Oberheim Prommer MIDI Sampler/ PROM Programmer USER's GUIDE
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Chiptuning Intellectual Property: Digital Culture Between Creative Commons and Moral Economy
Chiptuning Intellectual Property: Digital Culture Between Creative Commons and Moral Economy Martin J. Zeilinger York University, Canada [email protected] Abstract This essay considers how chipmusic, a fairly recent form of alternative electronic music, deals with the impact of contemporary intellectual property regimes on creative practices. I survey chipmusicians’ reusing of technology and content invoking the era of 8-bit video games, and highlight points of contention between critical perspectives embodied in this art form and intellectual property policy. Exploring current chipmusic dissemination strategies, I contrast the art form’s links to appropriation-based creative techniques and the ‘demoscene’ amateur hacking culture of the 1980s with the chiptune community’s currently prevailing reliance on Creative Commons licenses for regulating access. Questioning whether consideration of this alternative licensing scheme can adequately describe shared cultural norms and values that motivate chiptune practices, I conclude by offering the concept of a moral economy of appropriation-based creative techniques as a new framework for understanding digital creative practices that resist conventional intellectual property policy both in form and in content. Keywords: Chipmusic, Creative Commons, Moral Economy, Intellectual Property, Demoscene Introduction The chipmusic community, like many other born-digital creative communities, has a rich tradition of embracing and encouraged open access, collaboration, and sharing. It does not like to operate according to the logic of informational capital and the restrictive enclosure movements this logic engenders. The creation of chipmusic, a form of electronic music based on the repurposing of outdated sound chip technology found in video gaming devices and old home computers, centrally involves the reworking of proprietary cultural materials. -
Vprom User Manual
EPROM DRUMS www.alyjameslab.com USER MANUAL 2.0 BY Aly James ©2014-2016 ALYJAMESLAB TABLE OF CONTENTS INTRODUCTION............................................................................................................................. 3 WHAT’S NEW IN V2.0? .................................................................................................................. 6 INSTALLATION............................................................................................................................... 7 CONTROL PANELS ........................................................................................................................10 THE AM6070 DAC.........................................................................................................................13 SAMPLE TUNING ..........................................................................................................................17 THE HIHAT CASE...........................................................................................................................20 MAIN PANEL ................................................................................................................................21 CEM FILTERS ................................................................................................................................22 SETTINGS .....................................................................................................................................24 EPROM LOADING .........................................................................................................................26 -
Videogame Music: Chiptunes Byte Back?
Videogame Music: chiptunes byte back? Grethe Mitchell Andrew Clarke University of East London Unaffiliated Researcher and Institute of Education 78 West Kensington Court, University of East London, Docklands Campus Edith Villas, 4-6 University Way, London E16 2RD London W14 9AB [email protected] [email protected] ABSTRACT Musicians and sonic artists who use videogames as their This paper will explore the sonic subcultures of videogame medium or raw material have, however, received art and videogame-related fan art. It will look at the work of comparatively little interest. This mirrors the situation in art videogame musicians – not those producing the music for as a whole where sonic artists are similarly neglected and commercial games – but artists and hobbyists who produce the emphasis is likewise on the visual art/artists.1 music by hacking and reprogramming videogame hardware, or by sampling in-game sound effects and music for use in It was curious to us that most (if not all) of the writing their own compositions. It will discuss the motivations and about videogame art had ignored videogame music - methodologies behind some of this work. It will explore the especially given the overlap between the two communities tools that are used and the communities that have grown up of artists and the parallels between them. For example, two around these tools. It will also examine differences between of the major videogame artists – Tobias Bernstrup and Cory the videogame music community and those which exist Archangel – have both produced music in addition to their around other videogame-related practices such as modding gallery-oriented work, but this area of their activity has or machinima. -
Spsg Sn76489 User Manual
SUPER PSG VST SN76489 SMS www.alyjameslab.com USER MANUAL 1.0 BY Aly James ©2013-2014 ALYJAMESLAB TABLE OF CONTENTS SUPER PSG VST ..................................................................................................................... 1 INTRODUCTION............................................................................................................................. 3 INSTALLATION............................................................................................................................... 6 CONTROL PANELS ......................................................................................................................... 9 THE SN76489 PSG CHIP ................................................................................................................11 MAIN CONTROLS..........................................................................................................................15 SETTINGS .....................................................................................................................................17 AMP GENERATOR.........................................................................................................................19 PITCH GENERATOR .......................................................................................................................22 ARPEGGIATOR .............................................................................................................................25 SPECIAL - TIMERS & AY-EG ............................................................................................................27 -
Use of Progressive Rock in David Wise's Soundtrack for Donkey Kong
Use of Progressive Rock in David Wise’s Soundtrack for Donkey Kong Country and the Advancement of Video Game Music Brooke Spencer Professor Stephanie Lind MUSC501 3 March 2019 Introduction In 1994, Nintendo released the Super Nintendo game: Donkey Kong Country (DKC)– resulting in widespread popularity and new innovative use of music in gameplay. Through the utilization of prog-rock in David Wise’s soundtrack for DKC, Nintendo has expanded its range of musical styles, function, and status as a top contending videogame company. The use of prog-rock can be broken down in David Wise’s three pieces: “Treetop Rock”, “Fear Factory”, and “Aquatic Ambience”. Through elements of prog-rock seen in each of these pieces - harmonic prolongation, fragmentation, distortion, and use of the concept ‘meta- chord’ – we can see that DKC’s music was unlike anything Nintendo had been creating previously, and set expectations for music in videogames to come. History Starting in 1977-78, the video game industry began to rise in popularity through arcades. In the 1960s/1970s when first-generation home consoles were created, sound was not a possibility. It was only when Pong was released on the Atari home console in 1975 that sounds were used deliberately: the game had 3 different sounds coinciding with actions on screen: the ball hitting the wall, the paddle, and a sound for player failure. Most games included sound in future releases to increase profits after Pong’s success.1 By the end of the 70s, arcades were growing in popularity, with Nintendo a primary arcade console producer. -
January 1988
VOLUME 12, NUMBER 1, ISSUE 99 Cover Photo by Lissa Wales Wales PHIL GOULD Lissa In addition to drumming with Level 42, Phil Gould also is a by songwriter and lyricist for the group, which helps him fit his drums into the total picture. Photo by Simon Goodwin 16 RICHIE MORALES After paying years of dues with such artists as Herbie Mann, Ray Barretto, Gato Barbieri, and the Brecker Bros., Richie Morales is getting wide exposure with Spyro Gyra. by Jeff Potter 22 CHICK WEBB Although he died at the age of 33, Chick Webb had a lasting impact on jazz drumming, and was idolized by such notables as Gene Krupa and Buddy Rich. by Burt Korall 26 PERSONAL RELATIONSHIPS The many demands of a music career can interfere with a marriage or relationship. We spoke to several couples, including Steve and Susan Smith, Rod and Michele Morgenstein, and Tris and Celia Imboden, to find out what makes their relationships work. by Robyn Flans 30 MD TRIVIA CONTEST Win a Yamaha drumkit. 36 EDUCATION DRIVER'S SEAT by Rick Mattingly, Bob Saydlowski, Jr., and Rick Van Horn IN THE STUDIO Matching Drum Sounds To Big Band 122 Studio-Ready Drums Figures by Ed Shaughnessy 100 ELECTRONIC REVIEW by Craig Krampf 38 Dynacord P-20 Digital MIDI Drumkit TRACKING ROCK CHARTS by Bob Saydlowski, Jr. 126 Beware Of The Simple Drum Chart Steve Smith: "Lovin", Touchin', by Hank Jaramillo 42 Squeezin' " NEW AND NOTABLE 132 JAZZ DRUMMERS' WORKSHOP by Michael Lawson 102 PROFILES Meeting A Piece Of Music For The TIMP TALK First Time Dialogue For Timpani And Drumset FROM THE PAST by Peter Erskine 60 by Vic Firth 104 England's Phil Seamen THE MACHINE SHOP by Simon Goodwin 44 The Funk Machine SOUTH OF THE BORDER by Clive Brooks 66 The Merengue PORTRAITS 108 ROCK 'N' JAZZ CLINIC by John Santos Portinho A Little Can Go Long Way CONCEPTS by Carl Stormer 68 by Rod Morgenstein 80 Confidence 116 NEWS by Roy Burns LISTENER'S GUIDE UPDATE 6 Buddy Rich CLUB SCENE INDUSTRY HAPPENINGS 128 by Mark Gauthier 82 Periodic Checkups 118 MASTER CLASS by Rick Van Horn REVIEWS Portraits In Rhythm: Etude #10 ON TAPE 62 by Anthony J. -
Hyperbole Followed by Disillusion
EDITORIAL Hyperbole Followed By Disillusion ew technology is invariably preceded by challenge of broadening the use base is a difficult as hyperbole and followed by disillusionment. ever. N The short-term impact of new technology is What was not as widely predicted in 1983, but has generally overestimated, while the long-term impact is become hugely significant, is the impact of electronics almost always underestimated," noted the chairman of on the way music is being made and performed today. AT&T in a recent interview. He was discussing the Guitars are currently in the forefront of popular music, evolution of the much heralded "information but behind the scene arsenals of electronics, ranging superhighway," but his words could have just as from signal processing to tone modules, are employed easily been used to describe the evolution of the to help produce that "true acoustic sound." The electronic music industry. marriage between MIDI, the entire family of In one form or another, electronic musical electronic instruments, and the computer has also instruments have existed for over 50 years, but from a made it possible for people working in their living commercial standpoint the synthesizer and electronic rooms to create recordings that previously would have music market has been an important industry sales required a $500,000 studio. Consumers may not have component only for the past 12 years. The only thing embraced electronic music to the extent predicted, but that has changed as rapidly as technology in that then no one anticipated that electronic music would relatively brief time span has been the outlook of end up on virtually every popular recording, including retailers and manufacturers. -
Westminsterresearch Synth Sonics As
WestminsterResearch http://www.westminster.ac.uk/westminsterresearch Synth Sonics as Stylistic Signifiers in Sample-Based Hip-Hop: Synthetic Aesthetics from ‘Old-Skool’ to Trap Exarchos, M. This is an electronic version of a paper presented at the 2nd Annual Synthposium, Melbourne, Australia, 14 November 2016. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] 2nd Annual Synthposium Synthesisers: Meaning though Sonics Synth Sonics as Stylistic Signifiers in Sample-Based Hip-Hop: Synthetic Aesthetics from ‘Old-School’ to Trap Michail Exarchos (a.k.a. Stereo Mike), London College of Music, University of West London Intro-thesis The literature on synthesisers ranges from textbooks on usage and historiogra- phy1 to scholarly analysis of their technological development under musicological and sociotechnical perspectives2. Most of these approaches, in one form or another, ac- knowledge the impact of synthesisers on musical culture, either by celebrating their role in powering avant-garde eras of sonic experimentation and composition, or by mapping the relationship between manufacturing trends and stylistic divergences in popular mu- sic. The availability of affordable, portable and approachable synthesiser designs has been highlighted as a catalyst for their crossover from academic to popular spheres, while a number of authors have dealt with the transition from analogue to digital tech- nologies and their effect on the stylisation of performance and production approaches3. -
(Tom) E. Oberheim
-·· Computer • History Museum Oral History of Thomas (Tom) E. Oberheim Interviewed by: Alex Bochannek, Computer History Museum Gene Radzik, Audio Engineering Society (AES) Recorded: October 29, 2012 Dolby Laboratories Inc. San Francisco, California CHM Reference number: X6701.2013 © 2012 Computer History Museum Oral History of Thomas E. Oberheim Gene Radzik: The time is 2:00 PM on Monday, October the 29, 2012. I’m Gene Radzik with the Audio Engineering Society [AES]. Alex Bochannek: And I’m Alex Bochannek with the Computer History Museum [CHM]. Gene Radzik: We’re located in San Francisco, California at the mixing studios of Dolby Laboratories with Tom [Thomas Elroy] Oberheim. Tom, thank you for granting this interview. For this oral history, I’d like to begin by capturing your back history. Would you mind telling us when and where you were born, and how audio entered your life? Tom Oberheim: I was born in Manhattan, Kansas— home of Kansas State University. Although it was Kansas State College when I was there. I was born in that town and raised— and went to school there and went right on to the Kansas State. In 1956 I got the bug to leave town for a while and met some people in Wichita and moved to California and arrived in California in July of ’56 with $10 in my pocket and a broken down car and that’s where I started. The first few months I just worked at a— at an aircraft company that needed somebody in their dark room because I had worked in a camera shop when I was in high school. -
Vintage Game Consoles: an INSIDE LOOK at APPLE, ATARI
Vintage Game Consoles Bound to Create You are a creator. Whatever your form of expression — photography, filmmaking, animation, games, audio, media communication, web design, or theatre — you simply want to create without limitation. Bound by nothing except your own creativity and determination. Focal Press can help. For over 75 years Focal has published books that support your creative goals. Our founder, Andor Kraszna-Krausz, established Focal in 1938 so you could have access to leading-edge expert knowledge, techniques, and tools that allow you to create without constraint. We strive to create exceptional, engaging, and practical content that helps you master your passion. Focal Press and you. Bound to create. We’d love to hear how we’ve helped you create. Share your experience: www.focalpress.com/boundtocreate Vintage Game Consoles AN INSIDE LOOK AT APPLE, ATARI, COMMODORE, NINTENDO, AND THE GREATEST GAMING PLATFORMS OF ALL TIME Bill Loguidice and Matt Barton First published 2014 by Focal Press 70 Blanchard Road, Suite 402, Burlington, MA 01803 and by Focal Press 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Focal Press is an imprint of the Taylor & Francis Group, an informa business © 2014 Taylor & Francis The right of Bill Loguidice and Matt Barton to be identified as the authors of this work has been asserted by them in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. -
Generic Artistic Strategies and Ambivalent Affect
I GENERIC ARTISTIC STRATEGIES AND AMBIVALENT AFFECT THOMAS SMITH A thesis in fulfillment of the requirements for the degree of Doctor of Philosophy Faculty of Art & Design 2019 THOMAS SMITH II Surname/Family Name : Smith Given Name/s : Thomas William Abbreviation for degree as give in the University calendar : 1292 – PhD Art, Design and Media Faculty : Faculty of Art & Design School : School of Art & Design Generic Artistic Strategies and Ambivalent Thesis Title : Affect This practice-based thesis investigates how contemporary artists are using generic artistic strategies and ambivalent affect to inhabit post-digital conditions. It proposes that artists reproducing and re-performing generic post-digital aesthetics both engender and are enveloped by ambivalent affect, and that these strategies are immanently political rather than overtly critical. I argue that ambivalent artworks secede from requirements for newness and innovation, and the exploitation of creative labour that are a feature of post-digital environments. Drawing on Sianne Ngai’s affect theory and Paolo Virno’s post-Fordist thinking, I summarise contemporary conditions for creativity as a ‘general intellect of the post-digital’; proposing that artists’ and workers’ relations with this mode of production are necessarily ambivalent. Throughout this research I produced several performance and video works that exemplify this ambivalence. These works reproduce standardised electronic music, stock imagery and PowerPoint presentations, alongside re-performances of digital labour such as online shopping, image searches, and paying rent online. Through these examples I develop concepts for discussing generic aesthetics, framing them as vital to understanding post-digital conditions. I address works by other artists including Amalia Ulman’s Excellences and Perfections (2014), which I argue is neither critical nor complicit with generic post-digital routines, but rather signals affective ambivalence and a desire to secede from social media performance. -
Muc 4313/5315
MUC 4313/5315 Reading Notes: Chadabe - Electric Sound Sample Exams Moog Patch Sheet Project Critique Form Listening List Truax - Letter To A 25-Year Old Electroacoustic Composer Fall 2003 Table of Contents Chadabe - Electric Sound Chapter Page 1 1 2 3 3 7 4 9 5 10 6 14 7 18 8 21 9 24 10 27 11 29 12 33 Appendex 1 – Terms and Abbreviations 35 Appendex 2 – Backus: Fundamental Physical Quantities 36 Sample Exams Exam Page Quiz 1 37 Quiz 2 40 Mid-Term 43 Quiz 3 47 Quiz 4 50 Final 53 Moog Patch Sheet 59 Project Critique Form 60 Listening List 61 Truax - Letter to a 25-Year Old Electroacoustic Composer 62 i Chapter 1, The Early Instruments What we want is an instrument that will give us a continuous sound at any pitch. The composer and the electrician will have to labor together to get it. (Edgard Varèse, 1922) History of Music Technology 27th cent. B.C. - Chinese scales 6th cent. B.C. - Pythagoras, relationship of pitch intervals to numerical frequency ratios (2:1 = 8ve) 2nd cent. C.E. - Ptolemy, scale-like Ptolemaic sequence 16 cent. C.E. - de Salinas, mean tone temperament 17th cent. C.E. - Schnitger, equal temperament Instruments Archicembalo (Vicentino, 17th cent. C.E.) 31 tones/8ve Clavecin electrique (La Borde, 18th cent. C.E.) keyboard control of static charged carillon clappers Futurist Movement L’Arte dei Rumori (Russolo, 1913), description of futurist mechanical orchestra Intonarumori, boxes with hand cranked “noises” Gran concerto futuristica, orchestra of 18 members, performance group of futurist “noises” Musical Telegraph (Gray, 1874) Singing Arc (Duddell, 1899) Thaddeus Cahill Art of and Apparatus for Generating and Distributing Music Electronically (1897) Telharmonium (1898) New York Cahill Telharmonic Company declared bankruptcy (1914) Electrical Means for Producing Musical Notes (De Forest, 1915), using an audion as oscillator, more cost effective Leon Theremin Aetherphone (1920) a.k.a.