Arthur Benade—Synthesizer
George Jameson · The Journal of the Acoustical Society of America · 1988
Of the talents that led to Art Benade's considerable accomplishments in musical acoustics, one has escaped prominent mention—namely—his proclivity to synthesize. He had a strong ability to select ostensibly unrelated facts and thoughts from many disciplines, theoretical and practical, over a period of time. When these stored items began to fit together, Art was often able to discern a direction and reach the solution to an acoustical problem. The breadth of overall knowledge required to permit access to obscure relationships has often been itself obscured by the impact of Art's results. He called freely on branches of physics, chemistry, mathematics, and electronics not central to his work. Besides the sciences, he was well grounded in music, literature, and many phases of engineering. On a different level, he was a proficient machinist, mechanic, and tinkerer. Not least, he was a usable musical performer. He possessed a truly remarkable musical ear that was a major source of information. While many of the above abilities are requisite for any successful experimental physicist, Art extended his attentions further—to the user of musical instruments. Examples of the synthetic process will be cited—partly from the standpoint of the author, whose background is in manufacture and repair of instruments, and in routine professional performance and teaching of woodwinds.