30Th Anniversary of MIDI™ Fact Sheet
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
FW-1804 Firewire Audio-MIDI Interface
» D00846700A FW-1804 FireWire Audio-MIDI Interface SETUP GUIDE Contents Introduction ...............................2 About the FW-1804 .......................2 Monitor Mixing ...........................2 The IEEE 1394 Standard ...................2 Before Installing the Software ...............3 Installation (Windows 2000 and Windows XP) .....4 Installation (Mac OS X 10.2.8 and above).........6 Installation (Mac OS 9.2)......................7 Connections ...............................8 MIDI Connections ........................8 Analog Audio Connections .................8 Status Indicators .........................9 Clock Source Setting ......................9 Introduction About the FW-1804 • COMPUTER selects the signals from the DAW passed through the FireWire connection. The level of the signals from the computer is set using the master output control The FW-1804 provides your computer with high-quality of the DAW software and the two analog outputs may be audio facilities: eight channels of analog input and two of selected (using the software Control Panel) for output of output, with two channels of digital audio I/O through these signals. coaxial connections and eight channels of digital I/O through optical connections—at up to 96 kHz 24-bit. There • INPUTS selects the stereo mix of the analog, optical and are also two physical MIDI input and four physical output coaxial signals for monitoring. ports. • BOTH allows the computer signals to be monitored It is connected to the host computer using a single 6-pin to mixed with the input signals. 6-pin IEEE 1394 cable (supplied) that carries audio and Individual channels can be set to unity gain by pressing and MIDI information back and forth between the FW-1804 holding the computer's [Shift] key while clicking on the and the computer. -
United States Patent (19) 11 Patent Number: 6,157,976 Tien Et Al
USOO6157976A United States Patent (19) 11 Patent Number: 6,157,976 Tien et al. (45) Date of Patent: Dec. 5, 2000 54 PCI-PCI BRIDGE AND PCI-BUS AUDIO OTHER PUBLICATIONS ACCELERATOR INTEGRATED CIRCUIT PCI System Architecture, Tom Shanley/Don Anderson, 75 Inventors: Paul Tien, Fremont; Cheng-Yeuan 1995, pp. 381-382. Tsay, Pleasanton; Rsong-Hsiang Shiao, Fremont, all of Calif. Primary Examiner Ayaz R. Sheikh Assistant Examiner Rupal D. Dharia 73 Assignee: ESS Technology, Fremont, Calif. Attorney, Agent, or Firm-Gray Cary Ware & Freidenrich 57 ABSTRACT 21 Appl. No.: 09/074,657 A semiconductor device with an embedded PCI 2.1 com 22 Filed: May 6, 1998 pliant bridge provides expanded functionality as System 51511 Int. Cl. ............................. GO6F13FOO700; GO6F 13/38/ level implementationsp of a PCI-to-PCI bridge,9. and enhances 52 U.S. Cl. ............................ 710/129, 710/127, 710/64; the level of integration possible. The embedded PCI-to-PCI 345/435; 84/604; 84/621; 84/622; 84/647 bridge allows the creation of multi-function, multimedia 58) Field of Search 345/435: 710/127 add-on cards Supporting multiple devices. Multi-function, 710129,6484/602,604 621 622 647. multimedia Subsystems that provide audio, graphics, MPEG, s w is s s 454. 70425s etc., are mapped into a bridged-to PCI-bus that keeps Such s traffic off the main PCI-bus. The advantage for the system or 56) References Cited add-in card Vendor is that the various multimedia chips that are combined can come from different Sources, providing an U.S. PATENT DOCUMENTS optimized and highly customized combination of functions. -
Pro 2 OS 1.4 Addendum
Pro 2 OS 1.4 Manual Addendum Pro 2 OS version 1.4 adds a number of new features not covered in the main Operation Manual. These features are described in the following addendum in the order shown below. New Features in OS 1.4 • Linear frequency modulation for classic DX-style FM. • Arpeggiator Beat Sync. This Global parameter quantizes keyboard perfor- mance of the arpeggiator so that notes are triggered precisely on the beat. • Sequencer Direction parameter, which provides new options for sequencer playback direction: forward, reverse, ping-pong, and random. • Rest/tie note input during step recording on track 1 of the Sequencer. • Lock sequence, which allows you to continuously run the same sequence while changing presets/programs. • MIDI CC output from the Pro 2 sequencer. • Trigger/Gate CV output, which gives you the ability to send a per-step gate signal from the CV output of the Pro 2 Sequencer. • Alternate Tunings. The Pro 2 now ships with 16 preset alternative tunings ranging from Equal temperament to Indonesian Gamelan tunings. Other tuning sets can be downloaded if desired. 1 Checking Your Operating System Version If you’ve just purchased your Pro 2 new, OS 1.4 may already be installed. If not, and you want to use the new features just described, you’ll need to update your OS to version 1.4 or later. To update your Pro 2 OS, you’ll need a computer and a USB cable, or a MIDI cable and MIDI interface. To download the latest version of the Pro 2 OS along with instructions on how to perform a system update, visit the Sequential website at: https://www.sequential.com/download-latest-pro-2-os/ To check your OS version: 1. -
Profire Lightbridge User Guide | 2 Introduction 1
34-in/36-out FireWire Lightpipe Interface User Guide English Table of Contents English . 2 Introduction . 2 What’s in the Box . 2 About ProFire Lightbridge . 3 ProFire Lightbridge Features . 4 System Requirements . 5 Controls and Connectors . 6 Front Panel . 6 Rear Panel . 7 Driver Installation . 8 Hardware Connections . 8 Audio . 8 MIDI . 9 Word Clock . 9 Using ProFire Lightbridge . 9 The Software Control Panel . 10 Hardware Page . 10 About Page . 13 Word Clock Synchronization . 14 Understanding Word Clock . 14 Specifications . 18 Warranty . 19 Warranty Terms . 19 Warranty Registration . 19 M-Audio ProFire Lightbridge User Guide | 2 Introduction 1 hank you for purchasing M-Audio’s ProFire Lightbridge interface. ProFire Lightbridge uses the ADAT optical T I/O standard to bring extensive digital connectivity to your studio. With its four ADAT optical inputs, four ADAT optical outputs, S/PDIF coaxial input and output, and stereo analog outputs, ProFire Lightbridge lets you connect a variety of devices to your FireWire-equipped digital audio workstation. Using the high-bandwidth, industry-standard FireWire (IEEE1394) protocol, ProFire Lightbridge gives your DAW up to 34 audio inputs and 36 outputs while connecting to your computer via a single cable. This makes it perfect for multi-channel transfers to and from external multitrack recorders. ProFire Lightbridge is also ideal for linking your DAW to an external digital mixer, or for connecting to another computer hosting soft synths and signal processors. This manual will explain the features and operation of ProFire Lightbridge. Even if you are an experienced recording enthusiast, please take a moment to read this guide and familiarize yourself with all of the unique features of your ProFire Lightbridge. -
US-16X08 Reference Manual
D01247020B US-16x08USB2.0 Audio Interface/Mic Preamp Reference Manual Before connecting this unit to a computer, you must download and install a dedicated driver. Contents 1 – Introduction ..............................................3 Windows 8 ....................................................................23 Features ..................................................................................3 Windows 7 ....................................................................23 Conventions used in this manual ..................................3 Mac OS X and iTunes ........................................................24 iOS ..........................................................................................24 2 – Names and functions of parts ..................4 Front panel ............................................................................4 9 – MIDI Implementation Chart ...................25 Rear panel ..............................................................................5 10 – Troubleshooting ...................................26 3 – Installation ................................................6 Troubleshooting ................................................................26 System requirements.........................................................6 11 – Specifications ........................................28 Windows ..........................................................................6 Specifications .....................................................................28 Mac OS X..........................................................................6 -
Digital Developments 70'S
Digital Developments 70’s - 80’s Hybrid Synthesis “GROOVE” • In 1967, Max Mathews and Richard Moore at Bell Labs began to develop Groove (Generated Realtime Operations on Voltage- Controlled Equipment) • In 1970, the Groove system was unveiled at a “Music and Technology” conference in Stockholm. • Groove was a hybrid system which used a Honeywell DDP224 computer to store manual actions (such as twisting knobs, playing a keyboard, etc.) These actions were stored and used to control analog synthesis components in realtime. • Composers Emmanuel Gent and Laurie Spiegel worked with GROOVE Details of GROOVE GROOVE System included: - 2 large disk storage units - a tape drive - an interface for the analog devices (12 8-bit and 2 12-bit converters) - A cathode ray display unit to show the composer a visual representation of the control instructions - Large array of analog components including 12 voltage-controlled oscillators, seven voltage-controlled amplifiers, and two voltage-controlled filters Programming language used: FORTRAN Benefits of the GROOVE System: - 1st digitally controlled realtime system - Musical parameters could be controlled over time (not note-oriented) - Was used to control images too: In 1974, Spiegel used the GROOVE system to implement the program VAMPIRE (Video and Music Program for Interactive, Realtime Exploration) • Laurie Spiegel at the GROOVE Console at Bell Labs (mid 70s) The 1st Digital Synthesizer “The Synclavier” • In 1972, composer Jon Appleton, the Founder and Director of the Bregman Electronic Music Studio at Dartmouth wanted to find a way to control a Moog synthesizer with a computer • He raised this idea to Sydney Alonso, a professor of Engineering at Dartmouth and Cameron Jones, a student in music and computer science at Dartmouth. -
MIDI に関する技術系統化調査 1 Systematized Survey of MIDI and Related Technologies
MIDI に関する技術系統化調査 1 Systematized Survey of MIDI and Related Technologies 井土 秀樹 Hideki Izuchi ■ 要旨 MIDI(Musical Instrument Digital Interface)は、日本の MIDI 規格協議会(現 AMEI:一般社団法人 音楽電子事業協会)と国際団体の MMA(MIDI Manufacturers Association)により制定された電子楽器の 演奏データを機器間でデジタル転送するための共通規格である。 1981 年 6 月シカゴで開催された NAMM ショーで、共通インターフェースの可能性に関して、最初の呼 びかけを行ったのがローランド創業者の梯郁太郎である。この呼びかけに応じ、最初の規格案を提案したのが Dave Smith(Sequential Circuits Inc. 社長)であった。両者は MIDI の制定に尽力し、MIDI 規格がその後 の音楽産業の発展に貢献したことが評価され、MIDI 制定から 30 周年を迎える 2013 年第 55 回グラミー賞 にて、連名でテクニカル・グラミー・アワードを受賞している。 MIDI を使って、異なる電子楽器同士がメーカーの枠を超えて同時に鳴らせるようになった。またコンピュー ターと電子楽器をつなぐことが可能となり、コンピューター上で演奏データを作成し、MIDI を通じて電子楽 器を自動演奏させることが可能となった。机の上で音楽の最終形まで制作可能になったことから「Desk Top Music」と呼ばれ、音楽制作の現場を大きく変えることになった。 また 1990 年代大手パソコン通信ホストによりアマチュア・ミュージシャンによる MIDI データの流通が隆 盛を極めた。このような MIDI データの流通には GS 音源、XG 音源と呼ばれたデファクトスタンダードな音色 配置と、SMF(Standard MIDI File)と呼ばれた MIDI データを記憶する共通ファイル・フォーマットの存在 が貢献した。 1992 年通信カラオケの誕生によって MIDI は楽器業界以外にも活躍の場を得ることになる。MIDI データを 使った通信カラオケシステムは、従来のディスクメディアによるカラオケシステムより、新曲の制作・配信が圧 倒的に速く、内蔵曲数の制限も少なく、ランニングコストも安価になったことから、カラオケの低価格・大衆化 を大きく前進させた。また 1999 年 2 月の i モード・サービス開始などにより、コンテンツ・プロバイダのメ ニューサイトで着信メロディーの演奏データを課金のうえダウンロードするのが一般的となり、携帯電話向けコ ンテンツビジネスが急速に拡大した。着信メロディーの演奏データの実体は Standard MIDI File(SMF)で あり、MIDI データが携帯端末の世界でも活用された。 MIDI は演奏データ情報に留まらず、クロック情報、タイムコード情報なども扱えるためレコーディング・ス タジオの制作プロセスを大きく変革した。さらに MIDI の RP(推奨実施例)として MIDI Machine Control、 MIDI Show Control、MIDI Visual Control 等も制定され、マルチトラックレコーダーの機器制御、照明機 器の制御、映像機器の制御にも MIDI が使われるようになった。 1999 年には MIDI を USB ケーブルの中に通すことが可能となり、また 2015 年には Bluetooth Low Energy(BLE)が規格化され、 2016 -
The Definitive Guide to Evolver by Anu Kirk the Definitive Guide to Evolver
The Definitive Guide To Evolver By Anu Kirk The Definitive Guide to Evolver Table of Contents Introduction................................................................................................................................................................................ 3 Before We Start........................................................................................................................................................................... 5 A Brief Overview ......................................................................................................................................................................... 6 The Basic Patch........................................................................................................................................................................... 7 The Oscillators ............................................................................................................................................................................ 9 Analog Oscillators....................................................................................................................................................................... 9 Frequency ............................................................................................................................................................................ 10 Fine ...................................................................................................................................................................................... -
Synthesizer-Guide 2018
Synthesizer 1 Guide 2018 Guide Nr. 9 Guide Nr. Synthesizer Sonnenstraße 15 Tel: 0049/(0)89/55146-116 D-80331 München www.hieber-lindberg.de www.hieber-lindberg.de [email protected] www.hieber-lindberg.de [email protected] Vorwort Novation PEAK Seite 4 Liebe Synthesizer-Freunde! 2 8-stimmiger Hybrid-Synthesizer 3 Jedes Jahr scheint ein neuer, überraschender Höhepunkt im Synthesizer-Sektor Roland SH-01A Seite 8 erreicht. Überraschend insofern, als man eine Sättigung des Marktes annehmen Analoger Klassiker im Boutique Format könnte. Gibt es nicht schon genug monophone Analogsynthesizer? (Nein.) Sind neue Eurorack-Module überhaupt noch möglich? (Ja.) Und was ist mit den poly- Arturia MatrixBrute Seite 10 phonen Analogen, sind diese endlich mal auf der Überholspur unterwegs? (Korg Paraphoner Analog-Synthesizer steigt zu DSI in den Poly-Ring: Die Überholspur ist eröffnet.) Hätte man als Musi- ker die nötigen Zeitressourcen, würde man umgehend (!) einen MatrixBrute samt Korg Prologue Seite 14 einiger der neuen Eurorack-Module ins Studio holen, dazu noch einen Peak und 8- bzw. 16-stimmiger Analog-Synthesizer einen Prologue. Dann Türe zu und genüssliches Klang-Forschen - für mindestens Roland/Studio Electronics SE-02 Seite 16 drei Jahre (oder mehr). Das Potenzial dazu hätten alle genannten Instrumente. Monophoner Analog-Synthesizer Doch natürlich sieht das wahre Leben anders aus. Hier heißt es Entscheidungen Hieber Lindberg Shop Seite 19 treffen - für dieses oder für jenes Instrument. Neuer „Polyphonic Eurorack Syn- Preisliste Synthesizer / Modularsysteme / Module thesizer“ von Doepfer gefällig, zusammen mit Vermonas randomRHYTHM- und twinCussion-Modul - alles im Arturia RackBrute-System verbunden mit dem Mini- Hieber Lindberg News Seite 26 Brute 2? Klingt nicht schlecht. -
(Tom) E. Oberheim
-·· Computer • History Museum Oral History of Thomas (Tom) E. Oberheim Interviewed by: Alex Bochannek, Computer History Museum Gene Radzik, Audio Engineering Society (AES) Recorded: October 29, 2012 Dolby Laboratories Inc. San Francisco, California CHM Reference number: X6701.2013 © 2012 Computer History Museum Oral History of Thomas E. Oberheim Gene Radzik: The time is 2:00 PM on Monday, October the 29, 2012. I’m Gene Radzik with the Audio Engineering Society [AES]. Alex Bochannek: And I’m Alex Bochannek with the Computer History Museum [CHM]. Gene Radzik: We’re located in San Francisco, California at the mixing studios of Dolby Laboratories with Tom [Thomas Elroy] Oberheim. Tom, thank you for granting this interview. For this oral history, I’d like to begin by capturing your back history. Would you mind telling us when and where you were born, and how audio entered your life? Tom Oberheim: I was born in Manhattan, Kansas— home of Kansas State University. Although it was Kansas State College when I was there. I was born in that town and raised— and went to school there and went right on to the Kansas State. In 1956 I got the bug to leave town for a while and met some people in Wichita and moved to California and arrived in California in July of ’56 with $10 in my pocket and a broken down car and that’s where I started. The first few months I just worked at a— at an aircraft company that needed somebody in their dark room because I had worked in a camera shop when I was in high school. -
Performance in EDM - a Study and Analysis of Djing and Live Performance Artists
California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses Capstone Projects and Master's Theses 12-2018 Performance in EDM - A Study and Analysis of DJing and Live Performance Artists Jose Alejandro Magana California State University, Monterey Bay Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes_all Part of the Music Performance Commons Recommended Citation Magana, Jose Alejandro, "Performance in EDM - A Study and Analysis of DJing and Live Performance Artists" (2018). Capstone Projects and Master's Theses. 364. https://digitalcommons.csumb.edu/caps_thes_all/364 This Capstone Project (Open Access) is brought to you for free and open access by the Capstone Projects and Master's Theses at Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. For more information, please contact [email protected]. Magaña 1 Jose Alejandro Magaña Senior Capstone Professor Sammons Performance in EDM - A Study and Analysis of DJing and Live Performance Artists 1. Introduction Electronic Dance Music (EDM) culture today is often times associated with top mainstream DJs and producers such as Deadmau5, Daft Punk, Calvin Harris, and David Guetta. These are artists who have established their career around DJing and/or producing electronic music albums or remixes and have gone on to headline world-renowned music festivals such as Ultra Music Festival, Electric Daisy Carnival, and Coachella. The problem is that the term “DJ” can be mistakenly used interchangeably between someone who mixes between pre-recorded pieces of music at a venue with a set of turntables and a mixer and an artist who manipulates or creates music or audio live using a combination of computers, hardware, and/or controllers. -
OPA ROLAND Documento D'offerta Roland Corporation 26 09
Documento di Offerta pubblica di acquisto ai sensi dell’art.102 e ss. del D. Lgs n.58 del 24 febbraio 1998 SU NUMERO MASSIMO 9.555.000 AZIONI ORDINARIE DI Offerente ROLAND CORPORATION CORRISPETTIVO UNITARIO OFFERTO: euro 1,40 per ogni azione ordinaria DURATA DELL’OFFERTA CONCORDATA CON BORSA ITALIANA S.p.A. dal 30 settembre al 29 ottobre 2003 inclusi, DALLE ORE 8:00 alle 17:35 (salvo proroga) CONSULENTE FINANZIARIO DELL’OFFERENTE E INTERMEDIARIO INCARICATO DELLA RACCOLTA DELLE ADESIONI SUL MERCATO TELEMATICO AZIONARIO ORGANIZZATO E GESTITO DA BORSA ITALIANA S.p.A. Settembre 2003 L'adempimento di pubblicazione del documento informativo non comporta alcun giudizio della Consob sull'opportunità dell'adesione e sul merito dei dati e delle notizie contenute nel presente documento. INDICE PREMESSE........................................................................................................................................5 A. AVVERTENZE...................................................................................................................7 A.1 CONDIZIONI D’EFFICACIA......................................................................................................7 A.2 AZIONI PROPRIE ....................................................................................................................9 A.3 COMUNICATO DELL’EMITTENTE............................................................................................9 A.4 OFFERTA RESIDUALE.............................................................................................................9