C4 Synth User Guide
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Minimoog Model D Manual
3 IMPORTANT SAFETY INSTRUCTIONS WARNING - WHEN USING ELECTRIC PRODUCTS, THESE BASIC PRECAUTIONS SHOULD ALWAYS BE FOLLOWED. 1. Read all the instructions before using the product. 2. Do not use this product near water - for example, near a bathtub, washbowl, kitchen sink, in a wet basement, or near a swimming pool or the like. 3. This product, in combination with an amplifier and headphones or speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level or at a level that is uncomfortable. 4. The product should be located so that its location does not interfere with its proper ventilation. 5. The product should be located away from heat sources such as radiators, heat registers, or other products that produce heat. No naked flame sources (such as candles, lighters, etc.) should be placed near this product. Do not operate in direct sunlight. 6. The product should be connected to a power supply only of the type described in the operating instructions or as marked on the product. 7. The power supply cord of the product should be unplugged from the outlet when left unused for a long period of time or during lightning storms. 8. Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings. There are no user serviceable parts inside. Refer all servicing to qualified personnel only. 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. -
Modular Synthesizers
Modular Synthesizers A Brief History and Functional Description of the Modular Music Synthesizer • James Husted Synthwerks, LLC Sunday, March 24, 13 Mod•u•lar - adjective French modulaire or directly from Modern Latin modularis, from Latin modulus "a small measure" 1 : of, relating to, or based on a module or a modulus 2 : constructed with standardized units or dimensions for flexibility and variety in use, as in modular furniture 3 : composed of interchangeable units (!rst recorded 1936) Sunday, March 24, 13 Syn•the•sis - noun Etymology: Greek, from syntithenai to put together 1 : the composition or combination of parts or elements so as to form a whole 2 : the combining of often diverse conceptions into a coherent whole; also : the complex so formed Sunday, March 24, 13 Who’s on first? • 1837 - C.G. Page (Salem. Mass) - !rst to produce electronically generated sound (not necessarily associated with a musical instrument). • 1885 - Person and Ernst Lorenz -'Elektrisches Musikinstrument' - the !rst musical instrument designed to produce electrically generated sound. • 1897 - Taddaeus Cahills - Telharmonium - electromechanical instrument. • 1936 - Oskar Sala - Mixturtrautonium - !rst synth using Subharmonic synthesis • 1939 - Homer Dudley invents the Parallel Bandpass Vocoder (VODER) - A key operated speech synthesizer • 1940 - Homer Dudley invents the The Voder speech synthesizer as a way to transmit speech over telephone lines • 1948 - Hugh LeCaine - Electronic Sackbut - First voltage-controlled synthesizer • 1948 - Dr. Raymond Scott - Wall of Sound - First polyphonic Sequencing Workstation (electromechanical) and the Electronum - !rst sequencer. • 1950 - CSIR - Mk 1 - The !rst known use of a digital computer for the purpose playing music • 1956 - Louie and Bebe Barron - Produced the !rst all-electronic musical score for a major motion picture - MGM's 'Forbidden Planet' • 1957 - Max V. -
USING MICROPHONE ARRAYS to RECONSTRUCT MOVING SOUND SOURCES for AURALIZATION 1 Introduction
USING MICROPHONE ARRAYS TO RECONSTRUCT MOVING SOUND SOURCES FOR AURALIZATION Fanyu Meng, Michael Vorlaender Institute of Technical Acoustics, RWTH Aachen University, Germany {[email protected]) Abstract Microphone arrays are widely used for sound source characterization as well as for moving sound sources. Beamforming is one of the post processing methods to localize sound sources based on microphone array in order to create a color map (the so-called “acoustic camera”). The beamformer response lies on the array pattern, which is influenced by the array shape. Irregular arrays are able to avoid the spatial aliasing which causes grating lobes and degrades array performance to find the spatial positions of sources. With precise characteristics from the beamformer output, the sources can be reconstructed regarding not only spatial distribution but also spectra. Therefore, spectral modeling methods, e.g. spectral modeling synthesis (SMS) can be combined to the previous results to obtain source signals for auralization. In this paper, we design a spiral microphone array to obtain a specific frequency range and resolution. Besides, an unequal-spacing rectangular array is developed as well to compare the performance with the spiral array. Since the second array is separable, Kronecker Array Transform (KAT) can be used to accelerate the beamforming calculation. The beamforming output can be optimized by using deconvolution approach to remove the array response function which is convolved with source signals. With the reconstructed source spectrum generated from the deconvolved beamforming output, the source signal is synthesized separately from tonal and broadband components. Keywords: auralization, synthesizer, microphone arrays, beamforming, SMS PACS no. -
The Synthi VCS3(Mk2) Matrix Interface Module
The Synthi VCS3(mk2) Matrix Interface Module Same as AKS unit but in Custom built Polished Afrormosia hardwood case to match the VCS3 styling. Connect to any VCS3 jack socket for common ground Output signals from Matrix to external IMPORTANT! DO NOT FORGET TO CONNECT modular synthesizer effects unit etc. Signals from THIS OTHERWISE UNIT external modular WILL NOT WORK! synthesizer or effects unit into the Matrix inputs SYNTHI PRESTO CONNECTOR Connects to VCS3(mk2)via presto socket Nn Using the VCS3(mk2)Matrix Interface Module This unit is functionally identical to a similar unit I designed for interfacing to the Synthi AKS. This one however is built into a cool looking polished afrormosia hardwood case. This is exactly the same wood as used on the VCS3 (mk1 or mk2). The front panel is cnc engraved satin anodised silver that complements that of the silver panelled VCS3 mk2’s. Its a complete interface unit for the VCS3(mk2) Matrix...or in other words a 'breakout' box whereby the row/column signals of the Matrix are taken out to 3.5mm jack sockets. This allows powerful interfacing options of the VCS3 with an external modular synthesizer like eg Doepfer-Eurorack and/or external effects racks etc. Note that VCS3 mk1’s don’t have a presto connector unless it has been added as a mod. Therefore this unit is designed only for use with the VCS3(mk2) with a prestopatch connector (some mk2’s from the ‘Datanomics’ period didnt come with them fitted). The panel layout also reflects the mk2 matrix layout which was different from that on the mk1. -
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. -
How to Effectively Listen and Enjoy a Classical Music Concert
HOW TO EFFECTIVELY LISTEN AND ENJOY A CLASSICAL MUSIC CONCERT 1. INTRODUCTION Hearing live music is one of the most pleasurable experiences available to human beings. The music sounds great, it feels great, and you get to watch the musicians as they create it. No matter what kind of music you love, try listening to it live. This guide focuses on classical music, a tradition that originated before recordings, radio, and the Internet, back when all music was live music. In those days live human beings performed for other live human beings, with everybody together in the same room. When heard in this way, classical music can have a special excitement. Hearing classical music in a concert can leave you feeling refreshed and energized. It can be fun. It can be romantic. It can be spiritual. It can also scare you to death. Classical music concerts can seem like snobby affairs full of foreign terminology and peculiar behavior. It can be hard to understand what’s going on. It can be hard to know how to act. Not to worry. Concerts are no weirder than any other pastime, and the rules of behavior are much simpler and easier to understand than, say, the stock market, football, or system software upgrades. If you haven’t been to a live concert before, or if you’ve been baffled by concerts, this guide will explain the rigmarole so you can relax and enjoy the music. 2. THE LISTENER'S JOB DESCRIPTION Classical music concerts can seem intimidating. It seems like you have to know a lot. -
Product Catalog 2017
Nord Keyboards Product Catalog 2017 Catalog Product Keyboards Nord STAGE PIANOS • SYNTHESIZERS • COMBO ORGAN Handmade in Sweden by Clavia DMI AB PRODUCT CATALOG 2017 The Original Red Keyboards The Nord factory is located in the creative area of Stockholm also known as SoFo, in the district of Södermalm. With everything located in the same building, communication between development and production is only a matter of walk- ing a few meters. We are proud to say all our Nord products are assembled by hand and they all go through a series of tough tests to ensure they’ll be ready for a long and happy life ‘on the road’. CONTENTS STAGE PIANOS NORD STAGE 3 6 NEW NORD PIANO 3 16 NORD ELECTRO 5 22 SYNTHESIZERS NORD LEAD A1 30 NORD LEAD 4 38 NORD DRUM 3P 46 COMBO ORGAN NORD C2D 50 SOUND LIBRARIES 58 Manufacturer: Clavia DMI AB, Box 4214, SE-102 65 Stockholm, Sweden Phone: +46 8 442 73 60 | Fax: +46 8 644 26 50 | Email: [email protected] | www.nordkeyboards.com 3 COMPANY HISTORY COMPANY IT ALL STARTED BACK IN 1983... In 1983 founder Hans Nordelius created the Digital introducing stunning emulations of classic vintage Chamberlin. The Electro 3 became one of the most In 2013 we celebrated our 30th anniversary as a musical Percussion Plate 1 – the first drum pad allowing for electro-mechanical instruments with a level of successful products we’ve ever made. instrument company by releasing the Nord Lead 4, Nord dynamic playing using sampled sounds. The DPP1 portability generally not associated with the original In 2010 the streamlined Nord Piano was introduced, Drum 2, Nord Pad and the Nord Piano 2 HP! At NAMM was an instant success and soon thereafter the instruments… a lightweight stage piano that featured advanced 2014 we announced the Nord Lead A1 – our award- brand name ddrum was introduced. -
S5.3 Series - 12 Channel Wireless System
The Worlds Finest Wireles Systems Wireless Catalog S5.3 Series - 12 Channel Wireless System The S5.3 Series is widely used by semi professional and professionals in theater, concerts and broadcasting thanks to it’s easy to use and reliable performance. Enabling up to 12 simultaneous channels to run at once, the S5.3 Series boasts an exceptional performance/cost ratio for venues of any size. 12 Channels Up to 12 channels can run simultaneously UHF Dual Conversion Receiver Fully synthesized UHF dual conversion receiver Long Battery Life A single AA battery gives up to 10 hours of quality performance with a range of up to 100 meters S5.3 Series 12 Channel Wireless System S5.3-RX Receiver True diversity operation Power Consumption 300 mA (13V DC) Space Diversity (true diversity) Up to 640 selectable frequencies Diversity System Audio Output Line: -22dB / Mic: 62dB USB based computer monitoring Antenna Phantom 9V DC, 30 mA (max) Frequency scan function Power Integral tone grip/noise and signal Receiving Sensitivity 0 bD V or less(12dB SINAD) strength mute circuit for protection Squelch Sensitivity 6-36dB μV variable against external interference S/N Ratio Over 110dB (A-weighted) Simple programming of transmitter with Harmonic Distortion Under 1% (typical) built-in Infra-red data link Frequency Response 50Hz-20kHz, +3dB Dimensions 210(W) x 46(H) x 210(D) mm (8.3” x 1.8” x Clear and intuitive LCD displays 8.3”) excluding antenna Professional metal enclosure Weight 1.3kg (2.87lbs) S5.3 Series Kits Dynamic Handheld Mic Set Lavaliere Microphone Set S5.3-HD=S5.3-RX+S5.3-HDX S5.3-L=S5.3-RX+S5.3-BTX+Lavaliere Mic Condenser Handheld Mic Set S5.3-HC=S5.3-RX+S5.3-HCX S5.3 Series S5.3-HDX (Dynamic) 12 Channel Wireless System S5.3-HCX (Condenser) Handheld Transmitter Simple programming of transmitter with built-in infra-red data link Frequency and Power lock facility Single AA transmitter battery life of approx 10 hours. -
Modular Synthesizer
Modular Synthesizer Tejasvi Vishwanadha Andrew Muth Michael Miller Summary A modular synthesizer is a musical instrument that produces sounds by routing independent modules together. Modules such as oscillators, filters, delays, and sequencers allow for myriad sonic possibilities. Traditional modular synthesizers, most famously produced by Moog, date back to the mid-1960s. These synthesizers worked entirely in the analog domain. Our modular synthesizer will internally function in the digital domain, mimicking the components of the original synthesizers and adding some that would not have been possible. Modules for formant shifting and pitch correction will add more to an already vast arsenal of tools to create diverse soundscapes. Modules will be patched together using wires from and to the user data buses. As well, knobs and an intuitive GUI will allow for precision control over the modules and their parameters. Modules Audio Modules Oscillator The oscillator is one of the basic building blocks of the modular synthesizer. It produces a variety of simple waveforms given a frequency input. The ‘type’ input selects between pulse, triangle, saw, ramp, and sine waves. Using the ‘sync’ line, two oscillators can be hooked together so that they produce synchronized waveforms to prevent beating or create strange effects. The ‘width’ input allows for precise control of the pulse widths when using the pulse waveform type. Filter The filter is another basic module in the synthesizer. It provides a one-band parametric equalizer filter with four different modes of operation: high pass, low pass, band pass, and notch. The ‘q’ input controls the Q (“quality factor”) of the filter, and ‘level’ determines how much the signal is boosted or cut at the specified ‘cutoff’ frequency. -
Microkorg Owner's Manual
E 2 ii Precautions Data handling Location THE FCC REGULATION WARNING (for U.S.A.) Unexpected malfunctions can result in the loss of memory Using the unit in the following locations can result in a This equipment has been tested and found to comply with the contents. Please be sure to save important data on an external malfunction. limits for a Class B digital device, pursuant to Part 15 of the data filer (storage device). Korg cannot accept any responsibility • In direct sunlight FCC Rules. These limits are designed to provide reasonable for any loss or damage which you may incur as a result of data • Locations of extreme temperature or humidity protection against harmful interference in a residential loss. • Excessively dusty or dirty locations installation. This equipment generates, uses, and can radiate • Locations of excessive vibration radio frequency energy and, if not installed and used in • Close to magnetic fields accordance with the instructions, may cause harmful interference to radio communications. However, there is no Printing conventions in this manual Power supply guarantee that interference will not occur in a particular Please connect the designated AC adapter to an AC outlet of installation. If this equipment does cause harmful interference Knobs and keys printed in BOLD TYPE. the correct voltage. Do not connect it to an AC outlet of to radio or television reception, which can be determined by Knobs and keys on the panel of the microKORG are printed in voltage other than that for which your unit is intended. turning the equipment off and on, the user is encouraged to BOLD TYPE. -
Optical Turntable As an Interface for Musical Performance
Optical Turntable as an Interface for Musical Performance Nikita Pashenkov A.B. Architecture & Urban Planning Princeton University, June 1998 Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning, in partial fulfillment of the requirements for the degree of Master of Science in Media Arts and Sciences at the Massachusetts Institute of Technology June 2002 @ Massachusetts Institute of Technology All rights reserved MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUN 2 7 2002 LIBRARIES ROTCH I|I Author: Nikita Pashenkov Program in Media Arts and Sciences May 24, 2002 Certified by: John Maeda Associate Professor of Design and Computation Thesis Supervisor Accepted by: Dr. Andew B. Lippman Chair, Departmental Committee on Graduate Studies Program | w | in Media Arts and Sciences Optical Turntable as an Interface for Musical Performance Nikita Pashenkov Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning, on May 24, 2002, in partial fulfillment of the requirements for the degree of Master of Science in Media Arts and Sciences Abstract This thesis proposes a model of creative activity on the computer incorporating the elements of programming, graphics, sound generation, and physical interaction. An interface for manipulating these elements is suggested, based on the concept of a disk-jockey turntable as a performance instrument. A system is developed around this idea, enabling optical pickup of visual informa- tion from physical media as input to processes on the computer. Software architecture(s) are discussed and examples are implemented, illustrating the potential uses of the interface for the purpose of creative expression in the virtual domain. -
A Networkable Plug-In Host for Dynamic Creation of Real-Time
UNIVERSITY OF CALIFORNIA Santa Barbara Adapt: A Networkable Plug-in Host for Dynamic Creation of Real-Time Adaptive Digital Audio Effects A Project submitted in partial satisfaction of the requirements for the degree of Master of Science in Media Arts and Technologies by Matthew E. Stabile Committee in charge: Curtis Roads, Chair Stephen Travis Pope Matthew Turk JoAnn Kuchera-Morin March 2010 Adapt: A Networkable Plug-in Host for Dynamic Creation of Real-Time Adaptive Digital Audio Effects Copyright © 2010 by Matthew E. Stabile 2 ABSTRACT Adapt: A Networkable Plug-in Host for Dynamic Creation of Real-Time Adaptive Digital Audio Effects by Matthew E. Stabile Adapt is an audio effects plug-in host that allows for dynamic creation and exploration of Adaptive Digital Audio Effects (A-DAFx). An adaptive effect is created when extracted features from an audio signal are used to modulate any parameter of an audio effect algorithm. Well-known examples include a compressor or the pitch-controlled “auto- tune” effect. These are classified as auto-adaptive effects because the adaptive control signal is generated based on analysis of the same audio signal that feeds the effects algorithm; if the analysis is instead performed on a secondary audio signal, the effect is defined as external-adaptive [1]. Adapt allows for dynamic creation of auto-adaptive and external-adaptive effects by providing a performance interface which includes two separate sound sources, a bank of real-time spectral and time-domain audio analysis modules, a bank of user-defined effects plug-ins and a bank of mapping modules for creating continuous mappings between analysis control signals and effects parameters.