Ewi4000s, Read These Instructions

Total Page:16

File Type:pdf, Size:1020Kb

Ewi4000s, Read These Instructions REFERENCE MANUAL IMPORTANT SAFETY INSTRUCTIONS 1. Before you operate the EWI4000s, read these instructions. 2. Keep these instructions. 3. Heed all warnings. 4. Follow all instructions. 5. Do not use this apparatus near water. 6. Clean only with a dry cloth. 7. Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions. 8. Do not install near any heat sources such as radiators, heat register, stoves, or other apparatus (including amplifiers) that produce heat. 9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong. The wide blade or the third prong is provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet. Where the mains plug or an appliance coupler is used as the disconnect device, the disconnect device shall remain readily operable. 10. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus. 11. Only use attachment/accessories specified by the manufacturer. 12. Use only the cart, stand, tripod, bracket or table specified by the manufacturer, or sold with the PORTABLE CART WARNING apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over. 13. Unplug this apparatus during lightning storms or when unused for long periods of time. 14. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped. S3125A 15. Do not expose this apparatus to dripping or splashing and ensure that no objects filled with liquids, such as vases, are placed on the apparatus. 16. Use only with the specified AC adapter. 1 WARNING: The EWI4000s is designed to be used in a standard household environment. Power requirements for electrical equipment vary from area to area. Please ensure that your AC adapter supplied meets the power requirements in your area. If in doubt, consult a qualified electrician or AKAI Professional dealer. FCC WARNING: 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. These limits are deisigned which are designed to provide reasonable protection against such interference in a residential installation. There is no guarantee, however, that interference will not occur in a particular installation. If the unit does cause interference to any radio or television reception, try to reduce it by one or more of the following means: a) reposition the other unit and/or its antennae b) move this unit c) move this unit and the other unit(s) further apart d) plug this unit into a different AC outlet so that it is on a different circuit from the other equipment CAUTION: y To prevent electric shock, do not use this polarized AC power plug with an extension cord, receptacle, or other outlet unless the blades can be fully inserted to prevent blade exposure. y Changes or modifications not expressly approved by the manufacturer for compliance could void the user’s authority to operate the euqipment. y This appliance is not equipped with a main power switch. Even when the appliance is turned off, the power supply to the appliance is not completely turned off when the power cord is plugged in. Pull out the adapter when not using the appliance for long periods. y This digital apparatus does not exceed the Class B limits for radio noise emissions from digital apparatus set out in the Radio Interference Regulations of the Canadian Department of Communications. AVIS POUR LES ACHETEURS CANADIENS DU EWI4000s: y Afin d’éviter tout risqué de décharge électrique, n’utilisez pas cette prise polariseé avec une rallonge, une prise de courant ou autre sortie á moins que les lames puissent être complétement insérées et qu’elles ne soient plus visibles. y Le présent numérique n’ément pas de bruits radioélectriques dépassant les limites applicable aux appareils numériques de la Class B prescrites dans le Règlement sur le brouillage radioélectrique édicté par le ministère des Communications du Canada. 2 TABLE OF CONTENTS CHAPTER 1: INTRODUCTION.....................................................................................................................4 FEATURES....................................................................................................................................................4 PARTS & FUNCTIONS ................................................................................................................................5 POWER .........................................................................................................................................................9 CONNECTIONS..........................................................................................................................................10 CHAPTER 2: BASIC OPERATION .............................................................................................................11 ABOUT THE EWI4000s ............................................................................................................................11 BASIC OPERATION...................................................................................................................................11 HOW TO HOLD THE EWI4000s.......................................................................................................11 OPERATING THE NOTE KEYS, OCTAVE SHIFT ROLLERS, & GROUNDING PLATES ...............11 USING THE MOUTHPIECE ..............................................................................................................12 USING THE PITCH BEND PLATES, GLIDE PLATES, & HOLD & OCTAVE BUTTONS.................12 ADJUSTING THE SENSITIVITY OF THE SENSORS.......................................................................13 FINGERING MODES ........................................................................................................................17 CHAPTER 3: INTERNAL SOUND...............................................................................................................18 PROGRAM KEY FUNCTIONS...................................................................................................................18 Selecting the Internal Sounds (Program Key) ..........................................................................18 Assigning a Program Number to a Note Key............................................................................18 Setting Program Change Preferences.......................................................................................19 Recalling the Program Number Assigned to a Note Key.........................................................19 ALTERNATE WAY OF SELECTING THE PROGRAM NUMBER...........................................................20 Program Up with the Hold Button .............................................................................................20 Program Down with the Octave Button.....................................................................................20 ADJUSTING THE VOLUMES....................................................................................................................21 Adjusting the Main Volume........................................................................................................21 Adjusting the Volume of Each Program....................................................................................21 ADJUSTING THE EFFECTS VOLUMES..................................................................................................21 Adjusting the Reverb Volume....................................................................................................21 Adjusting the Reverb Effect Volume of Each Program............................................................22 Adjusting the Delay Effect Volume of Each Program ..............................................................22 Adjusting the Chorus Effect On/Off on Each Program ............................................................22 OCTAVE BUTTON FUNCTIONS...............................................................................................................23 Assigning Functions to the Octave Button...............................................................................23 Setting the Octave Button’s Continuous Controller Preferences ...........................................24 HOLD BUTTON FUNCTIONS....................................................................................................................24 Assigning Functions to the Hold Button ..................................................................................25 Setting the Hold Button’s Continuous Controller Preferences ...............................................25 PITCH BEND PLATE FUNCTIONS ..........................................................................................................26 Assigning Functions to the Pitch Bend Plates.........................................................................26 GLIDE PLATE FUNCTIONS......................................................................................................................26
Recommended publications
  • Microphone-Based Electronic Wind Instrument by Feature Extraction from Breath Signals
    MICROPHONE-BASED ELECTRONIC WIND INSTRUMENT BY FEATURE EXTRACTION FROM BREATH SIGNALS Francesco Bigoni Pelle Juul Christensen Rasmus Eklund Aalborg University – Copenhagen Aalborg University – Copenhagen Aalborg University – Copenhagen [email protected] [email protected] [email protected] Javier Molina Garcia Cumhur Erkut Aalborg University – Copenhagen Aalborg University – Copenhagen [email protected] [email protected] ABSTRACT of acoustic wind instruments to abstract synthesizers. Although the interfaces for electronic wind instruments An electronic wind instrument is an analog or digital went through many years of development and refinement, electronic instrument actuated by blowing onto an they are still disconnected from their acoustic counterparts electronic sensor. Through the history of electronic wind when it comes to sound production techniques. The instruments, the refinement of the physical interfaces has development of a ”good” saxophone sound requires a large not been followed by major innovations regarding breath degree of control over embouchure, reed pressure, air flow and embouchure detection: the industry is still largely and vocal tract configuration; extended techniques such as relying on pressure sensors for measuring air flow. We growling (singing into the horn while blowing), flutter- argue that many sound production techniques for acoustic tonguing (vibrating the false vocal folds while blowing) wind instruments depend on breath quality in addition and multiphonics (playing several tones at the
    [Show full text]
  • It's All Good
    SEPTEMBER 2014—ISSUE 149 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM JASON MORAN IT’S ALL GOOD... CHARLIE IN MEMORIAMHADEN 1937-2014 JOE • SYLVIE • BOBBY • MATT • EVENT TEMPERLEY COURVOISIER NAUGHTON DENNIS CALENDAR SEPTEMBER 2014 BILLY COBHAM SPECTRUM 40 ODEAN POPE, PHAROAH SANDERS, YOUN SUN NAH TALIB KWELI LIVE W/ BAND SEPT 2 - 7 JAMES CARTER, GERI ALLEN, REGGIE & ULF WAKENIUS DUO SEPT 18 - 19 WORKMAN, JEFF “TAIN” WATTS - LIVE ALBUM RECORDING SEPT 15 - 16 SEPT 9 - 14 ROY HARGROVE QUINTET THE COOKERS: DONALD HARRISON, KENNY WERNER: COALITION w/ CHICK COREA & THE VIGIL SEPT 20 - 21 BILLY HARPER, EDDIE HENDERSON, DAVID SÁNCHEZ, MIGUEL ZENÓN & SEPT 30 - OCT 5 DAVID WEISS, GEORGE CABLES, MORE - ALBUM RELEASE CECIL MCBEE, BILLY HART ALBUM RELEASE SEPT 23 - 24 SEPT 26 - 28 TY STEPHENS (8PM) / REBEL TUMBAO (10:30PM) SEPT 1 • MARK GUILIANA’S BEAT MUSIC - LABEL LAUNCH/RECORD RELEASE SHOW SEPT 8 GATO BARBIERI SEPT 17 • JANE BUNNETT & MAQUEQUE SEPT 22 • LOU DONALDSON QUARTET SEPT 25 LIL JOHN ROBERTS CD RELEASE SHOW (8PM) / THE REVELATIONS SALUTE BOBBY WOMACK (10:30PM) SEPT 29 SUNDAY BRUNCH MORDY FERBER TRIO SEPT 7 • THE DIZZY GILLESPIE™ ALL STARS SEPT 14 LATE NIGHT GROOVE SERIES THE FLOWDOWN SEPT 5 • EAST GIPSY BAND w/ TIM RIES SEPT 6 • LEE HOGANS SEPT 12 • JOSH DAVID & JUDAH TRIBE SEPT 13 RABBI DARKSIDE SEPT 19 • LEX SADLER SEPT 20 • SUGABUSH SEPT 26 • BROWN RICE FAMILY SEPT 27 Facebook “f” Logo CMYK / .eps Facebook “f” Logo CMYK / .eps with Hutch or different things like that. like things different or Hutch with sometimes.
    [Show full text]
  • A Microtonal Wind Controller Building on Yamaha’S Technology to Facilitate the Performance of Music Based on the “19-EDO” Scale
    Bailey, N., South, A., Evans, B. and Hair, G. (2016) A microtonal wind controller building on Yamaha’s technology to facilitate the performance of music based on the “19-EDO” scale. Scottish Music Review, 4(1), This is the author’s final accepted version. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/150676/ Deposited on: 27 October 2017 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk w e i v e r A Microtonal Wind Controller c i Building on Yamaha’s Technology to Facilitate the s u Performance of Music based on the “19-EDO” scale. m h Nicholas J Bailey Alex South Bill Evans Graham Hair s i t t o c Abstract s We describe a project in which several collaborators adapted an existing instrument to make it capable of playing expressively in music based on the microtonal scale characterised by equal divsion of the octave into 19 tones (“19-EDO”). Our objective was not just to build this in- strument, however, but also to produce a well-formed piece of music which would exploit it idiomatically, in a performance which would provide listeners with a pleasurable and satisfying musical experience. Hence, consideration of the extent and limits of the playing-techniques of the resulting instrument (a “Wind-Controller”) and of appropriate approaches to the composi- tion of music for it were an integral part of the project from the start.
    [Show full text]
  • The Keywi: an Expressive and Accessible Electronic Wind Instrument
    The KeyWI: An Expressive and Accessible Electronic Wind Instrument Matthew Caren,a Romain Michon,a;b and Matthew Wrighta aCCRMA, Stanford University, USA bGRAME-CNCM, Lyon, France [email protected] ABSTRACT be used as a platform for development and be replicated by This paper presents the KeyWI, an electronic wind instru- anyone with access to sufficient tools. ment based on the melodica that improves upon limitations in current systems and is general and powerful enough to support a variety of applications. Four opportunities for growth are identified in current electronic wind instrument systems, which then are used to focus the development and evaluation of the instrument. The KeyWI features a breath pressure sensor with a large dynamic range, a keyboard that allows for polyphonic pitch selection, and a completely in- tegrated construction. Sound synthesis is performed with Faust code compiled to the Bela Mini, which offers low- latency audio and a simple yet powerful development work- flow. In order to be as accessible and versatile as possible, the hardware and software is entirely open-source, and fab- rication requires only common maker tools. Figure 1: A KeyWI (without cover), including a Author Keywords Bela Mini, custom PCB, enclosure, and sensors electronic wind instruments, breath controller, digital mu- sical instruments, development platform The KeyWI's design is based on the melodica, a handheld wind instrument where pitches are selected using a piano- style keyboard and dynamics are controlled by blowing into CCS Concepts a mouthpiece attached to the side of the instrument. •Applied computing ! Sound and music comput- The use of a keyboard as a pitch controller rather than the ing; Performing arts; •Hardware ! Sensor devices more common woodwind-key-inspired designs aims to be and platforms; accessible to users who may not have prior experience with the specialized fingerings required for wind instruments, as 1.
    [Show full text]
  • Monterey Jazz Festival
    DECEMBER 2018 VOLUME 85 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael Weintrob;
    [Show full text]
  • Eolos: a Wireless MIDI Wind Controller
    Eolos: a wireless MIDI wind controller Juan Mariano Ramos Desarrollos Tecnológicos Aplicados a las Artes Escuela Universitaria de Artes – Universidad Nacional de Quilmes Buenos Aires, Argentina [email protected] ABSTRACT wireless operation, but retail at $8301 and $11302 (USD) This paper presents a description of the design and usage of respectively. Eolos' estimated total cost is less than $200 Eolos, a wireless MIDI wind controller. The main goal of Eolos (USD), although it's difficult to establish a precise value due to is to provide an interface that facilitates the production of music component availability, or even the fact that some parts were for any individual, regardless of their playing skills or previous hand crafted. musical knowledge. Its features are: open design, lower cost There are also many well documented non-commercial, open than commercial alternatives, wireless MIDI operation, or DIY related electronic wind instruments. An early initiative rechargeable battery power, graphical user interface, tactile which predates the MIDI era is the Electronic Valve Instrument keys, sensitivity to air pressure, left-right reversible design and (EVI) [3], created by Nyle Steiner in the 1970's, who later two FSR sensors. There is also a mention about its participation helped to design the Akai EWI. in the 1st Collaborative Concert over the Internet between Other more recent products include the Epipe [4] (which Argentina and Cuba "Tradición y Nuevas Sonoridades". features continuous tonehole coverage capacitive sensing), MiniWI3 (based on the EWI), or the CyberWhistle [2]. Eolos, in addition to common characteristics such as breath and finger Author Keywords sensing, features an open design that focuses on the ease of use NIME, Eolos, Wind, Wireless, MIDI Controller, Digital (both for novices and experienced wind players), a low building Musical Instrument cost, and offers a wireless MIDI communication.
    [Show full text]
  • Medium of Performance Thesaurus for Music
    A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭.
    [Show full text]
  • Yamaha-WX5-Manual-English.Pdf
    SPECIAL MESSAGE SECTION This product utilizes batteries or an external power supply (adapter). DO NOT used to produce them, meet these goals. In keeping with both the letter and connect this product to any power supply or adapter other than one described the spirit of the law, we want you to be aware of the following: in the manual, on the name plate, or specifically recommended by Yamaha. Battery Notice: WARNING: Do not place this product in a position where anyone could walk on, This product MAY contain a small non-rechargeable battery which (if applicable) trip over ,or roll anything over power or connecting cords of any kind. The use of is soldered in place. The average life span of this type of battery is approximately an extension cord is not recommended! IF you must use an extension cord, the five years. When replacement becomes necessary, contact a qualified service minimum wire size for a 25' cord (or less ) is 18 AWG. NOTE: The smaller the AWG representative to perform the replacement. number ,the larger the current handling capacity. For longer extension cords, consult a local electrician. This product may also use “household” type batteries. Some of these may be rechargeable. Make sure that the battery being charged is a rechargeable type This product should be used only with the components supplied or; a cart, rack, and that the charger is intended for the battery being charged. or stand that is recommended by Yamaha. If a cart, etc., is used, please observe all safety markings and instructions that accompany the accessory product.
    [Show full text]
  • Department of Music Programs 2011 - 2012 Department of Music Olivet Nazarene University
    Olivet Nazarene University Digital Commons @ Olivet School of Music: Performance Programs Music 2012 Department of Music Programs 2011 - 2012 Department of Music Olivet Nazarene University Follow this and additional works at: https://digitalcommons.olivet.edu/musi_prog Part of the Fine Arts Commons, and the Music Performance Commons Recommended Citation Department of Music, "Department of Music Programs 2011 - 2012" (2012). School of Music: Performance Programs. 45. https://digitalcommons.olivet.edu/musi_prog/45 This Book is brought to you for free and open access by the Music at Digital Commons @ Olivet. It has been accepted for inclusion in School of Music: Performance Programs by an authorized administrator of Digital Commons @ Olivet. For more information, please contact [email protected]. Department of Music 2011-2012 Program s | OLIVET NAZAKENE UNIVERSITY presents Tim Zimmerman a n d th e King’s Brass featuring Ollid Youflfl S' nday, June 5, 2011 Betty and Kenneth Hawkins A Jun. Centennial Chapel A free will offering will be taken. MEMBERS OF THE 2011-2012 KING’S BRASS TOUR | TIM ZIMMERMAN - Director of The King’s Brass, Tim received his graduate degree from the Peabody Conservatory of Music of the Johns Hopkins University, in Baltimore, Md. He has been a member of the Annapolis Symphony Orchestra and often assists with the Ft. Wayne Philharmonic. For thirteen years, Tim served as artist-in-residence and chairman of the music department at Grace College in Winona Lake, Ind. Presently, he teaches at Indiana Wesleyan University in Marion, Ind. He and his wife, Gina, and their three college-aged children live in Ft.
    [Show full text]
  • A Comparison of Practice on a MIDI Wind Controller to Practice on Single-Reed Instruments
    Georgia Southern University Digital Commons@Georgia Southern Music Faculty Publications Music, Department of 2013 A Comparison of Practice on a MIDI Wind Controller to Practice on Single-Reed Instruments Laura A. Stambaugh Georgia Southern University, [email protected] Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/music-facpubs Part of the Music Education Commons Recommended Citation Stambaugh, Laura A.. 2013. "A Comparison of Practice on a MIDI Wind Controller to Practice on Single- Reed Instruments." Proceedings of the International Symposium on Performance Science, Vienna, Austria. source: http://performancescience.org/conference/isps2013/ isbn: 978-2-9601-3780-4 https://digitalcommons.georgiasouthern.edu/music-facpubs/4 This presentation is brought to you for free and open access by the Music, Department of at Digital Commons@Georgia Southern. It has been accepted for inclusion in Music Faculty Publications by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. International Symposium on Performance Science © The Author 2013, Published by the AEC ISBN 978-2-9601378-0-4 All rights reserved A comparison of practice on a MIDI wind controller to practice on single-reed instruments Laura A. Stambaugh Department of Music, Georgia Southern University, USA In the study of piano performance, the use of MIDI keyboards and com- puter software has improved measurement efficiency and accuracy of data analysis. MIDI wind controllers have existed for over 20 years, but their feasibility as a tool in wind instrument research has received little attention. The purpose of this investigation was to determine the validity and practicality of using a MIDI wind controller in instrumental perfor- mance research.
    [Show full text]
  • Dynasample - Xpression
    DynaSample - XPression Wind Controller Setup Here are some suggestions about setting up your wind controller for optimal performance with XPression: General Considerations Breath: The most important thing about playing a wind controller is to translate your breath pressure to MIDI data as accurately as possible so it can be used best by the sound generator. Make sure you get the optimal setup concerning the available response curves, offsets and so on of your wind controller before messing with XPression’s settings. Generally breath pressure needs to be output only by CC2 (breath control) and no other CC in order to work best with XPression. This is valid for all wind controllers although other CCs like CC7 (main volume) CC11 (expression) or aftertouch could also be setup to work. In the [Global] menu you can change the response curve of the dynamic controller. A value of “0” makes it linear. Higher values make it more exponential. A value of 25 – 50 might make the instrument feel “more dynamic”. Experiment for yourself what feels best for you! Pitchbend: Pitchbend can be used both with regular pitchbend and CC3 for pitchbend up and CC4 for pitchbend down. You can redirect bend up and down (internal CC 135 and CC136) individually to different functions per preset. E.g. you could use “pitchbend up” as “sustain” (CC64) while still being able to use “pitchbend down” normally. XPression also has a special “string pitchbend mode”. If it is activated it will bend the current note until the next note is played and deactivate pitchbend until you return to the center position.
    [Show full text]
  • An Examination of a MIDI Wind Controller for Use in Instrumental Research
    Georgia Southern University Digital Commons@Georgia Southern Music Faculty Publications Music, Department of 2011 An Examination of a MIDI Wind Controller for Use in Instrumental Research Laura A. Stambaugh Georgia Southern University, [email protected] Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/music-facpubs Part of the Music Education Commons Recommended Citation Stambaugh, Laura A.. 2011. "An Examination of a MIDI Wind Controller for Use in Instrumental Research." Proceedings of the International Symposium on Performance Science, Toronto, Canada, Aaron Williamon, Darryl Edwards, and Lee Bartel (Ed.) Utrecht, The Netherlands: European Association of Conservatoires (AEC). source: http://performancescience.org/conference/isps2011/ isbn: 978-2-9601-3780-4 https://digitalcommons.georgiasouthern.edu/music-facpubs/6 This conference proceeding is brought to you for free and open access by the Music, Department of at Digital Commons@Georgia Southern. It has been accepted for inclusion in Music Faculty Publications by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. International Symposium on Performance Science © The Author 2011, Published by the AEC ISBN 978-94-90306-02-1 All rights reserved An examination of a MIDI wind controller for use in instrumental research Laura A. Stambaugh Department of Music, Georgia Southern University, USA The purpose of this investigation was to determine the validity and prac- ticality of using a MIDI wind controller in instrumental performance re- search. Typical methodology for wind instrument performance research includes at least one expert judge repeatedly listening to randomized performances and scoring them for pitch and rhythmic accuracy. In ad- dition to being very time-intensive, this process is subject to human er- ror.
    [Show full text]