DOCSLIB.ORG

Monomachine User's Manual

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Monomachine User's Manual FCC compliance statement This device complies with part 15 of the FCC rules. Operation is subject to the following two conditions: (1) This device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation. NOTE: 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 designed to provide reasonable protection against harmful interference in a residentpial installation. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures: • Reorient or relocate the receiving antenna. • Increase the separation between the equipment and receiver. • Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. • Consult the dealer or an experienced radio/TV technician for help. European Union regulation compliance statement This product has been tested to comply with the 2004/108/EC EMC Directive and the 72/23/EC Low Voltage directive. This symbol indicates that your product must be disposed of properly according to local laws and regu- lations. The included switched-mode power supply is CEC Level IV compliant. The device contains a non rechargable lithium perchlorate battery cell that may need to be recycled separately de- pending on local environmental laws. If the battery needs replacing, please contact Elektron or a local professional technician for servicing. INTRODUCTION...........................................................................................................1-1 CONVENTIONS IN THIS MANUAL..................................................................................................... 1-1 THE PHILOSOPHY OF THE MONOMACHINE ...........................................................1-2 KEEP IN MIND .................................................................................................................................... 1-2 HIGHLIGHTS....................................................................................................................................... 1-2 USER INTERFACE AND CONNECTORS....................................................................1-3 FRONT / MAIN CONTROL PANEL ..................................................................................................... 1-3 KEYBOARD INTERFACE, SFX-6........................................................................................................ 1-5 REAR CONNECTORS ........................................................................................................................ 1-6 ADDITIONAL REAR CONNECTORS, SFX-6...................................................................................... 1-7 RACK MOUNT KIT (SFX-60MKII ACCESSORY)................................................................................ 1-7 RACK MOUNT KIT ASSEMBLY..................................................................................................... 1-7 CONNECTING THE UNIT ................................................................................................................... 1-7 CARE INSTRUCTIONS....................................................................................................................... 1-8 THE LCD USER INTERFACE ......................................................................................1-9 LAYER EDIT AND WINDOWS ............................................................................................................ 1-9 QUICK START ............................................................................................................1-10 SELECTING AND PLAYING A PATTERN......................................................................................... 1-10 PLAYING IN MULTI TRIG MODE ...................................................................................................... 1-11 EXPLORING A PATTERN ................................................................................................................. 1-11 DIFFERENT TYPES OF RECORDING............................................................................................. 1-11 OVERVIEW OF GRID RECORDING MODE................................................................................ 1-11 OVERVIEW OF LIVE RECORDING MODE................................................................................. 1-12 PARAMETER LOCKS .................................................................................................................. 1-12 MONOMACHINE OVERVIEW ....................................................................................1-14 CHOOSE YOUR WAY OF WORKING............................................................................................... 1-14 SIX INDIVIDUAL TRACKS ........................................................................................................... 1-14 SIX TRACK SEQUENCING.......................................................................................................... 1-14 MIDI SEQUENCING ..................................................................................................................... 1-14 POLY MODE................................................................................................................................. 1-14 MULTI TRIG MODE...................................................................................................................... 1-14 MULTI MAP MODE....................................................................................................................... 1-14 MONOMACHINE SYNTHESIS ARRANGEMENT......................................................1-16 MONOMACHINE KITS ...................................................................................................................... 1-17 THE LINK BETWEEN KITS AND PATTERNS................................................................................... 1-17 LOADING A KIT............................................................................................................................ 1-18 LOADING AN EMPTY KIT............................................................................................................ 1-18 SAVING AND NAMING A KIT ...................................................................................................... 1-18 UNDO KIT..................................................................................................................................... 1-19 COPY KIT ..................................................................................................................................... 1-20 CLEAR KIT ................................................................................................................................... 1-20 KIT EDITING...................................................................................................................................... 1-21 ASSIGNING A MACHINE TO A TRACK ...................................................................................... 1-21 COPY MACHINE .......................................................................................................................... 1-22 CLEAR MACHINE ........................................................................................................................ 1-23 SETTING THE MIX BUS .............................................................................................................. 1-23 PARAMETER EDITING ..................................................................................................................... 1-24 TRACK EFFECTS ......................................................................................................1-25 LEVEL................................................................................................................................................ 1-25 AMPLIFICATION PAGE..................................................................................................................... 1-25 1 of 6 AMPLIFIER ENVELOPE............................................................................................................... 1-25 DISTORTION................................................................................................................................ 1-26 TRACK VOLUME.......................................................................................................................... 1-27 PAN............................................................................................................................................... 1-28 PORTAMENTO............................................................................................................................. 1-28 FILTER PAGE .................................................................................................................................... 1-28 BASIC FILTER CONTROLS ......................................................................................................... 1-29 FILTER ENVELOPE
Load more

Recommended publications
  • Octatrack MKII User Manual FCC Compliance Statement This Device Complies with Part 15 of the FCC Rules
    Octatrack MKII User Manual FCC compliance statement This device complies with part 15 of the FCC rules. Operation is subject to the following two conditions: (1) This device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation. NOTE: 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 designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encour- aged to try to correct the interference by one or more of the following measures: • Reorient or relocate the receiving antenna. • Increase the separation between the equipment and receiver. • Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. • Consult the dealer or an experienced radio/TV technician for help. WARNING: Cancer and Reproductive Harm – www.P65Warnings.ca.gov AVERTISSEMENT: Cancer et effet nocif sur la reproduction – www.P65Warnings.ca.gov ADVERTENCIA: Cáncer y Daño Reproductivo – www.P65Warnings.ca.gov Canada This Class B digital apparatus complies with Canadian ICES-003. Cet appareil numérique de la classe B est conforme à la norme NMB-003.
    [Show full text]
  • Electronic Music Production Methods Musical Electronic Hardware Instruments in Album Pro- Duction Process
    Electronic Music Production Methods Musical Electronic Hardware Instruments in Album Pro- duction Process Otto Kouvonen Bachelor’s thesis April 2019 Media and Arts Music Production 2 ABSTRACT Tampereen ammattikorkeakoulu Tampere University of Applied Sciences Degree Programme in Media and Arts Music Production KOUVONEN, OTTO: Electronic Music Production Methods Musical Electronic Hardware Instruments in Album Production Process Bachelor's thesis 45 pages, appendices 1 page April 2019 The thesis was done to explore the possibilities of musical electronic hardware instruments in album making process. The development of electronic sound shaping techniques and voltage controlled synthesizers revolutionized the way of making music and sound. It has greatly affected the soundscape and working methods of the modern music. Author’s goal was to research the efficiency of the working methods and instruments during process and observe how the different devices, composing and sound design methods affected the end product and creativity. The conclusion is based on understanding the instruments their possi- bilities used in a project, through observations, experiences and the end result. The album making process revealed strengths and weaknesses of the instru- ments and their effect on the end result and creativity. Author explored working methods of the electronic music making and sound design with hardware instru- ments. The instruments and working methods they enabled, turned out to be re- ally inspiring and helped the author to create unique sound design and composi- tions on the album. The possibilities of content creation and randomization with hardware instruments offered an alternative way of making music. The interaction with the different musical devices and interfaces affected the end result and de- cisions made during the project.
    [Show full text]
  • Analog-Rytm Manual OS1.31.Pdf
    FCC compliance statement This device complies with part 15 of the FCC rules. Operation is subject to the following two conditions: (1) This device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation. NOTE: 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 designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encour- aged to try to correct the interference by one or more of the following measures: • Reorient or relocate the receiving antenna. • Increase the separation between the equipment and receiver. • Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. • Consult the dealer or an experienced radio/TV technician for help. Canada This This Class B digital apparatus complies with Canadian ICES-003. Cet appareil numérique de la classe B est conforme à la norme NMB-003 European Union regulation compliance statement This product has been tested to comply with the Low Voltage Directive 2006/95/EC and the Electromagnetic Compatibility Directive 2004/108/EC.
    [Show full text]
  • Elektron SID Users Manual R2
    Contact information: Mail address: Elektron Music Machines AB Erik Dahlbergsgatan 3 411 26 Göteborg Sweden Email: [email protected] Website: http://www.sidstation.com Fax: +46 31 7437449 SidStation owners manual rev 2.2b. The operating system discussed in this manual is of version 1.1. This manual is copyright ©1998-99 Elektron. All reproduction without written authorisation is strictly prohibited. The information in this manual may change without notice. All other trademarks in this manual are properties of their respective owners. SIDSTATION Ow ners Manual 2 Using the unit safely CAUTION! • Before using this unit make sure that you have read the instructions below. • Do not perform any modifications to the unit itself. • Make sure that you use the correct power supply unit (PSU). If you don’t use the one supplied by Elektro, please check that it fits according to the requirements found in the PSU section of this manual. • Please protect the SidStation from strong electronic discharges. These can make the SidStation malfunction. • Turn down the volume on your amplifier before switching on the SidStation. On powerup the SidStation can emit a sharp click that could harm your equipment. • Do not connect or disconnect cables to the unit with the power turned on. • Never climb on top of, nor place heavy objects on the unit. • Avoid nuclear explosions. The SID-chip might be harmed. 3 SIDSTATION Owners Manual Contents USING THE UNIT SAFELY ......................................................................................................................................
    [Show full text]
  • Analog Rytm MKII a Different Drum
    Analog Rytm MKII A different drum User Manual FCC compliance statement This device complies with part 15 of the FCC rules. Operation is subject to the following two conditions: (1) This device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation. NOTE: 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 designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encour- aged to try to correct the interference by one or more of the following measures: • Reorient or relocate the receiving antenna. • Increase the separation between the equipment and receiver. • Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. • Consult the dealer or an experienced radio/TV technician for help. Canada This This Class B digital apparatus complies with Canadian ICES-003. Cet appareil numérique de la classe B est conforme à la norme NMB-003 European Union regulation compliance statement This product has been tested to comply with the Low Voltage Directive 2014/35/EU and the Electro- magnetic Compatibility Directive 2014/30/EU.
    [Show full text]
  • Overbridge-User-Manual ENG OS2
    Legal disclaimer The information in this document is subject to change without notice and should not be construed as a commitment by Elektron. Elektron assumes no responsibility for any errors that may appear in this doc- ument. Elektron may also make improvements and/or changes in the products and programs described in this document at any time without notice. In no event shall Elektron be liable for any special, indirect, or consequential damages or any damages whatsoever resulting from loss of use, data, or profits, whether in an action of contract, negligence, or other action, arising out of or in connection with the use or performance of this information. TABLE OF CONTENTS TABLE OF CONTENTS 1. INTRODUCTION ................................................................5 2. OVERBRIDGE OVERVIEW .......................................................6 2.1 FEATURES ..................................................................................6 2.2 OVERBRIDGE COMPATIBLE ELEKTRON DEVICES. 6 2.3 SOFTWARE COMPONENTS .................................................................6 3. GETTING STARTED WITH OVERBRIDGE ........................................7 3.1 QUICK START ............................................................................... 7 3.2 USING OVERBRIDGE IN YOUR DAW .......................................................... 7 3.3 INSTALLING AND SETTING UP OVERBRIDGE ................................................ 7 3.3.1 SYSTEM REQUIREMENTS ..................................................................8 3.3.2
    [Show full text]
  • The Social Mediation of Electronic Music Production
    People, Platforms, Practice: The Social Mediation of Electronic Music Production Paul Chambers Thesis submitted for the degree of Doctor of Philosophy Faculty of Arts School of Social Sciences Discipline of Anthropology The University of Adelaide May 2019 Contents Contents 2 Abstract 5 Thesis Declaration 6 Acknowledgements 7 List of Figures 8 Introduction Introduction 9 Electronic Music: Material, Aesthetics and Distinction 12 Electronic Music: Born’s Four Planes of Social Mediation 17 Methodology 21 Thesis Overview 31 Section 1: The Subject 38 Chapter 1 Music & Identity in the ‘Post-Internet’ 39 Music, Gender and the Self 42 Val: Clubbing in ‘Digitopia' 45 Sacha: Pasifika Futurism 50 Nico & Alex: ‘Digital Queering’ 54 Travis & Moe: ‘Persona Empires’ 61 Conclusion 66 Chapter 2 Politics of the Personal 70 Music, Freedom & Modernity 73 Brother Lucid & Kyle: The Studio as Autonomous Zone 75 Nix & Bloodbottler: Transposing Alienation 80 Klaus, Clifford & Red Robin: Frequency Response 87 Ali & Miles: Laptop Lyricists 92 Conclusion 98 2 Section 2: The Object 100 Chapter 3 Anyone Can Make It 101 The DAW & the Future of Pedagogy 103 Ableton: Meet the Superstar 107 Learning the Tropes: The Role of the Institution 113 Jamming with Myself: Who Needs a Band? 125 Code Composers: Who Needs a Human? 128 Conclusion 132 Chapter 4 Eurorack Revolution & the Maker Movement 135 Towards a Theory of the Modular 138 Sound Affects: How Low Can I Go? 145 Patching into the Field: Interacting with a Sonic Ecology 150 Glad Obsession: Capitalism and Audiophilia 155
    [Show full text]
  • Analog Rytm MKII User Manual FCC Compliance Statement This Device Complies with Part 15 of the FCC Rules
    Analog Rytm MKII User Manual FCC compliance statement This device complies with part 15 of the FCC rules. Operation is subject to the following two conditions: (1) This device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation. NOTE: 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 designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encour- aged to try to correct the interference by one or more of the following measures: • Reorient or relocate the receiving antenna. • Increase the separation between the equipment and receiver. • Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. • Consult the dealer or an experienced radio/TV technician for help. WARNING: Cancer and Reproductive Harm – www.P65Warnings.ca.gov AVERTISSEMENT: Cancer et effet nocif sur la reproduction – www.P65Warnings.ca.gov ADVERTENCIA: Cáncer y Daño Reproductivo – www.P65Warnings.ca.gov Canada This This Class B digital apparatus complies with Canadian ICES-003.
    [Show full text]
  • Portfolio of Compositions
    Portfolio of Compositions Radoslaw Rudnicki PhD University of York Music March 2012 Abstract This portfolio presents seven projects that use improvisation as source material for subsequent electronic music. Fixed media pieces including music for film, contemporary dance as well as two albums are included. Furthermore, recordings of live performance works where improvisation was controlled via compositions, loop- based material, custom-made software tools and hardware devices are presented in the folio. The commentary explains the methods used in the projects and shows them in a wider context of other artists’ work. It describes the creative usage of technology in the pieces presented in the folio. Also, the examination of visual elements as a guide for improvisation is discussed in relation to each project. ii List of Contents Abstract ii List of Contents iii List of Figures iv List of Submitted Projects v Acknowledgments vi Author's Declaration vii Aims 1 Introduction and Aesthetics 1 Improvisation as Source Material and Its Relation to Found Sound 3 Dance Pieces (2008-2009) 6 Cinematic Project (2009-2011) 10 Aquatusz (2010) 11 Synthesis (2010) 13 Electricity (2010) 16 Freeform (2010) 17 Space Fight (2011) 19 Future Work and Evolution of Current Projects 22 Appendix 24 Resource List 28 iii List of Figures Figure 1 Types of piece presented in the folio. ................................................................................. 1 Figure 2 Project development working ............................................................................................. 2 Figure 3 Roots-Dance-Poetry – rehearsal at NSCD in Leeds, 2009. ................................................ 7 Figure 4 Sketch of Roots-Dance-Poetry structure (Flex, Izzy, Janice, Liz, Heather – dancers) ....... 9 Figure 5 Visualisations for Aquatusz – rehearsal, 2010 .................................................................. 12 Figure 6 Synthesis – showing circle size and colors related to dynamics and density required .....
    [Show full text]
  • Sidstation Owners Manual Rev 2.2. the Operating System Discussed in This Manual Is of Version 1.1
    Contact information: Mail address: Elektron ESI AB Stena Center 1C 412 92 Göteborg Sweden Email: [email protected] Website: http://www.sidstation.com Fax: +46 31 7728111 SidStation owners manual rev 2.2. The operating system discussed in this manual is of version 1.1. This manual is copyright 1998-99 Elektron ESI AB. All reproduction without written authorisation is strictly prohibited. The information in this manual may change without notice. All other trademarks in this manual are properties of their respective owners. SIDSTATION Owners Manual 2 Using the unit safely CAUTION! • Before using this unit make sure that you have read the instructions below. • Do not perform any modifications to the unit itself. • Make sure that you use the correct power supply unit (PSU). If you don’t use the one supplied by Elektron ESI AB, please check that it fits according to the requirements found in the PSU section of this manual. • Please protect the SidStation from strong electronic discharges. These can make the SidStation malfunction. • Turn down the volume on your amplifier before switching on the SidStation. On powerup the SidStation can emit a sharp click that could harm your equipment. • Do not connect or disconnect cables to the unit with the power turned on. • Never climb on top of, nor place heavy objects on the unit. • Avoid nuclear explosions. The SID-chip might be harmed. 3 SIDSTATION Owners Manual Contents USING THE UNIT SAFELY........................................................................................................................................2
    [Show full text]
  • PDF Download
    Issue 06 – 2017 Journal –Peer Reviewed JAMES NEWMAN Bath Spa University, FHEA [email protected] Driving the SID chip Assembly Language, Composition, and Sound Design for the C64 ABSTRACT The MOS6581, more commonly known as the Sound Interface Device, or SID chip, was the sonic heart of the Commodore 64 home computer. By consider- ing the chip’s development, specifcation, uses and creative abuses by composers and programmers, alongside its continuing legacy, this paper argues that, more than any other device, the SID chip is responsible for shaping the sound of videogame music. Compared with the brutal atonality of chips such as Atari’s TIA, the SID chip ofers a complex 3-channel synthesizer with dynamic wave- form selection, per-channel ADSR envelopes, multi-mode flter, ring and cross modulation. However, while the specifcation is sophisticated, the exploitation of the vagaries and imperfections of the chip are just as signifcant to its sonic character. As such, the compositional, sound design and programming tech- niques developed by 1980s composer-coders like Rob Hubbard and Martin Galway are central in defning the distinctive sound of C64 gameplay. Explor- ing the afordances of the chip and the distinctive ways they were harnessed, the argument of this paper centers on the inexorable link between the tech- nological and the musical. Crucially, composers like Hubbard et al. developed their own bespoke low-level drivers to interface with the SID chip to create pseudo-polyphony through rapid arpeggiation and channel sharing, drum syn- thesis through waveform manipulation, portamento, and even sample playback. This paper analyses the indivisibility of sound design, synthesis and composi- tion in the birth of these musical forms and aesthetics, and assesses their impact on what would go on to be defned as chiptunes.
    [Show full text]
  • UC San Diego UC San Diego Electronic Theses and Dissertations
    UC San Diego UC San Diego Electronic Theses and Dissertations Title A computer music instrumentarium Permalink https://escholarship.org/uc/item/4mf9458n Author Oliver La Rosa, Jaime Eduardo Publication Date 2011 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO A Computer Music Instrumentarium A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Music by Jaime Eduardo Oliver La Rosa Committee in charge: Miller Puckette, Chair Amy Alexander Gerald Balzano Jim Hollan David Wessel 2011 Copyright Jaime Eduardo Oliver La Rosa, 2011 All rights reserved. The dissertation of Jaime Eduardo Oliver La Rosa is approved and it is acceptable in quality and form for publication on microfilm and electronically: Chair University of California, San Diego 2011 iii DEDICATION A Paloma y Cristobal.´ iv EPIGRAPH *** Krefeld: What do you consider yourself in the first place: an inventor of musical instruments, a composer, or a performer? Waisvisz: ... Your question suggests divisions that don’t exist for me; I cannot see a personal involvement in the technical functionality of the instruments and performance as separate from the work of composing, so simply consider me a composer (Waisvisz in Krefeld(1990)). *** v TABLE OF CONTENTS Signature Page............................................ iii Dedication.............................................. iv Epigraph...............................................v
    [Show full text]