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#Sequential technology international software#In 2002, after several years working on software synthesis, Smith opened a new company, Dave Smith Instruments, to build new hardware. Smith moved to Korg, where he worked mainly on the Wavestation synthesizer. #Sequential technology international professional#It drained our resources, so by the time we pulled back to professional instruments, it was too late." Sequential Circuits was purchased by the Japanese corporation Yamaha Yamaha shut it down in 1989, and released no products under its name. Smith blamed the decision to move to computer audio in 1985: "We were too small and under-capitalized, and we were a few years too early in the market. In 1987, Sequential Circuits went out of business. Various Sequential products from the late 1970s to the early 1980s 1987: Closure The smaller Pro-One, essentially a monophonic Prophet-5, saw more success. It was followed by the larger Prophet-10, which was less successful as it was notorious for unreliability. : 385 The Prophet-5 became a market leader and industry standard, used by musicians such as Michael Jackson, Madonna, and Dr Dre, and by film composers such as John Carpenter. This facilitated a move from synthesizers creating unpredictable sounds to producing "a standard package of familiar sounds". #Sequential technology international Patch#Whereas previous synthesizers required users to adjust cables and knobs to change sounds, with no guarantee of exactly recreating a sound, the Prophet-5 used microprocessors to store sounds in patch memory. He demonstrated it at NAMM in January 1978 and shipped the first models later that year. When no instrument emerged, in early 1977, he quit his job to work full-time on a design for the Prophet-5, the first fully programmable polyphonic synthesizer. He conceived the idea of combining them with synthesizer chips to create a programmable synthesizer, but did not pursue the idea, assuming Moog or ARP would design the instrument first. We conclude by exploring the implications of our data for innovation markets and IP doctrine.The Prophet-5 (1978), the first Sequential synthesizerĪt the time, Smith had a full-time job working with microprocessors, then a new technology. Rather, choices between innovation and borrowing correlated much more powerfully with their internal, subjective beliefs about the difficulty of innovating. We find that subjects are only mildly responsive to external incentives. Many of our subjects chose to borrow when innovating was the optimal strategy, and even more chose to innovate when borrowing was the optimal strategy. Instead of rationally weighing the objective costs and benefits of different courses of action, creators instead were influenced by decision-making heuristics and individual preferences that often led to suboptimal and inefficient creative behavior. Our data suggest that creators do not consistently behave the way that economic analysis assumes. In particular, we study how creators decide whether to copy, or “borrow,” from existing ideas or to innovate around them. This Article reports four novel creativity experiments that begin to test those assumptions. Although many scholars have applied the tools of economic analysis to consider whether IP law is successful in encouraging cumulative innovation, that work has rested on a set of untested assumptions about creators’ behavior. The central task of intellectual property (IP) law is regulating this sequential innovation to ensure that initial creators and subsequent creators receive the appropriate sets of incentives. Authors and inventors copy, adapt, improve, interpret, and refine the ideas that have come before them. All creativity and innovation build on existing ideas. ![]()
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