Spectral Multiband Resonator from 4Ms Company Eurorack Module User Manual V1.0.1 (September 2015)
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Chords and Scales 30/09/18 3:21 PM
Chords and Scales 30/09/18 3:21 PM Chords Charts written by Mal Webb 2014-18 http://malwebb.com Name Symbol Alt. Symbol (best first) Notes Note numbers Scales (in order of fit). C major (triad) C Cmaj, CM (not good) C E G 1 3 5 Ion, Mix, Lyd, MajPent, MajBlu, DoHar, HarmMaj, RagPD, DomPent C 6 C6 C E G A 1 3 5 6 Ion, MajPent, MajBlu, Lyd, Mix C major 7 C∆ Cmaj7, CM7 (not good) C E G B 1 3 5 7 Ion, Lyd, DoHar, RagPD, MajPent C major 9 C∆9 Cmaj9 C E G B D 1 3 5 7 9 Ion, Lyd, MajPent C 7 (or dominant 7th) C7 CM7 (not good) C E G Bb 1 3 5 b7 Mix, LyDom, PhrDom, DomPent, RagCha, ComDim, MajPent, MajBlu, Blues C 9 C9 C E G Bb D 1 3 5 b7 9 Mix, LyDom, RagCha, DomPent, MajPent, MajBlu, Blues C 7 sharp 9 C7#9 C7+9, C7alt. C E G Bb D# 1 3 5 b7 #9 ComDim, Blues C 7 flat 9 C7b9 C7alt. C E G Bb Db 1 3 5 b7 b9 ComDim, PhrDom C 7 flat 5 C7b5 C E Gb Bb 1 3 b5 b7 Whole, LyDom, SupLoc, Blues C 7 sharp 11 C7#11 Bb+/C C E G Bb D F# 1 3 5 b7 9 #11 LyDom C 13 C 13 C9 add 13 C E G Bb D A 1 3 5 b7 9 13 Mix, LyDom, DomPent, MajBlu, Blues C minor (triad) Cm C-, Cmin C Eb G 1 b3 5 Dor, Aeo, Phr, HarmMin, MelMin, DoHarMin, MinPent, Ukdom, Blues, Pelog C minor 7 Cm7 Cmin7, C-7 C Eb G Bb 1 b3 5 b7 Dor, Aeo, Phr, MinPent, UkDom, Blues C minor major 7 Cm∆ Cm maj7, C- maj7 C Eb G B 1 b3 5 7 HarmMin, MelMin, DoHarMin C minor 6 Cm6 C-6 C Eb G A 1 b3 5 6 Dor, MelMin C minor 9 Cm9 C-9 C Eb G Bb D 1 b3 5 b7 9 Dor, Aeo, MinPent C diminished (triad) Cº Cdim C Eb Gb 1 b3 b5 Loc, Dim, ComDim, SupLoc C diminished 7 Cº7 Cdim7 C Eb Gb A(Bbb) 1 b3 b5 6(bb7) Dim C half diminished Cø -
3 Manual Microtonal Organ Ruben Sverre Gjertsen 2013
3 Manual Microtonal Organ http://www.bek.no/~ruben/Research/Downloads/software.html Ruben Sverre Gjertsen 2013 An interface to existing software A motivation for creating this instrument has been an interest for gaining experience with a large range of intonation systems. This software instrument is built with Max 61, as an interface to the Fluidsynth object2. Fluidsynth offers possibilities for retuning soundfont banks (Sf2 format) to 12-tone or full-register tunings. Max 6 introduced the dictionary format, which has been useful for creating a tuning database in text format, as well as storing presets. This tuning database can naturally be expanded by users, if tunings are written in the syntax read by this instrument. The freely available Jeux organ soundfont3 has been used as a default soundfont, while any instrument in the sf2 format can be loaded. The organ interface The organ window 3 MIDI Keyboards This instrument contains 3 separate fluidsynth modules, named Manual 1-3. 3 keysliders can be played staccato by the mouse for testing, while the most musically sufficient option is performing from connected MIDI keyboards. Available inputs will be automatically recognized and can be selected from the menus. To keep some of the manuals silent, select the bottom alternative "to 2ManualMicroORGANircamSpat 1", which will not receive MIDI signal, unless another program (for instance Sibelius) is sending them. A separate menu can be used to select a foot trigger. The red toggle must be pressed for this to be active. This has been tested with Behringer FCB1010 triggers. Other devices could possibly require adjustments to the patch. -
ASR-X Pro 3.00
9ÑSupplemental Information 9 Suppll ementttall II nffformatttii on Lii sttt offf ROM Waves KEYBOARD ELEC PIANO JAMM SNARE CONGA LOW PERC ORGAN LIVE SNARE CONGA MUTE DRAWBAR LUDWIG SNARE CONGA SLAP ORGAN MUTT SNARE CUICA PAD SYNTH REAL SNARE ETHNO COWBELL STRII NG-SOUND STRING HIT RIMSHOT GUIRO MUTE GUITAR SLANG SNARE MARACAS MUTE GUITARWF SPAK SNARE SHAKER GTR-SLIDE WOLF SNARE SHEKERE DN BRASS+HORNS HORN HIT ZEE SNARE SHEKERE UP WII ND+REEDS BARI SAX HIT BRUSH SLAP SLAP CLAP BASS-SOUND UPRIGHT BASS SIDE STICK 1 TAMBOURINE DN BS HARMONICS SIDE STICK 2 TAMBOURINE UP FM BASS STICKS TIMBALE HI ANALOG BASS 1 STUDIO TOM TIMBALE LO ANALOG BASS 2 ROCK TOM TIMBALE RIM FRETLESS BASS 909 TOM TRIANGLE HIT MUTE BASS SYNTH DRUM VIBRASLAP SLAP BASS CYMBALS 808 CLOSED HT WHISTLE DRUM-SOUND 2001 KICK 808 OPEN HAT WOODBLOCK 808 KICK 909 CLOSED HT TUNED-PERCUS BIG BELL AMBIENT KICK 909 OPEN HAT SMALL BELL BAM KICK HOUSE CL HAT GAMELAN BELL BANG KICK PEDAL HAT MARIMBA BBM KICK PZ CL HAT MARIMBA WF BOOM KICK R&B CL HAT SOUND-EFFECT SCRATCH 1 COSMO KICK SMACK CL HAT SCRATCH 2 ELECTRO KICK SNICK CL HAT SCRATCH 3 MUFF KICK STUDIO CL HAT SCRATCH 4 PZ KICK STUDIO OPHAT1 SCRATCH 5 SNICK KICK STUDIO OPHAT2 SCRATCH 6 THUMP KICK TECHNO HAT SCRATCH LOOP TITE KICK TIGHT CL HAT WAVEFORM SAWTOOTH WILD KICK TRANCE CL HAT SQUARE WAVE WOLF KICK CR78 OPENHAT TRIANGLE WAV WOO BOX KICK COMPRESS OPHT SQR+SAW WF 808 SNARE CRASH CYMBAL SINE WAVE 808 RIMSHOT CRASH LOOP ESQ BELL WF 909 SNARE RIDE CYMBAL BELL WF BANG SNARE RIDE BELL DIGITAL WF BIG ROCK SNAR CHINA CRASH E PIANO WF -
Different Ecological Processes Determined the Alpha and Beta Components of Taxonomic, Functional, and Phylogenetic Diversity
Different ecological processes determined the alpha and beta components of taxonomic, functional, and phylogenetic diversity for plant communities in dryland regions of Northwest China Jianming Wang1, Chen Chen1, Jingwen Li1, Yiming Feng2 and Qi Lu2 1 College of Forestry, Beijing Forestry University, Beijing, China 2 Institute of Desertification Studies, Chinese Academy of Forestry, Beijing, China ABSTRACT Drylands account for more than 30% of China’s terrestrial area, while the ecological drivers of taxonomic (TD), functional (FD) and phylogenetic (PD) diversity in dryland regions have not been explored simultaneously. Therefore, we selected 36 plots of desert and 32 plots of grassland (10 Â 10 m) from a typical dryland region of northwest China. We calculated the alpha and beta components of TD, FD and PD for 68 dryland plant communities using Rao quadratic entropy index, which included 233 plant species. Redundancy analyses and variation partitioning analyses were used to explore the relative influence of environmental and spatial factors on the above three facets of diversity, at the alpha and beta scales. We found that soil, climate, topography and spatial structures (principal coordinates of neighbor matrices) were significantly correlated with TD, FD and PD at both alpha and beta scales, implying that these diversity patterns are shaped by contemporary environment and spatial processes together. However, we also found that alpha diversity was predominantly regulated by spatial structure, whereas beta diversity was largely determined by environmental variables. Among environmental factors, TD was Submitted 10 June 2018 most strongly correlated with climatic factors at the alpha scale, while 5 December 2018 Accepted with soil factors at the beta scale. -
Helmholtz's Dissonance Curve
Tuning and Timbre: A Perceptual Synthesis Bill Sethares IDEA: Exploit psychoacoustic studies on the perception of consonance and dissonance. The talk begins by showing how to build a device that can measure the “sensory” consonance and/or dissonance of a sound in its musical context. Such a “dissonance meter” has implications in music theory, in synthesizer design, in the con- struction of musical scales and tunings, and in the design of musical instruments. ...the legacy of Helmholtz continues... 1 Some Observations. Why do we tune our instruments the way we do? Some tunings are easier to play in than others. Some timbres work well in certain scales, but not in others. What makes a sound easy in 19-tet but hard in 10-tet? “The timbre of an instrument strongly affects what tuning and scale sound best on that instrument.” – W. Carlos 2 What are Tuning and Timbre? 196 384 589 amplitude 787 magnitude sample: 0 10000 20000 30000 0 1000 2000 3000 4000 time: 0 0.23 0.45 0.68 frequency in Hz Tuning = pitch of the fundamental (in this case 196 Hz) Timbre involves (a) pattern of overtones (Helmholtz) (b) temporal features 3 Some intervals “harmonious” and others “discordant.” Why? X X X X 1.06:1 2:1 X X X X 1.89:1 3:2 X X X X 1.414:1 4:3 4 Theory #1:(Pythagoras ) Humans naturally like the sound of intervals de- fined by small integer ratios. small ratios imply short period of repetition short = simple = sweet Theory #2:(Helmholtz ) Partials of a sound that are close in frequency cause beats that are perceived as “roughness” or dissonance. -
Course Name : Indonesian Cultural Arts – Karawitan (Seni Budaya
Course Name : Indonesian Cultural Arts – Karawitan (Seni Budaya Indonesia – Karawitan) Course Code / Credits : BDU 2303/ 3 SKS Teaching Period : January-June Semester Language Instruction : Indonesian Department : Sastra Nusantara Faculty : Faculty of Arts and Humanities (FIB) Course Description The course of Indonesian Cultural Arts (Karawitan) is a compulsory course for (regular) students of Faculty of Cultural Sciences Universitas Gadjah Mada, especially for the first and second semesters. The course is held every semester and is offered and can be taken by every student from semester 1 to 2. There are no prerequisites for Karawitan courses. The position of Indonesian Culture Arts (Karawitan) as the compulsory course serves to introduce the students to one aspect of Indonesian (or Javanese) art and culture and the practical knowledge related to the performance of traditional Javanese musical instruments, namely gamelan. This course also aims to provide both introduction and theoretical and practical understanding for the students of the Faculty of Cultural Science on gamelan instrument techniques, namely gendhing technique, that is found in Karawitan. Topics in this course include identification of Javanese gamelan instruments, exploration of tones in Javanese gamelan, gendhing instrument method and practice, as well as observation of traditional art performances. Proportionally, 30% of these courses contains briefing theoretical insights, 40% contains gamelan practice, and 30% contains provision of experience in a form of group collaboration and interaction Course Objectives The course of Indonesian Culture Arts (Karawitan) in general aims to provide theoretical and practical supplies through skill, application, and carefulness to recognize various instruments of Gamelan. Through this course, students are observant in identifying the various instruments of the gamelan and its application as instrumental and vocal art in karawitan. -
Tuning: at the Grcssroads
WendyGarloo ?O. Box1024 Tuning:At the New YorkCit, New York 10276USA Grcssroads lntrodrciion planned the construction of instruments that per- formed within the new "tunitrg of choice," and all The arena o{ musical scales and tuning has cer_ publishedpapers or books demonstretingthe supe- tainly not been a quiet place to be for the past thlee dority of their new scales in at least some way over hundred yeals. But it might iust as well have beenif €qual temperament.The tradition has continued we iudge by the results: the same 12V2 equally with Yunik and Swi{t {1980),Blackwood (1982),and temperedscale established then as the best avail- the presentauthor (Milano 1986),and shows no able tuning compromise, by J. S. Bach and many sign of slowing down despite the apparent apathy otheis lHelrnholtz 1954j Apel 1972),remains to with which the musical mainstream has regularly this day essentially the only scale heard in Westem grceted eech new proposal. music. That monopoly crossesall musical styles, of course therc's a perf€ctly reasonable explana- {rom the most contemporary of jazz and av^rf,t' tion lor the mainstream's evident preferetrce to rc- "rut-bound" gardeclassical, and musical masteeieces from the main when by now there are at least past, to the latest technopop rock with fancy s)'n- a dozen clearly better-sounding ways to tune our thesizers,and everwvherein between.Instruments scales,i{ only for at least part of the time: it re' ol the symphonyorchestra a((empr with varyirrg quires a lot of effort ol several kinds. I'm typing this deSreesof successto live up ro lhe 100-centsemi manuscript using a Dvorak keyboard (lor the ffrst tone, even though many would find it inherently far time!), and I assureyou it's not easyto unlearn the easierto do otherwise: the stdngs to "lapse" into QWERTY habits of a lifetime, even though I can Pythagoieen tuning, the brass into several keys of akeady feel the actual superiodty of this unloved lust irtonation lBarbour 1953).And th€se easily but demonstrablv better kevboard. -
Tuning, Timbre, Spectrum, Scale William A
Tuning, Timbre, Spectrum, Scale William A. Sethares Tuning, Timbre, Spectrum, Scale Second Edition With 149 Figures William A. Sethares, Ph.D. Department of Electrical and Computer Engineering University of Wisconsin–Madison 1415 Johnson Drive Madison, WI 53706-1691 USA British Library Cataloguing in Publication Data Sethares, William A., 1955– Tuning, timbre, spectrum, scale.—2nd ed. 1. Sound 2. Tuning 3. Tone color (Music) 4. Musical intervals and scales 5. Psychoacoustics 6. Music—Acoustics and physics I. Title 781.2′3 ISBN 1852337974 Library of Congress Cataloging-in-Publication Data Sethares, William A., 1955– Tuning, timbre, spectrum, scale / William A. Sethares. p. cm. Includes bibliographical references and index. ISBN 1-85233-797-4 (alk. paper) 1. Sound. 2. Tuning. 3. Tone color (Music) 4. Musical intervals and scales. 5. Psychoacoustics. 6. Music—Acoustics and physics. I. Title. QC225.7.S48 2004 534—dc22 2004049190 Apart from any fair dealing for the purposes of research or private study, or criticism or review, as permitted under the Copyright, Designs and Patents Act 1988, this publication may only be reproduced, stored or transmitted, in any form or by any means, with the prior permission in writing of the publishers, or in the case of reprographic reproduction in accordance with the terms of licences issued by the Copyright Licensing Agency. Enquiries con- cerning reproduction outside those terms should be sent to the publishers. ISBN 1-85233-797-4 2nd edition Springer-Verlag London Berlin Heidelberg ISBN 3-540-76173-X 1st edition Springer-Verlag Berlin Heidelberg New York Springer Science+Business Media springeronline.com © Springer-Verlag London Limited 2005 Printed in the United States of America First published 1999 Second edition 2005 The software disk accompanying this book and all material contained on it is supplied without any warranty of any kind. -
On the Bimodular Approximation and Equal Temperaments
On the Bimodular Approximation and Equal Temperaments Martin Gough DRAFT June 8 2014 Abstract The bimodular approximation, which has been known for over 300 years as an accurate means of computing the relative sizes of small (sub-semitone) musical intervals, is shown to provide a remarkably good approximation to the sizes of larger intervals, up to and beyond the size of the octave. If just intervals are approximated by their bimodular approximants (rational numbers defined as frequency difference divided by frequency sum) the ratios between those intervals are also rational, and under certain simply stated conditions can be shown to coincide with the integer ratios which equal temperament imposes on the same intervals. This observation provides a simple explanation for the observed accuracy of certain equal divisions of the octave including 12edo, as well as non-octave equal temperaments such as the fifth-based temperaments of Wendy Carlos. Graphical presentations of the theory provide further insights. The errors in the bimodular approximation can be expressed as bimodular commas, among which are many commas featuring in established temperament theory. Introduction Just musical intervals are characterised by small-integer ratios between frequencies. Equal temperaments, by contrast, are characterised by small-integer ratios between intervals. Since interval is the logarithm of frequency ratio, it follows that an equal temperament which accurately represents just intervals embodies a set of rational approximations to the logarithms (to some suitable base) of simple rational numbers. This paper explores the connection between these rational logarithmic approximations and those obtained from a long-established rational approximation to the logarithm function – the bimodular approximation. -
The Diachronic Development and Synchronic Distribution of Minimizers in Mandarin Chinese
UC Berkeley Dissertations, Department of Linguistics Title The Diachronic Development and Synchronic Distribution of Minimizers in Mandarin Chinese Permalink https://escholarship.org/uc/item/0g29672q Author Chen, I-Hsuan Publication Date 2015-07-01 eScholarship.org Powered by the California Digital Library University of California The Diachronic Development and Synchronic Distribution of Minimizers in Mandarin Chinese By I-Hsuan Chen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Linguistics in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Eve E. Sweetser, Chair Professor Gary B. Holland Professor Peter S. Jenks Professor Darya A. Kavitskaya Summer 2015 The Diachronic Development and Synchronic Distribution of Minimizers in Mandarin Chinese Copyright © 2015 By I-Hsuan Chen Abstract The Diachronic Development and Synchronic Distribution of Minimizers in Mandarin Chinese By I-Hsuan Chen Doctor of Philosophy in Linguistics University of California, Berkeley Professor Eve E. Sweetser, Chair This study deals with the historical development of Mandarin minimizers through examining their synchronic distribution. The main source of Mandarin minimizers, a distinct class of negative polarity items (NPIs), is ‘one’-phrases which are composed of the numeral ‘one’, a unit word, and a noun. The development of ‘one’-phrases as minimizers from Old Chinese, Middle Chinese, Early Mandarin, to Modern Mandarin makes strong links among important linguistic issues such as NPI licensing, word order, numeral-classifier phrases, and focus constructions. The diachronic development of the ‘one’-phrases as minimizers is analyzed from a constructional approach. The present study shows that the unit of these diachronic changes is the whole ‘one’-phrase construction instead of merely the lexical items. -
Tuning Presets in the MOTM
Tuning Presets in the Sequential Prophet X Compiled by Robert Rich, September 2018 Comments for tunings 17-65 derived from the Scala library. Many thanks to Max Magic Microtuner for conversion assistance. R. Rich Notes: All of the presets except for #1 (12 Tone Equal Temperament) can be over-written by sending a tuning in the MTS format (Midi Tuning Standard.) The presets #2-17 match the Prophet 12, P6 and OB6, and began as a selection I made for the Synthesis Technology MOTM 650 Midi-CV module. Actual program numbers within the MTS messages start at #0 for the built-in 12ET, #1-64 for the user tunings. The display shows these as #2-65, with 12ET as #1. I intend these tunings only as an introduction, and I did not research their historical accuracy. For convenience, I used the software’s default 1/1 of C4 (Midi note 60), although this is not the original 1/1 for some of the tunings shown. Some of these tunings come very close to standard 12ET, and some of them are downright wacky, sometimes specific to a particular composer or piece of music. The tunings from 18 to 65 are organized only by alphabet, culled from the Scala library, not in any logical order. 1. 12 Tone Equal Temperament (non-erasable) The default Western tuning, based on the twelfth root of two. Good fourths and fifths, horrible thirds and sixths. 2. Harmonic Series MIDI notes 36-95 reflect harmonics 2 through 60 based on the fundamental of A = 27.5 Hz. -
Teletype - Manual Contents
teletype - manual Contents Introduction 4 Updates 5 v4.0.0 .................................... 5 v3.2.0 .................................... 6 Version 3.1 ................................. 6 Version 3.0 ................................. 7 Version 2.2 ................................. 11 Version 2.1 ................................. 13 Version 2.0 ................................. 15 Quickstart 18 Panel .................................... 18 LIVE mode ................................. 18 EDIT mode ................................. 19 Patterns .................................. 21 Scenes ................................... 22 USB Backup ................................. 23 Commands ................................. 23 Continuing ................................. 25 Keys 26 Global key bindings ............................. 26 Text editing ................................. 26 Live mode .................................. 27 Edit mode .................................. 27 Tracker mode ................................ 28 Preset read mode .............................. 29 Preset write mode .............................. 30 Help mode ................................. 30 1 OPs and MODs 31 Variables .................................. 32 Hardware .................................. 35 Patterns .................................. 40 Control flow ................................. 46 Maths .................................... 52 Metronome ................................. 61 Delay .................................... 62 Stack ...................................