Guitar Electronics Input/Output Structures Modify: Fender Amp Mxr Phase 100 More Gr- 500 the Ultimate Keyboard
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BOSS Introduces SY-1000 Guitar Synthesizer
Press Release FOR IMMEDIATE RELEASE BOSS Introduces SY-1000 Guitar Synthesizer Next-Generation GK Synthesizer and Instrument Modeling Processor for Guitar and Bass Los Angeles, California, December 5, 2019 — BOSS introduces the SY-1000 Guitar Synthesizer, an advanced synthesizer and modeling processor for guitar and bass. Opening a bold new chapter in BOSS guitar synth innovation, the SY-1000 features a newly developed Dynamic Synth and refreshed versions of historic BOSS/Roland instrument modeling and synthesizer technologies. Backed by a cutting-edge sound engine, high-speed DSP, and evolved GK technology, the SY-1000 delivers the finest performance and most organic playing experience yet. BOSS and its parent company, Roland, have been at the forefront of guitar synthesizer development since 1977, when the landmark GR-500 first introduced guitar synthesis to the world. The SY-1000 is the most powerful guitar/bass synth processor to date, fusing decades of R&D with the latest software and hardware advancements. Leveraging custom DSP and GK independent string processing, the SY-1000 brings numerous musical advantages to players, including ultra-articulate tracking, lightning-fast response, instantly variable tuning, sound panning/layering, and more. SY-1000 users can build patches with three simultaneous instruments—each with a number of distinctive types to choose from—and combine them for an endless range of sounds. Fed by the processor’s 13-pin GK input, every instrument offers an extensive set of parameters for tone shaping, mixing, and tuning. A normal ¼-inch input is also available to blend in regular guitar/bass pickup sounds. Deep and expressive, the SY-1000’s Dynamic Synth takes guitar synthesis to a new level, allowing players to craft sounds never before possible. -
Soundgas Stock List
THE SOUNDGAS LIST May 2020 We don't have prices for all the incoming items: in many cases it’s impossible to determine price before assessment, servicing and testing has taken place. Preorders are possible on some of our regular pieces (eg Binson Echorecs, Space Echoes, Junos etc). As-is: we need to clear our service backlog so are open to offers on unserviced items. We hope that you like the new list and welcome feedback: this is very much a work in progress. “Your list is one of the best, it really is. I just want everything on it.” - Pete Townshend "I’m on the list, thanks. It’s like crack …” - Michael Price All items are serviced and in full working order (and covered by our guarantee) unless stated otherwise. New arrivals highlighted in yellow Prices (where quoted) are in £GBP and exclude delivery. Debit/Credit Card and Paypal payments may incur a surcharge on high value items. *VAT (Sales Tax): Customers in USA/Canada/Australia the pay the tax-free price shown in the first column where applicable. All prices in the first column show standard VAT-exclusive prices; if the second column has the same price, then there’s no reclaimable VAT on the item. SECTION GUIDE STATUS KEY 1. ECHOES AND EFFECTS 2. RECORDING GEAR: MIXERS - PRES - EQs - COMPRESSORS ETC. Listed now on the Soundgas website, click the link to go to the listing Listed 3. SYNTHS - KEYS - DRUM MACHINES - SAMPLERS Arrived or on its way, yet to be listed. Please enquire. Enquire 4. EFFECT PEDALS Reserved for our studio or further investigation required. -
Lightning in a Bottle
LIGHTNING IN A BOTTLE A Sony Pictures Classics Release 106 minutes EAST COAST: WEST COAST: EXHIBITOR CONTACTS: FALCO INK BLOCK-KORENBROT SONY PICTURES CLASSICS STEVE BEEMAN LEE GINSBERG CARMELO PIRRONE 850 SEVENTH AVENUE, 8271 MELROSE AVENUE, ANGELA GRESHAM SUITE 1005 SUITE 200 550 MADISON AVENUE, NEW YORK, NY 10024 LOS ANGELES, CA 90046 8TH FLOOR PHONE: (212) 445-7100 PHONE: (323) 655-0593 NEW YORK, NY 10022 FAX: (212) 445-0623 FAX: (323) 655-7302 PHONE: (212) 833-8833 FAX: (212) 833-8844 Visit the Sony Pictures Classics Internet site at: http:/www.sonyclassics.com 1 Volkswagen of America presents A Vulcan Production in Association with Cappa Productions & Jigsaw Productions Director of Photography – Lisa Rinzler Edited by – Bob Eisenhardt and Keith Salmon Musical Director – Steve Jordan Co-Producer - Richard Hutton Executive Producer - Martin Scorsese Executive Producers - Paul G. Allen and Jody Patton Producer- Jack Gulick Producer - Margaret Bodde Produced by Alex Gibney Directed by Antoine Fuqua Old or new, mainstream or underground, music is in our veins. Always has been, always will be. Whether it was a VW Bug on its way to Woodstock or a VW Bus road-tripping to one of the very first blues festivals. So here's to that spirit of nostalgia, and the soul of the blues. We're proud to sponsor of LIGHTNING IN A BOTTLE. Stay tuned. Drivers Wanted. A Presentation of Vulcan Productions The Blues Music Foundation Dolby Digital Columbia Records Legacy Recordings Soundtrack album available on Columbia Records/Legacy Recordings/Sony Music Soundtrax Copyright © 2004 Blues Music Foundation, All Rights Reserved. -
September 1995
Features CARL ALLEN Supreme sideman? Prolific producer? Marketing maven? Whether backing greats like Freddie Hubbard and Jackie McLean with unstoppable imagination, or writing, performing, and producing his own eclectic music, or tackling the business side of music, Carl Allen refuses to be tied down. • Ken Micallef JON "FISH" FISHMAN Getting a handle on the slippery style of Phish may be an exercise in futility, but that hasn't kept millions of fans across the country from being hooked. Drummer Jon Fishman navigates the band's unpre- dictable musical waters by blending ancient drum- ming wisdom with unique and personal exercises. • William F. Miller ALVINO BENNETT Have groove, will travel...a lot. LTD, Kenny Loggins, Stevie Wonder, Chaka Khan, Sheena Easton, Bryan Ferry—these are but a few of the artists who have gladly exploited Alvino Bennett's rock-solid feel. • Robyn Flans LOSING YOUR GIG AND BOUNCING BACK We drummers generally avoid the topic of being fired, but maybe hiding from the ax conceals its potentially positive aspects. Discover how the former drummers of Pearl Jam, Slayer, Counting Crows, and others transcended the pain and found freedom in a pink slip. • Matt Peiken Volume 19, Number 8 Cover photo by Ebet Roberts Columns EDUCATION NEWS EQUIPMENT 100 ROCK 'N' 10 UPDATE 24 NEW AND JAZZ CLINIC Terry Bozzio, the Captain NOTABLE Rhythmic Transposition & Tenille's Kevin Winard, BY PAUL DELONG Bob Gatzen, Krupa tribute 30 PRODUCT drummer Jack Platt, CLOSE-UP plus News 102 LATIN Starclassic Drumkit SYMPOSIUM 144 INDUSTRY BY RICK -
MUSIC NOTES: Exploring Music Listening Data As a Visual Representation of Self
MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall A thesis submitted in partial fulfillment of the requirements for the degree of: Master of Design University of Washington 2016 Committee: Kristine Matthews Karen Cheng Linda Norlen Program Authorized to Offer Degree: Art ©Copyright 2016 Chad Philip Hall University of Washington Abstract MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall Co-Chairs of the Supervisory Committee: Kristine Matthews, Associate Professor + Chair Division of Design, Visual Communication Design School of Art + Art History + Design Karen Cheng, Professor Division of Design, Visual Communication Design School of Art + Art History + Design Shelves of vinyl records and cassette tapes spark thoughts and mem ories at a quick glance. In the shift to digital formats, we lost physical artifacts but gained data as a rich, but often hidden artifact of our music listening. This project tracked and visualized the music listening habits of eight people over 30 days to explore how this data can serve as a visual representation of self and present new opportunities for reflection. 1 exploring music listening data as MUSIC NOTES a visual representation of self CHAD PHILIP HALL 2 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF: master of design university of washington 2016 COMMITTEE: kristine matthews karen cheng linda norlen PROGRAM AUTHORIZED TO OFFER DEGREE: school of art + art history + design, division -
A Critical Evaluation of the Nature of Music Education in the Public Schools of British Columbia
A CRITICAL EVALUATION OF THE NATURE OF MUSIC EDUCATION IN THE PUBLIC SCHOOLS OF BRITISH COLUMBIA David James Phyall Associate in Arts and Science (Music), Capilano College, 1982 B.A., SIMON FRASER UNIVERSITY, 1989 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Faculty of Education @ David James Phyall 1993 SIMON FRASER UNIVERSITY March 1993 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: David James P hyall Degree: Master of Arts Title of Project: A Critical Evaluation of the Nature of Music Education in the Public Schools of British Columbia Examining Committee: Chair: Anne Corbishley Robert Walker Senior Supervisor Owen Underhill Associate Professor School for the Contemporary Arts - Allan ~lin&an Professor Music Department, UBC Allan MacKinnon Assistant Professor Faculty of Education Simon Fraser University External Examiner Date Approved: 2 b7 3/73 Partial Copyright License I hereby grant to Simon Fraser University the right to lend my thesis, project or extended essay (the title of which is shown below) 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 from the library of any other university, or other educational institution, on its own behalf or for one of its users. I further agree that permission for multiple copying of this work for scholarly purposes may be granted by me or the Dean of Graduate Studies. It is understood that copying or publication of this work for financial gain shall not be allowed without my written permission. -
Structural Analysis and Segmentation of Music Signals
STRUCTURAL ANALYSIS AND SEGMENTATION OF MUSIC SIGNALS A DISSERTATION SUBMITTED TO THE DEPARTMENT OF TECHNOLOGY OF THE UNIVERSITAT POMPEU FABRA FOR THE PROGRAM IN COMPUTER SCIENCE AND DIGITAL COMMUNICATION IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF - DOCTOR PER LA UNIVERSITAT POMPEU FABRA Bee Suan Ong 2006 © Copyright by Bee Suan Ong 2006 All Rights Reserved ii Dipòsit legal: B.5219-2008 ISBN: 978-84-691-1756-9 DOCTORAL DISSERTATION DIRECTION Dr. Xavier Serra Department of Technology Universitat Pompeu Fabra, Barcelona This research was performed at theMusic Technology Group of the Universitat Pompeu Fabra in Barcelona, Spain. Primary support was provided by the EU projects FP6-507142 SIMAC http://www.semanticaudio.org. iii Abstract Automatic audio content analysis is a general research area in which algorithms are developed to allow computer systems to understand the content of digital audio signals for further exploitation. Automatic music structural analysis is a specific subset of audio content analysis with its main task to discover the structure of music by analyzing audio signals to facilitate better handling of the current explosively expanding amounts of audio data available in digital collections. In this dissertation, we focus our investigation on four areas that are part of audio-based music structural analysis. First, we propose a unique framework and method for temporal audio segmentation at the semantic level. The system aims to detect structural changes in music to provide a way of separating the different “sections” of a piece according to their structural titles (i.e. intro, verse, chorus, bridge). We present a two-phase music segmentation system together with a combined set of low-level audio descriptors to be extracted from music audio signals. -
Terms from Kostka Twentieth Century Music
AnalysisofContemporaryMusic Terminology Dr. Mark Feezell The following list of terms is taken from Kostka’s Materials and Techniques of Twentieth-Century Music, 3rd ed. Most of the definitions are word-for-word from the same text. This is a VERY useful study guide for the text, but does not substitute for careful reading and examination of the examples in the text itself. Ch. Term Pg. Definition 1 chromatic mediant rela- 3 Triads with roots M3 or m3 apart, both major or both minor, one common tone tionship 1 doubly chromatic me- 3 Triads with roots M3 or m3 apart, one major, one minor; no common tones diant relationship 1 direct modulation 3 Modulation with no common chord between the two keys 1 tritone relationships 5 Movement of one harmony directly to a harmony whose root is a tritone away 1 real sequence 6 A sequence in which the pattern is transposed exactly 1 brief tonicizations 6 A quick succession of tonal centers, often associated with real sequences 1 enharmonicism 6 The enharmonic reinterpretation of certain (normally chromatic) harmonies so that they resolve in an unexpected way; ex: Ger+6 --> V7 1 suspended tonality 6 Passages that are tonally ambiguous 1 parallel voice leading 7 A type of progression in which at least some voices move in parallel motion 1 nonfunctional chord 8 A progression in which the chords do not “progress” in any of the ways found in succession diatonic tonal harmony 1 voice-leading chords 9 Chords that are the result of goal-directed motion in the various voices rather than traditional harmonic progression 1 unresolved dissonances 10 Dissonances which do not follow the dictates of functional harmony to resolve. -
Noviembre 2015 CULTURA BLUES. LA REVISTA ELECTRÓNICA Página | 1
Número 54 - Noviembre 2015 CULTURA BLUES. LA REVISTA ELECTRÓNICA Página | 1 Contenido Directorio Cultura Blues. La Revista Electrónica PORTADA La Blues Band 2015 (1 y 2) ………….…………………..……..... 1 “Un concepto distinto del blues y algo más…” CONTENIDO - DIRECTORIO ..……………………………………..…….. 2 www.culturablues.com EDITORIAL La historia se construye día a día … (3) ……………....…. 3 Número 54 – noviembre de 2015 Derechos Reservados 04 – 2013 – 042911362800 – 203 HUELLA AZUL Entrevista a La Blues Band (4 y 5) ………..……….….. 4 Registro ante INDAUTOR CULTURA BLUES DE VISITA Teatro-Bar “El Vicio” Coyoacán con La Blues Band (2 y 3) .................................................. 11 Director general y editor: José Luis García Fernández DE COLECCIÓN La Blues Band – Keith Richards (3) ..…………..…. 16 Subdirector general: CULTURA BLUES DE VISITA Centro Cultural de España José Luis García Vázquez en México con Guadalupe Plata (3) .................................................. 22 DE LOS ARCHIVOS DE KOSMOBLUE El efecto Jimi Programación y diseño: Hendrix… en el jazz y Session players (6) ......................................…. 25 Aida Castillo Arroyo BLUES EN EL REINO UNIDO Consejo Editorial: Capítulo X: Long John Baldry (7) ...................................................... 33 María Luisa Méndez Flores Mario Martínez Valdez BLUES A LA CARTA El maestro de la telecaster: Albert Collins (3) .…………………………………………………………………..……. 35 Colaboradores en este número: SESIONES DESDE LA CABINA Síncopa Blues. Seis años de jazz y blues nacional (8) ..………………..... 39 1. José Luis García Vázquez 2. Rafael Arriaga Zazueta ESPECIAL DE MEDIANOCHE 3. José Luis García Fernández Algunos de nuestros mejores covers (9) …………….…………………………. 41 4. María Luisa Méndez Flores CORTANDO RÁBANOS Carcacha y se te retacha (10) ........... 46 5. Fernando Monroy Estrada 6. Raúl Aznar LOS VERSOS DE NORMA ¡Porque me da la gana! (11) .…..… 48 7. -
Metrical Issues in John Adams's <I>Short Ride in a Fast Machine</I>
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications: School of Music Music, School of 2001 Metrical Issues in John Adams's Short Ride in a Fast Machine Stanley V. Kleppinger University of Nebraska-Lincoln, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/musicfacpub Part of the Music Theory Commons Kleppinger, Stanley V., "Metrical Issues in John Adams's Short Ride in a Fast Machine" (2001). Faculty Publications: School of Music. 52. http://digitalcommons.unl.edu/musicfacpub/52 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications: School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. From Indiana Theory Review Volume 22, no. 1 (2001, appeared in 2003) Metrical Issues ill John Adams's Short Ride in a Fast Machine Stanley V. Kleppinger T IS HARD TO IMAGINE a musical surface that strikes the listener with more metrical conflict than that of John Adams's Short Ride in a Fast Machine (1986). I According to the composer, this orchestral fanfare is inspired by the experi ence of speeding down a highway in a too-fast sports car. As he explained in an interview: The image that I had while composing this piece was a ride that I once took in a sport car. A relative of mine had bought a Ferrari, and he asked me late one night to take a ride in it, and we went out onto the highway, and I wished I hadn't [laughs]. -
Harmonic Octave Generator – Guitar Synthesizer
HOG2 Harmonic Octave Generator – Guitar Synthesizer Operating Instructions Congratulations on your purchase of the HOG2! The HOG2 is an Octave and Harmonic Generator/Guitar Synthesizer that can simultaneously generate multiple octaves and harmonics from your input signal. Whether you play single notes, arpeggios or full chords, the HOG2 will track every note you play. Built-in to the HOG2 are 7 Expression Modes that enable you to modify your sounds using a standard Expression Pedal, a MIDI Controller, or the Expression Button on the HOG2 itself. Further sound sculpting is achieved through an Amplitude Envelope Generator and a 2nd Order Low Pass Resonant Filter. The HOG2 can save and load up to 100 user presets using the optional EHX HOG2 Foot Controller accessory. The presets are saved inside the HOG2 but are accessed either by connecting the HOG2 Foot Controller accessory from EHX or through MIDI. Using just the HOG2 by itself, 1 preset can be stored and loaded. WARNING: Your HOG2 comes equipped with an Electro-Harmonix 9.6DC-200BI power supply (same as used by Boss® & Ibanez®: 9.6 Volts DC 200mA). The HOG2 requires 170mA at 9VDC with a center negative plug. The HOG2 does not take batteries. Using the wrong adapter may damage your unit and void the warranty. Audio Connections and Controls MASTER VOL Slider – Sets the overall output volume of the HOG2. All voices including the DRY OUTPUT signal are affected by the MASTER VOL slider. The HOG2’s output volume will increase as this slider is pushed upward. DRY OUTPUT Slider – Controls the output volume of your original, unaffected DRY signal before it exits the HOG2. -
Introduction to the DFT and Music for Pieces of Wood
Cyclic Rhythm and Rhythmic Qualities: Introduction to the DFT and an Application to Steve Reich’s Phase Music Jason Yust, Spring 2018 Much of Steve Reich’s music is based on repetition (often ad lib) of 1–2 measure rhythmic patterns. This is particularly true of his “phase” music from Piano Phase and Violin Phase in 1967 to Octet [Eight Lines] in 1979, and also much of the music of the 1980s, such as New York Counterpoint and Electric Counterpoint. The repetition of a consistent unit, one or two measures of 4/4 or 12/8, sometimes 10/8, with a basic pulse of and eighth-note or sixteenth, creates the framework of a rhythmic cycle. Rhythmic cycles invite an analogy with pitch classes, which are also cyclic. Hence, we can think of cyclic rhythms as “beat-class sets.” (This idea was first suggested by Milton Babbitt and built upon by Jeff Pressing, Richard Cohn, and John Roeder.1) Here, I will propose a method of analyzing cyclic rhythms using the DFT (discrete Fourier transform). This is, mathematically, the same method that is used for determining what frequencies are present in an audio signal. The differences when using this method to analyze beat-class sets are (1) Order of magnitude: the frequencies are much slower, so that they correspond to rhythmic periodicities rather than pitches, and (2) Simplifying assumptions: Rhythmic cycles include a relatively small number of eighth or sixteenth-notes (typically 6, 8, 10, 12, 16, or 24), and they are assumed to be perfectly periodic, meaning they could repeat indefinitely.