Studio Music Production I Subject Area/Course Number: MUSIC-093

Total Page:16

File Type:pdf, Size:1020Kb

Studio Music Production I Subject Area/Course Number: MUSIC-093 Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565 (925) 439-2181 Course Title: Studio Music Production I Subject Area/Course Number: MUSIC-093 New Course OR Existing Course Instructor(s)/Author(s): C. Chuah Subject Area/Course No.: MUSIC-093 Units: 2.0 Course Name/Title: Studio Music Production I Discipline(s): Music/Commercial Music Pre-Requisite(s): None Co-Requisite(s) None: Advisories: Prior or concurrent enrollment in Music-15 Catalog Description: This course is for students wanting to produce music using professional music studio equipment. With this lecture/demonstration and hands on class, students will be able to build a music studio and learn the basic operation of electronic musical equipment. The pieces of electronic musical equipment include MIDI synthesizer, music workstations, computer workstations, groove boxes, drum machines, soft-synthesizers, sequencers, and new products as the industry advances. This is an introductory course and it is intended to build a strong foundation in understanding studio music operation, whether the student is interested in composition, making beats and/or being a producer. Schedule Description: Do you want to learn how to produce music using professional music studio equipment? With this lecture/demonstration and hands on class, you will be able to build a music studio and learn the basic operation of electronic musical equipment. This is an introductory course and it is intended to build a strong foundation in understanding studio music operation, whether you are interested in composition, making beats and/or being a producer. Hrs/Mode of Instruction: Lecture: 18 Scheduled Lab: 72 HBA Lab: ____ Composition: ____ Activity: ____ Total Hours 90 (Total for course) Credit Credit Degree Applicable (DA) Grading Pass/No Pass (P/NP) Repeatability 0 Credit Non-Degree (NDA) Letter (LR) 1 (If Non-Credit desired, contact Dean.) Student Choice (SC) 2 3 Last date of Assessment: ____SP2013_____ Cohort #: _2____ Please apply for: LMC General Education Requirement and/or Competency & Graduation Requirement(s): None Transfer to: CSU UC IGETC Area ____ CSU GE Area____ C-ID Number ______ Course is Baccalaureate Level: Yes No Form Revised 082013 Page 1 of 5 Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565 (925) 439-2181 Course Title: Studio Music Production I Subject Area/Course Number: MUSIC-093 Signatures: Department Chair Date Librarian Date Dean/Sr. Dean Date Curriculum Committee Chair Date President/Designee Date CCCCD Approval Date (Board or Chancellor's Office) Date For Curriculum Committee Use only: STAND ALONE COURSE: YES NO FOR OFFICE OF INSTRUCTION ONLY. DO NOT WRITE IN THE SECTION BELOW. Begin in Semester ______________ Catalog year 20____/20_____ Class Max: ________________ Dept. Code/Name:_______________ T.O.P.s Code: _____________ Crossover course 1/ 2: _____________ ESL Class: ____Yes / No___________ DSPS Class: ____Yes / No_____ Coop Work Exp: ___Yes / No_____ Class Code A Liberal Arts & Sciences SAM Code A Apprenticeship Remediation Level B Basic Skills B Developmental Preparatory B Advanced Occupational NBS Not Basic Skills C Adult/Secondary Basic Education C Clearly Occupational D Personal Development/Survival D Possibly Occupational E For Substantially Handicapped E* Non-Occupational F Parenting/Family Support F Transfer, Non-Occupational G Community/Civic Development *Additional criteria needed H General and Cultural 1 One level below transfer I Career/Technical Education 2 Two levels below transfer J Workforce Preparation Enhanced 3 Three levels below transfer K Other non-credit enhanced Not eligible for enhanced Course approved by Curriculum Committee as Baccalaureate Level: _Yes / No_ LMC GE or Competency Requirement Approved by the Curriculum Committee: _________________ Distribution: Original: Office of Instruction Form Revised 082013 Page 2 of 5 Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565 (925) 439-2181 Course Title: Studio Music Production I Subject Area/Course Number: MUSIC-093 Institutional Student Learning Outcomes General Education SLOs (Recommended by GE Committee) At the completion of the LMC general education program, a student will: 1. Read critically and communicate effectively as a writer and speaker. 2. Understand connections among disciplines and apply interdisciplinary approaches to problem solving. 3. Think critically and creatively 4. Consider the ethical implications inherent in knowledge, decision-making and action. 5. Possess a worldview informed by diverse social, multicultural and global perspectives. None of the Above Program-Level Student Learning Outcomes (PSLOs) 1. Understand and be able to apply the fundamentals of music theory, aura perception, and have a working knowledge of harmonic progression, musical forms and structures. 2. Have knowledge and understanding of the historical development of music, its historical periods, genres, instrumentation and composers, within their cultural context. 3. Have practical knowledge of performance practice in their particular ensemble performing styles. 4. Have practical knowledge of solo repertoire and technical studies in their major instrumental or vocal area of study. 5. Be competent with music technology in its various forms for composition, teaching, and professional pursuits. 6. Be able to work independently on varieties of musical problems by combining their capabilities in performance, aural, verbal and visual analysis, composition, repertoire, knowledge, and music history. 7. Have writing skills with the ability to independently utilize research tools and resources (library, internet, etc.) Course-Level Student Learning Outcomes (CSLOs): Upon successful completion of the course, the student will be able to: CSLO 1) Build a functional electronic music studio (PSLO 5; OESLO 1, 2, 3, 4) CSLO 2) Create multi-track MIDI sequences using a variety of electronic musical components (PSLO 1, 5; OESLO 1, 2, 3,4) CSLO 3) Explain and describe terminology found in the electronic music environment. (PSLO 5, 7; OESLO 2, 4) Assessments CSLO 1: Assessment instrument: Lab Projects Student will undertake several smaller projects and one larger project. The smaller projects will demonstrate students’ ability and facility with the operations and use of electronic music principles. The larger project requires the student to build a studio within a proposed budget and make a presentation of Form Revised 082013 Page 3 of 5 Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565 (925) 439-2181 Course Title: Studio Music Production I Subject Area/Course Number: MUSIC-093 their project in class. Students will be graded on their accuracy, clarity of presentation and knowledge of the subject matter. CSLO 2: Assessment instrument: Quizzes and written assignments in class and as homework Students will complete multiple written electronic music exercises each week that focus on electronic music terminology, how MIDI interprets the digital music language, and flexibility and limitations of MIDI. The complexity of the exercises and problems to be solved will increases as the semester progresses. Individual work will be assessed for accuracy. Assessment instrument: Classroom Discussions Students will discuss and understand the connections between general electronic music principles with non-electronic music and determine how to use the elements of different types of music within their compositions. Assessment instrument: Final Composition In the lab the students learn how to use electronic instruments to create music. Throughout the semester students use this experience to create a music composition that is an original musical composition in any key and time signature of their choosing. The length of composition will be between 2 to 5 minutes. The composition will feature students’ creativity and mastery with regard to electronic musical compositions and the effective use of electronic musical components. The student will present and explain their composition to the class by communicating effectively as a speaker. CSLO 3: Assessment Instrument: Mini Paper Students will write mini-paper describing the common terminology found in the electronic music environment. Examples of common terminology include, but not limited to, sequencer, digital audio workstation, digital signal processor, mixer. Audio interface, MIDI interface, sampler. Groove box, sound library, multi-track recorder, master controller, SMPTE. Method of Evaluation/Grading For all CSLO’s: A level work is characterized by: 1) Building a fully functional electronic music studio, complete with directions of audio and midi signal flow. 2) Answering questions with 90% or higher accuracy on quizzes and written assignments. 3) Producing a high quality final compositional project with at least 4 separate tracks and 2 separate sections. The composition should be mixed and balanced in accordance to the stylistic performance of that particular musical genre. 4) Accurately and clearly describing basic electronic music terminology in a mini paper. C level student work is characterized by: 1) Building an adequately functional electronic music studio, complete with some directions of audio and MIDI signal flow. The student may make some errors in equipment placement and directions of signal flow. 2) Answering questions with 70% to79.9% accuracy on quizzes and written assignments 3) Producing a final compositional project with at least 2
Recommended publications
  • Korg Triton Extreme Manual
    E 2 Thank you for purchasing the Korg TRITON Extreme music workstation/sampler. To ensure trouble-free enjoyment, please read this manual carefully and use the instrument as directed. About this manual Conventions in this manual References to the TRITON Extreme The TRITON Extreme is available in 88-key, 76-key and The owner’s manuals and how to use 61-key models, but all three models are referred to them without distinction in this manual as “the TRITON Extreme.” Illustrations of the front and rear panels in The TRITON Extreme come with the following this manual show the 61-key model, but the illustra- owner’s manuals. tions apply equally to the 88-key and 76-key models. • Quick Start • Operation Guide Abbreviations for the manuals QS, OG, PG, VNL, EM • Parameter Guide The names of the manuals are abbreviated as follows. • Voice Name List QS: Quick Start OG: Operation Guide Quick Start PG: Parameter Guide Read this manual first. This is an introductory guide VNL: Voice Name List that will get you started using the TRITON Extreme. It EM: EXB-MOSS Owner’s Manual (included with the explains how to play back the demo songs, select EXB-MOSS option) sounds, use convenient performance functions, and Keys and knobs [ ] perform simple editing. It also gives examples of using sampling and the sequencer. References to the keys, dials, and knobs on the TRI- TON Extreme’s panel are enclosed in square brackets Operation Guide [ ]. References to buttons or tabs indicate objects in This manual describes each part of the TRITON the LCD display screen.
    [Show full text]
  • Portable Digital Musical Instruments 2009 — 2010
    PORTABLE DIGITAL MUSICAL INSTRUMENTS 2009 — 2010 music.yamaha.com/homekeyboard For details please contact: This document is printed with soy ink. Printed in Japan How far do you want What kind of music What are your Got rhythm? to go with your music? do you want to play? creative inclinations? Recommended Recommended Recommended Recommended Tyros3 PSR-OR700 NP-30 PSR-E323 EZ-200 DD-65 PSR-S910 PSR-S550B YPG series PSR-E223 PSR-S710 PSR-E413 Pages 4-7 Pages 8-11 Pages 12-13 Page 14 The sky's the limit. Our Digital Workstations are jam-packed If the piano is your thing, Yamaha has a range of compact We've got Digital Keyboards of all types to help players of every If drums and percussion are your strong forte, our Digital with advanced features, exceptionally realistic sounds and piano-oriented instruments that have amazingly realistic stripe achieve their full potential. Whether you're just starting Percussion unit gives you exceptionally dynamic and expressive performance functions that give you the power sound and wonderfully expressive playability–just like having out or are an experienced expert, our instrument lineup realistic sounds, letting you pound out your own beats–in to create, arrange and perform in any style or situation. a real piano in your house, with a fraction of the space. provides just what you need to get your creative juices flowing. live performance, in rehearsal or in recording. 2 3 Yamaha’s Premier Music Workstation – Unsurpassed Quality, Features and Performance Ultimate Realism Limitless Creative Potential Interactive
    [Show full text]
  • An Arduino-Based MIDI Controller for Detecting Minimal Movements in Severely Disabled Children
    IT 16054 Examensarbete 15 hp Juni 2016 An Arduino-based MIDI Controller for Detecting Minimal Movements in Severely Disabled Children Mattias Linder Institutionen för informationsteknologi Department of Information Technology Abstract An Arduino-based MIDI Controller for Detecting Minimal Movements in Severely Disabled Children Mattias Linder Teknisk- naturvetenskaplig fakultet UTH-enheten In therapy, music has played an important role for children with physical and cognitive impairments. Due to the nature of different impairments, many traditional Besöksadress: instruments can be very hard to play. This thesis describes the development of a Ångströmlaboratoriet Lägerhyddsvägen 1 product in which electrical sensors can be used as a way of creating sound. These Hus 4, Plan 0 sensors can be used to create specially crafted controllers and thus making it possible for children with different impairments to create music or sound. This Postadress: thesis examines if it is possible to create such a device with the help of an Arduino Box 536 751 21 Uppsala micro controller, a smart phone and a computer. The end result is a product that can use several sensors simultaneously to either generate notes, change the Telefon: volume of a note or controlling the pitch of a note. There are three inputs for 018 – 471 30 03 specially crafted sensors and three static potentiometers which can also be used as Telefax: specially crafted sensors. The sensor inputs for the device are mini tele (2.5mm) 018 – 471 30 00 and any sensor can be used as long as it can be equipped with this connector. The product is used together with a smartphone application to upload different settings Hemsida: and a computer with a music work station which interprets the device as a MIDI http://www.teknat.uu.se/student synthesizer.
    [Show full text]
  • A Brief History of Electronic Music
    A Brief History of Electronic Music 1: 1896-1945 The first twenty-five years of the life of the archetypal modern artist, Pablo Picasso - who was born in 1881 - witnessed the foundation of twentieth century technology for war and peace alike: the recoil operated machine gun (1882), the first synthetic fibre (1883), the Parsons steam turbine (1884), coated photographic paper (1885), the Tesla electric motor, the Kodak box camera and the Dunlop pneumatic tyre (1888), cordite (1889), the Diesel engine (1892), the Ford car (1893), the cinematograph and the gramophone disc (1894). In 1895, Roentgen discovered X-rays, Marconi invented radio telegraphy, the Lumiere brothers developed the movie camera, the Russian Konstantin Tsiolkovsky first enunciated the principle of rocket drive, and Freud published his fundamental studies on hysteria. And so it went: the discovery of radium, the magnetic recording of sound, the first voice radio transmissions, the Wright brothers first powered flight (1903), and the annus mirabilis of theoretical physics, 1905, in which Albert Einstein formulated the Special Theory of Relativity, the photon theory of light, and ushered in the nuclear age with the climactic formula of his law of mass-energy equivalence, E = mc2. One did not need to be a scientist to sense the magnitude of such changes. They amounted to the greatest alteration of man's view of the universe since Isaac Newton. - Robert Hughes (1981) In 1896 Thaddeus Cahill patented an electrically based sound generation system. It used the principle of additive tone synthesis, individual tones being built up from fundamentals and overtones generated by huge dynamos.
    [Show full text]
  • TR Operation Guide
    Operation Guide E 2 To ensure long, trouble-free operation, THE FCC REGULATION WARNING (for U.S.A.) please read this manual carefully. This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Precautions Rules. These limits are designed to provide reasonable protec- tion against harmful interference in a residential installation. This Location equipment generates, uses, and can radiate radio frequency Using the unit in the following locations can result energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communi- in a malfunction. cations. However, there is no guarantee that interference will not • In direct sunlight occur in a particular installation. If this equipment does cause • Locations of extreme temperature or humidity harmful interference to radio or television reception, which can • Excessively dusty or dirty locations be determined by turning the equipment off and on, the user is • Locations of excessive vibration encouraged to try to correct the interference by one or more of the following measures: Power supply • Reorient or relocate the receiving antenna. Please connect the designated AC/AC power sup- • Increase the separation between the equipment and receiver. ply to an AC outlet of the correct voltage. Do not • Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. connect it to an AC outlet of voltage other than that • Consult the dealer or an experienced radio/TV technician for for which your unit is intended.
    [Show full text]
  • Let's Get Started…
    Welcome to the OASYS Experience! This tour guide is your first stop on an amazing journey of discovery. Our goal here is to get you comfortable working with the user interface and control surface, and to give you a “sneak peek” at some of the many incredibly-musical things that you can do with OASYS! After you’ve finished this tour, you can learn more about this great instrument by working with the OASYS Operation and Parameter Guides. And you’ll find new OASYS tutorials, tips and tricks, and support materials by visiting www.korg.com/oasys and www.karma-labs.com/oasys on a regular basis! Let’s get started… Start by loading the factory data and listening to the demo songs: The factory demos allow you to experience OASYS in all of its glory - as a full production studio! In addition to hearing MIDI tracks which show off OASYS’ superb synth engines, several of the demo songs include HD audio tracks and sample data. 1. Press the DISK button > Select the FACTORY folder on the internal hard drive, and then press Open > Select the file PRELOAD.PCG, and then press Load > Check the boxes next to PRELOAD.SNG and PRELOAD.KSC, and then press OK. This will load the factory sounds, demo songs and samples. 2. Press the SEQ button, and then press the SEQ START/STOP button to play the first demo song, “Sinfonia Russe” > Press the SEQ START/STOP button again when finished listening to this song, and then press the pop-up arrow left of the song name, select and playback the other demo songs.
    [Show full text]
  • Music Production Synthesizer
    MUSIC PRODUCTION SYNTHESIZER For details please contact: http://www.yamaha.com/ English This document is printed on chlorine free (ECF) paper. Printed in Japan Inspiration comes in a Flash. A single musical motif can evolve to become a magnificent orchestration. The Yamaha MOTIF, an incredibly effective tool for musical creation, has evolved to offer greater expressiveness and functionality. Presenting the next generation MOTIF XF, with the power to inspire boundless creativity. Soon after the original MOTIF was released in 2001 it was recognized as the best sounding, top selling and most requested music workstation on the market. Over time, it has continued to evolve and improve its expressiveness and functionality. At the same time, the online community of end users, sound programmers, software developers and product support specialists at www.motifator.com expanded into a vibrant online music production community. The MOTIF breathes new life into live performances with its expressive sounds and intuitive control. Contents In music creation, the MOTIF not only offers its own music creation capabilities, it also offers a system for integrating Play and Perform 3 10th Anniversary of MOTIF 13 those capabilities with a variety of software applications. And Create and Produce 5 Applicaion for Smart Device 15 now, the next generation “XF” builds on the decade long Customize and Make It Your Own 7 Sample Library of Chick Corea 16 heritage of MOTIF, and with Flash memory expansion, provides Connect and Expand with New Possibilities 9 MOTIF Lineup & Accessories 17 groundbreaking capabilities that will set a new standard for Cubase AI5 10 Specifications 18 keyboard workstations for years to come.
    [Show full text]
  • Computer Sound Design : Synthesis Techniques and Programming
    Computer Sound Design Titles in the Series Acoustics and Psychoacoustics, 2nd edition (with website) David M. Howard and James Angus The Audio Workstation Handbook Francis Rumsey Composing Music with Computers (with CD-ROM) Eduardo Reck Miranda Digital Audio CD and Resource Pack Markus Erne (Digital Audio CD also available separately) Digital Sound Processing for Music and Multimedia (with website) Ross Kirk and Andy Hunt MIDI Systems and Control, 2nd edition Francis Rumsey Network Technology for Digital Audio Andrew Bailey Computer Sound Design: Synthesis techniques and programming, 2nd edition (with CD-ROM) Eduardo Reck Miranda Sound and Recording: An introduction, 4th edition Francis Rumsey and Tim McCormick Sound Synthesis and Sampling Martin Russ Sound Synthesis and Sampling CD-ROM Martin Russ Spatial Audio Francis Rumsey Computer Sound Design Synthesis techniques and programming Second edition Eduardo Reck Miranda Focal Press An imprint of Elsevier Science Linacre House, Jordan Hill, Oxford OX2 8DP 225 Wildwood Avenue, Woburn MA 01801-2041 First published as Computer Sound Synthesis for the Electronic Musician 1998 Second edition 2002 Copyright © 1998, 2002, Eduardo Reck Miranda. All rights reserved The right of Eduardo Reck Miranda to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 No part of this publication may be reproduced in any material form (including photocopying or storing in any medium by electronic means and whether or not transiently or incidentally to some other use of this publication) without the written permission of the copyright holder except in accordance with the provisions of the Copyright, Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency Ltd, 90 Tottenham Court Road, London, England W1T 4LP.
    [Show full text]
  • KARMA MIDI Implementation
    KORG KARMA-MUSIC WORKSTATION MIDI Implementation Version 1.0 (Jan,30,2001) 1.TRANSMITTED DATA 1-1 CHANNEL MESSAGES [H] :Hex, [D] :Decimal +------+---------+-------------------+--------------------------------------------------------+----+ |Status| Second | Third | Description ( Transmitted by ....) |ENA | |[Hex] |[H] [D] | [H] [D] | | | +------+---------+-------------------+--------------------------------------------------------+----+ | 8n | kk (kk) | 40 (64) | Note Off ( Key Off ) *1| A | | 9n | kk (kk) | vv (vv) | Note On (vv)=1-127 ( Key On ) *1| A | | An | kk (kk) | vv (vv) | Poly Key Pressure ( Sequence data ) | T,Q| | Bn | 00 (00) | mm (mm) | Bank Select(MSB) ( BANK keys, Prog/Combi change ) *2| PB | | Bn | 01 (01) | vv (vv) | Modulation1 ( Joy Stick +Y ) | C | | Bn | 02 (02) | vv (vv) | Modulation2 ( Joy Stick -Y ) | C | | Bn | 04 (04) | vv (vv) | Foot Pedal ( A.Pdl = Foot Pedal ) | C | | Bn | 05 (05) | vv (vv) | Portamento Time ( A.Pdl/Knob-B = Porta.Time,S Chg )| C | | Bn | 07 (07) | vv (vv) | Volume ( A.Pdl/Knob-B = Volume,S/C Chg ) | C | | Bn | 08 (08) | vv (vv) | Post IFX Panpot ( A.Pdl/Knob-B = IFX Pan,S Chg ) | C | | Bn | 0A (10) | vv (vv) | Panpot ( A.Pdl/Knob-B = Pan,S Chg ) | C | | Bn | 0B (11) | vv (vv) | Expression ( A.Pdl/Knob-B = Expression ) | C | | Bn | 0C (12) | vv (vv) | Effect Control 1 ( A.Pdl/Knob-B = FX Control1 ) | C | | Bn | 0D (13) | vv (vv) | Effect Control 2 ( A.Pdl/Knob-B = FX Control2 ) | C | | Bn | 0E (14) | vv (vv) | ( KARMA ON/OFF, A.SW=KARMAOn/Off)*3| C | | Bn | 10 (16) | vv (vv) | Multi Purpose
    [Show full text]
  • Roland MC-909 Getting Started Guide
    ® MC-909 ÂØÒňΠGetting Started Guide July 29, 2003 What’s the Getting Started Guide? Roland’s MC-909 Sampling Groovebox is a hot new dance music workstation packed with exciting features. If you’re new to grooveboxes, the MC-909’s many features may be a lot to take in at first, what with all of the unfamiliar words and concepts you’ve got to learn. Don’t worry—we’ve created this Getting Started Guide just for you. We’ll explain what you need to know to start having fun with this monster box. We’ll begin with some important words and concepts you may have heard about, but don’t yet fully understand. Next, we’ll show you how to create your own music on the MC-909. We’ll teach you how to sample. Finally, we’ll talk about how to move stuff back and forth from the MC-909 to a computer, something that lots of people like to do. That said, let’s get this party started. ©2003 Roland Corporation U.S. MC-909 Getting Started Guide Page 1 ®ÂØÒňΠMC-909 Getting Started Guide Big Ideas In this section, we’ll explain some terms and concepts you really need to understand to get the most from your MC-909. Audio vs.MIDI One of the things that groovebox beginners often find confusing is the difference between audio and MIDI. Let’s get this straight before we go on. They’re two completely different things, and you’ll find them both in the MC-909.
    [Show full text]
  • Kronos Gold Music Workstation
    We’re driven by music, just like you. With a track record of industry-changing instruments 50 years strong, Korg represents the cutting edge in innovative technology - developing products with uniquely inspiring features, incredible ease of use, and amazing sound. WWW.KORG.COM monologue MONOPHONIC ANALOGUE SYNTHESIZER • True-analog monophonic synth with 16-step note/motion sequencer • New Drive circuit, 2-pole filter & ultra-high rate LFO for incredible sound shaping • Completely programmable with 100 locations; 80 presets, 20 user locations; all writable ARP ODYSSEY FS DUOPHONIC SYNTHESIZER | ASSEMBLED IN NEW YORK • The full-size ARP Odyssey is back – proudly assembled in New York • All three original color schemes available, each with all three renowned filters on board KRONOS GOLD MUSIC WORKSTATION • Korg’s flagship synthesizer with a gold brushed aluminum body and sunburst wood ends • New OS V3.1 adds quick layer and split functionality via the touchscreen KORG Gadget for Mac MUSIC PRODUCTION SOFTWARE • Korg’s powerful, streamlined DAW and multi-synth plugin suite for Mac MS-20 mini WHITE MONOTONE MONOPHONIC SYNTHESIZER • The true-analog reissue in a limited edition white/ gray color scheme KROME PLATINUM MUSIC WORKSTATION • Semi-modular structure for flexibility in signal • The powerhouse KROME Workstation in a striking and modulation routing platinum finish • Kronos-derived sounds and touchscreen-based navigation • Platinum available in 61, 73, and 88-note configurations CA-2 GA-2 Pitchblack BEATLAB mini CHROMATIC TUNER GUITAR/BASS
    [Show full text]
  • KARMA Basic Guide
    E 3 To ensure long, trouble-free operation, THE FCC REGULATION WARNING (for U.S.A.) please read this manual carefully. This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Precautions Rules. These limits are designed to provide reasonable protec- tion against harmful interference in a residential installation. This Location equipment generates, uses, and can radiate radio frequency Using the unit in the following locations can result energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communi- in a malfunction. cations. However, there is no guarantee that interference will not • In direct sunlight occur in a particular installation. If this equipment does cause • Locations of extreme temperature or humidity harmful interference to radio or television reception, which can • Excessively dusty or dirty locations be determined by turning the equipment off and on, the user is • Locations of excessive vibration encouraged to try to correct the interference by one or more of the following measures: Power supply • Reorient or relocate the receiving antenna. Please connect the designated AC/AC power sup- • Increase the separation between the equipment and receiver. ply to an AC outlet of the correct voltage. Do not • Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. connect it to an AC outlet of voltage other than that • Consult the dealer or an experienced radio/TV technician for for which your unit is intended. help.
    [Show full text]