The next major break through was in 1925 when the microphone replaced the recording horn. “The energy of the sounds of the recording musicians were converted in the microphone to electric currents, which were amplified to drive the cutting stylus (Hoover pg. 81)”. “A stylus tracing the wiggles exactly reproduces the motion of the diaphragm at the time the recording was made. Electricity is really incidental to the process, used as a convenient way to connect the microphone to the cutter and the pickup to the speaker (Elsea)”. This made it possible for orchestras and musicians to record under more natural settings. They didn’t have to direct their sound at the bell. The greatest advantage of the microphone was it allowed string instruments to be clearly heard.

The change took the synthesizer to the next level at the National Association of Music Merchandisers had their annual convention. There was the debut of the new MIDI system. Prior to this meeting there was worldwide cry for a system of inputting and outputting music through the digital technology that was present in the day. Originally it was to be called the Universal Music Interface. “The original proposal went through a significant number of revisions before being renamed and becoming the Musical Instrument Digital Interface, or MIDI standard. Several prominent Japanese musical instrument companies became involved in engineering the final version. It was a truly international cooperative venture. Finally, in 1983, Sequential Circuits from the U.S. and Roland from Japan introduced the first keyboards with MIDI, soon followed by virtually every other synthesizer company in the world (Hampton).” Midi soon became an integral part of all electronic music from that point forward. No instrument was made without a midi port on it. Today music is completely dependent on midi software. Every single note one hears on corporately sold albums has been put through some sort of midi processing software.

The next huge improvement was tape recording. Analog tape itself is pretty simple in construction. It a long tape of plastic that is coated with iron oxide, a magnetic substance. The next piece of the tape is called a head. There are a number of heads used when recording with analog tape. There is a record head, an erase head, and a play head. “All three heads are essentially the same in construction: a C-shaped piece of metal with the very narrow gap of the "C" near the tape. A coil of wire around the metal can serve to either detect or produce magnetic fields at the gap. If a strong current is passed through the coil, a field is produced which creates a magnetic spot on the nearby tape. The amount of magnetism will be proportional to the amount of current. If the tape is moved and the current varied in a periodic way, a "track" of magnetic areas will be imprinted on the tape. All of this happens at the record head (Elsea).” When a piece of music is played back using the analog tape it is the same exact process in reverse. The read head does not impart charge but reads it. As the piece of tape is dra

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