The Sounds of Tomorrow: China's Electronic Instrument Renaissance | Yukes 玉刻 | TEDxZizhu Park

The Emerging Sound of China: Synthesizers, Innovation, and a Legacy Rediscovered

Key Concepts:

• Synthesizer: An electronic musical instrument generating audio signals through oscillators and electronic components.
• Localization: Adapting products and strategies to suit the specific cultural and market needs of a region (specifically China in this context).
• Tenzin: The pioneering Chinese inventor of the first Chinese synthesizer in the 1970s.
• Indie Synth Developers: Small, independent companies and individuals creating unique synthesizers, often with a strong artistic vision.
• Syofuturism: A blending of traditional aesthetics with futuristic technology, exemplified by the Denjang electric guqin.
• Modular Synthesis: A synthesizer approach using separate modules interconnected to create complex sounds.
• Ethnomusicology: The study of music in its cultural context.

I. Historical Context: A Late Bloom in Electronic Music

The presentation begins by highlighting Roland, a globally recognized instrument manufacturer, and its unique approach to the Chinese market, exemplified by instruments like the AE30 wind synthesizer and localized features like GU10 pedals for Gu Jong players. The core argument is that China, despite being the world’s primary manufacturer of synthesizers (90% currently), has a surprisingly late history of developing them. The electronic music equipment industry in China is described as “several generations behind” compared to the West and Japan.

A brief history of the synthesizer is provided, tracing its origins back roughly 100 years, with the first commercially available synthesizers appearing in America in the 1970s, followed by significant mass production in Japan. While many countries had engineers experimenting with synthesizers (examples given: Italian Synthex, Russian Theramin dating back to 1927), China lacked a comparable early development. The speaker emphasizes the universal nature of electronic engineering skills, noting that synthesizers are instruments “without an inherent cultural bias.”

II. The Story of Tenzin: China’s Forgotten Pioneer

The presentation centers on the story of Tenzin, a Chinese inventor who independently created a synthesizer in the 1970s. Driven by a desire to play the guqin but lacking the financial means, he modified a secondhand Taiishokoto (a Japanese zither) by adding electronic components for amplification, filtering, and eventually replacing the strings with oscillators. Crucially, Tenzin achieved this without access to information about synthesizers being developed elsewhere.

The speaker laments that Tenzin lacked the opportunity to inspire subsequent generations of Chinese engineers, potentially explaining the country’s delayed entry into synthesizer development. He describes meeting Tenzin, who continues to invent synthesizers today and is revered within the Chinese synthesizer community for answering the question: “Yes, there was a synthesizer made in China.” This story serves as a foundational narrative for the rest of the presentation.

III. Modern Chinese Synthesizer Development: Indie Developers and Big Players

The presentation then shifts to contemporary Chinese synthesizer development, categorizing it into two main areas: indie developers and larger companies.

• Medeli: This company, known for digital pianos, took a risk about 10 years ago to enter the synthesizer market. Their Hydro Synth is presented as potentially the “very first synthesizer to be entirely designed, manufactured, every chip, every sound in China,” marking a significant milestone. It’s described as versatile and well-received globally.
• Mangchi: Described as a “mad scientist inventor” in Beijing, Mangchi is highlighted as the first indie Chinese synth developer to achieve overseas success. His synthesizers are characterized by a unique design philosophy, complex circuitry, and abstract terminology (e.g., “bird and t,” “flow” instead of filter banks). Examples include the Horizon, a uniquely designed and sonically exploratory synthesizer.
• The Broader Indie Scene: The speaker estimates around two dozen indie synth developers in China, sharing their work on platforms like Shen Yu. Examples include ElectroWeird (embracing electronic tinkering), Sinso (beginner-friendly modules), Felix (open-source development), Modular Theater (interactive devices), and Coding Inspire (versatile, all-in-one modules). A thriving community exists, centered around platforms like WeChat.
• Foreign Companies & Localization: Native Instruments (Germany) is collaborating with Chinese ethnomusicologists to digitally preserve the sounds of Ming Dynasty instruments like the su. Arttoria (France) is fusing traditional Chinese instrument timbres with electronic sounds.

IV. Syofuturism and Traditional Instrument Innovation

The presentation introduces the concept of “syofuturism,” exemplified by the Denjang electric guqin by Gen Instruments. This carbon fiber instrument, designed for silent practice, is described as a vision of “China 2077,” a cyberpunk-inspired instrument representing a futuristic take on traditional Chinese culture.

Other examples of innovation in traditional instrument manufacturing include Nasher’s sleek electric Jong Ren. The speaker argues that these attempts to innovate within the traditional instrument industry deserve recognition.

V. The Future of Sound: Education and Community

The Shanghai Conservatory of Music’s new Electric Music Instrument Engineering Program is presented as a key indicator of the future of sound in China. The program emphasizes emotional and social value, addresses industry pain points, and encourages user-based product development.

The Modular Commune in Beijing is highlighted as a crucial event, a yearly expo where indie developers and larger manufacturers showcase their work, fostering a vibrant community. Unlike events like Super Booth in Germany, Modular Commune pays its musicians, demonstrating a unique approach to supporting artists.

Notable Quotes:

• “This is an instrument without an inherent cultural bias because electronic engineering the skills needed to make these sort of things is a universal concept.” – Regarding the synthesizer’s potential for cross-cultural integration.
• “This might explain why China is several generations behind in the world of niche synthesizer development. And I find that heartbreaking.” – Expressing the impact of Tenzin’s lack of support and recognition.
• “This is like a a look into China 2077, some crazy cyberpunk instrument of uh Chinese future.” – Describing the Denjang electric guqin.

Data & Statistics:

• 90% of synthesizers are currently manufactured in China.
• Approximately two dozen indie synth developers are active in China.

Conclusion:

The presentation paints a picture of a rapidly evolving synthesizer scene in China, moving from a historical lag to a burgeoning period of innovation. Driven by both independent developers and established companies, and fueled by a renewed appreciation for the legacy of Tenzin, China is poised to become a significant force in the global synthesizer market. The speaker emphasizes the importance of celebrating these innovators and recognizing the potential for innovation across all industries, not just in niche areas like synthesizer development. The future of sound in China is being shaped by a unique blend of tradition, technology, and a growing community of passionate creators.