Little Phatty Editor Manual
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El Padre Del Sinte Y, Quizá, El Hombre Más Influyente En La
Pioneros FM BOB MOOG La gente corriente conoce muy pocos nombres de creadores de instrumentos –Stradivarius, Hammond, Wurlitzer, Fender, Gibson… y por supuesto, Moog OB MOOG, en una revista de electrónica. EL padre del De repente, en plena adolescencia, sintetizador y, “El padre del sinte y, ya estaba haciendo y vendiendo kits con quizá, el hombre su pequeña empresa R.A. Moog Co. más influyente quizá, el hombre más En 1961, siendo todavía un estudiante, en la música publicó un diseño de theremin a durante las transistores del cual vendió más de mil últimas cinco influyente en la música unidades, bien como kits de montaje Bdécadas, murió el pasado 21 de Agosto. de los últimos 50 años” o como instrumentos finalizados. Tenía 71 años –una edad respetable para A partir de entonces, conoció muchos, pero no para él. Cualquiera al pionero de la música electrónica que haya podido compartir algún Raymond Scott, quien producía jingles momento con el entrañable Bob antes para importantes cadenas de TV de que le diagnosticaran un tumor cerebral en disfrutar durante unas horas de su inspiradora, con su enorme muro de equipos electrónicos. Abril de este mismo año, te confirmará que carismática y entrañable compañía. Es posible que aquello le inspirase, porque estaba lleno de energía, humor y vitalidad, así Por no molestar, Moog prefería viajar en tren a principios de los 60, Moog presentó, que es una auténtica pena que no haya podido o en autobús antes que aceptar el ofrecimiento de posiblemente, la mayor revolución de la música seguir algunas décadas más entre nosotros. -
Casio XW-P1 & XW-G1 Groove Synthetizer
Démarrage - 1.1 Introduction personnelle Casio XW-P1 & XW-G1 Aide mémoire d’utilisation L. Duffar Synthetizer (VA/PCM) & Organ modelisation Groove Synthetizer (Looper- Sampler) CASIO XW-P1 & XW-G1 – Aide-mémoire Décembre 2018 1/205 Démarrage - 1.1 Introduction personnelle Sommaire court (Voir le sommaire complet à la fin) Pour une lecture à l’écran pensez à utiliser les signets du PDF pour naviguer dans le document 1 DÉMARRAGE 6 1.1 INTRODUCTION PERSONNELLE 6 1.2 OU TROUVER QUOI ? 7 1.1 SE PRÉPARER À JOUER 8 1.2 PANNEAU DE COMMANDE 11 1.3 OPÉRATIONS DE BASE 14 2 UTILISATION AVANCÉE 26 2.1 PANNEAU DE COMMANDE 26 2.2 SÉLECTION ET CRÉATION DE « TONES » 30 2.3 EXÉCUTION AUTOMATIQUE DE « PHRASE ARPÉGÉE » (XW-P1 UNIQUEMENT) 66 2.4 ENREGISTREMENT ET REPRODUCTION DE PHRASES 71 2.5 UTILISATION DU « STEP SEQUENCER » 78 2.6 ENREGISTREMENT ET LECTURE AVEC LE « LOOPER-SAMPLER » (XW-G1 UNIQUEMENT) 94 2.7 UTILISATION DU MODE « PERFORMANCES » 103 2.8 AUTRES FONCTIONS UTILES 112 2.9 UTILISATION D’UNE CARTE MÉMOIRE 120 2.10 RACCORDEMENT À UN ORDINATEUR 127 2.11 RÉFÉRENCE 129 3 APPENDICE 145 3.1 TONE LIST 145 3.2 DRUM ASSIGNMENT LIST 151 3.3 SYNTH WAVE LIST 154 3.4 PCM WAVE LIST 156 3.5 NOISE WAVE LIST 162 3.6 INSTRUMENT WAVE LIST 163 3.7 NORMAL DSP LIST 164 3.8 ARPEGGIO LIST 165 3.9 PHRASE LIST 165 3.10 SEQUENCE LIST 166 3.11 CHAIN LIST 166 3.12 PERFORMANCE LIST 167 4 LOGICIELS DE CONTRÔLE EXTÉRIEURS 168 4.1 LOGICIEL PC/MAC « DATA EDITOR FOR XW-P1/XW-G1 » PAR CASIO (GRATUIT) 168 4.2 APPLICATION IOS « MIDI DESIGNER XW SOLO SYNTH CONTROLLER » DE CONFUSION -
Immer Wieder Breit Moog Minimoog Voyager Select Series – Monofoner Synthesizer
_ g 058 test minimoog voyager select Immer wieder breit Moog Minimoog Voyager Select Series – Monofoner Synthesizer Eigentlich muss man über den Minimoog Voyager nicht mehr viele Worte verlieren. Das Instrument gilt nicht nur unter Freaks als das absolute Sahneteil in Sachen „Analogsound-mitten-ins-Gesicht“. Dass wir diesem Ausnahmefetisch trotzdem erneut ein paar Zeilen widmen, hat damit zu tun, dass das Teil jüngst ein neues Gewand bekommen hat. Und – ach ja! – ein paar Neuigkeiten gibt’s auch zu berichten. text: Dr. Stefan Albus fotos: Dieter Stork, Archiv Im Ernst: Auch wem es völlig egal ist, ob die des Panels zu entzücken weiß (Fire, Blue, Solar, Voyager ist ein kleines, unscheinbares Poti Bässe, mit denen er seinen Groove dahermal- Lunar und Jade). Die Story hinter diesem opti- rechts neben der Tastatur, das der Regelung der men lässt, aus einem Renderer oder aus echter schen Update ist schnell erzählt: Bereits 2004 Hintergrundbeleuchtung dient. Seine Wirkung Elektronik kommen, der dürfte seinen Hut zie- brachte Moog eine „Electric Blue“ getaufte, sei hier nur trocken umrissen: Bei Rechtsdre- hen ob der Jahre, die der Minimoog Voyager schwarz-blaue Gary-Numan-Style-Variante der inzwischen auf dem Buckel hat. Fünf Lenze: Das Maschine heraus. Folge: Gib den Leuten den profil ist schon was in einer Branche, und manche kleinen Finger und ... Jedenfalls hofft man bei Keyboarder fragen sich, ob sie eigentlich noch Moog, dass mit den neuen „Selects“ die vielen Hersteller / Vertrieb: Instrumente oder Fashion-Items spielen. Anfragen nach individuell eingetönten Instru- Moogmusic / Und sicher auch ein legitimer Grund, dem Voyager menten erst mal abebben. -
Minitaur Editor マニュアル
MINITAUR ANALOG BASS SYNTHESIZER エディターユーザーズマニュアル MINITAUR エディターマニュアル オーバービュー & フィーチャー Minitaur Plugin と Standalone Editor を使用することにより、リアルタイムの編集、プリセットライブラリ管理やシェアリ ング、ホスト DAW との統合が可能となります。これにより Minitaur の強力な 諸機能を簡単に利用することができます。 Minitaur Editor は DAW 上で作動している VST や AU,RTAS あるいは AAX フォーマットにも対応しています。 Minitaur Editor には 3 つのスクリーンレイアウトがあります : PANEL UNDER THE HOOD EXTENDED このモードでは、 Minitaur のフロント このモードでは、このソフトウェア このモードでは一つの画面上で パネルの外観と感覚で操作を行うこと 自身もしくはハードウェアコントロ PANEL と UNDER THE HOOD のど が可能です。 ーラーのような MIDI コントロール ちらも利用することができます。また、 ソースからのみ操作可能な Minitaur エンベロープ・リリースを追加して個 が持つ様々な音作りの追加機能を手 別に利用することも可能です。 軽に利用することができます。 PRESET MANAGER と SETTINGS へアクセスするボタンもここに置かれています。 注意 : このソフトウェアは MIDI コントロール専用です。音声を作成・処理することは出来ません。 より詳細な機能の説明については、Minitaur Manual を参照してください: http://www.moogmusic.com/products/taurus/minitaur#downloads-tab 1 動作環境 Mac: OS X 10.6.8 以上 PC: Windows 7 以上、Intel もしくは AMD のプロセッサ搭載 • 使用可能な USB ポートもしくは DIN MIDI IN/OUT。 • VST, AU, RTAS, AAM プラットフォーム対応の DAW 。 • Minitaur のファームウェアは 2.1.0 以上を必要とします。 VST 互換性 : 2.4+ もしくは VST 3+ サポートについては DAW のソフトウェアメーカにお問い合わせください。 全ての仕様は予告なしに変更されることがあります。 設定 & 接続 USB ケーブルで Minitaur シンセサイザをコンピュータに接続してください。 注意 :ご自身の Mac/PC で MIDI I/O を設定してください。 コンピュータやオーディオデバイスへの接続についての詳細は Minitaur User’s Manual の 4-5 ページを参照して ください。 インストール : Mac ユーザー : .pkg ファイルをクリックし、インストールしたいエディタのバージョンを 選択したのち CONTINUE ボタンをクリックしてください。 Windows ユーザー : 手動で.dll ファイルをデフォルトの VST プラグインのディレクトリに保存して下さ い。 32 Bit: C:\Program Files(x86)\”Name of DAW manufacturer”\Vst Plugins\ 64 Bit : C:\Program Files\”Name of DAW manufacturer”\VST Plugins\ (for 64 bit) RTAS: -
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. -
11C Software 1034-1187
Section11c PHOTO - VIDEO - PRO AUDIO Computer Software Ableton.........................................1036-1038 Arturia ...................................................1039 Antares .........................................1040-1044 Arkaos ....................................................1045 Bias ...............................................1046-1051 Bitheadz .......................................1052-1059 Bomb Factory ..............................1060-1063 Celemony ..............................................1064 Chicken Systems...................................1065 Eastwest/Quantum Leap ............1066-1069 IK Multimedia .............................1070-1078 Mackie/UA ...................................1079-1081 McDSP ..........................................1082-1085 Metric Halo..................................1086-1088 Native Instruments .....................1089-1103 Propellerhead ..............................1104-1108 Prosoniq .......................................1109-1111 Serato............................................1112-1113 Sonic Foundry .............................1114-1127 Spectrasonics ...............................1128-1130 Syntrillium ............................................1131 Tascam..........................................1132-1147 TC Works .....................................1148-1157 Ultimate Soundbank ..................1158-1159 Universal Audio ..........................1160-1161 Wave Mechanics..........................1162-1165 Waves ...........................................1166-1185 -
ORIGINAL GAME SOUNDTRACK —— Disc 1 —— Act I 1
ORIGINAL GAME SOUNDTRACK —— Disc 1 —— Act I 1. Hostility 5:22 2. Survival 4:44 3. Exile 6:33 4. Refinement 5:12 5. Complexity 5:30 6. Goliath 2:40 Act II 7. Darkness Eternal 4:36 8. Europa 7:51 9. Regrowth 8:20 10. Really Cold Pain 4:36 11. Meddler 5:24 12. Taurus 3:59 13. Tetrahedron 6:16 14. Enhancement 6:55 —— Disc 2 —— Act III 1. Plus Ultra 6:00 2. Unmanned 6:30 3. Far Flung 7:44 4. Discovery 5:06 5. Spiral Tide 5:33 6. Hidden Grind 3:03 Extras 7. Prepare For Overload 2:28 8. Simulator 1:58 9. Aggression 3:04 10. Tunnel 1:34 11. Decompression 1:27 12. Failure 2:40 13. Beale 1:35 14. Trinidad 1:25 15. Revival 1:21 16. Approach 1:49 17. Evacuation 0:22 18. Level Up 6:44 Total runtime 2:32:54 The soundtrack to Overload is a collection of original game music from artists around the world. Although they have unique musical backgrounds and histories, they share in common a passion for immersive platforms with untethered freedom and full control. Such an experience is Overload. Dan Wentz (Disc 1 Tracks 7, 9-12. Disc 2 Tracks 6-15, 17, 18) danwentz.com soundcloud.com/daniel-wentz It is a great honor and thrill to be involved in this project and I hope you enjoy the results of all of the hard work. I especially enjoyed seeing some familiar faces again and working on a common vision together. -
Transectorial Innovation, Location Dynamics and Knowledge Formation in the Japanese Electronic Musical Instrument Industry
TRANSECTORIAL INNOVATION, LOCATION DYNAMICS AND KNOWLEDGE FORMATION IN THE JAPANESE ELECTRONIC MUSICAL INSTRUMENT INDUSTRY Timothy W. Reiffenstein M.A., Simon Fraser University 1999 B.A., McGill University 1994 DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY In the Department of Geography O Timothy W. Reiffenstein 2004 SIMON FRASER UNIVERSITY July 2004 All rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means, without permission of the author. APPROVAL Name: Timothy W. Reiffenstein Degree: Doctor of Philosophy Title of Thesis: TRANSECTORIAL INNOVATION, LOCATION DYNAMICS AND KNOWLEDGE FORMATION IN TKE JAPANESE ELECTRONIC MUSICAL INSTRUMENT INDUSTRY Examining Committee: Chair: R.A. Clapp, Associate Professor R. Hayter, Professor Senior Supervisor N.K. Blomley, Professor, Committee Member G. Barnes, Professor Geography Department, University of British Columbia Committee Member D. Edgington, Associate Professor Geography Department, University of British Columbia Committee Member W. Gill, Associate Professor Geography Department, Simon Fraser University Internal Examiner J.W. Harrington, Jr., Professor Department of Geography, University of Washington External Examiner Date Approved: July 29. 2004 Partial Copyright Licence The author, whose copyright is declared on the title page of this work, has granted to Simon Fraser University the right to lend this thesis, project or extended essay to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request fiom the library of any other university, or other educational institution, on its own behalf or for one of its users. The author has further agreed that permission for multiple copying of this work for scholarly purposes may be granted by either the author or the Dean of Graduate Studies. -
Slim Phatty Manual
Table of Contents FOREWORD from Steve Dunnington .................. 5 THE USER INTERFACE (con’t) Performance Sets ................................................................ 50 THE BASICS Activating the Arpeggiator and Latch .................... 52 How to use this Manual ....................................... 6 How the SP handles MIDI ............................................. 54 Setup and Connections ........................................ 6 Overview and Features ........................................ 8 APPENDICES Signal Flow .................................................................... 10 A – LFO Sync Modes ..................................................... 58 Basic Operation ......................................................... 11 B – Arpeggiator Clock Source .................................. 59 C – The Calibration Preset ......................................... 60 THE COMPONENTS D – Accessories ................................................................. 61 A. Oscillator Section ............................................... 12 E – Tutorial ............................................................................. 62 B. Filter Section ......................................................... 14 F – MIDI Implementation Chart .............................. 67 C. Envelope Generators Section .................... 16 G – Service & Support Information ........................ 68 D. Modulation Section .......................................... 18 H – Caring for the Slim Phatty .................................. -
Slim Phatty Lundi 9 27.Indd
Table des matières AVANT-propos de Steve Dunnington... 5 L'INTERFACE utilisateur (suite) Performance Sets ................................................................50 LES NOTIONS DE BASE Activation de l'arpégiateur et verrou... 52 Comment utiliser ce manuel... 6 Comment le SP gère MIDI... 54 Installation et connexions... 6 Présentation générale et caractéristiques... 8 ANNEXES Signal Flow ....................................................................10 A – LFO Sync Modes .....................................................58 Basic Operation .........................................................11 B – arpégiateur Clock Source... 59 C – le préréglage de Calibration... 60 LES COMPOSANTS D – Accessories .................................................................61 A. Section oscillateur... 12 E – Tutorial .............................................................................62 B. Filter Section .........................................................14 F – MIDI mise en œuvre graphique... 67 C. article d'enveloppe de générateurs... 16 G – Service & des informations de Support...68 D. article modulation... 18 H – entretien de la Slim Phatty... 68 E. Output Section ....................................................19 I – à l'aide de la CP-251 avec le Slim Phatty...69 F. entrée/sortie panneau... 20 J – Specifications .................................................................71 G. interface panneau... 21 GLOSSARY ......................................................................................72 L'INTERFACE -
Laurent Lecatelier – Mastermind of BALORAN
Laurent Lecatelier – Mastermind of BALORAN Here a stop-by at BALORAN – best known for its synthesizer THE RIVER. An ideal opportunity, by the way, to again experience bumpy Belgian motorways, the flat northeast of France and the wonderful hospitality of Laurant Lecatelier. Of course we asked the owner of BALORAN for a short interview … GS: Hello Laurent. First – THE RIVER: Why that name? It’s quite unusual, making the novice curious as to what’s behind the scene. THE RIVER … like … musical flow? Laurent Lecatelier: That would be a pretty idea, but no – the name has a different origin. Many (many) years ago I discovered my affection for Moog’s THE SOURCE … well, and this “source”, multiplied, became the basis for my instrument. Several sources yield something larger, a stretch of running water – THE RIVER. Mine is the multiple / polyphonic version of that monophonic Moog synthesizer. | 1 Laurent Lecatelier – Mastermind of BALORAN A true 8-voice analog synthesizer, with a proper keyboard and a powerful sequencer – that’s an ambitious project. Please tell us something about the history of THE RIVER, about the development of the project … All my projects are initially motivated by very personal needs. So, too, THE RIVER. Although I have been playing keyboard for many years – I am truely a so-la-la keyboarder – I have already reached the limits of my musical expressiveness. For keyboarders like me, a little technical support helps us attain the desired expressiveness. This is one of the aspects that led to various ideas behind THE RIVER. Another aspect is the coincidental connection of my professional experience in the technical field with software programming and with my musical passion. -
Product Informations Product Informations
Product Informations Product Informations A WORD ABOUT SYNTHESIS A - Substractive (or analog) synthesis (usually called “Analog” because it was the synthesis you could find on most of the first analog synthesizers). It starts out with a waveform rich in harmonics, such as a saw or square wave, and uses filters to make the finished sound. Here are the main substractive synthesis components : Oscillators: The device creating a soundwave is usually called an oscillator. The first synthesizers used analog electronic oscillator circuits to create waveforms. These units are called VCO's (Voltage Controlled Oscillator). More modern digital synthesizers use DCO's instead (Digitally Controlled Oscillators). A simple oscillator can create one or two basic waveforms - most often a sawtooth-wave - and a squarewave. Most synthesizers can also create a completely random waveform - a noise wave. These waveforms are very simple and completely artificial - they hardly ever appear in the nature. But you would be surprised to know how many different sounds can be achieved by only using and combining these waves. 2 / 17 Product Informations Filters: To be able to vary the basic waveforms to some extent, most synthesizers use filters. A filter is an electronic circuit, which works by smoothing out the "edges" of the original waveform. The Filter section of a synthesizer may be labled as VCF (Voltage Controlled Filter) or DCF (Digitally Controlled Filter). A Filter is used to remove frequencies from the waveform so as to alter the timbre. •Low-Pass Filters allows the lower frequencies to pass through unaffected and filters out (or blocks out) the higher frequencies.