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TECH RIDER Bunkr
BUNKR STUDIO BASSANO DEL GRAPPA 36061 Console – Thermionic Culture Ltd. Fat Bustard II 14ch Summing Analog Valve Mixer – Solid State Logic Six SuperAnalogue™ Desktop Mixer Pre Amps – Chandler Limited TG2 Abbey Road Special Edition Stereo Preamp/DI – Chandler Limited Germanium Preamp/DI – Empirical Labs Mike-E Preamp/Comp – SSL SuperAnalogue™ Mic’ Preamp (2x) – Focusrite ISA 428 Preamp – Focusrite ISA Two Preamp – Motu 896 Mk3 Preamp Outboards – Warm Audio EQP-WA Tube EQ (Pultec EQP-1A replica) (2x) – Klark Teknik 76-kt (1176 Syle FET Compressor) (2x) – Dbx 160A American Series Compressor – Dbx 166XL Stereo Gate/Comp/Limiter – Phonic PCL 3200 Gate/Comp/Limiter – Audioscope 2813 – TC Electronic Clarity M Converters – Apogee Symphony (8 analog i/o + 8 digital i/o) – Apogee Quartet (4 analog in, 8 analog out) – Motu 896 Mk3 (8 analog i/o) – RME Fireface Monitoring – Dynaudio BM15A – Yamaha NS10 w/ Yamaha Power Amp & M Audio SBX10 Pro Active Subwoofer – Behringer Behritone C5A – PreSonus Eris5 – up to octophonic multichannel configuration Reel Tape Recorder – Revox A77 1/4 ” 2 tracks tape recorder Computers – Apple Mac Pro Intel 2,8 Ghz 8-Core Dual 8 Gb RAM – Apple iMac Intel Core 2 Duo 3.06 Ghz 8 Gb RAM – Apple Mac Book Pro Retina 2,5 GHz Intel Core i7 16 Gb RAM Software – Avid ProTools HD3 Accel w/ ProTools HD 9, Pro Tools 10/11 – Ableton Live Suite 10 – Apple Logic Pro X – Cycling 74 Max8 Microphones – DPA 4006A Stereo Matched – Akg C414 Xls (2) – Akg D112 – Audio Technica AT4040 – Audio Technica AT2020 – Audio Technica ATM 250 – Audix D6 – Audix i-5 – Audix D4 – Audix D2 (2) – ElectroVoice RE20 – G.S.A. -
Digital Piano
Address KORG ITALY Spa Via Cagiata, 85 I-60027 Osimo (An) Italy Web servers www.korgpa.com www.korg.co.jp www.korg.com www.korg.co.uk www.korgcanada.com www.korgfr.net www.korg.de www.korg.it www.letusa.es DIGITAL PIANO ENGLISH MAN0010006 © KORG Italy 2006. All rights reserved PART NUMBER: MAN0010006 E 2 User’s Manual User’s C720_English.fm Page 1 Tuesday, October 10, 2006 4:14 PM IMPORTANT SAFETY INSTRUCTIONS The lightning flash with arrowhead symbol within an equilateral triangle, is intended to alert the user to the presence of uninsulated • Read these instructions. “dangerous voltage” within the product’s enclosure that may be of sufficient magni- • Keep these instructions. tude to constitute a risk of electric shock to • Heed all warnings. persons. • Follow all instructions. • Do not use this apparatus near water. The exclamation point within an equilateral • Mains powered apparatus shall not be exposed to dripping or triangle is intended to alert the user to the splashing and that no objects filled with liquids, such as vases, presence of important operating and mainte- shall be placed on the apparatus. nance (servicing) instructions in the literature accompanying the product. • Clean only with dry cloth. • Do not block any ventilation openings, install in accordance with the manufacturer’s instructions. • Do not install near any heat sources such as radiators, heat reg- THE FCC REGULATION WARNING (FOR U.S.A.) isters, stoves, or other apparatus (including amplifiers) that pro- duce heat. This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. -
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. -
Controllers As Musical Instruments, Controllerism As Musical Practice
Controllers as Musical Instruments, Controllerism as Musical Practice – Practices of a new 21st Century musical culture – Guillermo de Llera Blanes Dissertação em Ciências Musicais na especialidade de EtnomusicoloGia , A , CAL CULTURE PRACTICES OF 2017 Guillermo de Llera Blanes CONTROLLERS AS MUSICAL 21ST CENTURY ,MUSI INSTRUMENTS, CONTROLLERISM AS MUSICAL PRACITCE, Setembro, 2017 1 Dissertação apresentada para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Ciências Musicais, especialidade de Etnomusicologia, realizada sob a orientação científica do Professor Doutor João Soeiro de Carvalho. 2 Dedicated to my promised one and to the little Controllerists at home. Acknowledgements It is with the utmost gratitude that I thank my brother, the anthropologist Ruy Blanes for his unwavering support, sympathetic guidance and most of all, his humor. His knowledge was a lifeline, for I could always count on his informed opinion, but his greatest aid was in letting me make my own mistakes, and then hinting at various ways to resolve them. It showed me that he was convinced that I was capable of finding my way out of the dead ends, and would overcome the trials and tribulations of writing a thesis. Thank you for believing in me, my brother. To my dear advisor, professor João Soeiro de Carvalho, I have nothing but words of gratitude. You showed unbridled gusto in my research and helped me trod along with unending patience, aware of my limitations in time, experience and knowledge. It was with great delight that I experienced our joint (ad)venture, and I am indebted to you for your kindness, your wisdom and your empathy. -
UVI Synthlegacy | Software User Manual
Software User Manual Software Version 1.0 EN 160307 End User License Agreement (EULA) Do not use this product until the following license agreement is understood and accepted. By using this product, or allowing anyone else to do so, you are accepting this agreement. Synth Legacy (henceforth ‘the Product’) is licensed to you 3. Ownership as the end user. Please read this Agreement carefully. As between you and UVI, ownership of, and title to, the You cannot transfer ownership of these Sounds and Software enclosed digitally recorded sounds (including any copies) they contain. You cannot re-sell or copy the Product. are held by UVI. Copies are provided to you only to enable you to exercise your rights under the license. LICENSE AND PROTECTION 4. Term This agreement is effective from the date you open this package, and will remain in full force until termination. This agreement 1. License Grant will terminate if you break any of the terms or conditions of this UVI grants to you, subject to the following terms and agreement. Upon termination you agree to destroy and return to conditions, a non-exclusive, non-transferable right UVI all copies of this product and accompanying documentation. to use each authorized copy of the Product. 5. Restrictions The product is the property of UVI and is licensed to you only Except as expressly authorized in this agreement, you may not rent, for use as part of a musical performance, live or recorded. This sell, lease, sub-license, distribute, transfer, copy, reproduce, display, license expressly forbids resale or other distribution of the modify or time share the enclosed product or documentation. -
Order of the Shadow Wolf Cyberzine
SoCiEtIeS ArCh NeMeSiS CyBeRpUnK E-ZiNe Issue #2 December 2014 welcome to the order of the... o o . o . o o o o o . o . ________ ___ ___ ________ ________ ________ ___ o __ |\ ____\|\ \|\ \|\ __ \|\ ___ \|\ __ \|\ \ |\ \ o \ \ \___|\ \ \\\ \ \ \|\ \ \ \_|\ \ \ \|\ \ \ \ \ \ \ \ \_____ \ \ __ \ \ __ \ \ \ \\ \ \ \\\ \ \ \ __\ \ \ . \|____|\ \ \ \ \ \ \ \ \ \ \ \_\\ \ \ \\\ \ \ \|\__\_\ \ ____\_\ \ \__\ \__\ \__\ \__\ \_______\ \_______\ \____________\ |\_________\|__|\|__|\|__|\|__|\|_______|\|_______|\|____________| . o \|_________| | | | . | . | | O . o | . o | O | /\ o /\ ___ O __ ________ ___ ________ . | \-------/ | . |\ \ |\ \|\ __ \|\ \ |\ _____\ / \ \ \ \ \ \ \ \ \|\ \ \ \ \ \ \__/ . | __ __ | . \ \ \ __\ \ \ \ \\\ \ \ \ \ \ __\ / \ \ \ \|\__\_\ \ \ \\\ \ \ \____\ \ \_| / \ . \ \____________\ \_______\ \_______\ \__\ / \ . \|____________|\|_______|\|_______|\|__| . / \ O | | . | / \ O . O . | . / \ /\ THE LAUNDRoMAT OF YOUR MIND /\ O O / \ /\ /\ EXTRA BIG DECEMBER ISSUE!!! / \ . / \/ \/ \ . /..\ < . / \ . / \ \ \ _\' /_ / . / \ . / \ \ \ . / . \ . / \ /________\___\___\ | . | /____ ___\ || || || \ . / || /\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\ ============================================================================== The Order OF THE SHADOW WOLF IS NOW IN COLOR!!!!! your online cyber-zine for: Occult home experiments - Synthesizers - Sorcery & Magick - DIY projects - Movies - Music - Counter Culture - UFOlogy - Poetry - Obsolete computers - Artificial Intelligence - Rastafarian Language -
KAOSS PAD Entrancer Owner's Manual
OWNER’S MANUAL MANUEL D’UTILISATION BEDIENUNGSANLEITUNG Precautions Location Using the unit in the following locations can result in a malfunction. • In direct sunlight • Locations of extreme temperature or humidity • Excessively dusty or dirty locations • Locations of excessive vibration • Close to magnetic fields Power supply Please connect the designated AC adapter to an AC outlet of the correct voltage. Do not connect it to an AC outlet of voltage other than that for which your unit is intended. Interference with other electrical devices Radios and televisions placed nearby may experience reception interference. Operate this unit at a suitable distance from radios and televisions. Handling To avoid breakage, do not apply excessive force to the switches or controls. Care If the exterior becomes dirty, wipe it with a clean, dry cloth. Do not use liquid cleaners such as benzene or thinner, or cleaning compounds or flammable polishes. Keep this manual After reading this manual, please keep it for later reference. Keeping foreign matter out of your equipment Never set any container with liquid in it near this equipment. If liquid gets into the equipment, it could cause a breakdown, fire, or electrical shock. Be careful not to let metal objects get into the equipment. If something does slip into the equipment, unplug the AC adapter from the wall outlet. Then contact your nearest Korg dealer or the store where the equipment was purchased. THE FCC REGULATION WARNING (for U.S.A.) This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. -
KORG Pa1000 Quick Guide
5 E Address KORG ITALY SpA Via Cagiata, 85 60027 Osimo (AN) Italy Web www.korg.com ENGLISH | MAN0010117 | Quick Guide | Quick Pa1000 © KORG Italy 2020. All rights reserved PART NUMBER: MAN0010117 Pa1000 Pa1000 Important safety instructions 1. Read these instructions. ▪ The ventilation should not be impeded by 2. Keep these instructions. covering the ventilation openings with items, such as newspapers, table-cloths, curtains, 3. Heed all warnings. etc. 4. Follow all instructions. ▪ No naked flame sources, such as lighted can- 5. Do not use this apparatus near water. dles, should be placed on the apparatus. 6. Clean only with dry cloth. ▪ Do not install this equipment in a confined 7. Do not block any ventilation openings. Install space such as a box for the conveyance or in accordance with the manufacturer’s in- similar unit. structions. ▪ WARNING – This apparatus shall be connect- 8. Do not install near any heat sources such as ed to a mains socket outlet with a protective radiators, heat registers, stoves, or other ap- earthing connection. paratus (including amplifiers) that produce ▪ Turning off the standby switch does not com- heat. pletely isolate this product from the power 9. Do not defeat the safety purpose of the po- line, so remove the plug from the socket if larized or grounding-type plug. A polarized not using it for extended periods of time, plug has two blades with one wider than the or before cleaning. Please ensure that the other. A grounding type plug has two blades mains plug or appliance couple remains read- and a third grounding prong. -
SR-16 Reference Manual
Reference Manual TABLE OF CONTENTS CHAPTER 1: INTRODUCTION ........................................................1 1.1 WELCOME TO THE SR-16 DRUM MACHINE!................................................................1 1.1A If You Just Can't Wait…...................................................................................1 1.1B SR-16 Quick Description................................................................................1 1.1C About this Manual..........................................................................................1 1.1D Return Your Warranty Card Now!.....................................................................2 1.2 GROUND RULES.........................................................................................................2 1.2A The Pattern/Song Recording Method.............................................................2 1.2B The Four Different Types of Patterns...............................................................3 1.2C How "Looping" Simplifies Recording...............................................................4 1.2D What's a Voice?..............................................................................................4 1.2E About Defaults...............................................................................................4 1.2F Physical Layout..............................................................................................5 1.2G Display Layout...............................................................................................6 -
Graduation Work Spring 2020 Vehicle Design Matias Pekkonen
Graduation work Spring 2020 1 Vehicle Design Matias Pekkonen KORG MEW/40 | Autonomous Mobile Synthesizer Workspace | Vehicle Design | LAB University Tutor: Lee Walton Opponent: Olivia Leino 67 pages Abstract Tiivistelmä In my graduation work I create a concept for a brand that Opinnäytetyössäni luon ajoneuvokonseptin brändille, has not yet produced a vehicle. I also assess the possibili- joka ei valmista ajoneuvoja. Tutkin myös äänen ja musii- ties of combining sound and music with a vehicle, while kin yhdistämistä ajoneuvoon, musiikin teon ja jakamisen considering the future of music-making and sharing it as tulevaisuutta sivuten. well. Työni kohteeksi valikoitui Korg, joka on japanilainen elekt- The brand chosen for this concept is Korg, a Japanese ronisten soittimien ja studioinstrumenttien valmistaja. manufacturer of synthesizers and electronic studio Tavoitteenani oli selvittää minkälaiselta näyttäisi kyseisen equipment. My goal was to find out the appearance and valmistajan luoma ajoneuvo ja miten se palvelisi brändin purpose of a vehicle that would serve the target audience imagoa ja kohderyhmää vuonna 2040. and brand image of Korg in 2040. Lopputuloksena on 3d-malli ajoneuvon ulkoasusta ja si- The result is a 3d model of a vehicle interior and exterior, sustasta sekä visuaalinen käyttöliittymä. and a visual interface. Opinnäytetyöni on englanninkielinen. 2 Contents 1. Introduction 5. Modeling 1.1 Subject 5.1 Exterior 1.2 Goals 5.2 Interior 5.3 Combining 2. Research 6. The Concept 2.1 Autonomy and sharing 2.2 Sound 6.1 Overview 2.3 Music 6.2 Packaging 2.4 Korg 6.3 Technology 2.5 Benchmarking 6.4 Exterior details 2.6 Interview 6.5 Materials 6.6 User interface 3. -
El Beatbox: Panorama Actual Y Propuesta De Grabación Y Producción En Estudio
EL BEATBOX: PANORAMA ACTUAL Y PROPUESTA DE GRABACIÓN Y PRODUCCIÓN EN ESTUDIO Por: Jesús David Acosta Cabrera C.C 1032420270 Dirección Metodológica Germán Loedel, Ph.D Dirección específica Eduardo Andrés García Proyecto Artístico presentado para la obtención del título de Maestro en Música con énfasis en Ingeniería de sonido Facultad de Artes Universidad El Bosque Bogotá 2014-1 En la presente se hace constar que la Universidad El Bosque, no se hace responsable de los conceptos emitidos por los investigadores en su trabajo, solo velara por el rigor científico, metodológico y ético del mismo en aras de la búsqueda de la verdad y la justicia. AGRADECIMIENTOS Primero que todo quiero agradecer a mi madre por el apoyo brindado durante todo el transcurso de mi formación académica. A mis maestros, por su enseñanza, la cual me sirvió para mi desarrollo profesional. Quiero agradecer también a mis asesores, metodológico y específicos German Loedel, Eduardo García y José David Zárate respectivamente, por brindarme el apoyo y la guía necesaria para sacar adelante este trabajo de grado. Agradezco a Studios Jomi por la paciencia, los consejos y el apoyo brindado en todo el proceso de producción musical. Y por último a todas las personas, amigos y familiares que me brindaron su apoyo en muchos momentos que lo necesité. Tabla de contenido INTRODUCCIÓN ....................................................................................................................... 8 1. ASPECTOS GENERALES DE LA INVESTIGACIÓN .......................................................... -
CM3106 Chapter 5: Digital Audio Synthesis
CM3106 Chapter 5: Digital Audio Synthesis Prof David Marshall [email protected] and Dr Kirill Sidorov [email protected] www.facebook.com/kirill.sidorov School of Computer Science & Informatics Cardiff University, UK Digital Audio Synthesis Some Practical Multimedia Digital Audio Applications: Having considered the background theory to digital audio processing, let's consider some practical multimedia related examples: Digital Audio Synthesis | making some sounds Digital Audio Effects | changing sounds via some standard effects. MIDI | synthesis and effect control and compression Roadmap for Next Few Weeks of Lectures CM3106 Chapter 5: Audio Synthesis Digital Audio Synthesis 2 Digital Audio Synthesis We have talked a lot about synthesising sounds. Several Approaches: Subtractive synthesis Additive synthesis FM (Frequency Modulation) Synthesis Sample-based synthesis Wavetable synthesis Granular Synthesis Physical Modelling CM3106 Chapter 5: Audio Synthesis Digital Audio Synthesis 3 Subtractive Synthesis Basic Idea: Subtractive synthesis is a method of subtracting overtones from a sound via sound synthesis, characterised by the application of an audio filter to an audio signal. First Example: Vocoder | talking robot (1939). Popularised with Moog Synthesisers 1960-1970s CM3106 Chapter 5: Audio Synthesis Subtractive Synthesis 4 Subtractive synthesis: Simple Example Simulating a bowed string Take the output of a sawtooth generator Use a low-pass filter to dampen its higher partials generates a more natural approximation of a bowed string instrument than using a sawtooth generator alone. 0.5 0.3 0.4 0.2 0.3 0.1 0.2 0.1 0 0 −0.1 −0.1 −0.2 −0.2 −0.3 −0.3 −0.4 −0.5 −0.4 0 2 4 6 8 10 12 14 16 18 20 0 2 4 6 8 10 12 14 16 18 20 subtract synth.m MATLAB Code Example Here.