fact"/> His parents died of [[tuberculosis]] during his early childhood,<ref name="fact2016">{{cite web|url=http://www.factmag.com/2016/09/22/the-14-drum-machines-that-shaped-modern-music/|title=The 14 drum machines that shaped modern music|date=22 September 2016|publisher=|accessdate=29 May 2017}}</ref> and he was raised by his grandparents.<ref name="fact"/> Much of his childhood was spent studying [[electrical engineering]] and working in the [[Hitachi]] shipyards of Osaka.<ref name="fact2016"/> During [[World War II]], with no music lessons, Kakehashi became interested in radio as a way of listening to music,<ref name="fact" /> and his home was destroyed by American bombing.<ref name="fact"/> Following the war, in 1946, he failed to get into [[university]] on health grounds, and moved to the southern island of [[Kyushu]].<ref name="fact2016"/> |
Kakehashi was born on 7 February 1930 in [[Osaka]], Japan.<ref name="fact"/> His parents died of [[tuberculosis]] during his early childhood,<ref name="fact2016">{{cite web|url=http://www.factmag.com/2016/09/22/the-14-drum-machines-that-shaped-modern-music/|title=The 14 drum machines that shaped modern music|date=22 September 2016|publisher=|accessdate=29 May 2017}}</ref> and he was raised by his grandparents.<ref name="fact"/> Much of his childhood was spent studying [[electrical engineering]] and working in the [[Hitachi]] shipyards of Osaka.<ref name="fact2016"/> During [[World War II]], with no music lessons, Kakehashi became interested in radio as a way of listening to music,<ref name="fact" /> and his home was destroyed by American bombing.<ref name="fact"/> Following the war, in 1946, he failed to get into [[university]] on health grounds, and moved to the southern island of [[Kyushu]].<ref name="fact2016"/> |
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Kakehashi had no musical training, and wanted musical instruments to be accessible for professionals as well as amateurs like himself. He also wanted them to be inexpensive, intuitive, small, and simple. He constructed his first 49-key monophonic organ in 1959, specifically designed to be playable by anyone, with no musical skill necessary. The focus on miniaturization, affordability and simplicity later became fundamental to product development at Roland.<ref name="fact"/> |
Kakehashi had no musical training, and wanted musical instruments to be accessible for professionals as well as amateurs like himself. He also wanted them to be inexpensive, intuitive, small, and simple. He constructed his first 49-key monophonic organ in 1959, specifically designed to be playable by anyone, with no musical skill necessary. The focus on miniaturization, affordability and simplicity later became fundamental to product development at Roland.<ref name="fact"/> |
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==Ace Tone== |
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{{multiple image | direction=horizontal |
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|image1=Hammond Auto (Ace Tone Rhythm Ace FR-2L).png |
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|caption1=[[Ace Tone]] FR-2L (1967), an early electronic [[drum machine]] |
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|image2=Ace Tone Rhythm Ace FR-3 - "The Synth World in Naniwa" screenings, talk, and live - UPLINK, Shibuya, 2014-08-24.jpg |
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|width2=150 |
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|caption2=[[Ace Tone]] FR-3 (1967), an early electronic drum machine |
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}} |
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{{See also|Ace Tone}} |
{{See also|Ace Tone}} |
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⚫ | In 1960, Kakehashi founded [[Ace Tone|Ace Electronic Industries Inc.]] In 1964, he developed the first fully [[transistor]]ized [[electronic drum]] instrument, the R1 Rhythm Ace, which was exhibited at Summer [[NAMM]] 1964. It was a push-button device that was manually hand-operated in a manner similar to modern electronic drum pads. It not commercialized in North America, however, due to its lack of automated preset rhythms. This led to him beginning work on a fully transistorized electronic [[rhythm machine]].<ref name="sos_roland"/><ref name="fact2016"/> In 1967, Kakehashi patented the "Automatic Rhythm Performance Device" [[drum machine]], a preset rhythm-pattern generator using ''diode matrix'' circuit, a [[drum machine]] where a "plurality of inverting circuits and/or clipper circuits are connected to a counting circuit to synthesize the output signal of the counting circuit" and the "synthesized output signal becomes a desired rhythm".<ref name=uspat3651241>{{cite patent | country = US | number = 3651241 | status = patent | title = Automatic Rhythm Performance Device | inventor= Ikutaro Kakehashi (Ace Electronics Industries, Inc.) | fdate = 1971-06-03 | gdate = 1972-03-21}}</ref> |
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⚫ | Ace Tone commercialized his preset rhythm machine, called the FR-1 Rhythm Ace, in 1967. It offered 16 preset patterns, and four buttons to manually play each instrument sound ([[cymbal]], [[claves]], [[cowbell]] and [[bass drum]]). The rhythm patterns could also be cascaded together by pushing multiple rhythm buttons simultaneously, and the possible combination of rhythm patterns were more than a hundred (on the later models of Rhythm Ace, the individual volumes of each instrument could be adjusted with the small knobs or faders). In 1968 a joint venture was established with Hammond USA, The FR-1 was adopted by the [[Hammond organ|Hammond Organ Company]] for incorporation within their latest organ models. In the US, the units were also marketed under the [[Multivox]] brand by Peter Sorkin Music Company, and in the UK, marketed under the Bentley Rhythm Ace brand. The unique artificial sounds characteristics of the FR-1 were similar to the later [[Roland Corporation|Roland]] rhythm machines, and featured on [[electropop]] music from the late 1970s onwards.<ref name="sos_roland">{{citation |last=Reid |first=Gordon |year=2004 |title=The History Of Roland Part 1: 1930–1978 |journal=[[Sound on Sound]] |issue=November |url=http://www.soundonsound.com/sos/nov04/articles/roland.htm |accessdate=19 June 2011 }}</ref> Ace Tone popularized the use of drum machines, with the FR-1 Rhythm Ace finding its way into [[popular music]] starting in the late 1960s.<ref name="cambridge">Russell Hartenberger (2016), [https://books.google.co.uk/books?id=G2WSCwAAQBAJ&pg=PA84 ''The Cambridge Companion to Percussion'', page 84], [[Cambridge University Press]]</ref> |
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In 1960, Kakehashi founded [[Ace Tone|Ace Electronic Industries Inc.]] In 1964, he developed |
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{{cite patent |
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| country = US |
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| number = 3651241 |
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| status = patent |
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| title = Automatic Rhythm Performance Device |
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| inventor= Ikutaro Kakehashi (Ace Electronics Industries, Inc.) |
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| fdate = 1971-06-03 |
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| gdate = 1972-03-21 |
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}}</ref> |
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⚫ | Ace Tone commercialized his preset rhythm machine, called the FR-1 Rhythm Ace, in 1967. It offered 16 preset patterns, and four buttons to manually play each instrument sound ([[cymbal]], [[claves]], [[cowbell]] and [[bass drum]]). The rhythm patterns could also be cascaded together by pushing multiple rhythm buttons simultaneously, and the possible combination of rhythm patterns were more than a hundred (on the later models of Rhythm Ace, the individual volumes of each instrument could be adjusted with the small knobs or faders). In 1968 a joint venture was established with Hammond USA, The FR-1 was adopted by the [[Hammond organ|Hammond Organ Company]] for incorporation within their latest organ models. In the US, the units were also marketed under the [[Multivox]] brand by Peter Sorkin Music Company, and in the UK, marketed under the Bentley Rhythm Ace brand. The unique artificial sounds characteristics of the FR-1 were similar to the later [[Roland Corporation|Roland]] rhythm machines, and featured on [[electropop]] music from the late 1970s onwards.<ref name="sos_roland">{{citation |last=Reid |first=Gordon |year=2004 |title=The History Of Roland Part 1: 1930–1978 |journal=[[Sound on Sound]] |issue=November |url=http://www.soundonsound.com/sos/nov04/articles/roland.htm |accessdate=19 June 2011 }}</ref> |
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{{See also|Roland Corporation}} |
{{See also|Roland Corporation}} |
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{{Listen |
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|image=[[Image:Roland TR-808 drum machine.jpg|200px]]<br/>[[Roland TR-808]] (1980), the most influential [[drum machine]] in contemporary [[popular music]] |
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|filename=808patterns_01.ogg |
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|title=Roland TR-808 patterns |
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|description=Various patterns played by a TR-808 |
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}} |
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⚫ | In 1972, Kakehashi founded the [[Roland Corporation]], and led it for four decades.<ref name="guardian" /> While rival companies [[Moog Music|Moog]] and [[ARP Instruments|ARP]] targeted professional musicians and academics, Kakehashi, who had no musical training, wanted to appeal to amateurs and hobbyists, and focused on miniaturization, affordability, and simplicity.<ref name="fact" /> The company went on to have a big impact on [[popular music]], and did more to shape [[electronic music]] than any other company.<ref name="fact2016"/> |
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At Roland, he continued his work on the development of drum machines. Roland's first drum machine was the [[Roland TR-77]], released in 1972.<ref name="collins">Mike Collins (2014), [https://books.google.co.uk/books?id=tdEABAAAQBAJ&pg=PA320 ''In the Box Music Production: Advanced Tools and Techniques for Pro Tools'', page 320], [[CRC Press]]</ref> The [[Roland CR-78]] in 1978 was the first [[microprocessor]]-driven programmable drum machine.<ref name="SOS2004"/> These 1970s [[:Category:Roland drum machines|Roland drum machines]] were used in [[disco]], [[R&B]], [[Rock music|rock]] and [[pop songs]] from the early 1970s to the early 1980s.<ref name="collins"/> |
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⚫ | In 1972, Kakehashi founded the [[Roland Corporation]], and led it for four decades.<ref name="guardian" /> While rival companies [[Moog Music|Moog]] and [[ARP Instruments|ARP]] targeted professional musicians and academics, Kakehashi, who had no musical training, wanted to appeal to amateurs and hobbyists, and focused on miniaturization, affordability, and simplicity.<ref name="fact" /> |
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{{multiple image |
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During the 1980s and 1990s, Roland released several instruments that have had a lasting influence on popular music.<ref name="guardian" /> After Kakehashi realized [[Microprocessor|microprocessors]] could be used to program drum machines,<ref name=":15">{{Cite book|url=https://books.google.com/books?id=IbtJAgAAQBAJ&pg=PT72&lpg=PT72&dq=%22mark+vail%22+808&source=bl&ots=dOOpEyQGfI&sig=nPF6yAIeQlupw3Pw0Drg6LE34r4&hl=en&sa=X&ved=0ahUKEwir3b7qhsfRAhUFJcAKHfSNCyMQ6AEIHzAB#v=onepage&q=%22mark%20vail%22%20808&f=false|title=Keyboard Presents the Evolution of Electronic Dance Music|last=Kirn|first=Peter|publisher=Backbeat Books|year=2011|isbn=978-1-61713-446-3 |
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|width = 180 |
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|image1 = Roland MC-8.jpg |
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|width1 = 180 |
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|caption1 = [[Roland MC-8 Microcomposer]] (1977), the first standalone [[CV/Gate]] [[music sequencer]] |
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|image2 = TB303 Front View.jpg |
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|caption2 = [[Roland TB-303]] (1981), a [[bass synthesizer]] that was instrumental to [[Acid house|acid]] [[house music]] |
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}} |
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{{listen |
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| pos = right |
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| filename = Discobotter.ogg |
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| title = Discobotter |
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| description = Example of [[Acid house|acid]] bass track, using [[Roland SH-101]] [[synthesizer]] (1982) for bass, [[Roland MC-202]] [[groovebox]] (1983) for filter hookline, and [[TR-808]] for drums |
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}} |
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He also worked on other electronic musical instruments at Roland. In 1974, Roland released the EP-30, the first [[Keyboard expression|touch-sensitive]] [[electronic keyboard]].<ref>[https://books.google.co.uk/books?id=6TVLAAAAYAAJ ''FutureMusic'', issues 131-134], 2003, page 55</ref> The [[Roland RS-202|RS-101]] [[Polyphonic synthesizer|polyphonic]] [[string synthesizer]] was released in 1975, followed by the [[Roland RS-202|RS-202]] in 1976.<ref>{{cite book|title= Analog Synthesizers: Understanding, Performing, Buying--From the Legacy of Moog to Software Synthesis|first=Mark|last=Jenkins|publisher=CRC Press|year=2009|isbn=978-1-136-12278-1|page=89}}</ref><ref>[https://web-beta.archive.org/web/20050308154533/www.soundonsound.com/sos/Jul02/articles/retrozone0702.asp A TALE OF TWO STRING SYNTHS], ''[[Sound on Sound]]'', July 2002</ref> The [[Roland System 100|System 100]] [[modular synthesizer]] was released in 1975,<ref>Mark Jenkins (2007), [https://books.google.co.uk/books?id=c3EHIpo0DKwC&pg=PA91 ''Analog Synthesizers'', page 89], [[Taylor & Francis]]</ref> followed by the [[Roland System 700|System 700]] in 1976.<ref name="synthtopia"/> The [[Roland MC-8 Microcomposer|MC-8 Microcomposer]] in 1977 was an early [[Polyphony and monophony in instruments|polyphonic]] [[music sequencer]],<ref>Paul Théberge (1997), [https://books.google.co.uk/books?id=asBnYmKKz6kC&pg=PA223 ''Any Sound You Can Imagine: Making Music/Consuming Technology'', page 223], [[Wesleyan University Press]]</ref><ref>Herbert A. Deutsch (1985), [https://books.google.co.uk/books?id=tjEJAQAAMAAJ ''Synthesis: an introduction to the history, theory & practice of electronic music''], page 96, [[Alfred Music]]</ref> and the first stand-alone microprocessor-driven [[CV/Gate]] sequencer,<ref name="SOS2004">{{cite journal |author=Gordon Reid |title=The History Of Roland Part 1: 1930-1978 |date=Nov 2004 |url=http://www.soundonsound.com/sos/nov04/articles/roland.htm |journal=[[Sound On Sound]] |accessdate=2011-06-19}}</ref><ref>[[Joel Chadabe|Chadabe, Joel]]. 1997. Electric Sound: The Past and Promise of Electronic Music. Upper Saddle River, New Jersey: Prentice Hall, (p. 194).</ref> with eight-channel [[polyphony]] allowing the creation of [[polyrhythm]]ic sequences; it had a significant impact on electronic music, with the MC-8 and its descendants (such as the [[Roland MC-4|MC-4 Microcomposer]]) impacting electronic music production in the 1970s and 1980s more than any other family of sequencers.<ref>[[Chris Carter (musician)|Chris Carter]], [http://www.chriscarter.co.uk/content/sos/roland_mc8.html ROLAND MC8 MICROCOMPOSER], ''[[Sound on Sound]]'', Vol.12, No.5, March 1997</ref> |
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In 1994, Kakehashi founded the Roland Foundation and became Chairman. In 1995 he was appointed chairman of Roland Corporation. In 2001 he resigned from the position and was appointed as Special Executive Adviser of Roland Corporation. In 2002, Kakehashi published an [[autobiography]], ''I Believe in Music.'' His second book, ''An Age Without Samples: Originality and Creativity in the Digital World'', was published in 2017.<ref name=":2">{{Cite news|url=https://www.nytimes.com/2017/04/03/arts/music/ikutaro-kakeshashi-roland-808-drum-machine-dead.html|title=Ikutaro Kakehashi, Engineer Behind Revolutionary Drum Machine, Dies at 87|access-date=2018-09-06 |
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⚫ | During the 1980s and 1990s, Roland released several instruments that have had a lasting influence on popular music.<ref name="guardian" /> After Kakehashi realized [[Microprocessor|microprocessors]] could be used to program drum machines,<ref name=":15">{{Cite book|url=https://books.google.com/books?id=IbtJAgAAQBAJ&pg=PT72&lpg=PT72&dq=%22mark+vail%22+808&source=bl&ots=dOOpEyQGfI&sig=nPF6yAIeQlupw3Pw0Drg6LE34r4&hl=en&sa=X&ved=0ahUKEwir3b7qhsfRAhUFJcAKHfSNCyMQ6AEIHzAB#v=onepage&q=%22mark%20vail%22%20808&f=false|title=Keyboard Presents the Evolution of Electronic Dance Music|last=Kirn|first=Peter|publisher=Backbeat Books|year=2011|isbn=978-1-61713-446-3}}</ref> Roland launched the [[Roland TR-808|TR-808]] drum machine, its first programmable drum machine, in 1980.<ref name=":12">{{Cite web|url=http://www.factmag.com/2014/01/16/roland-tr-808-beginners-guide-everything-you-ever-wanted-to-know-introduction/|title=Everything you ever wanted to know about the Roland TR-808 but were afraid to ask|last=|first=|date=16 January 2014|website=Fact|publisher=|access-date=16 January 2017}}</ref> Kakehashi deliberately purchased faulty [[Transistor|transistors]] that created the machine's distinctive "sizzling" sound.<ref name=":8">{{Cite web|url=http://www.newyorker.com/culture/culture-desk/the-808-heard-round-the-world|title=The 808 heard round the world|last=Norris|first=Chris|date=13 August 2015|website=The New Yorker|publisher=|access-date=16 January 2017}}</ref> Although it was not an immediate commercial success, the 808 was eventually used on more hit records than any other drum machine<ref>{{citation|last=Wells|first=Peter|title=A Beginner's Guide to Digital Video|url=https://books.google.com/books?id=stvOCfhc_igC&pg=PA18|page=18|year=2004|publisher=AVA Books|isbn=2-88479-037-3|accessdate=20 May 2011}}</ref> and became a cornerstone of the emerging [[Electronic music|electronic]] and [[hip hop]] genres.<ref name=":5">{{Cite news|url=http://www.cbc.ca/news/entertainment/slaves-to-the-rhythm-1.771508|title=Slaves to the rhythm|last=Anderson|first=Jason|date=27 November 2008|work=|newspaper=CBC News|access-date=16 January 2017|via=}}</ref> It has been described as hip hop's equivalent to the [[Fender Stratocaster]] guitar, which dramatically influenced the development of [[rock music]].<ref>{{Cite web|url=https://www.theguardian.com/music/2017/apr/02/roland-founder-and-music-pioneer-ikutaro-kakehashi-dies-aged-87|title=Roland founder and music pioneer Ikutaro Kakehashi dies aged 87|last=McKee|first=Ruth|last2=Grierson|first2=Jamie|date=2 April 2017|website=The Guardian|archive-url=|archive-date=|dead-url=|access-date=6 April 2018}}</ref><ref>{{Cite news|url=https://www.wired.com/2014/02/roland-resurrects-808/|title=Early hip-hop's greatest drum machine just got resurrected|last=Baldwin|first=Roberto|date=14 February 2014|work=|newspaper=Wired|access-date=4 January 2016|language=en-US|via=}}</ref><ref>{{Cite news|url=http://www.slate.com/articles/arts/music_box/2008/12/whats_an_808.html|title=What's an 808?|last=Richards|first=Chris|date=2 December 2008|work=|newspaper=Slate|access-date=16 January 2016|language=en-US|issn=1091-2339|via=}}</ref> The 808 was followed in 1983 by the [[Roland TR-909|TR-909]],<ref name=":11">{{Cite web|url=http://www.soundonsound.com/people/history-roland-part-2|title=The history of Roland: part 2 {{!}} Sound On Sound|last=Reid|first=Gordon|date=December 2014|website=Sound on Sound|publisher=|access-date=3 January 2016}}</ref> which, alongside the [[Roland TB-303|TB-303]] synthesizer, influenced the development of dance music such as [[techno]], [[House music|house]] and [[Acid house|acid]].<ref name=":02">{{Cite web|url=http://complex.com/music/2014/09/roland-tr-909-tracks/|title=Nine Great Tracks That Use the Roland TR-909|website=Complex|access-date=2018-03-26}}</ref><ref name=":1">{{Cite news|url=http://mixmag.net/feature/909-tracks-using-the-tr-909|title=9 of the best 909 tracks using the TR-909|work=Mixmag|access-date=2018-03-26}}</ref> |
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[[:Category:Roland synthesizers|Roland synthesizers]] such as the [[Roland SH-1000|SH-1000]], [[Roland Jupiter|Jupiter]], [[Roland SH-101|SH-101]], [[Roland JX-8P|JX-8P]], [[Roland Juno-60|Juno-60]] and [[Roland D-50|D-50]] were widely adopted in popular [[1980s music]].<ref name="bbc-world"/><ref name="synthtopia"/> The [[Roland MC-202|MC-202]], released in 1983, was the first [[groovebox]], a term that was coined in reference to its successor, the [[Roland MC-303|MC-303]].<ref>[http://www.emusician.com/gear/1332/roland-mc-202-microcomposer/32354 Roland MC-202 MicroComposer], ''[[Electronic Musician]]'', November 2001</ref> The [[Roland JP-8000|JP-8000]] was widely adopted in 1990s [[trance music]]. |
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⚫ | In 1994, Kakehashi founded the Roland Foundation and became Chairman. In 1995 he was appointed chairman of Roland Corporation. In 2001 he resigned from the position and was appointed as Special Executive Adviser of Roland Corporation. In 2002, Kakehashi published an [[autobiography]], ''I Believe in Music.'' His second book, ''An Age Without Samples: Originality and Creativity in the Digital World'', was published in 2017.<ref name=":2">{{Cite news|url=https://www.nytimes.com/2017/04/03/arts/music/ikutaro-kakeshashi-roland-808-drum-machine-dead.html|title=Ikutaro Kakehashi, Engineer Behind Revolutionary Drum Machine, Dies at 87|access-date=2018-09-06}}</ref> |
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{{See also|Boss Corporation}} |
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{{multiple image |
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|image1=DS 1 Distortion.jpg |
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|width1=150 |
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|caption1=[[Boss DS-1|Boss DS-1 Distortion]] (1978), a [[Distortion (music)|distortion]] [[effects pedal]] that was popular among [[electric guitar]] players |
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|image2=BossHM2HeavyMetal.jpg |
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|width2=120 |
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|caption2=[[Boss Corporation|Boss]] HM-2 Heavy Metal (1983), a [[distortion pedal]] widely used in [[Heavy metal music|heavy metal]] and [[Hardcore punk|hardcore]] [[punk rock]] |
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}} |
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In 1973, Kakehashi founded [[Boss Corporation]], a subsidiary of Roland that produces [[amplifier]]s and [[effects unit]]s for [[electric guitar]] and [[bass guitar]] players. Boss effects units became the ''de facto'' standard of guitar effects for decades, with many guitarists relying on them for sonic experimentation.<ref name="reverb"/> Boss amplifiers and effects units have had a significant impact on the development of [[rock music]] since the 1970s.<ref name="reverb"/><ref name="guitariste"/> |
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Roland initially also released [[guitar amplifier]]s and effects units in the 1970s. The [[Roland RE-201|Roland RE-201 Space Echo]] effects unit, released in 1974, gained popularity among guitarists.<ref name="reverb"/> The [[Roland Jazz Chorus|Roland Jazz Chorus 120]], a [[solid-state electronic]] amplifier released in 1975.<ref name="reverb"/> With its clean tone and versatile vibrato and chorus effects,<ref name="reverb"/> the Jazz Chorus series became increasingly popular in the late 1970s and early 1980s [[New wave music|new wave]] and [[post-punk]] scenes, because of its clean yet powerful sound, durability and relatively low cost. It also found favour amongst [[funk]] players in America.<ref>{{cite book| last=Madsen| first=Pete| title=Funk Guitar and Bass: Know the Players, Play the Music| year=2007| publisher=Hal Leonard| isbn=978-0-87930-894-0| pages=81| url=https://books.google.com/books?id=P7mVQezU-7cC&pg=PA81}}</ref> Roland also released [[effects pedal]]s, the AD–50 Double Beat and Jet Phaser, in the early 1970s.<ref name="reverb"/> |
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The Boss CE-1 Chorus Ensemble was released in 1976. The chorus circuit from the amp was put it into a [[stomp box]], making the CE-1 the first [[chorus pedal]]. It was an effects pedal known for its high quality effects, becoming widely adopted.<ref name="reverb"/> The [[Boss DS-1|Boss DS-1 Distortion]], a [[distortion pedal]] released in 1978, became a classic effect, used by many notable guitar players.<ref name="brewster">{{cite book|last=Brewster|first=David M.|title=Introduction to guitar tone & effects: an essential manual for getting the best sounds from electric guitars, amplifiers, effect pedals, and digital processors|year=2003|publisher=Hal Leonard|isbn=978-0-634-06046-5|page=20|url=https://books.google.com/books?id=q99-bY3cL8YC&pg=PA20}}</ref> The Heavy Metal (HM-2) [[distortion pedal]], released in 1983, was an integral part of the guitar sound of many styles of [[heavy metal music]] ever since, including [[death metal]], [[extreme metal]] and [[Hardcore punk|hardcore]] [[punk rock]].<ref name="guitariste">{{Cite web|url=http://guitariste-metal.fr/boss-hm-2-pedal/|title=Boss HM-2 : more than a Myth, the story of the Swedish Sound - Guitariste-Metal|date=2016-03-16|language=fr-FR|access-date=2016-07-18}}</ref> |
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=== MIDI === |
=== MIDI === |
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{{Main|MIDI}} |
{{Main|MIDI}} |
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In the early 1980s, there was no [[Standardization|standardized]] means of synchronizing [[Electronic musical instrument|electronic musical instruments]] manufactured by different companies, |
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Roland introduced the [[Digital Control Bus]] (DCB) protocol in 1980, with the [[DIN sync]] interface to synchronize different electronic instruments. The interface debuted with the [[TR-808]] drum machine in 1980.<ref name=":15"/> |
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⚫ | In the early 1980s, there was no [[Standardization|standardized]] means of synchronizing [[Electronic musical instrument|electronic musical instruments]] manufactured by different companies,<ref name="chadab51002">{{cite journal|last=Chadabe|first=Joel|authorlink=Joel Chadabe|date=1 May 2000|title=Part IV: The Seeds of the Future|url=http://www.emusician.com/gear/0769/the-electronic-century-part-iv-the-seeds-of-the-future/145415|deadurl=yes|journal=Electronic Musician|publisher=Penton Media|volume=XVI|issue=5|archiveurl=https://web.archive.org/web/20120928230435/http://www.emusician.com/gear/0769/the-electronic-century-part-iv-the-seeds-of-the-future/145415|archivedate=28 September 2012|df=dmy-all}}</ref> which Kakehashi felt was limiting the growth of the industry.<ref name=":152">{{Cite book|url=https://books.google.com/?id=IbtJAgAAQBAJ&pg=PT72&lpg=PT72&dq=%22mark+vail%22+808#v=onepage&q=%22mark%20vail%22%20808&f=false|title=Keyboard Presents the Evolution of Electronic Dance Music|last=Kirn|first=Peter|date=2011|publisher=Backbeat Books|isbn=978-1-61713-446-3|archiveurl=https://web.archive.org/web/20170201235744/https://books.google.co.uk/books?id=IbtJAgAAQBAJ&pg=PT72&lpg=PT72&dq=%22mark+vail%22+808&source=bl&ots=dOOpEyQGfI&sig=nPF6yAIeQlupw3Pw0Drg6LE34r4&hl=en&sa=X&ved=0ahUKEwir3b7qhsfRAhUFJcAKHfSNCyMQ6AEIHzAB#v=onepage&q=%22mark%20vail%22%20808&f=false|archivedate=1 February 2017|deadurl=no|df=dmy-all}}</ref> He proposed developing a standard with representatives from [[Oberheim Electronics]], [[Sequential Circuits]], [[Yamaha]], [[Korg]] and [[Kawai (company)|Kawai]].<ref name="chadab51002" /> Kakehashi favored the name Universal Musical Interface (UME), pronounced ''you-me'',<ref name=":03">{{Cite news|url=http://www.factmag.com/2017/04/02/ikutaro-kakehashi-life/|title=The life and times of Ikutaro Kakehashi, the Roland pioneer modern music owes everything to|date=2017-04-02|work=FACT Magazine: Music News, New Music.|access-date=2018-09-06|language=en-US}}</ref> but the protocol was named Musical Instrument Digital Interface ([[MIDI]]).<ref name="Huber 1991">{{cite book|title=The MIDI Manual|last=Huber|first=David Miles|date=1991|publisher=SAMS|isbn=9780672227578|location=Carmel, Indiana}}</ref>{{rp|4|date=November 2012}} Kakehashi and [[Dave Smith (engineer)|Dave Smith]] of Sequential Circuits unveiled MIDI in 1983.<ref name="chadab5100">{{cite journal|last=Chadabe|first=Joel|authorlink=Joel Chadabe|date=1 May 2000|title=Part IV: The Seeds of the Future|url=http://www.emusician.com/gear/0769/the-electronic-century-part-iv-the-seeds-of-the-future/145415|deadurl=yes|journal=Electronic Musician|publisher=Penton Media|volume=XVI|issue=5|archiveurl=https://web.archive.org/web/20120928230435/http://www.emusician.com/gear/0769/the-electronic-century-part-iv-the-seeds-of-the-future/145415|archivedate=28 September 2012|df=}}</ref><ref name=":0" /> MIDI allowed communication between different instruments and [[general-purpose computer]]s to play a role in music production.<ref name="russ2012">{{cite book | last = Russ |first = Martin | year = 2012 | title = Sound Synthesis and Sampling | url = https://books.google.co.uk/books?id=X9h5AgAAQBAJ&pg=PA192 | publisher = [[CRC Press]] | ISBN = 1136122141 | page = 192 | accessdate = 26 April 2017}}</ref> Since its introduction, MIDI remains the industry standard.<ref name=":03" /> In 2013, Kakehashi and Smith received [[Technical Grammy Award|Technical Grammy Awards]] for their work.<ref>{{cite web|url=http://www.grammy.com/news/technical-grammy-award-ikutaro-kakehashi-and-dave-smith|title=Technical GRAMMY Award: Ikutaro Kakehashi And Dave Smith|publisher=|archiveurl=https://web.archive.org/web/20160822073641/http://www.grammy.com/news/technical-grammy-award-ikutaro-kakehashi-and-dave-smith|archivedate=22 August 2016|deadurl=no|accessdate=31 August 2016|df=dmy-all}}</ref><ref>{{cite web|url=http://www.grammy.com/videos/technical-grammy-award-recipients-ikutaro-kakehashi-and-dave-smith-at-special-merit-awards|title=Ikutaro Kakehashi, Dave Smith: Technical GRAMMY Award Acceptance|publisher=|archiveurl=https://web.archive.org/web/20141209022049/http://www.grammy.com/videos/technical-grammy-award-recipients-ikutaro-kakehashi-and-dave-smith-at-special-merit-awards|archivedate=9 December 2014|deadurl=no|accessdate=31 August 2016|df=dmy-all}}</ref><ref>{{cite book|title=The Synthesizer|last1=Vail|first1=Mark|date=2014|publisher=Oxford University Press|isbn=978-0-19-539481-8|location=New York|page=56}}</ref> |
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==ATV== |
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In 2013, after a clash with management,<ref name=":3">{{Cite news|url=https://www.japantimes.co.jp/culture/2017/04/03/music/synthesizer-pioneer-ikutaro-kakehashi-founder-roland-dies-87/|title=Synthesizer pioneer Ikutaro Kakehashi, founder of Roland, dies at 87 {{!}} The Japan Times|work=The Japan Times|access-date=2018-09-06|language=en-US}}</ref> Kakehashi left Roland and founded ATV Corporation, an audiovisual electronics company.<ref name=":2" /> His final project at ATV was the aFrame, an "electro-organic" percussion instrument played like a [[hand drum]].<ref name=":2" /> |
In 2013, after a clash with management,<ref name=":3">{{Cite news|url=https://www.japantimes.co.jp/culture/2017/04/03/music/synthesizer-pioneer-ikutaro-kakehashi-founder-roland-dies-87/|title=Synthesizer pioneer Ikutaro Kakehashi, founder of Roland, dies at 87 {{!}} The Japan Times|work=The Japan Times|access-date=2018-09-06|language=en-US}}</ref> Kakehashi left Roland and founded ATV Corporation, an audiovisual electronics company.<ref name=":2" /> His final project at ATV was the aFrame, an "electro-organic" percussion instrument played like a [[hand drum]].<ref name=":2" /> |
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Ikutaro Kakehashi
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Born | (1930-02-07)7 February 1930 |
Died | 1 April 2017(2017-04-01) (aged 87) |
Nationality | Japanese |
Occupation(s) | Engineer, entrepreneur |
Years active | 1947–2017 |
Known for | Founder of Ace Tone, Roland, Boss and ATV |
Notable work | Electronic musical instruments, MIDI, amplifiers, effects units |
Ikutaro Kakehashi (梯 郁太郎, Kakehashi Ikutarō, 7 February 1930 – 1 April 2017), also known by the nickname Taro,[1] was a Japanese engineer, inventor and entrepreneur. He founded the musical instrument manufacturers Ace Tone, Roland Corporation, and Boss Corporation, and the audiovisual electronics company ATV Corporation.
Kakehashi founded Ace Tone in 1960 to produce electronic organs and early drum machines. He founded Roland in 1972 and was involved in the development of various influential electronic instruments, such as the TR-808 and TR-909 drum machines and the TB-303 bass synthesizer, in addition to Boss guitar amplifiers and effects pedals. He was also key to the development of MIDI, a technical standard that connects a wide variety of electronic instruments, in the 1980s; in 2013, Kakehashi received a Technical Grammy Award, shared with Dave Smith of Sequential Circuits, for the invention. Kakehashi's inventions are credited with shaping popular music genres such as electronic, dance, hip hop, R&B, rock and pop music.[2][1][3][4][5][6][7][8][9][10]
Kakehashi was born on 7 February 1930 in Osaka, Japan.[2] His parents died of tuberculosis during his early childhood,[11] and he was raised by his grandparents.[2] Much of his childhood was spent studying electrical engineering and working in the Hitachi shipyards of Osaka.[11] During World War II, with no music lessons, Kakehashi became interested in radio as a way of listening to music,[2] and his home was destroyed by American bombing.[2] Following the war, in 1946, he failed to get into university on health grounds, and moved to the southern island of Kyushu.[11]
In 1947, aged 16, Kakehashi founded the Kakehashi Clock Store, a watch repair shop. He soon began repairing radios.[11] He later returned to Osaka to attend university. During a mass food shortage, he contracted tuberculosis and spent several years in a sanitarium, where he became a clinical trial test patient for an experimental medicine antibiotic drug, Streptomycin, which improved his condition.[2][11] In 1954, Kakehashi opened the Kakehashi Radio electrical appliance store, in his spare time, he repaired electronic organs and created prototype organs throughout the 1950s. At 28, he decided to devote himself to music and pursuit of the ideal electronic musical instrument.
Kakehashi had no musical training, and wanted musical instruments to be accessible for professionals as well as amateurs like himself. He also wanted them to be inexpensive, intuitive, small, and simple. He constructed his first 49-key monophonic organ in 1959, specifically designed to be playable by anyone, with no musical skill necessary. The focus on miniaturization, affordability and simplicity later became fundamental to product development at Roland.[2]
In 1960, Kakehashi founded Ace Electronic Industries Inc. In 1964, he developed the first fully transistorized electronic drum instrument, the R1 Rhythm Ace, which was exhibited at Summer NAMM 1964. It was a push-button device that was manually hand-operated in a manner similar to modern electronic drum pads. It not commercialized in North America, however, due to its lack of automated preset rhythms. This led to him beginning work on a fully transistorized electronic rhythm machine.[8][11] In 1967, Kakehashi patented the "Automatic Rhythm Performance Device" drum machine, a preset rhythm-pattern generator using diode matrix circuit, a drum machine where a "plurality of inverting circuits and/or clipper circuits are connected to a counting circuit to synthesize the output signal of the counting circuit" and the "synthesized output signal becomes a desired rhythm".[12]
Ace Tone commercialized his preset rhythm machine, called the FR-1 Rhythm Ace, in 1967. It offered 16 preset patterns, and four buttons to manually play each instrument sound (cymbal, claves, cowbell and bass drum). The rhythm patterns could also be cascaded together by pushing multiple rhythm buttons simultaneously, and the possible combination of rhythm patterns were more than a hundred (on the later models of Rhythm Ace, the individual volumes of each instrument could be adjusted with the small knobs or faders). In 1968 a joint venture was established with Hammond USA, The FR-1 was adopted by the Hammond Organ Company for incorporation within their latest organ models. In the US, the units were also marketed under the Multivox brand by Peter Sorkin Music Company, and in the UK, marketed under the Bentley Rhythm Ace brand. The unique artificial sounds characteristics of the FR-1 were similar to the later Roland rhythm machines, and featured on electropop music from the late 1970s onwards.[8] Ace Tone popularized the use of drum machines, with the FR-1 Rhythm Ace finding its way into popular music starting in the late 1960s.[13]
In 1972, Kakehashi founded the Roland Corporation, and led it for four decades.[1] While rival companies Moog and ARP targeted professional musicians and academics, Kakehashi, who had no musical training, wanted to appeal to amateurs and hobbyists, and focused on miniaturization, affordability, and simplicity.[2] The company went on to have a big impact on popular music, and did more to shape electronic music than any other company.[11]
At Roland, he continued his work on the development of drum machines. Roland's first drum machine was the Roland TR-77, released in 1972.[14] The Roland CR-78 in 1978 was the first microprocessor-driven programmable drum machine.[15] These 1970s Roland drum machines were used in disco, R&B, rock and pop songs from the early 1970s to the early 1980s.[14]
He also worked on other electronic musical instruments at Roland. In 1974, Roland released the EP-30, the first touch-sensitive electronic keyboard.[16] The RS-101 polyphonic string synthesizer was released in 1975, followed by the RS-202 in 1976.[17][18] The System 100 modular synthesizer was released in 1975,[19] followed by the System 700 in 1976.[6] The MC-8 Microcomposer in 1977 was an early polyphonic music sequencer,[20][21] and the first stand-alone microprocessor-driven CV/Gate sequencer,[15][22] with eight-channel polyphony allowing the creation of polyrhythmic sequences; it had a significant impact on electronic music, with the MC-8 and its descendants (such as the MC-4 Microcomposer) impacting electronic music production in the 1970s and 1980s more than any other family of sequencers.[23]
During the 1980s and 1990s, Roland released several instruments that have had a lasting influence on popular music.[1] After Kakehashi realized microprocessors could be used to program drum machines,[24] Roland launched the TR-808 drum machine, its first programmable drum machine, in 1980.[25] Kakehashi deliberately purchased faulty transistors that created the machine's distinctive "sizzling" sound.[26] Although it was not an immediate commercial success, the 808 was eventually used on more hit records than any other drum machine[27] and became a cornerstone of the emerging electronic and hip hop genres.[28] It has been described as hip hop's equivalent to the Fender Stratocaster guitar, which dramatically influenced the development of rock music.[29][30][31] The 808 was followed in 1983 by the TR-909,[32] which, alongside the TB-303 synthesizer, influenced the development of dance music such as techno, house and acid.[33][34]
Roland synthesizers such as the SH-1000, Jupiter, SH-101, JX-8P, Juno-60 and D-50 were widely adopted in popular 1980s music.[4][6] The MC-202, released in 1983, was the first groovebox, a term that was coined in reference to its successor, the MC-303.[35] The JP-8000 was widely adopted in 1990s trance music.
In 1994, Kakehashi founded the Roland Foundation and became Chairman. In 1995 he was appointed chairman of Roland Corporation. In 2001 he resigned from the position and was appointed as Special Executive Adviser of Roland Corporation. In 2002, Kakehashi published an autobiography, I Believe in Music. His second book, An Age Without Samples: Originality and Creativity in the Digital World, was published in 2017.[36]
In 1973, Kakehashi founded Boss Corporation, a subsidiary of Roland that produces amplifiers and effects units for electric guitar and bass guitar players. Boss effects units became the de facto standard of guitar effects for decades, with many guitarists relying on them for sonic experimentation.[10] Boss amplifiers and effects units have had a significant impact on the development of rock music since the 1970s.[10][37]
Roland initially also released guitar amplifiers and effects units in the 1970s. The Roland RE-201 Space Echo effects unit, released in 1974, gained popularity among guitarists.[10] The Roland Jazz Chorus 120, a solid-state electronic amplifier released in 1975.[10] With its clean tone and versatile vibrato and chorus effects,[10] the Jazz Chorus series became increasingly popular in the late 1970s and early 1980s new wave and post-punk scenes, because of its clean yet powerful sound, durability and relatively low cost. It also found favour amongst funk players in America.[38] Roland also released effects pedals, the AD–50 Double Beat and Jet Phaser, in the early 1970s.[10]
The Boss CE-1 Chorus Ensemble was released in 1976. The chorus circuit from the amp was put it into a stomp box, making the CE-1 the first chorus pedal. It was an effects pedal known for its high quality effects, becoming widely adopted.[10] The Boss DS-1 Distortion, a distortion pedal released in 1978, became a classic effect, used by many notable guitar players.[39] The Heavy Metal (HM-2) distortion pedal, released in 1983, was an integral part of the guitar sound of many styles of heavy metal music ever since, including death metal, extreme metal and hardcore punk rock.[37]
Roland introduced the Digital Control Bus (DCB) protocol in 1980, with the DIN sync interface to synchronize different electronic instruments. The interface debuted with the TR-808 drum machine in 1980.[24]
In the early 1980s, there was no standardized means of synchronizing electronic musical instruments manufactured by different companies,[40] which Kakehashi felt was limiting the growth of the industry.[41] He proposed developing a standard with representatives from Oberheim Electronics, Sequential Circuits, Yamaha, Korg and Kawai.[40] Kakehashi favored the name Universal Musical Interface (UME), pronounced you-me,[42] but the protocol was named Musical Instrument Digital Interface (MIDI).[43]: 4 Kakehashi and Dave Smith of Sequential Circuits unveiled MIDI in 1983.[44][45] MIDI allowed communication between different instruments and general-purpose computers to play a role in music production.[46] Since its introduction, MIDI remains the industry standard.[42] In 2013, Kakehashi and Smith received Technical Grammy Awards for their work.[47][48][49]
In 2013, after a clash with management,[50] Kakehashi left Roland and founded ATV Corporation, an audiovisual electronics company.[36] His final project at ATV was the aFrame, an "electro-organic" percussion instrument played like a hand drum.[36]
Kakehashi died in April 2017, aged 87.[6][51][10] Tributes came from musicians such as Tommy Snyder of Godiego,[50] Chris CarterofThrobbing Gristle,[50] Samantha Ronson, Matthew Herbert, Marc AlmondofSoft Cell, Martyn Ware of the Human League, and producer Paul Epworth.[1] Moog Music described him as a "model of resilience and a genuine trailblazer",[1] and Dave SmithofSequential wrote that he was "just an amazing man, a good friend, a very good competitor of course, and just innovative continually all that time".[1]
In 1991, Kakehashi was awarded an honorary doctorate from Berklee College of Music for his contribution to the development and popularization of electronic instruments. The Bentley-branded Rhythm Ace inspired the 1997 Birmingham band Bentley Rhythm Ace when a model was found at a car boot sale.
In 2000, Kekahashi left his handprints at Hollywood's RockWalkinHollywood. In 2002, Kakehashi published an autobiography, I Believe In Music,[52] and was featured as a biography in the book The Art of Digital Music. As of 2002, Kakehashi was awarded about 50 patents, since the 1960s.[53] In 2005, he was awarded the title of professor emeritus of the Central Music College of China and the University of Glamorgan.
In 2013, Kakeashi received a Technical Grammy Award, shared with Dave Smith of Sequential Circuits, for the invention of MIDI.[2] The 2015 documentary film 808 documented the impact that his Roland TR-808 drum machine had on popular music and popular culture,[54] describing it as the "rock guitarofhip hop".[55] In 2017, Electronic Musician magazine listed thirty of his instruments and innovations that have influenced popular music over the course of fifty years.[45]
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