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Harmonic Resources in 1980S Hard Rock and Heavy Metal Music
HARMONIC RESOURCES IN 1980S HARD ROCK AND HEAVY METAL MUSIC A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts in Music Theory by Erin M. Vaughn December, 2015 Thesis written by Erin M. Vaughn B.M., The University of Akron, 2003 M.A., Kent State University, 2015 Approved by ____________________________________________ Richard O. Devore, Thesis Advisor ____________________________________________ Ralph Lorenz, Director, School of Music _____________________________________________ John R. Crawford-Spinelli, Dean, College of the Arts ii Table of Contents LIST OF FIGURES ............................................................................................................................... v CHAPTER I........................................................................................................................................ 1 INTRODUCTION ........................................................................................................................... 1 GOALS AND METHODS ................................................................................................................ 3 REVIEW OF RELATED LITERATURE............................................................................................... 5 CHAPTER II..................................................................................................................................... 36 ANALYSIS OF “MASTER OF PUPPETS” ...................................................................................... -
1 Microphones 6-195
Section1 PHOTO - VIDEO - PRO AUDIO Wired Microphones Introduction to Microphones ....8-9 AKG ...........................................10-25 Audio-Technica ........................26-50 Azden .............................................50 Audix ........................................51-57 Beyerdynamic ..........................58-65 Blue ...........................................66-69 Countryman.............................70-71 Crown .......................................72-85 DPA............................................86-93 Earthworks ...............................94-99 Electro-Voice ........................100-107 Neumann..............................108-123 Rode ......................................124-126 Samson .................................127-131 Sennheiser ............................132-141 Shure.....................................142-167 Sony ......................................168-171 Microphone Accessories .....172-195 INTRODUCTION TO SELECTING A MICROPHONE—THE BASICS Dynamic or Condenser? Reading Microphone Specifications One of the first things that you need to know before purchasing is The most common and useful specs for the microphone selection process whether you need a dynamic or condenser microphone. Inside each and are Polar (or pick-up) Pattern, Polar Response Graphs and Frequency every microphone is a transducer. This is the component which captures Response Graphs. These specs, in addition to, the most important decision sound by changing one form of energy into another. In this process factor -
Exploring the Chinese Metal Scene in Contemporary Chinese Society (1996-2015)
"THE SCREAMING SUCCESSOR": EXPLORING THE CHINESE METAL SCENE IN CONTEMPORARY CHINESE SOCIETY (1996-2015) Yu Zheng A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS December 2016 Committee: Jeremy Wallach, Advisor Esther Clinton Kristen Rudisill © 2016 Yu Zheng All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor This research project explores the characteristics and the trajectory of metal development in China and examines how various factors have influenced the localization of this music scene. I examine three significant roles – musicians, audiences, and mediators, and focus on the interaction between the localized Chinese metal scene and metal globalization. This thesis project uses multiple methods, including textual analysis, observation, surveys, and in-depth interviews. In this thesis, I illustrate an image of the Chinese metal scene, present the characteristics and the development of metal musicians, fans, and mediators in China, discuss their contributions to scene’s construction, and analyze various internal and external factors that influence the localization of metal in China. After that, I argue that the development and the localization of the metal scene in China goes through three stages, the emerging stage (1988-1996), the underground stage (1997-2005), the indie stage (2006-present), with Chinese characteristics. And, this localized trajectory is influenced by the accessibility of metal resources, the rapid economic growth, urbanization, and the progress of modernization in China, and the overall development of cultural industry and international cultural communication. iv For Yisheng and our unborn baby! v ACKNOWLEDGMENTS First of all, I would like to show my deepest gratitude to my advisor, Dr. -
U S E R G U I
U S E R G U I D E BEAU BURCHELL VIRTUAL DRUM INSTRUMENT RECORDED AND MIXED BY BEAU BURCHELL TABLE OF CONTENTS INSTALLATION KEYMAP TAB System Requirements 2 Key Map 10 Activating Room Sound Software 3 MIDI Remapping 10 CC4 Hi Hat Pedal Control 10 KIT SELECTION TAB MIDI Mapping Presets 10 Constructing Your Drum Kit 4 Default MIDI Map 11 Microphone Bleed Control 4 Pitch Controls 4 KONTAKT PLAYER FEATURES Sustain Controls 4 Kontakt Keyboard 12 MIDI Dynamics / Gain Settings 5 Kontakt Mixer 12 Komplete Kontrol Integration 12 MIXER TAB The Mixer Channel Strip 6 DAW INTEGRATION Pan Knob 6 Steinberg Cubase 13 Volume Fader 6 Avid Pro Tools 13 Solo & Mute Buttons 6 Apple Logic Pro 13 Polarity Inversion Button 6 FL Studio 13 Effects Section 6 Ableton Live 13 Channel Selector Tabs 6 Channel Insert Effects 6 LIBRARY INFORMATION Reverb Sends 6 Drum Kit Pieces 14 Aux Sends 6 Microphone Info 14 Advanced Options 7 Microphone Bleed Controls 7 CREDITS 15 Parallel Aux Sends 7 Channel Outputs 7 END USER LICENCE AGREEMENT 16 Master Channel Effects 8 EFFECTS EQ: Filters 8 EQ: 4-Band 8 Comp: FET 76 8 Comp: 4K Channel 8 Comp: 4k Bus 8 Limiter 8 Distortion 8 Transient Shaper 8 Tape Saturation 8 GROOVES TAB Auditioning MIDI Grooves 9 Drag and Drop 9 Tempo Controls 9 Beau Burchell Signature Series Drums (v 1.0) Page 1 SYSTEM REQUIREMENTS System Requirements: (These system requirements are subject to change without notice. The current version of the Kontakt Player is required) KONTAKT PLAYER 6 Mac: OS X 10.12 or 10.13 or 10.14 (latest update, 64-bit only), Intel Core i5 or better. -
LEONID and FRIENDS Technical Rider (V2 Categorization Optimized)
LEONID AND FRIENDS pg. 1 of 2 Technical Rider (v2 categorization optimized) VENUE CONCERT HALL NAME NOTES NAME / VALUE City The date of the concert Concert Venue or Hall Capacity Additional info Additional info STAGE FEATURES Width value Depth Height Vertical clearence Additional info Additional info SOUNDCHECK We'll need 5 hours for the full soundcheck, assuming that everything is prepared to the moment of our arrival, (i.e. stage risers are placed according the stage plan, all the requested instruments are on their place, DI-boxes and mics are on their positions on the stage and all the cables is ready to be immediately patched into our I/O device according to the Input List), every piece of the gear is working as expexted and soundcheck is not iterrupted by any curcumstances. We need stage technichian to be near our monitor engineer and sound engineer to be around our FOH engineer at least first 1.5 hours during the soundcheck and during the whole show. FOH and MONITORS PA SYSTEM Please describe the models and number of the speakers and amplifiers in every position. DESCRIPTION NOTES YOUR OFFER OUR ANSWER Main L-R Subs Should be fed from separate bus on the FOH mixer. Center Fills If any Frontfills If any Outfills If any Delays If any Additional info Additional info MIXING CONSOLE We are using our own A&H CDM32 as input device and Dante transmitter. This MixRack is working as our monitor mixer as well and Dante is crutial to our show. The console should be placed on the same level with the most of the viewers. -
Jaimeo Brown Takes Jazz to Church
A DIXON KIT $ WIN VALUED OVER 9,250 • DRUM-OFF FINALS • ZZ TOP THE WORLD’S #1 DRUM MAGAZINE June 2014 The Rhythm of Hot The Voice New Gear! 150+ Photos From Winter Nate NAMM Morton Jaimeo Brown Takes Jazz to Church Steve Goulding Pub-Rocking Hollywood MODERNDRUMMER.com GEARING UP WITH THE EAGLES’ SCOTT CRAGO ON REVIEW: PORK PIE ROSEWOOD/ZEBRAWOOD KIT JAZZ DRUMMER’S WORKSHOP: SYNCOPATION REVISITED STANDING OUT NEVER SOUNDED SO GOOD Orange County Drum and Percussion Venice kits continue OCDP’s legacy of high-performance drum kits, offering lots of loud, tons of tone, and no-compromise features so you can play your best. Features like 45-degree bearing edges for sharp attack, 20 kick drum lugs for precise tuning, and OCDP’s standard suspension system for full tone and natural resonance make these Venice kits ideal for any musical genre. © 2014 OCDP Available at these preferred resellers. VENICE KIT in TUSCAN RED (also available in DESERT SAND) Your Passion. Our Commitment. Helping musicians for over 30 years. Over 85,000 Unique Products. Free Shipping, No Minimum. 45-Day Returns. 45-Day Lowest Price Guarantee. Call 855-272-1088 musiciansfriend.com JASONBITTNER SHADOWS FALL IT STARTS HERE. “During my formative years, one of my first kits was a Pearl Export. I learned how to play on it, jammed in a few of my first bands with it, and now many years later I teach my own students on a new Pearl Export kit, and it still lights me up when I hear them! I’ve played every brand of drums out there and now I’ve come home to where it all started.. -
Fp7 Percussion Mic Package
PROFESSIONAL DRUM AND FP7 PERCUSSION MIC PACKAGE OVERVIEW Audix revolutionized drum and percussion miking by designing instrument specific microphones. With the introduction of the Fusion Series, Audix created two attractively priced packages for today’s up and coming professionals. The FP7 Drum Pack contains a combination of f2, f5 and f6 dynamic microphones with the addition of two f9 condensers. The f5 is tuned for snare drum and can be used as well for bongos, timbales, guitar cabinets and acoustic instruments; the f2 is ideally suited for rack and floor toms, congas, djembe, bongos, timbales, brass and woodwind instruments. The f6, with its extended bass response, is designed for kick drum, bass cabinets, cajon and other low frequency instruments. The f9 condenser mics will capture the cymbal from overhead and also the hi-hat. Built to withstand the rigors of live stage applications, the Fusion Series mics are excellent for rehearsal, school, House of Worship and a wide variety of home INCLUDES recording applications. PACKAGED SET OF 7 DRUM MICS Aluminum Road Case SUPPLIED ACCESSORIES 3 x f2 Rack and Floor Tom Mics DCLIP - Heavy duty mic clip (6) 1 x f5 Snare Mic MC1 - Nylon mic clip (1) 1 x f6 Kick Drum Mic DFLEX - Dual pivot rim mounted clip with extra wide butterfly jaws (4) 2 X f9 Overhead Mics WSF9 - WSF9 Windscreens (2) OPTIONAL ACCESSORIES DVICE - Flexible mini-gooseneck with spring loaded rim mount clamp DCLAMP - Flexible mini-gooseneck with drum tension lug mount CBL20 - 20’ premium XLR-XLR balanced mic cable. Quad conductor, twisted pair with braided shield for maximum conductivity. -
SONOR SQ1 2018 Web.Pdf
FEEL THE SOUND. When we design drums, our intention is to con- shell came out as a clear winner in all test situations. tinuously improve the acoustic quality in any Then we went out to look for a birch variety that would given situation. We do not stop at wood selec- meet our CLTF and OSM shell making standards and tion or shell configuration. Many factors influence the found a unique European birch that stood up to these acoustic performance: shell material and construction, demands. drum head selection, tuning, mounting, room acoustics, individual perception and much more. For SQ1 we worked closely with Chris Coleman and other Sonor artists in the development of this new drum series. The input from a professional players point of view provided many important insights. As a first step we looked for a shell material that would meet the request for a very balanced sound. Our choice was birch because of its characteristic high end frequencies and clearly defined low-end. In blindfold tests we tried many different types of shell construc- tion, from pure birch to hybrid versions. The pure birch SQ1 shell made of pure European birch THE STORY BEHIND CLTF AND OSM Drum shells need to act as solid acoustic unities as the foundation Our OSM shell construction (Optimum Shell Measurement) for a great drum sound. We use cross-laminated plies of birch to utilizes slightly undersized shell diameters to give the drum form a perfectly round shell with great stability. head the space to float freely, allowing Each ply is laminated at a 90° angle unrestricted contact between to allow for a shell that is tension- the bearing edge and the drum free. -
Gagen, Justin. 2019. Hybrids and Fragments: Music, Genre, Culture and Technology
Gagen, Justin. 2019. Hybrids and Fragments: Music, Genre, Culture and Technology. Doctoral thesis, Goldsmiths, University of London [Thesis] https://research.gold.ac.uk/id/eprint/28228/ The version presented here may differ from the published, performed or presented work. Please go to the persistent GRO record above for more information. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Goldsmiths, University of London via the following email address: [email protected]. The item will be removed from the repository while any claim is being investigated. For more information, please contact the GRO team: [email protected] Hybrids and Fragments Music, Genre, Culture and Technology Author Supervisor Justin Mark GAGEN Dr. Christophe RHODES Thesis submitted for the degree of Doctor of Philosophy in Computer Science GOLDSMITHS,UNIVERSITY OF LONDON DEPARTMENT OF COMPUTING November 18, 2019 1 Declaration of Authorship I, Justin Mark Gagen, declare that the work presented in this thesis is entirely my own. Where I have consulted the work of others, this is clearly stated. Signed: Date: November 18, 2019 2 Acknowledgements I would like to thank my supervisors, Dr. Christophe Rhodes and Dr. Dhiraj Murthy. You have both been invaluable! Thanks are due to Prof. Tim Crawford for initiating the Transforming Musicology project, and providing advice at regular intervals. To my Transforming Musicology compatriots, Richard, David, Ben, Gabin, Daniel, Alan, Laurence, Mark, Kevin, Terhi, Carolin, Geraint, Nick, Ken and Frans: my thanks for all of the useful feedback and advice over the course of the project. -
On Training Neural Networks to Intuitively Classify Music Genre
1 On Training Neural Networks to Intuitively Classify Music Genre Alexander Reid Earlham College TABLE OF CONTENTS K-fold Cross Validation paradigm, as this has proven to be effective against undesirable biases in this context. Page Ultimately the results of this study were 63% accuracy I Introduction 1 on the stock dataset of ten genres, while accuracy on II Musical Genre Classification 4 the combination of the dataset & the Dummy Plug, III Historical Contributions 6 which contained an additional twenty genres, was 45% IV Contemporary Analogues 12 accuracy on average. This approach & the framework created around it can be seen as a mechanism for audio V Contributions of this Study 14 platforms to quickly, intelligently, & effectively reply to VI Discussion of Results 16 the contemporary surge in the development of musical VII Conclusion 18 genres. References 18 Index Terms—Music, Genre Classification, Artifi- Related Works 19 cial Neural Networks ... Abstract—This study is centered around the chal- I. INTRODUCTION lenge of musical style classification, and in particular this study approaches this issue from the point of view of op- N this paper the challenge of musical genre timally training Artificial Neural Networks to accomplish I classification is explored—utilizing cited stud- this task. In the past, Artificial Neural Networks have ies as both references and generalizable perspec- been some of the most effective methods for approach- tives of this field of work as a whole. Specifically ing this issue, as the cited studies depict. This study this paper views this problem from the perspec- sought to classify music into ten musical genres: Pop, tive of training Neural Networks to accomplish Rock, Heavy Metal, Reggae, Country, Techno, Blues, Jazz, HipHop/Rap, & Dance using an Artificial Neural this task optimally. -
RJ461 61 Key Full Size Musical Keyboard User Guide
RJ461 61 Key Full Size Musical Keyboard User Guide Important Information Be sure to obey the following information so as not to harm yourself or others or damage this instrument or other external equipment. Power adapter: • Please use only the specified AC adapter supplied with the product. An incorrect or faulty adapter can cause damage to the electronic keyboard. • Do not place the AC adapter or power cord near to any source of heat such as radiators or other heaters. • To avoid damaging the power cord, please ensure that heavy objects are not placed on it and that it is not subject to stress or over bending. • Check the power plug regularly and ensure it is free from surface dirt. Do not insert or unplug the power cord with wet hands. Do not open the body of the electronic keyboard: • Do not open the electronic keyboard or try to disassemble any part of it. If the device is not functioning correctly, please stop using it and send it to a qualified service agent for repair. Use of the electronic keyboard: • To avoid damaging the appearance of the electronic keyboard or damaging the internal parts please do not place the electronic keyboard in a dusty environment, in direct sunlight or in places where there are very high or very low temperatures. • Do not place the electronic keyboard on an uneven surface. To avoid damaging internal parts do not place any vessel holding liquid onto the electronic keyboard as spillage may occur. Maintenance: • To clean the body of the electronic keyboard wipe it with a dry, soft cloth only. -
Professional Drum and Percussion Mic Package
PROFESSIONAL DRUM AND FP5 PERCUSSION MIC PACKAGE OVERVIEW Audix revolutionized drum and percussion miking by designing instrument specific microphones. With the introduction of the Fusion Series, Audix created two attractively priced packages for todays up and coming professionals. The FP5 Drum Pack contains a combination of f2, f5 and f6 dynamic microphones. The f5 is tuned for snare drum and can be used as well for bongos, timbales, guitar cabinets and acoustic instruments; the f2 is ideally suited for rack and floor toms, congas, djembe, bongos, timbales, brass and woodwind instruments. The f6, with its extended bass response, is designed for kick drum, bass cabinets, cajon and other low frequency instruments. Built to withstand the rigors of live stage applications, the Fusion Series mics are also excellent for rehearsal, school, House of Worship and a wide variety of home recording applications. INCLUDES PACKAGED SET OF 5 DRUM MICS SUPPLIED ACCESSORIES Aluminum road case DCLIP - Heavy duty mic clip provided with D 3 x f2 rack and floor tom mics & SCX Series (4) 1 x f5 snare mic MC1 - Nylon mic clip (1) 1 x f6 kick drum mic DFLEX - Dual pivot rim mounted clip with extra wide butterfly jaws (4) OPTIONAL ACCESSORIES DVICE - Flexible mini-gooseneck with spring loaded rim mount clamp DCLAMP - Flexible mini-gooseneck with drum tension lug mount CBL20 - 20’ premium XLR-XLR balanced mic cable. Quad conductor, twisted pair with braided shield for maximum conductivity. 6mm PVC jacketed. CBLDR25 - 25’ premium right angle XLR-XLR balanced mic cable. Quad conductor, twisted pair with braided shield for maximum conductivity.