Fx16ii User Guide
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Sonification As a Means to Generative Music Ian Baxter
Sonification as a means to generative music By: Ian Baxter A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts & Humanities Department of Music January 2020 Abstract This thesis examines the use of sonification (the transformation of non-musical data into sound) as a means of creating generative music (algorithmic music which is evolving in real time and is of potentially infinite length). It consists of a portfolio of ten works where the possibilities of sonification as a strategy for creating generative works is examined. As well as exploring the viability of sonification as a compositional strategy toward infinite work, each work in the portfolio aims to explore the notion of how artistic coherency between data and resulting sound is achieved – rejecting the notion that sonification for artistic means leads to the arbitrary linking of data and sound. In the accompanying written commentary the definitions of sonification and generative music are considered, as both are somewhat contested terms requiring operationalisation to correctly contextualise my own work. Having arrived at these definitions each work in the portfolio is documented. For each work, the genesis of the work is considered, the technical composition and operation of the piece (a series of tutorial videos showing each work in operation supplements this section) and finally its position in the portfolio as a whole and relation to the research question is evaluated. The body of work is considered as a whole in relation to the notion of artistic coherency. This is separated into two main themes: the relationship between the underlying nature of the data and the compositional scheme and the coherency between the data and the soundworld generated by each piece. -
Common Tape Manipulation Techniques and How They Relate to Modern Electronic Music
Common Tape Manipulation Techniques and How They Relate to Modern Electronic Music Matthew A. Bardin Experimental Music & Digital Media Center for Computation & Technology Louisiana State University Baton Rouge, Louisiana 70803 [email protected] ABSTRACT the 'play head' was utilized to reverse the process and gen- The purpose of this paper is to provide a historical context erate the output's audio signal [8]. Looking at figure 1, from to some of the common schools of thought in regards to museumofmagneticsoundrecording.org (Accessed: 03/20/2020), tape composition present in the later half of the 20th cen- the locations of the heads can be noticed beneath the rect- tury. Following this, the author then discusses a variety of angular protective cover showing the machine's model in the more common techniques utilized to create these and the middle of the hardware. Previous to the development other styles of music in detail as well as provides examples of the reel-to-reel machine, electronic music was only achiev- of various tracks in order to show each technique in process. able through live performances on instruments such as the In the following sections, the author then discusses some of Theremin and other early predecessors to the modern syn- the limitations of tape composition technologies and prac- thesizer. [11, p. 173] tices. Finally, the author puts the concepts discussed into a modern historical context by comparing the aspects of tape composition of the 20th century discussed previous to the composition done in Digital Audio recording and manipu- lation practices of the 21st century. Author Keywords tape, manipulation, history, hardware, software, music, ex- amples, analog, digital 1. -
The Future of Audio
The Future of Audio ■Audio is a cultural treasure nurtured over many years Ever since the dawn of audio technology, there is an ongoing debate whether the sound of audio equipment should be as transparent as possible or display a characteristic of its own, much like a musical instrument. Whichever side of this argument one favors, it is a fact that the reproduction chain from the microphone to the loudspeaker has come a long way. The accumulation of technology has made it possible to increasingly eliminate colorization, resulting in the sound that we have today. But this fact notwithstanding, there is practically no speaker that sounds exactly like another, nor is one amplifier exactly the same as another. Even products using digital technology have their own particular sonic characteristics. Audio technology has evolved to a very sophisticated level. However, the sound of two pieces of equipment may differ, even if their measurement data are the same. This indicates that measurement technology has not yet advanced to duplicate the full depth of human sensory perception. This uncharted territory is where the joy and creativity of audio is born. Paradoxically, the ideal state of audio equipment is one where the equipment itself disappears, allowing listeners to fully immerse themselves in the music. With regard to an amplifier, this means stepping up the level of the recorded signal and correctly delivering it to the loudspeakers without introducing distortion. However, this is easier said than done, and so far the only means of determining whether the speakers are being correctly driven by the amplifier is a subjective evaluation by listening to the sound. -
Applied Tape Techniques for Use with Electronic Music Synthesizers. Robert Bruce Greenleaf Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1974 Applied Tape Techniques for Use With Electronic Music Synthesizers. Robert Bruce Greenleaf Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Part of the Music Commons Recommended Citation Greenleaf, Robert Bruce, "Applied Tape Techniques for Use With Electronic Music Synthesizers." (1974). LSU Historical Dissertations and Theses. 8157. https://digitalcommons.lsu.edu/gradschool_disstheses/8157 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. A p p l ie d tape techniques for use with ELECTRONIC MUSIC SYNTHESIZERS/ A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the Doctor of Musical Arts In The School of Music by Robert Bruce Greenleaf M.M., Louisiana State University, 1972 A ugust, 19714- UMI Number: DP69544 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT Dissertation Publishing UMI DP69544 Published by ProQuest LLC (2015). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. -
Latin American Nimes: Electronic Musical Instruments and Experimental Sound Devices in the Twentieth Century
Latin American NIMEs: Electronic Musical Instruments and Experimental Sound Devices in the Twentieth Century Martín Matus Lerner Desarrollos Tecnológicos Aplicados a las Artes EUdA, Universidad Nacional de Quilmes Buenos Aires, Argentina [email protected] ABSTRACT 2. EARLY EXPERIENCES During the twentieth century several Latin American nations 2.1 The singing arc in Argentina (such as Argentina, Brazil, Chile, Cuba and Mexico) have In 1900 William du Bois Duddell publishes an article in which originated relevant antecedents in the NIME field. Their describes his experiments with “the singing arc”, one of the first innovative authors have interrelated musical composition, electroacoustic musical instruments. Based on the carbon arc lutherie, electronics and computing. This paper provides a lamp (in common use until the appearance of the electric light panoramic view of their original electronic instruments and bulb), the singing or speaking arc produces a high volume buzz experimental sound practices, as well as a perspective of them which can be modulated by means of a variable resistor or a regarding other inventions around the World. microphone [35]. Its functioning principle is present in later technologies such as plasma loudspeakers and microphones. Author Keywords In 1909 German physicist Emil Bose assumes direction of the Latin America, music and technology history, synthesizer, drawn High School of Physics at the Universidad de La Plata. Within sound, luthería electrónica. two years Bose turns this institution into a first-rate Department of Physics (pioneer in South America). On March 29th 1911 CCS Concepts Bose presents the speaking arc at a science event motivated by the purchase of equipment and scientific instruments from the • Applied computing → Sound and music German company Max Kohl. -
Live Venue Sound System Installation
CASE STUDIES Live Venue Installations Unite Your Audience The Martin Audio Experience LIVE VENUE INSTALLATIONS Martin Audio At Martin Audio we believe that uniting audiences with modelling and software engineering, to deliver dynamic, exciting sound creates shared memories that sear into the full-frequency sound right across the audience. consciousness delivering more successful tours, events and repeatedly packed venues. With over forty years of live sound and installation expertise to our name, Martin Audio offers a wide range of premium We achieve this by an obsessive attention to detail on professional loudspeakers so customers can be assured the professional sound system’s acoustic performance, of selecting the right system for their chosen application, frequently challenging convention and involving a whether it’s a small scale installation or a festival for over sophisticated mix of design, research, mathematical 150,000 people. Live Venue Installations With our heritage in live production it’s no surprise that this has transferred into the realms of permanent audio installation within live venues. More often than not, live venues are combined with bar and club areas so our portfolio offering has frequently meant and integrated system design approach. As with many other applications, our solutions focus upon appropriate sound level performance, coverage, consistency and control to unite audiences night after night. 2 LIVE VENUE INSTALLATIONS Cabo Wabo Cantina Upgrades With Martin Audio WPC Cabo Wabo Cantina Cabo San Lucas, MX––Sammy -
OCMP Technical Rider
Table of Contents Standard Operating Procedures …..….......................…….……. 2 Contacts ………………………………………………………………….......................……….……… 3 Directions ………………………………………………………………......................……….……… 4 Audio ....................................................................................................................... 5 House Imposed Sound Limit ...................................................... 8 Lighting ................................................................................................................. 9 Video ....................................................................................................................... 11 Video Requirements & Recommendations …......... 12 Local Rental Houses .......................................................................... 13 Load-in .................................................................................................................. 14 Dressing Rooms ........................................................................................ 15 Venue Specs .................................................................................................. 16 The Music Pier dates back to 1928 when construction began to create a new concert hall for the community that had just lost a large portion of the boardwalk to a fire in 1927. The Music Pier that you see today was dedicated on July 4, 1929 with much fanfare. The Music Pier lived up to its name with the Municipal Orchestra entertaining crowds twice a day, seven days a week. It was -
Holmes Electronic and Experimental Music
C H A P T E R 2 Early Electronic Music in Europe I noticed without surprise by recording the noise of things that one could perceive beyond sounds, the daily metaphors that they suggest to us. —Pierre Schaeffer Before the Tape Recorder Musique Concrète in France L’Objet Sonore—The Sound Object Origins of Musique Concrète Listen: Early Electronic Music in Europe Elektronische Musik in Germany Stockhausen’s Early Work Other Early European Studios Innovation: Electronic Music Equipment of the Studio di Fonologia Musicale (Milan, c.1960) Summary Milestones: Early Electronic Music of Europe Plate 2.1 Pierre Schaeffer operating the Pupitre d’espace (1951), the four rings of which could be used during a live performance to control the spatial distribution of electronically produced sounds using two front channels: one channel in the rear, and one overhead. (1951 © Ina/Maurice Lecardent, Ina GRM Archives) 42 EARLY HISTORY – PREDECESSORS AND PIONEERS A convergence of new technologies and a general cultural backlash against Old World arts and values made conditions favorable for the rise of electronic music in the years following World War II. Musical ideas that met with punishing repression and indiffer- ence prior to the war became less odious to a new generation of listeners who embraced futuristic advances of the atomic age. Prior to World War II, electronic music was anchored down by a reliance on live performance. Only a few composers—Varèse and Cage among them—anticipated the importance of the recording medium to the growth of electronic music. This chapter traces a technological transition from the turntable to the magnetic tape recorder as well as the transformation of electronic music from a medium of live performance to that of recorded media. -
A History of Electronic Music Pioneers David Dunn
A HISTORY OF ELECTRONIC MUSIC PIONEERS DAVID DUNN D a v i d D u n n “When intellectual formulations are treated simply renewal in the electronic reconstruction of archaic by relegating them to the past and permitting the perception. simple passage of time to substitute for development, It is specifically a concern for the expansion of the suspicion is justified that such formulations have human perception through a technological strate- not really been mastered, but rather they are being gem that links those tumultuous years of aesthetic suppressed.” and technical experimentation with the 20th cen- —Theodor W. Adorno tury history of modernist exploration of electronic potentials, primarily exemplified by the lineage of “It is the historical necessity, if there is a historical artistic research initiated by electronic sound and necessity in history, that a new decade of electronic music experimentation beginning as far back as television should follow to the past decade of elec- 1906 with the invention of the Telharmonium. This tronic music.” essay traces some of that early history and its —Nam June Paik (1965) implications for our current historical predicament. The other essential argument put forth here is that a more recent period of video experimentation, I N T R O D U C T I O N : beginning in the 1960's, is only one of the later chapters in a history of failed utopianism that Historical facts reinforce the obvious realization dominates the artistic exploration and use of tech- that the major cultural impetus which spawned nology throughout the 20th century. video image experimentation was the American The following pages present an historical context Sixties. -
Signature 10/12/12MTK User Guide
User Guide For Soundcraft Signature 10, 12 & 12MTK 10, 12, 12MTK User Manual INFORMATION INFORMATION IMPORTANT Please read this manual carefully before using your mixer for the first time. This equipment complies with the EMC directive 2004/108/EC and LVD 2006/95/EC. This product is approved to safety standards: IEC 60065:2005 (Seventh Edition) +A1:2005 EN60065:2006 +A1:2006 +A1:2008 UL60065 2012 7th Edition CAN/CSA-E60065-03 + A1: 2006 And EMC standards EN55103-1: 2009 (E2) EN55103-2: 2009 (E2) Warning: Any modification or changes made to this device, unless explicitly approved by Harman, will invalidate the authorisation of this device. Operation of an unauthorised device is prohibited under Section 302 of the Communications act of 1934, as amended, and Subpart 1 of Part 2 of Chapter 47 of the Code of Federal Regulations. 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 encouraged to try to correct the interference by one or more of the following measures: * Reorient or relocate the receiving antenna. -
Electronic Music, Always Current
This copy is for your personal, noncommercial use only. You can order presentation-ready copies for distribution to your colleagues, clients or customers, please click here or use the "Reprints" tool that appears next to any article. Visit www.nytreprints.com for samples and additional information. Order a reprint of this article now. » July 9, 2000 MUSIC MUSIC; Electronic Music, Always Current By KYLE GANN IT takes maybe 15 minutes to input the first page of Stravinsky's ''Sacre du Printemps'' into music notation software on my computer. I press the space bar, and it plays back instantly, with simulations of the original woodwind tones. Compare that process with the dozens of hours it took pioneers like Milton Babbitt to get just a single tone out of a synthesizer 40 years ago -- or even with the hundreds of IBM cards I tediously punched in a computer music class only 20 years ago, with three notes to show for it -- and it is clear that the very meaning of the term ''electronic music'' has changed. In fact, as the millennium turns over, it is appropriate to ask whether the term still means anything at all. Does an orchestral film score made on a computer with sampled acoustic instruments count as ''electronic music''? How about a piece for amplified string quartet? Do recordings of regular string quartets become electronic music when a D.J. fuses them in a turntable collage? Is a computerized score still electronic music when it is realized on an acoustic Disklavier piano? The boundary seems infinitely permeable. The Electronic Evolution series, beginning Wednesday at Alice Tully Hall as part of the Lincoln Center Festival, seems conceived and programmed specifically to drive such ambiguities home. -
Audio Systems for Music Education
AUDIO SYSTEMS GUIDE MUSIC EDUCATORS By Gino Sigismondi A Shure Educational Publication Audio Systems Guide for Table of Contents MUSIC EDUCATORS Introduction . 4 Recording . 5 The Parts of a Recording System . 5 Microphones . 5 Recording Devices . 10 Mixers . 11 Hooking it up . 12 Sound Reinforcement for Music . 12 A Basic Sound System . 12 Microphones . 13 Mixers, Amplifiers and Loudspeakers . 17 Signal Processors . 19 Hooking it up . 22 Sound Reinforcement for Theater . 23 The Realities of Theater Sound . 23 Lavalier Microphone Techniques for Theater . 25 Summary . 27 Recommended Shure Microphone Models . 28 Appendix . 29 About the Author . 29 Glossary . 30 Music Educators 3 Audio Systems Guide for MUSIC EDUCATORS Introduction An often overlooked yet vital part of modern musical performances is the sound reinforcement (PA) system. In a perfect world, a trained professional would always be available to purchase, setup, and operate the sound system. In reality, the funds are not always available for such a luxury. The responsibility then falls to the next most likely person available to run the sound system, the music director. After all, you just need a few microphones and a couple of loudspeakers, and it’s time to go on tour! And we want it recorded as well! Unfortunately, sound system setup is not quite that simple. It doesn’t, however, need to be overly complicated. While the extreme quantity of choices available at your local music shop may seem daunting (Cardioid? Dynamic? Low Impedance! Help!), with a few basic guidelines, you can learn what you need, how to connect it, and even how to make it sound good.