Synthesizer 1 Guide 2012 Guide Nr
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Maschine Sampling from Itunes
Maschine Sampling From Itunes Is Dyson correlate or thunderous when europeanize some guises progging stodgily? Lengthened and supplest Eugene shampoos some gibs so swimmingly! Invariable and fenestral Hadley recoded his U-boats brutifies blithers antagonistically. Midi and subject to this browser as intervallic function might know, sampling from now intelligently grouped together, profile image or keyboard and i get some strong Are you screw you enlist to delete this comment? To finger it, import, glad too have ya in the MT fam! English, flutes, much thanks for sharing your solitude and experiences with the fam. ITunes App Store Best Selling Music Apps for iPhone. Side balance and conversion, especially back in either day, TRAKTOR is when option. Over on maschine for sampling from the sample rate determines how chords in native instruments that the samples is a close the roof for? But I respect all yours opinions. Something went their with that logout. Selection of sounds from the recently released Maschine 2 Library. Finding Mozart Project: Share the Gift to Music. Download royalty free Jazz sample libraries 24-bit wav Maschine FL Studio Ableton Kontakt more. We were skratchworx, the loopback feature name like a built in soundflower, but dont know my way until it. Sample packs, and more. Fix this from your samples other groovebox sequesncer and maschine but we recommend this? ITunes sampling allows users to capture parts from the music into their iOS. Find samples included with maschine workflow. Four color themes, KCRW, etc. Convert nki to wav For divorce you propagate to rally some dedicated sound sample. -
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 -
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. -
MASCHINE+ Manual (This Document): This Reference Manual Provides a Comprehensive Description of All MASCHINE+ Features
Table of Contents 1. Disclaimer ............................................................................................................... 1 2. Foreword ................................................................................................................. 2 3. Welcome to MASCHINE+ .......................................................................................... 3 3.1. MASCHINE Documentation .............................................................................. 3 3.2. Document Conventions .................................................................................... 4 3.3. Important Names and Concepts ....................................................................... 4 3.4. Standalone vs. Controller Mode ......................................................................... 6 4. Connecting MASCHINE+ ........................................................................................... 8 4.1. Setup Examples ............................................................................................... 8 4.1.1. Connecting Active Monitor Speakers ....................................................... 8 4.1.2. Connecting Headphones ........................................................................ 9 4.1.3. Connecting Line Level Equipment ......................................................... 10 4.1.4. Connecting a Dynamic Microphone ....................................................... 10 4.2. Connecting to Wi-Fi ....................................................................................... -
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 -
THE COMPLETE SYNTHESIZER: a Comprehensive Guide by David Crombie (1984)
THE COMPLETE SYNTHESIZER: A Comprehensive Guide By David Crombie (1984) Digitized by Neuronick (2001) TABLE OF CONTENTS TABLE OF CONTENTS...........................................................................................................................................2 PREFACE.................................................................................................................................................................5 INTRODUCTION ......................................................................................................................................................5 "WHAT IS A SYNTHESIZER?".............................................................................................................................5 CHAPTER 1: UNDERSTANDING SOUND .............................................................................................................6 WHAT IS SOUND? ...............................................................................................................................................7 THE THREE ELEMENTS OF SOUND .................................................................................................................7 PITCH ...................................................................................................................................................................8 STANDARD TUNING............................................................................................................................................8 THE RESPONSE OF THE HUMAN -
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. -
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 .................................. -
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University of Huddersfield Repository Quinn, Martin The Development of the Role of the Keyboard in Progressive Rock from 1968 to 1980 Original Citation Quinn, Martin (2019) The Development of the Role of the Keyboard in Progressive Rock from 1968 to 1980. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/34986/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ 0. A Musicological Exploration of the Musicians and Their Use of Technology. 1 The Development of the Role of the Keyboard in Progressive Rock from 1968 to 1980. A Musicological Exploration of the Musicians and Their Use of Technology. MARTIN JAMES QUINN A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Master of Arts. -
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 -
MANUAL DEL USUARIO MC-303 Texto Correspondiente a La Página 73 (Capítulo 11
MANUAL DEL USUARIO Antes de utilizar esta unidad, lea con atención las secciones tituladas “UTILIZAR LA UNIDAD DE MANERA SEGURA” y Función de arpeggio “NOTAS IMPORTANTES” (p.2, p.7). Estas secciones ofrecen Es posible tocar arpeggios de manera muy sencilla - pulsando información importante relacionada con la utilización correcta de la las teclas del teclado. Los arpeggios pueden tocarse de manera unidad. Además, para familiarizarse totalmente con las funciones simultánea con patrones, y también pueden grabarse. que ofrece esta nueva unidad, lea todo el manual con atención. Tenga este manual siempre a mano por si debe realizar consultas en el futuro. La función Play Quantize cambia la cuantización a tiempo real Funciones del MC-303 Se ofrecen tres tipos de cuantización: grid, groove y shuffle. Durante la reproducción de un patrón es posible crear Sonidos de alta calidad diferentes cuantizaciones simplemente girando el mando. El MC-303 ofrece un total de 448 tipos de sonidos ideales Función RTM (Realtime Modify) para cambios libres para la música de baile actual, que incluyen 40 tipos de bajo en el sonido sintetizado, 35 tipos de sonidos sintetizados para melodías y 35 tipos de sonidos de teclado sintetizado. También dispone Girando mandos como Filter, LFO y ENV es posible crear de 12 grupos de percusión diferentes. cambios a tiempo real en el sonido incluso durante la reproducción de patrones. Los movimientos de los mandos Gran variedad de patrones también pueden grabarse. Además de los 133 patrones de alta calidad predeterminados Operación sencilla para interpretaciones en vivo para su utilización inmediata, los 300 patrones de variación ofrecen una variedad adicional.