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IN KONTAKT with AKOUSTIK PIANO Outstanding Sound Quality Meets Perfect Integration
News: IN KONTAKT WITH AKOUSTIK PIANO Outstanding Sound Quality Meets Perfect Integration Since its release in August 2005, AKOUSTIK PIANO has caused a great deal of excitement. With the recent release of the free 1.1 Update a whole new level of product integration has been achieved: AKOUSTIK PIANO has not only been optimized in minute detail, but can now be comfortably loaded in KONTAKT 2.1. The same holds true for ELEKTRIK PIANO and BANDSTAND. Both have just been updated and now feature perfect KONTAKT 2.1 integration. Make sure not to miss our related NI-VERSARY Offers: As a user of one of the above mentioned products you can crossgrade to selected Sampling Line products - and save up to 50%! Grand Slam AKOUSTIK PIANO fuses the sampled sound, expressiveness and playability of three of the most reputable grand pianos – the Steinway D™, Bechstein D 280™ and Boesendorfer 290 Imperial™ – as well as the charismatic Steingraeber 130™ vintage upright piano into one application. AKOUSTIK PIANO covers the entire range of piano sounds and styles, transfusing the sonic characteristics and subtle tonal nuances of all four into your computer – the perfect complement for studios, rehearsal rooms, schools, stages and clubs. Under The Lid AKOUSTIK PIANO is the new benchmark in sound quality, capturing the full body and feel of the originals with unprecedented authenticity. The latest recording technology as well as a specially developed microphone setup was used for all 4 pianos. The result is a uniquely warm, transparent and flexible sound that delivers the same distinctive character of each individual piano in exacting detail and can still be adjusted to meet specific needs. -
Proaudio Catalog Index.Indd
INDEX (BY PART NUMBER) INDEX #0-9 406M ....................................152 600285 .................................217 808M ....................................152 AD-S52B ..............................172 AT69010B .............................219 409-16T .................................175 600291 .................................217 808S ......................................152 AD-S52TB ............................172 AT69015 ................................219 01V-96V2 ..............................140 409-32T ................................175 600292 .................................217 828 MK II ................................38 AD-S82B ..............................173 AT69015B .............................219 02R-96V2 ..............................140 4098E ...................................175 600293 .................................217 828 MK IIU2 ...........................38 AD-S82HB ...........................173 AT69025 ...............................219 100 IEC .................................185 409-8T ..................................175 600294 ..................................217 896HD ....................................38 ADX 20i ................................122 AT69025B .............................219 100 Series ............................109 40-A ......................................180 600295 .................................217 8-BALL .................................121 AEW4230D ..........................125 AT6903 .................................219 101PLSLO .............................182 40-C -
RC 48 NATIVE INSTRUMENTS Torrent
1 / 2 RC 48 NATIVE INSTRUMENTS Torrent The Forums Native Instruments Reverb Classics (RC24 & RC48) ... Gonna try LX480 and Phoenix next month but these NI plugins sound .... Get RC 48 by Native Instruments and learn how to use the plugin with Ableton Live, Logic, GarageBand, and FL Studio for free. Mar 06, · How to: get the ultimate .... Download Native Instruments RC 24 and RC 48 v1.1.1 Update-R2R . ... 5 Update - R2R [deepstatus][h torrent or any other torrent from the .... 00 beta 1 incl keygen fff torrent absolutely free for you on torrentland. ... Cinematic Guitars Organic Atmospheres (Virtual Electric Guitars) Native Instruments, .... Apr 5, 2020 - Native Instruments RC 48 is an exemplary reverb with an exceptionally uncommon and warm solid that was motivated by a great equipment .... Reverb (emulation of interfaces of analog prototypes): RC 24 1.3.1. RC 48 1.3.1. Delay: Replika 1.3.2. Replika XT 1.0.3. Compressors ... 48 MB The Lexicon PCM Native Reverb Plug-In Bundle is billed as "the ul ... for that Lexicon sound in a native plugin format, there is RC48 Reverb ... Reverb Bundle Vst Au 1 0 4 serials key: Native Instruments Guitar Combos Vst ... Vst roland d50 torrent mac in description lexicon psp 42 64bit lexicon .... Stadium Flex v1 .0.0. Native Access v1.7.2 ... RC 24 v1.3.1.dmg. RC 48 v1.3.1.dmg ... Download link for Native Instruments KOMPLETE 12 Free Torrent For Mac:.. Download Native Instruments RC 24 and RC 48 v1.1.1 Update-R2R [deepstatus] torrent or any other . -
Ryokoakamaexploringemptines
University of Huddersfield Repository Akama, Ryoko Exploring Empitness: An Investigation of MA and MU in My Sonic Composition Practice Original Citation Akama, Ryoko (2015) Exploring Empitness: An Investigation of MA and MU in My Sonic Composition Practice. Doctoral thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/26619/ 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/ EXPLORING EMPTINESS AN INVESTIGATION OF MA AND MU IN MY SONIC COMPOSITION PRACTICE Ryoko Akama A commentary accompanying the publication portfolio submitted to the University of Huddersfield in partial fulfillment of the requirements for the degree of Doctor of Philosophy ! The University of Huddersfield School of Music, Humanities and Media April, 2015 Title: Exploring Emptiness Subtitle: An investigation of ma and mu in my sonic composition practice Name of student: Ryoko Akama Supervisor: Prof. -
A Performer's Guide to the Prepared Piano of John Cage
A Performer’s Guide to the Prepared Piano of John Cage: The 1930s to 1950s. A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Keyboard Studies Division of the College-Conservatory of Music By Sejeong Jeong B.M., Sookmyung Women’s University, 2011 M.M., Illinois State University, 2014 ________________________________ Committee Chair : Jeongwon Joe, Ph. D. ________________________________ Reader : Awadagin K.A. Pratt ________________________________ Reader : Christopher Segall, Ph. D. ABSTRACT John Cage is one of the most prominent American avant-garde composers of the twentieth century. As the first true pioneer of the “prepared piano,” Cage’s works challenge pianists with unconventional performance practices. In addition, his extended compositional techniques, such as chance operation and graphic notation, can be demanding for performers. The purpose of this study is to provide a performer’s guide for four prepared piano works from different points in the composer’s career: Bacchanale (1938), The Perilous Night (1944), 34'46.776" and 31'57.9864" For a Pianist (1954). This document will detail the concept of the prepared piano as defined by Cage and suggest an approach to these prepared piano works from the perspective of a performer. This document will examine Cage’s musical and philosophical influences from the 1930s to 1950s and identify the relationship between his own musical philosophy and prepared piano works. The study will also cover challenges and performance issues of prepared piano and will provide suggestions and solutions through performance interpretations. -
Points in Recent History
San Francisco Contemporary Music Players Performers: Points in Recent History Tod Brody, flute Monday, November 8, 2010, 8 pm Peter Josheff, clarinet Herbst Theatre Jacob Zimmerman, saxophone David Tanenbaum, guitar Michael Seth Orland, piano Dominique Leone, keyboard JÉRÔME COMBIER Regina Schaffer, keyboard Essere pietra (To Be Stone) (2004) Loren Mach, percussion (Combier) (Approximate duration: 6 minutes) William Winant, percussion (Cage, Glass) Susan Freier, violin Heurter la lumière encore (To Hit the Light Again) (2005) Nanci Severance, viola United States premiere Stephen Harrison, cello (Approximate duration: 5 minutes) 2 JOHN CAGE Robert Shumaker, Recording Engineer Seven (1988) San Francisco Contemporary Music Players Co-Commission 2 This project has been made possible by the National Endowment for the Arts as part of American Masterpieces: Three Centuries of Artistic Genius. (Approximate duration: 20 minutes) Tonight’s performance is supported in part by the National Endowment for the Arts and the Wells Fargo Foundation. Intermission Tonight’s performances of Heurter la lumière encore and Essere pietra are sup- ported in part by The French-American Fund for Contemporary Music, a program of FACE with support from Cultural Services of the French Embassy, CulturesFrance, SACEM and the Florence Gould Foundation. GABRIELE VANONI Space Oddities (2008) Tonight’s performance of music by Gabriele Vanoni is made possible in part West Coast premiere by the generaous support of the Istituto Italiano de Cultura. (Approximate duration: 8 minutes) Tod Brody, flute PHILIP GLASS Music in Similar Motion (1969) (Approximate duration: 15 minutes) Program Notes (b. 1947) best known for his nature-inspired sculptures and mixed- media work. Two other artists of Combier’s own generation also had JÉRÔME COMBIER (b. -
Developing a Personal Vocabulary for Solo Double Bass Through Assimilation of Extended Techniques and Preparations
Developing a Personal Vocabulary for Solo Double Bass Through Assimilation of Extended Techniques and Preparations Thomas Botting This thesis is submitted in partial requirement for the degree of Doctor of Philosophy. Sydney Conservatorium of Music The University of Sydney 2019 i Statement of Originality This is to certify that, to the best of my knowledge, the content of this thesis is my own work. This thesis has not been submitted for any degree or other purposes. I certify that the intellectual content of this thesis is the product of my own work and that all the assistance received in preparing this thesis and sources have been acknowledged. Thomas Botting November 8th, 2018 ii Abstract This research focuses on the development of a personal musical idiolect for solo double bass through the assimilation of extended techniques and preparations. The research documents the process from inception to creative output. Through an emergent, practice-led initial research phase, I fashion a developmental framework for assimilating new techniques and preparations into my musical vocabulary.The developmental framework has the potential to be linear, reflexive or flexible depending on context, and as such the tangible outcomes can be either finished creative works, development of new techniques, or knowledge about organisational aspects of placing the techniques in musical settings. Analysis of creative works is an integral part of the developmental framework and forms the bulk of this dissertation. The analytical essays within contain new knowledge about extended techniques, their potential and limitations, and realities inherent in their use in both compositional and improvisational contexts. Video, audio, notation and photos are embedded throughout the dissertation and form an integral part of the research project. -
Diplomarbe Diplomarbeit
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OTHES DIPLOMARBEIT Titel der Diplomarbeit „Klang, Handhabung und Potential s oftwarebasierte r Studiotechnik im V ergleich zu Hardware“ Verfasser Klemens Löwenstein angestrebter akademischer Grad Magister der Philosophie (Mag. phil .) Wien, 2010 Studienkennzahl lt. Studienblatt: A 316 Studienrichtung lt. Studienblatt: Musikwissenschaft (A 316) Betreuer: Univ.-Prof. Dr. Christoph Reuter, M.A. Inhaltsverzeichnis 1. Einleitung ........................................................................................................................................ 5 2. Digitale Grundlagen ................................................................................................................................ 6 2.1 Technik .................................................................................................................................................... 6 2.2 Nomenklatur .......................................................................................................................................... 7 2.3 Geschichte ............................................................................................................................................... 8 2.4 Der Computer komponiert ............................................................................................................... 9 3. Was ist ein Plug-in? ............................................................................................................................. -
Leopard 10.5.8 Latest Software
Leopard 10.5.8 latest software Here is a list of the latest software that OS X Leopard supports. If you have software that can be added, tell me in the thread and where to find it, so we can expand the list. A lot of the software is not on the mac repository sites or other sites, some download links are broken and programs or any info about them will be extremely hard to find. I have a lot of free space on my HDD and I store all this software & can send a download link whenever someone needs something (ideal solution is if we can make a file server or make a new updated PCC store). I first used a list from “The Leopard Thread”, sorted everything better (sorry if something isn't in order) and added programs that weren't there before. Also, some of the programs weren't the latest version, so I found the latest, found a serial and added it in the folder. Please, if you want to add something on the list, check if it truly is the latest version for PPC! Also, if some program is put under incorrect label or there is a better version, please tell me in the thread, i want to make it as best as possible! Green Have latest version of the software and a working serial if it needs one Blue Have latest version of the software, but no serial Red Downloaded latest version of the software, but haven’t tested it Magenta I guess that this is the latest version, but can’t find a download link anywhere Black Not downloaded or checked if it works or latest version Bold Black - made a list like this before without checking too much if the programs were latest version & these weren't on the Leopard Thread list, so i copied them & need to check again 1. -
Nasher's 'Soundings' Offers Rare Performance of Uniquely Corrupted
February 16, 2017 Nasher’s 'Soundings' offers rare performance of uniquely corrupted composition and instrument http://www.dallasnews.com/arts/performing-arts/2017/02/16/nashers-soundings-offers-rare- performance-uniquely-corrupted-composition-instrument By Christopher Mosley American composer John Cage is known as much for what he didn’t do as he is for his completed works. Arguably one of the most important and controversial artists of the last century, Cage’s infamous composition,"4' 33"," directs a musician to sit at the piano in complete silence for exactly four minutes and 33 seconds. This has made his name a shorthand dig at the audacity of academic and experimental music, and a beloved figure to cultural radicals ever since. Music as we know it might be completely unrecognizable, however, were it not for the “prepared piano,” another musical concept that Cage helped to innovate. The prepared piano will be heard at an entry in the Nasher Sculpture Center’s "Soundings" series on Saturday, Feb. 18. Moscow-born pianist Boris Berman will perform "Sonatas and Interludes," composed by Cage, who brought the prepared piano to the greater public consciousness in the late 1940s. Berman is a scholar of Prokofiev who has recorded works by the Russian composer as well as Cage. The concept evolved from techniques employed by musicians in the late 19th and early 20th centuries who decided that not even the grand Pianist Boris Berman performs John Cage's "Sonatas and Interludes" as part of the seventh season of "Soundings: New piano was complex enough for their vision and Music at the Nasher." (Oleg Kvashuk, courtesy of the Nasher desires. -
BEAUTIFUL NOISE Directions in Electronic Music
BEAUTIFUL NOISE Directions in Electronic Music www.ele-mental.org/beautifulnoise/ A WORK IN PROGRESS (3rd rev., Oct 2003) Comments to [email protected] 1 A Few Antecedents The Age of Inventions The 1800s produce a whole series of inventions that set the stage for the creation of electronic music, including the telegraph (1839), the telephone (1876), the phonograph (1877), and many others. Many of the early electronic instruments come about by accident: Elisha Gray’s ‘musical telegraph’ (1876) is an extension of his research into telephone technology; William Du Bois Duddell’s ‘singing arc’ (1899) is an accidental discovery made from the sounds of electric street lights. “The musical telegraph” Elisha Gray’s interesting instrument, 1876 The Telharmonium Thaddeus Cahill's telharmonium (aka the dynamophone) is the most important of the early electronic instruments. Its first public performance is given in Massachusetts in 1906. It is later moved to NYC in the hopes of providing soothing electronic music to area homes, restaurants, and theatres. However, the enormous size, cost, and weight of the instrument (it weighed 200 tons and occupied an entire warehouse), not to mention its interference of local phone service, ensure the telharmonium’s swift demise. Telharmonic Hall No recordings of the instrument survive, but some of Cahill’s 200-ton experiment in canned music, ca. 1910 its principles are later incorporated into the Hammond organ. More importantly, Cahill’s idea of ‘canned music,’ later taken up by Muzak in the 1960s and more recent cable-style systems, is now an inescapable feature of the contemporary landscape. -
Bitklavier: a Prepared Digital Piano Dan Trueman and Michael Mulshine Department of Music Princeton University
Trueman and Mulshine 1 bitKlavier: A Prepared Digital Piano Dan Trueman and Michael Mulshine Department of Music Princeton University Abstract BitKlavier is a new kind of digital musical instrument, a novel assemblage of the familiar MIDI keyboard with bespoke interactive software. Inspired by John Cage’s prepared piano, bitKlavier both leverages and subverts the pianist’s hard-earned embodied training, while also inviting an extended configuration stage that “prepares” the instrument to behave in composition-specific, idiosyncratic ways. Through its flexible though constrained design, bitKlavier aims to inspire a playful approach to instrument building, composition, and performance. We outline the development history of bitKlavier, its current design, and some of its musical possibilities. Introduction Of the many subversive acts that mark John Cage’s career, preparing the piano is one of his most enduring. While cramming bolts between the strings of this refined instrument might seem vandalous, the delicate, almost spiritual act of preparation is irreverent but not sacrilegious, and it begs us to consider the piano as a work in progress, a place for play and exploration as it was in its adolescence. Roger Moseley, in his book Keys to Play, argues that play “owes its existence to rigid rules or material constraints, but takes place despite—and sometimes in opposition to— them” (2016, p36). Though not directed at the prepared piano explicitly, this aptly captures some of the subversive nature of Cage’s approach. The subversion is both Computer Music Journal January 15, 2020 Trueman and Mulshine 2 mechanical and embodied; it directly impinges on the feedback loop between player and instrument that so much instrumental training relies on.