Operation Manual
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Download Download
Florian Heesch Voicing the Technological Body Some Musicological Reflections on Combinations of Voice and Technology in Popular Music ABSTRACT The article deals with interrelations of voice, body and technology in popular music from a musicological perspective. It is an attempt to outline a systematic approach to the history of music technology with regard to aesthetic aspects, taking the iden- tity of the singing subject as a main point of departure for a hermeneutic reading of popular song. Although the argumentation is based largely on musicological research, it is also inspired by the notion of presentness as developed by theologian and media scholar Walter Ong. The variety of the relationships between voice, body, and technology with regard to musical representations of identity, in particular gender and race, is systematized alongside the following cagories: (1) the “absence of the body,” that starts with the establishment of phonography; (2) “amplified presence,” as a signifier for uses of the microphone to enhance low sounds in certain manners; and (3) “hybridity,” including vocal identities that blend human body sounds and technological processing, where- by special focus is laid on uses of the vocoder and similar technologies. KEYWORDS recorded popular song, gender in music, hybrid identities, race in music, presence/ absence, disembodied voices BIOGRAPHY Dr. Florian Heesch is professor of popular music and gender studies at the University of Siegen, Germany. He holds a PhD in musicology from the University of Gothenburg, Sweden. He published several books and articles on music and Norse mythology, mu- sic and gender and on diverse aspects of heavy metal studies. -
Frank Zappa and His Conception of Civilization Phaze Iii
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2018 FRANK ZAPPA AND HIS CONCEPTION OF CIVILIZATION PHAZE III Jeffrey Daniel Jones University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2018.031 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Jones, Jeffrey Daniel, "FRANK ZAPPA AND HIS CONCEPTION OF CIVILIZATION PHAZE III" (2018). Theses and Dissertations--Music. 108. https://uknowledge.uky.edu/music_etds/108 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. -
506 Operation Manual
Operation Manual Thank you for selecting the ZOOM 506 (hereafter simply called the "506"). Please take the time to read this manual carefully so as to get the most out of your 506 and to ensure optimum performance and reliability. Retain this manual for future reference. ZOOM CORPORATION NOAH Bldg., 2-10-2, Miyanishi-cho, Fuchu-shi, Tokyo 183, Japan PHONE: 0423-69-7111 FAX: 0423-69-7115 Printed in Japan 506-5000 1 Major Features • 24 individual built-in effects provide maximum flexibility. Up to 8 effects can be used simultaneously in any combination. • Memory capacity for up to 24 user-programmable patches. • Integrated auto-chromatic bass guitar tuner for simple and precise tuning anywhere. • Optional foot controller FP01 can be used for pedal wah or pedal pitch, and volume control is also possible. • Optional foot switch FS01 can be used for bank switching, resulting in enhanced playability. • Dual power supply principle allows the unit to be powered from an alkaline battery or an AC adapter. • New DSP (digital signal processor) ZFx-2 developed by Zoom produces high-quality effects from an amazingly compact package. 2 Safety Precautions USAGE AND SAFETY PRECAUTIONS Usage precautions In this manual, symbols are used to highlight warnings and cautions for you to read so that accidents can be prevented. The Electrical interference meanings of these symbols are as follows: This symbol indicates explanations about extremely For safety considerations, the 506 has been designed to provide dangerous matters. If users ignore this symbol and maximum protection against the emission of electromagnetic !� handle the device the wrong way, serious injury or radiation from inside the device, and from external death could result. -
Makes It Easy to Find Manuals Online!
Downloaded from www.Manualslib.com manuals search engine Photo © Jay Banbury From Jim Marshall I am really pleased that you have chosen this 1959RR Randy Rhoads Signature Series Super Lead 100W head. It is only the fourth signature amplifier that we have produced and I feel it is a great addition to this select range. I first met Randy when he came to the factory in January 1980. He had not long ago joined Ozzy Osbourne and they were working on their first album. He came here knowing exactly what he was looking for, he just needed to find the amplifier that was going to be capable of delivering the power, the tone, and the reliability that he wanted, but was also in keeping with the image that he was to be recognised by. Randy almost found everything he was searching for in a standard 1959 head, but the tone was not quite right. He spent some time with my Service Manager, explaining the slight difference he was looking for, and after a few trials we were able to fit a modification which made the subtle change to the standard tone of the 1959. Randy left the factory to proudly stand in front of his white Marshall stack for all of his hugely successful, but sadly too brief career with Ozzy Osbourne. In this time the legendary guitarist could be seen by thousands of fans, performing in front of his Marshall stack – a sight to behold and a triumphant assault on the ears. Our design team have spent many hours investigating the original Randy Rhoads amplifier, speaking to the Randy Rhoads family, talking to people who knew Randy and heard him play, and talking to the Service Manager who was at the factory when Randy came in and made the modification to the amplifier. -
In the Studio: the Role of Recording Techniques in Rock Music (2006)
21 In the Studio: The Role of Recording Techniques in Rock Music (2006) John Covach I want this record to be perfect. Meticulously perfect. Steely Dan-perfect. -Dave Grohl, commencing work on the Foo Fighters 2002 record One by One When we speak of popular music, we should speak not of songs but rather; of recordings, which are created in the studio by musicians, engineers and producers who aim not only to capture good performances, but more, to create aesthetic objects. (Zak 200 I, xvi-xvii) In this "interlude" Jon Covach, Professor of Music at the Eastman School of Music, provides a clear introduction to the basic elements of recorded sound: ambience, which includes reverb and echo; equalization; and stereo placement He also describes a particularly useful means of visualizing and analyzing recordings. The student might begin by becoming sensitive to the three dimensions of height (frequency range), width (stereo placement) and depth (ambience), and from there go on to con sider other special effects. One way to analyze the music, then, is to work backward from the final product, to listen carefully and imagine how it was created by the engineer and producer. To illustrate this process, Covach provides analyses .of two songs created by famous producers in different eras: Steely Dan's "Josie" and Phil Spector's "Da Doo Ron Ron:' Records, tapes, and CDs are central to the history of rock music, and since the mid 1990s, digital downloading and file sharing have also become significant factors in how music gets from the artists to listeners. Live performance is also important, and some groups-such as the Grateful Dead, the Allman Brothers Band, and more recently Phish and Widespread Panic-have been more oriented toward performances that change from night to night than with authoritative versions of tunes that are produced in a recording studio. -
Robotic Voice Effects
Robotic voice effects From Wikipedia, the free encyclopedia Source : http://en.wikipedia.org/wiki/Robotic_voice_effects "Robot voices" became a recurring element in popular music starting in the late twentieth century, and several methods of producing variations on this effect have arisen. Though the vocoder is by far the best-known, the following other pieces of music technology are often confused with it: Sonovox This was an early version of the talk box used to create the voice of the piano in the Sparky's Magic Piano series from 1947. It was used as the voice of many musical instruments in Rusty in Orchestraville. It was used as the voice of Casey the Train in Dumbo and The Reluctant Dragon[citation needed]. Radio jingle companies PAMS and JAM Creative Productions also used the sonovox in many stations ID's they produced. Talk box The talk box guitar effect was invented by Doug Forbes and popularized by Peter Frampton. In the talk box effect, amplified sound is actually fed via a tube into the performer's mouth and is then shaped by the performer's lip, tongue, and mouth movements before being picked up by a microphone. In contrast, the vocoder effect is produced entirely electronically. The background riff from "Livin' on a Prayer" by Bon Jovi is a well-known example. "California Love" by 2Pac and Roger Troutman is a more recent recording featuring a talk box fed with a synthesizer instead of guitar. Steven Drozd of the The Flaming Lips used the talk box on parts of the groups eleventh album, At War with the Mystics, to imitate some of Wayne Coyne's repeated lyrics in the "Yeah Yeah Yeah Song". -
Modify Your Wah Pedal by James Haskin on June 2, 2008
Home Sign Up! Browse Community Submit All Art Craft Food Games Green Home Kids Life Music Offbeat Outdoors Pets Photo Ride Science Tech Modify Your Wah Pedal by James Haskin on June 2, 2008 Table of Contents Modify Your Wah Pedal . 1 Intro: Modify Your Wah Pedal . 2 Step 1: Research . 2 Step 2: True Bypass . 4 Step 3: Volume Boost . 7 Step 4: Wah-Volume Pedal . 8 Step 5: Vocal . 9 Step 6: Midrange . 10 Related Instructables . 11 Comments . 11 http://www.instructables.com/id/Modify-Your-Wah-Pedal/ Author:James Haskin author's website [email protected] Intro: Modify Your Wah Pedal After making my talk box I started surfing the web for other guitar related things I could do myself. I found loads of info on the Dunlop GCB-95 wah pedal. This Instructable will walk you through all of the modifications I made to my wah pedal... *True Bypass Mod *Volume Boost Mod *Wah-Volume Pedal Mod *Vocal Mod *Midrange Mod After having completed all of these mod and a few others I recommend doing them one at a time and testing in between mods so if you don't like something, you can easily reverse it. Your gonna need some basic soldering tools... -good soldering iron (mines a Weller WESD51D I got for christmas) -solder -wire cutter/stripper -helping hand (a must!!) also the to wire anything to the board itself you will need 24AWG wire Image Notes 1. Stole for my DS-1 I'm working on when I finish THAT instructable I'll change this to a funk colored chicken head knob :] Step 1: Research I think this is a big step in all of my projects. -
2006 Marshall Product Catalog
product catalogue 06 from Jim Marshall Welcome to the latest Marshall Product Catalogue. Firstly, I would like to introduce my daughter and Managing Director of Marshall Amplification, Victoria Marshall. While I am still very much involved in all projects and maintain my hands on approach within the company, Victoria now takes care of the day-to-day running of the business. It always fills me with great pride when I unveil the latest information regarding not only established and much-loved favourites, but also the latest additions to our formidable range of amplifiers. We have been working extremely closely with the Hendrix family to produce the first amplifier Jimi Hendrix purchased from my shop and performed all his early gigs with. This project was of special importance to me as Jimi was, and continues to be, a fantastic ambassador for my company. Credit has to go to my team for producing such an astounding duplicate to the tone and cosmetic look of those original stacks. It always makes me smile when people think of Marshall as a guitar amp manufacturer only. Over the years I have employed some of the best bass engineers in the business! Our new MB bass range will testify to this. I cater for every guitar player and this series starts at a 15 Watt practice amp and ends at a 450 Watt head with cabinets for stage use. No matter how big or small the amp, I will never sacrifice on the quality of sound. For 43 years we have produced amplifiers that have set the sonic benchmark for guitarists and earned us the reputation for being the foremost manufacturer in guitar amplification. -
LINE 6 HELIX AMP MODELS Amp Models That Helix Will Be Shipped With
LINE 6 HELIX AMP MODELS Amp models that helix will be shipped with T his list contains all amp models that helix will contain when it is shipped. The right column shows the real amps they are based on. Guitar Amps Model Based on WhoWattlOO Hiwatt® DR-103 Brill Soup Pro Supra® S6616 Stone Age 185 Gibson® EH-185 Tweed Blues Nm1 Fender® Bassman® (nonnal channel) Tweed Blues Brt Fender® Bassman® (bright channel) US Small Tweed Fender® Champ US Deluxe Nrm Fender® Deluxe Reverb® (normal channel) US Deluxe Vib Fender® Deluxe Reverb® (vibrato channel) US Double Nm1 Fender® Twin Reverb® (normal channel) US Double Vib Fender® Twin Reverb® (vibrato channel) Mail Order Twin Silvertone® 1484 Divided Duo +13 JRT 9/15 Interstate Zed Dr z® Route 66 Jazz Rivet 120 Roland® JC-120 Jazz Chorus EssexA-15 Vox®AC-15 EssexA-30 Vox® AC-30 with top boost A-30 Fawn Nrm Vox® AC-30 Fawn (normal channel) A-30 Fawn Brt Vox® AC-30 Fawn (bright channel) ™ Mandarin So Orange ORSO Brit J-45 Nrm Marshall® JTM-45 (normal channel) Brit J-45 Brt Marshall® JTM-45 (bright channel) Brit Plexi Nrm Marshall® Super Lead 100 (normal channel) Brit Plexi Brt Marshall® Super Lead 100 (bright channel) Brit Plexi Jump Marshall® Super Lead 100 (jumped) Brit P-75 Nrm Park® 75 (nonnal channel) Brit P-75 Brt Park® 75 (bright channel) Brit2204 Marshall® JCM-800 German Mahadeva Bogner® Shiva® German Ubersonic Bogner® Oberschall® Cali Rectifire MESA/Boogie® Dual Rectifier® ANGLMeteor ENGL® Fireball 100 Solo Lead Clean Soldano® SL0-100 (clean channel) Solo Lead Crunch Soldano® SL0-100 (crunch -
Univeristy of California Santa Cruz Cultural Memory And
UNIVERISTY OF CALIFORNIA SANTA CRUZ CULTURAL MEMORY AND COLLECTIVITY IN MUSIC FROM THE 1991 PERSIAN GULF WAR A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in MUSIC by Jessica Rose Loranger December 2015 The Dissertation of Jessica Rose Loranger is approved: ______________________________ Professor Leta E. Miller, chair ______________________________ Professor Amy C. Beal ______________________________ Professor Ben Leeds Carson ______________________________ Professor Dard Neuman ______________________________ Tyrus Miller Vice Provost and Dean of Graduate Studies Copyright © by Jessica Rose Loranger 2015 CONTENTS Illustrations vi Musical Examples vii Tables viii Abstract ix Acknowledgments xi CHAPTER 1: INTRODUCTION 1 Purpose Literature, Theoretical Framework, and Terminology Scope and Limitations CHAPTER 2: BACKGROUND AND BUILDUP TO THE PERSIAN GULF WAR 15 Historical Roots Desert Shield and Desert Storm The Rhetoric of Collective Memory Remembering Vietnam The Antiwar Movement Conclusion CHAPTER 3: POPULAR MUSIC, POPULAR MEMORY 56 PART I “The Desert Ain’t Vietnam” “From a Distance” iii George Michael and Styx Creating Camaraderie: Patriotism, Country Music, and Group Singing PART II Ice-T and Lollapalooza Michael Franti Ani DiFranco Bad Religion Fugazi Conclusion CHAPTER 4: PERSIAN GULF WAR SONG COLLECTION, LIBRARY OF CONGRESS 116 Yellow Ribbons: Symbols and Symptoms of Cultural Memory Parents and Children The American Way Hussein and Hitler Antiwar/Peace Songs Collective -
M Audio Black Box Manual
Reloaded: with updated firmware and additional features. User Guide English Table Of Contents English . 3 Hello From Roger Linn . 3 Introduction . 3 What’s in the Box . 4 Minimum Computer System Requirements . 4 New Version 2 Firmware Inside . 4 Front Panel Connectors . 5 Rear Panel Connectors . 5 Top Panel . 6 Presets and Drumbeats . 8 Editing the Guitar Amp and Compression Settings . 9 Amp Descriptions . .10 Editing the Modulation and Filter Effects . .15 Modulation and Filter Effect Descriptions . .16 Editing the Delay and Reverb . 20 Editing the Utilities . 22 Assigning Momentary Foot Switch Pedal Settings . 25 Accessing the Shift Parameters . 26 Tuner Function . 27 How to Store and Name a Preset . 27 Initializing Black Box to Factory Settings . 27 Connecting your Hardware to the Computer . 28 Using the Black Box with the Computer . 29 Driver Installation . 30 Windows XP (SP2) . 30 Mac OS X . 32 Control Panels . 37 Effects & MIDI Page . 37 Latency Page (Windows Only) . 37 Presets & Firmware Page . 38 About Page . 39 Recording with a DAW (digital audio workstation) . 40 Troubleshooting . .41 Warranty . 42 Specifications . 43 MIDI Implementation Charts . 44 Channel Mode, System Common and System Real Time Messages . 44 Universal System Exclusive Messages . 46 System Exclusive Messages . 47 Data Structures . 53 7-Bit Data Packing . 55 © 2006 Avid Technology, Inc. All rights reserved. Product features, specifications, system requirements and availability are subject to change without notice. Avid, M-Audio and Black Box are either trademarks or registered trademarks of Avid Technology, Inc. All other trademarks contained herein are the property of their respective owners. IMPORTANT! Audio equipment should ALWAYS be powered up and down in a certain order. -
Boss GT-1000CORE Parameter Guide
Parameter Guide 01 Contents REVERB 25 Basic Operation 3 PEDAL FX 26 Basic Procedure for Effect Editing 3 FOOT VOLUME 27 Effect Placement 3 DIVIDER 1–3 27 Using STOMPBOX 4 MIXER 1–3 28 Editing the STOMPBOX 4 SEND/RETURN 1, 2 28 Reading STOMPBOX Settings into a Patch 4 Writing Patch Settings into a STOMPBOX 4 OUTPUT SP.SIMULATOR L, OUTPUT SP.SIMULATOR R, SUB OUT SP.SIMULATOR L, SUB OUT SP.SIMULATOR R 29 Basic MENU Operations 5 MASTER 30 Effect 6 MENU 32 COMPRESSOR 6 CONTROL MODE 32 DISTORTION 1, 2 6 CONTROL ASSIGN 32 AIRD PREAMP 1, 2 7 CONTROL FUNCTION 32 NOISE SUPPRESSOR 1, 2 8 ASSIGN SETTING 34 EQUALIZER 1–4 9 Virtual Expression Pedal (Internal Pedal / Wave Pedal) 42 DELAY 1–4 9 INPUT (Input Level) 42 MASTER DELAY 10 INPUT SENS (Input Sens) 42 12 CHORUS PATCH MIDI 43 FX1–FX3 13 LED COLOR 43 AC.G SIM (AC. GUITAR SIMULATOR) 13 TEMPO HOLD 43 AC RESO (AC RESONANCE) 13 IN/OUT SETTING 44 AUTO WAH 14 INPUT 44 CHORUS 14 OUTPUT, SUB OUT 44 CHO BASS (CHORUS BASS) 16 TOTAL 45 C-VIBE (CLASSIC VIBE) 16 USB-Related Settings 46 16 COMP (COMPRESSOR) PLAY OPTION 47 DEFRETR (DEFRETTER) 17 MIDI 47 DEFRET B (DEFRETTER BASS) 17 MIDI SETTING 47 DIST (DISTORTION) 17 PROGRAM MAP BANK1–BANK4 48 FEEDBAKR (FEEDBACKER) 18 BULK DUMP 48 FLANGER/FLANGR B (FLANGER B) 18 HARDWARE SETTING 49 HARMONST (HARMONIST) 19 KNOB 49 HUMANIZR (HUMANIZER) 20 AMP CONTROL 54 OCTAVE 20 EXP HOLD 54 OCT BASS (OCTAVE BASS) 20 GROUND LIFT 54 OVERTONE 20 OTHER 54 PAN 21 FACTORY RESET 55 PHASER 21 TUNER 55 PITCH SFT (PITCH SHIFTER) 22 METRONOME 55 RING MOD 22 ROTARY 23 Saving a Sound (WRITE) 56 SITAR SIM.