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PCM 80 Dual FX Presets PCM 80 Dual FX Presets the 250 Dual FX Presets Are Organized in 5 Banks (X0-X4) of 50 Presets/Bank (Numbered 0.0 Ð 4.9)
PCM 80 Dual FX Presets PCM 80 Dual FX Presets The 250 Dual FX presets are organized in 5 Banks (X0-X4) of 50 presets/Bank (numbered 0.0 – 4.9). Press Program Banks repeatedly to cycle through the Banks. Turn SELECT to view the presets in the selected Bank. Press Load/✱ to load any displayed preset. Each preset has one or more parameters patched to the front panel ADJUST knob. This gives you instant access to some of the most interesting aspects of the effect. In addition, all of the presets marked with a T can be synchronized to tempo. To set the tempo, press the front panel Tap button twice in time with the beat. (Tempo can also be dialed in as a parameter value, or it can be determined by MIDI Clock.) Be sure to try these effects synchronized with MIDI sequence and drum patterns. Full descriptions of each preset are available in the Dual FX User Guide. 1.3 Mix>Drum>LP ADJUST: Hi Cut 0–127 3.3 15ips Echo ADJUST: Feedback 0–100 Program Bank X0 A stereo chamber optimized for drum submix, followed by a Stereo 15ips tape echo simulation. Listen to the sound change 24dB/octave lowpass filter. as it repeats. Stereo 1.4 Mix>Drum>HP ADJUST: Lo Cut 0–127 3.4 7.5ipsEkoRvb ADJUST: Feedback 0–100 The complement of Mix>Drum>LP with the drum chamber Stereo plate reverb fed by a 7.5ips tape echo simulation. Listen Presets 0.0-0.2 provide different room treatments for multiple followed by a 24dB/octave highpass filter. -
2011 – Cincinnati, OH
Society for American Music Thirty-Seventh Annual Conference International Association for the Study of Popular Music, U.S. Branch Time Keeps On Slipping: Popular Music Histories Hosted by the College-Conservatory of Music University of Cincinnati Hilton Cincinnati Netherland Plaza 9–13 March 2011 Cincinnati, Ohio Mission of the Society for American Music he mission of the Society for American Music Tis to stimulate the appreciation, performance, creation, and study of American musics of all eras and in all their diversity, including the full range of activities and institutions associated with these musics throughout the world. ounded and first named in honor of Oscar Sonneck (1873–1928), early Chief of the Library of Congress Music Division and the F pioneer scholar of American music, the Society for American Music is a constituent member of the American Council of Learned Societies. It is designated as a tax-exempt organization, 501(c)(3), by the Internal Revenue Service. Conferences held each year in the early spring give members the opportunity to share information and ideas, to hear performances, and to enjoy the company of others with similar interests. The Society publishes three periodicals. The Journal of the Society for American Music, a quarterly journal, is published for the Society by Cambridge University Press. Contents are chosen through review by a distinguished editorial advisory board representing the many subjects and professions within the field of American music.The Society for American Music Bulletin is published three times yearly and provides a timely and informal means by which members communicate with each other. The annual Directory provides a list of members, their postal and email addresses, and telephone and fax numbers. -
Signal Processing Methods for Beat Tracking, Music Segmentation, and Audio Retrieval
Signal Processing Methods for Beat Tracking, Music Segmentation, and Audio Retrieval Peter M. Grosche Max-Planck-Institut f¨ur Informatik Saarbr¨ucken, Germany Dissertation zur Erlangung des Grades Doktor der Ingenieurwissenschaften (Dr.-Ing.) der Naturwissenschaftlich-Technischen Fakult¨at I der Universit¨at des Saarlandes Betreuender Hochschullehrer / Supervisor: Prof. Dr. Meinard M¨uller Universit¨at des Saarlandes und MPI Informatik Campus E1.4, 66123 Saarbr¨ucken Gutachter / Reviewers: Prof. Dr. Meinard M¨uller Universit¨at des Saarlandes und MPI Informatik Campus E1.4, 66123 Saarbr¨ucken Prof. Dr. Hans-Peter Seidel MPI Informatik Campus E1.4, 66123 Saarbr¨ucken Dekan / Dean: Univ.-Prof. Mark Groves Universit¨at des Saarlandes, Saarbr¨ucken Eingereicht am / Thesis submitted: 22. Mai 2012 / May 22nd, 2012 Datum des Kolloquiums / Date of Defense: xx. xxxxxx 2012 / xxxxxx xx, 2012 Peter Matthias Grosche MPI Informatik Campus E1.4 66123 Saarbr¨ucken Germany [email protected] iii Eidesstattliche Versicherung Hiermit versichere ich an Eides statt, dass ich die vorliegende Arbeit selbstst¨andig und ohne Benutzung anderer als der angegebenen Hilfsmittel angefertigt habe. Die aus anderen Quellen oder indirekt ubernommenen¨ Daten und Konzepte sind unter Angabe der Quelle gekennzeichnet. Die Arbeit wurde bisher weder im In- noch im Ausland in gleicher oder ¨ahnlicher Form in einem Verfahren zur Erlangung eines akademischen Grades vorgelegt. Saarbrucken,¨ 22. Mai 2012 Peter M. Grosche iv Acknowledgements This work was supported by the DFG Cluster of Excellence on “Multimodal Comput- ing and Interaction” at Saarland University and the Max-Planck-Institut Informatik in Saarbr¨ucken. I thank Prof. Dr. Meinard M¨uller for the opportunity to do challenging research in such an exciting field and Prof. -
Beat Detection and Correction for Djing Applications
Budapest University of Technology and Economics Faculty of Electrical Engineering and Informatics Department of Measurement and Information Systems János Balázs BEAT DETECTION AND CORRECTION FOR DJING APPLICATIONS M.S C. THESIS SUPERVISOR Dr. Balázs Bank BUDAPEST, 2013 Table of Contents Összefoglaló ..................................................................................................................... 5 Abstract............................................................................................................................ 6 1 Introduction.................................................................................................................. 7 2 Tempo detection......................................................................................................... 10 2.1 The Beat This algorithm ....................................................................................... 10 2.2 Tempo detection module of my project................................................................ 13 2.3 Performance of the tempo detection module ........................................................ 19 2.3.1 Comparing with Beat This............................................................................. 19 2.3.2 Quantitative verification of the tempo detection module .............................. 20 3 Beat detection ............................................................................................................. 22 3.1 Beat detection of Beat This.................................................................................. -
Echoboy 1.0 Manual
C O N T E N T S C O N T E N T S 2 I N T R O 5 THANKS! 5 A Delayed History and EchoBoy 5 What and Who is SoundToys Anyway? 8 GETTING STARTED 10 System Requirements 10 Installing EchoBoy 10 Registration 11 ECHOBOY BASICS 13 Knobs 13 Toggle Switches 14 LED Displays 14 Using EchoBoy Within Pro Tools 16 Real Time Processing (TDM or RTAS) 16 Non-Real Time Processing (AudioSuite) 17 Echo Boy Mono vs. Stereo Operation 17 Standard Pro Tools Controls 19 The EchoBoy Preset Library 19 Compare Button 20 Bypass 20 Optimizing CPU Usage 20 EchoBoy Controls 22 Echo Styles (or making EchoBoy sound like your favorite echo) 22 Echo Mode 24 Input and Output Level 25 Mix 26 Feedback 26 Saturation 27 HighCut 27 Echo Time 27 Prime Number Switch 29 Tempo Control 29 Groove - Shuffle & Swing 30 Feel - Rushin & Draggin 31 The Tweak Button 31 Echo Modes in Depth 32 Single Echo 32 Single Echo Tweak Menu 32 Accent 33 Width 33 L/R Offset 34 Dual Echo 34 Dual Echo Tweak 35 Accent 1 and 2 35 Feedback Mix 35 Feedback Balance 36 Ping-Pong Echo 36 Ping-Pong Echo Tweak 37 Rhythm Echo 38 Basics 38 Rhythm Knob 39 Repeats Knob 40 Feedback 40 Shape Knob 40 Creating Custom Rhythm Patterns 41 The “One” Echo 43 Saving Echo Patterns 44 Rhythm Echo Tweak 44 Rhythm Length 45 Rhythm Grid 45 MAXING OUT THE DELAY! 46 Accent 46 Warp 46 Width 46 Pan Menu 47 L/R Offset 47 Style Edit 48 EQ 48 Freq 48 Gain 49 Decay 49 EQ Res 50 Saturation 51 Diffusion 51 Size 52 Loop / Post Switch 52 Wobble 52 Wobble Rate 53 Wobble Shape 53 Sync 53 Automating Parameters 55 Summary 58 Appendix A 59 MIDI Sync With Pro Tools Version 5.x and earlier 59 F I N A L P A G E 61 Getting Help 61 The SoundToys Product Line 61 FilterFreak™ 61 PhaseMistress™ 61 EchoBoy™ 62 Tremolator™ 62 PurePitch™ 62 PitchDoctor™ 62 Speed™ 62 SoundBlender™ 62 Coming Soon 62 Decapitator™ 62 PanMan™ 63 FlangeThing™ 63 Trademark Info 63 I N T R O THANKS! First off we want to say a big THANK YOU for your purchase of Echo Boy. -
Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor Saxophone Musical Vocabulary
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. BOBBY HUTCHERSON NEA Jazz Master (2010) Interviewee: Bobby Hutcherson (January 27, 1941 – August 15, 2016) with his wife Rosemary Hutcherson Interviewer: Anthony Brown with recording engineer Ken Kimery Date: December 8-9, 2010 Repository: Archives Center, National Museum of American History Description: Transcript, 60 pp. Brown: Today is December 8th, 2010. Bobby Hutcherson: Oooo, December 8th. Brown: This is the Smithsonian NEA Jazz Oral History interview with Bobby Hutcherson in his home in Montero, California. Good afternoon, Bobby. Hutcherson: Good afternoon. Brown: It’s indeed a pleasure to be here, be in your home and be able to talk to you, one of my heroes for so many years, a fellow Californian. If we could just start by you stating your full name at birth and your birth place and birth date, please. Hutcherson: Robert Howard Hutcherson. I was born January 27, 1941, in Los Angeles, but I grew up in Pasadena, California. Brown: But you say you were born in Los Angeles. Hutcherson: Um-hmm. Brown: Is that where your parents were living at the time of your birth? For additional information contact the Archives Center at 202.633.3270 or [email protected] 1 Hutcherson: No. It was – they were living in Pasadena, but a lot of my relatives were living in Los Angeles, Watts and stuff like that. So it worked out, because they could be there. My mom had me very late in her life, in those days, and so it was better for my father to take my mother to the Los Angeles hospital, because he was – his work, he was a bricklayer. -
Cultural and Musical Implications of Live-Instrumental Hip-Hop" (2016)
University of Vermont ScholarWorks @ UVM UVM College of Arts and Sciences College Honors Theses Undergraduate Theses 2016 From The Ground Up: Cultural and Musical Implications of Live- Instrumental Hip-Hop Jonah Ullman Follow this and additional works at: https://scholarworks.uvm.edu/castheses Recommended Citation Ullman, Jonah, "From The Ground Up: Cultural and Musical Implications of Live-Instrumental Hip-Hop" (2016). UVM College of Arts and Sciences College Honors Theses. 28. https://scholarworks.uvm.edu/castheses/28 This Undergraduate Thesis is brought to you for free and open access by the Undergraduate Theses at ScholarWorks @ UVM. It has been accepted for inclusion in UVM College of Arts and Sciences College Honors Theses by an authorized administrator of ScholarWorks @ UVM. For more information, please contact [email protected]. From The Ground Up: Cultural and Musical Implications of LiveInstrumental HipHop A thesis submitted by Jonah Ullman In fulfillment of the requirements for College Honors UNIVERSITY OF VERMONT College of Arts and Sciences May, 2016 ADVISER: Alex Stewart ii ABSTRACT Traditional live instruments have played an important role in hiphop production in various capacities since the earliest stages of the genre’s development. The dominant historical narrative often omits the frequency with which live instruments have been used in hiphop. The authenticity of their use has been a point of contention in the discourse of hiphop producers, consumers, critics and scholars. When used in accordance with hiphop’s aesthetic sensibilities, however, they become a vehicle for innovative and authentic hiphop. Tasteful use of live instruments opens up a range of possibilities in the realms of arrangement techniques and compositional freedom. -
Blanchard 46 ‘We Are All Humans’ by AARON COHEN Trumpeter Terence Blanchard’S New Release Is a Concert Disc That Chronicles His Dynamic Band, the E-Collective
JULY 2018 VOLUME 85 / NUMBER 7 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Markus Stuckey Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Hawkins ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Sales Kevin R. Maher 630-941-2030 [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; North Carolina: Robin Tolleson; Philadelphia: David Adler, Shaun Brady, Eric Fine; San Francisco: Mars Breslow, Forrest Bryant, Clayton Call, Yoshi Kato; Seattle: Paul de Barros; Tampa Bay: Philip Booth; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: Greg Buium, James Hale, Diane Moon; Denmark: Jan Persson; France: Jean Szlamowicz; Germany: Detlev Schilke, Hyou Vielz; Great Britain: Brian Priestley; Japan: Kiyoshi Koyama; Portugal: Antonio Rubio; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert. -
Boom Bap Ex Machina: Hip-Hop Aesthetics and the Akai MPC
Perspectives on Music Production Producing Music Boom Bap ex Machina: Hip-Hop Aesthetics and the Akai MPC Mike Exarchos (a.k.a. Stereo Mike) | London College of Music (University of West London) Introduction Over the past three decades, the growing literature on hip-hop musicology has paid ample tribute to Akai’s range of MPCs (originally, MIDI Production Centers—currently, Music Production Controllers), acknowledging their pivotal influence on rap production practices (D’Errico 2015; George 1998; Harkins 2009, 2010; Kajikawa 2015b; Morey and McIntyre 2014; Ratcliffe 2014; Rodgers 2003; Rose 1994; Schloss 2014; Sewell 2013; Shevlock 2017; Swiboda 2014; Wang 2014; Williams 2010). The technology’s combined functionality of sampling, drum machine and MIDI sequencing features has been embraced by rap practitioners ever since the release of the standalone MPC60 in 1988. The timeline coincides with particular sonic priorities in Hip-Hop that can be grouped under the ‘Boom Bap’ aesthetic—an onomatopoeic celebration of the prominence of sampled drum sounds programmed over sparse and heavily syncopated instrumentation. But what is the association between subgenre aesthetics and MPC functionality, and what parallels can be drawn between the evolution of the technology and stylistic deviations in the genre? The chapter examines how MPC technology impacts upon the stylization of Hip- Hop as a result of unique sonic, rhythmic and interface-related characteristics, which condition sampling, programming and mixing practices, determining in turn recognizable sonic signatures. Furthermore, the boom bap sound is traced from its origins in the mid-to-late 1980s to its current use as an East Coast production reference, honoring a sample-based philosophy that is facilitated by the MPCs’ physical interface and operating script. -
1 Hip-Hop, Ambient Music, and Genre Ancestry
Hip-Hop, Ambient Music, and Genre Ancestry [12 lines from top of page, centered] by Mauro Miller [6 lines from title, centered] A thesis submitted in partial fulfillment of the requirements for the degree, Bachelor of Arts, Music [6 lines from author’s name, centered] The Colorado College [3 lines from degree statement] April 11, 2021 [3 lines from institution statement] Approved by ___________________________________ Date: _____________________ Iddo Aharony, Assistant Professor of Music [6 lines from Date] ___________________________________ Date: April 24, 2021________ Ryan Bañagale, Associate Professor of Music[3 lines from 1st faculty name] 1 As time passes, the lines between different types of music have become blurred and more blurred. No longer is it simple to assign a song to just jazz, classical, or rock. Almost every day, a new genre is invented (Söderman 2004). So how does one go about making sense of this every-expanding soundscape? Well, in order to truly comprehend a genre of music, one must do a deep dive into its history and one must look to understand its predecessors. For example, one must study the blues and gospel music to fully understand rock. Likewise, anyone would gain a lot out of examining the sounds of Detroit Techno and Chicago House before attempting to write a dubstep song. In order to understand some of my favorite genres of music like trip-hop and bedroom pop, I studied their ancestors: ambient music and hip-hop. Yes, these two genres are different in many ways, but they overlap in modern music quite often and they have quite a few similarities. -
ANALYZING the PARAMETERS of FLOW in RAP MUSIC Robert
ANALYZING THE PARAMETERS OF FLOW IN RAP MUSIC Robert Komaniecki Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Doctor of Philosophy in the Jacobs School of Music, Indiana University August 2019. Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Doctoral Committee ______________________________________ Kyle Adams, Ph.D. Research Director ______________________________________ Gretchen Horlacher, Ph.D. ______________________________________ Roman Ivanovitch, Ph.D. ______________________________________ Adrian Matejka, M.F.A. August 2019 ii Copyright © 2019 Robert Komaniecki iii Acknowledgements My dissertation would not have been possible without the support of mentors, colleagues, friends, and family. Of these, I would like to first thank my dissertation advisor Kyle Adams for his steadfast encouragement, pragmatic advice, good humor, analytical shrewdness, and kindness. Professor Adams helped spark an interest in rap music scholarship that gave my career as a music theorist direction and purpose. I would also like to extend my gratitude to the other members of my dissertation committee, Gretchen Horlacher, Roman Ivanovitch, and Adrian Matejka, for their help and guidance as I grow as a scholar. In addition to my committee members, many other faculty members at Indiana University have shaped my growth as a lover of music and scholarship, including Halina Goldberg, Frank Samarotto, Andrew Mead, Dominick DiOrio, and Marianne Kielian-Gilbert. Professor Kielian-Gilbert’s readings seminar was the first class in which I wrote a paper on rap music, and I thank her for her encouragement. I am also grateful for my current colleagues and position at Appalachian State University. -
User Guide: MPC Software
User Guide English Manual Version 2.8 Table of Contents Introduction ............................................................ 7 Tutorial ................................................................... 13 MPC vs. MPC Beats .......................................... 7 Creating a Drum Kit ......................................... 13 System Requirements & Product Support ...... 7 Creating a Drum Sequence ............................. 14 About This User Guide ...................................... 8 Renaming & Saving .......................................... 15 Important Notes ................................................. 8 Editing Note Events .......................................... 17 Setup ................................................................... 9 Making Basic Sound Edits ............................... 19 1. Connection .................................................. 9 Creating a Bass Track ..................................... 20 2. Installation ................................................... 9 Recording an Audio Track ............................... 23 3. Getting Started .......................................... 10 Creating a Song ................................................ 24 MPC Software.................................................... 10 MPC Beats Software .......................................... 11 Exporting the Song ........................................... 25 Basic Concepts .................................................... 12 Other Features Explained ...............................