Collider Delay+Reverb User Guide
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UC Riverside UC Riverside Electronic Theses and Dissertations
UC Riverside UC Riverside Electronic Theses and Dissertations Title Sonic Retro-Futures: Musical Nostalgia as Revolution in Post-1960s American Literature, Film and Technoculture Permalink https://escholarship.org/uc/item/65f2825x Author Young, Mark Thomas Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Sonic Retro-Futures: Musical Nostalgia as Revolution in Post-1960s American Literature, Film and Technoculture A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Mark Thomas Young June 2015 Dissertation Committee: Dr. Sherryl Vint, Chairperson Dr. Steven Gould Axelrod Dr. Tom Lutz Copyright by Mark Thomas Young 2015 The Dissertation of Mark Thomas Young is approved: Committee Chairperson University of California, Riverside ACKNOWLEDGEMENTS As there are many midwives to an “individual” success, I’d like to thank the various mentors, colleagues, organizations, friends, and family members who have supported me through the stages of conception, drafting, revision, and completion of this project. Perhaps the most important influences on my early thinking about this topic came from Paweł Frelik and Larry McCaffery, with whom I shared a rousing desert hike in the foothills of Borrego Springs. After an evening of food, drink, and lively exchange, I had the long-overdue epiphany to channel my training in musical performance more directly into my academic pursuits. The early support, friendship, and collegiality of these two had a tremendously positive effect on the arc of my scholarship; knowing they believed in the project helped me pencil its first sketchy contours—and ultimately see it through to the end. -
Current Lover 2015 Ed
Current Lover 2015 ed. © madbeanpedals FX Type: Flanger Based on the EHX® Electric Mistress™ 3.35” W x 2.8” H Terms of Use: You are free to use purchased Current Lover circuit boards for both DIY and small commercial operations. You may not offer Current Lover boards for resale or as part of a “kit” in a commercial fashion. Peer to peer re-sale is, of course, okay. B.O.M. Resistors Resistors Caps Diodes R1 5k6 R26 30k C1 39n D1 1n914 R2 1M R27 3k9 C2 47n D2 1N4007 R3 5k6 R28 47k C3 1n D3 1N5817 R4 1M R29 27k C4 100n D4 LED R5 470R R30 15k C5 10uF Transistors R6 4k7 R31 33k C6 680pF Q1 2N3904 R7 100k R32 62k C7 68n Q2 2N5087 R8 5k6 R33 1M2 C8 220n IC's R9 100k R34 3k9 C9 47n IC1 4558 R10 82k R35 10k C10 47n IC2 MN3007 R11 4k7 R36 1k C11 3n3 IC3 CD4049 R12 4k7 R37 4k7 C12 2n2 IC4 CD4013 R13 47k R38 200k C13 220n IC5 LM324 R14 10k R39 200k C14 100pF IC6 LM311 R15 8k2 R40 1k C15 1uF IC7 4558 R16 13k R41 22R C16 33uF Switch R17 470R R42 22R C17 33uF FILTER DPDT R18 470R C18 1uF Trimmers R19 10k C19 1uF CLOCK 10k R20 470R C20 22pF T1 10k R21 100k C21 220uF BIAS 100k R22 39k C22 100n VOL 50k R23 24k C23 100uF Pots R24 8k2 C24 100uF RANGE 100kB R25 10k C25 10uF RATE 1MC FDBK 10kB - Important update: A few people have had problems biasing the CL due to the value of R10 (82k). -
User's Manual
USER’S MANUAL Important Safety Instructions Warning! • To reduce the risk of fire or electrical shock, do not 1 Read these instructions. expose this equipment to dripping or splashing and 2 Keep these instructions. ensure that no objects filled with liquids, such as vases, 3 Heed all warnings. are placed on the equipment. 4 Follow all instructions. • Do not install in a confined space. 5 Do not use this apparatus near water. 6 Clean only with dry cloth. Service 7 Do not block any ventilation openings. Install in accor- • All service must be performed by qualified personnel. dance with the manufacturer’s instructions. 8 Do not install near heat sources such as radiators, heat Caution: registers, stoves, or other apparatus (including ampli- You are cautioned that any change or modifications fiers) that produce heat. not expressly approved in this manual could void your 9 Only use attachments/accessories specified by the authority to operate this equipment. manufacturer. 10 Refer all servicing to qualified service personnel. When replacing the battery follow the instructions on Servicing is required when the apparatus has been battery handling in this manual carefully. damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been EMC/EMI exposed to rain or moisture, does not operate normally, This equipment has been tested and found to comply with or has been dropped. the limits for a Class B Digital device, pursuant to part 15 of the FCC rules. 2 These limits are designed to provide reasonable protection against harmful interference in residential installations. -
Real-Time VST Guitar Effects Processor By: Henry Chen, Derrick Louie, Terri Huang Advisor: Dr
Real-Time VST Guitar Effects Processor By: Henry Chen, Derrick Louie, Terri Huang Advisor: Dr. Sophocles J. Orfanidis Project Background DSP Block Diagram Graphical User Interface -Address the demands of traveling musicians (guitarists) by giving them near-studio recording experience through user-friendly guitar effects --Ensure device compatibility on any Windows device (32-bit or 64-bit) without utilizing 32-bit ADC external signal processing devices 44100Hz VST 448 Sample Buffer -Develop optimization skills and minimize memory-allocation problems faced in the industry Buffer -Accumulate C++ and Matlab/Simullink JUCE Gain/Equalizer programming experience Plug-In (Master Volume) Wrapper Design Abstract Guitar Effect(s) Frequency Responses Fuzz Distortion Fuzz Distortion Frequency Response By utilizing the VST-Host, we can interact 0 with the soundcard by establishing a signal Saturates Input -Non-Linear Effect(s) -10 sampling rate and an audio buffer size. For •Fuzz- Saturates input signal before -20 the accuracy purpose of our project, we going through an amplifier. For ease -30 -40 utilized the smallest sampling rate possible of control and usage, this method was (dB) at 44100Hz. After undergoing testing, we -50 selected over other distortion effects. had concluded that the buffer size of 448 -60 -70 samples worked best with most computers. -Delay Effect(s) Processed Signal Original Signal -80 The bulk of the Discrete –Time Signal Echo •Echo- Copies original buffer, delays 0 10 20 30 40 50 60 70 80 90 100 (Hz) Processing is carried out by JUCE wrapper, Flanger Frequency Response by a variable, and output with the -22 in which we programmed our guitar effects original buffer -24 and Audio GUI. -
Atomic Amps) to Accommodate Two Used Instead of (Or in Addition To) Manual Level Compensation
USER MANUAL V 4.0 TABLE OF CONTENTS INTRODUCTION . .. .. .. .. .. 4-5 CONNECTORS . 6, 7, 9, 11 CONNECTION DIAGRAM . 8,10 EFFECTS & SIGNAL CHAIN . 12 BLOCK DESCRIPTIONS . 12-15 CABINET MODELING . 13-14 QUICK EDIT - TWEAK KNOBS . 14 DEEP EDIT - PRESET PARAMETERS . 15 AMPS . .. .. .. .. .. .. .. .. 16 FX-LOOP . 17 SAVING PRESETS . 19 DEFAULT PRESET ON POWER-UP . 20 DISCARD EDIT? CONFIRM . 20 PARAMETER SETTINGS . .. .. .. 21-45 FOOTSWITCHES . .. .. .. .. .. 46-48 FOOTSWITCH MODES . 46-48 PROGRAMMING FOOTSWITCHES . 46-48 GLOBAL SETTINGS . 49-50 TUNER . 51 CLIP WARNING . 51 EXPRESSION PEDALS . 52-54 MIDI . 55-57 3 INTRODUCTION AMPLIFIRE12 ADDITIONAL Features: • 12 fully programmable footswitches for ultimate control Thank you for purchasing AMPLIFIRE, a world-class amp tone and multi-effects pedal/processor . A powerful and portable device, it is small enough to fit in a • 2 dedicated expression control inputs gig bag yet potent enough to please even the most discriminating tube amp and effects aficionados . • 1/4” professional headphone jack We designed AMPLIFIRE as an instrument that we, as guitar players, wanted for • Large easy to read LCD display ourselves . This meant it had to sound/feel authentic and amazing while being easy-to-use, portable and road-rugged . • Ultra rugged extruded aluminum case AMPLIFIRE is equally capable of being a complete rig replacement or part of a • Power Switch larger pedal board and/or outboard processing rig . HERE ARE SOME HIGHLIGHTS: • All new, state-of-the-art amp modeling based on Studio Devil’s highly acclaimed and patented technology Enjoy! • Blazing dual-DSP powered hardware allowing for complex and detailed algorithms • Stereo 1024-point cabinet impulses (IRs) with ability to upload 3rd-party IRs • Robust effects selection including drive, modulation, delay, reverb, compression, eq, gate, etc . -
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. -
ARTIFICIAL REVERBERATION Ainnol
ARTIFICIAL REVERBERATION Ainnol Lilisuliani Ahmad Rasidi (SID : 430566949) Digital Audio Systems, DESC9115, Semester 1 2014 Graduate Program in Audio and Acoustics Faculty of Architecture, Design and Planning, The University of Sydney -------------------------------------------------------------------------------------------------------------------------------------- 1.0 Abstract Digital reverberation is an audio effect that is very common in musical production. It can be used to enhance recorded sounds that often sounds “dry” and “flat”. The principal idea of artificial reverberation was initiated by Manfred Schroeder in the 1960’s. Since then, many artificial reverb algorithms have been created. This review will look into two types of reverberation, convolution and algorithm based reverberation, focusing on Schroeder’s delay network algorithm and the applications of artificial reverberation in many areas. 2.0 Introduction Sound is a mechanical energy that travels through air at the speed of about 344 m/s. The speed varies upon the properties of air it travels, mostly due to the change of temperature and sometimes due to the humidity. In an enclosed space, this longitudinal waves of sound would reduce its amplitude the further it travels from the source until it reaches a surface. Depending upon the characteristic of the surface, some of the energy of the sound will be absorbed while some shall be reflected back into space. The reflected sound will bounce again as it meets other surface or obstacles, hence creating a complex pattern of reflection. Reverberation is the term we use for the collection of reflected sounds from the surfaces in an enclosed space. It is measured by reverberation time, which is perceived as the time for the sound to die away 60 decibels after the sound sources ceases (Sabine, 1972) . -
Recording and Amplifying of the Accordion in Practice of Other Accordion Players, and Two Recordings: D
CA1004 Degree Project, Master, Classical Music, 30 credits 2019 Degree of Master in Music Department of Classical music Supervisor: Erik Lanninger Examiner: Jan-Olof Gullö Milan Řehák Recording and amplifying of the accordion What is the best way to capture the sound of the acoustic accordion? SOUNDING PART.zip - Sounding part of the thesis: D. Scarlatti - Sonata D minor K 141, V. Trojan - The Collapsed Cathedral SOUND SAMPLES.zip – Sound samples Declaration I declare that this thesis has been solely the result of my own work. Milan Řehák 2 Abstract In this thesis I discuss, analyse and intend to answer the question: What is the best way to capture the sound of the acoustic accordion? It was my desire to explore this theme that led me to this research, and I believe that this question is important to many other accordionists as well. From the very beginning, I wanted the thesis to be not only an academic material but also that it can be used as an instruction manual, which could serve accordionists and others who are interested in this subject, to delve deeper into it, understand it and hopefully get answers to their questions about this subject. The thesis contains five main chapters: Amplifying of the accordion at live events, Processing of the accordion sound, Recording of the accordion in a studio - the specifics of recording of the accordion, Specific recording solutions and Examples of recording and amplifying of the accordion in practice of other accordion players, and two recordings: D. Scarlatti - Sonata D minor K 141, V. Trojan - The Collasped Cathedral. -
DLM8 and DLM12 2000W Powered Loudspeakers with DL2 Digital Mixer
DLM8 and DLM12 2000W Powered Loudspeakers with DL2 Digital Mixer OWNER’S MANUAL Important Safety Instructions 1. Read these instructions. 20. NOTE: This equipment has been tested and found to comply with 2. Keep these instructions. the limits for a Class B digital device, pursuant to part 15 of the FCC 3. Heed all warnings. Rules. These limits are designed to provide reasonable protection 4. Follow all instructions. against harmful interference in a residential installation. This equipment 5. Do not use this apparatus near water. generates, uses, and can radiate radio frequency energy and, if not 6. Clean only with a dry cloth. installed and used in accordance with the instructions, may cause 7. Do not block any ventilation openings. Install in accordance with the manu- harmful interference to radio communications. However, there is no facturer’s instructions. guarantee that interference will not occur in a particular installation. 8. Do not install near any heat sources such as radiators, heat registers, stoves, If this equipment does cause harmful interference to radio or television or other apparatus (including amplifiers) that produce heat. 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 9. Do not defeat the safety purpose of the polarized or grounding-type plug. more of the following measures: A polarized plug has two blades with one wider than the other. A grounding- type plug has two blades and a third grounding prong. The wide blade or • Reorient or relocate the receiving antenna. the third prong are provided for your safety. -
AIR Creative Collection Provides a Comprehensive Set of Digital Signal Processing Tools for Professional Audio Production with Pro Tools
AIR® Creative Collection User Guide English User Guide (English) Chapter 1: Audio Plug-Ins Overview Plug-ins are special-purpose software components that provide additional signal processing and other functionality to Avid® Pro Tools®. These include plug-ins that come with Pro Tools, as well as many other plug-ins that can be added to your system. Additional plug-ins are available both from AIR and third-party developers. See the documentation that came with the plug-in for operational information. AIR Audio Plug-Ins AIR Creative Collection provides a comprehensive set of digital signal processing tools for professional audio production with Pro Tools. Other AIR plug-ins are available for purchase from AIR at www.airmusictech.com. AIR Creative Collection is included with Pro Tools, providing a comprehensive suite of digital signal processing effects that include EQ, dynamics, delay, and other essential audio processing tools. The following sound-processing, effects, and utility plug-ins are included: Chorus Ensemble Fuzz-Wah Multi-Delay Spring Reverb Distortion Filter Gate Kill EQ Non-Linear Reverb Stereo Width Dynamic Delay Flanger Lo-Fi Phaser Talkbox Enhancer Frequency Shifter Multi-Chorus Reverb Vintage Filter The following virtual instrument plug-ins are also included: Boom Drum machine and sequencer DB-33 Tonewheel organ emulator with rotating speaker simulation Mini Grand Acoustic grand piano Structure Free Sample player Vacuum Vacuum tube–modeled monophonic synthesizer Xpand!2 Multitimbral synthesizer and sampler workstation Avid and Pro Tools are trademarks or registered trademarks of Avid Technology, Inc. in the U.S. and other countries. 3 AAX Plug-In Format AAX (Avid Audio Extension) plug-ins provide real-time plug-in processing using host-based ("Native") or DSP-based (Pro Tools HD with Avid HDX hardware accelerated systems only) processing. -
Www .Radialeng .Com
True to the Music JX44 AIR CONTROL Guitar and Amp Distribution Switcher Order No. JX44: R800 6500 Order No. SGI-44: R800 6700 Order No. JR5: R800 6600 OWNER’S MANUAL Radial Engineering Ltd. 1588 Kebet Way, Port Coquitlam BC V3C 5M5 www.radialeng.com tel: 604-942-1001 • fax: 604-942-1010 email: [email protected] • web: www.radialeng.com www.radialeng.com Specifi cations and appearance are subject to change without notice. Copyright © 2009 Radial Engineering Ltd. Radial JX44 Air Control Owner’s Manual Guitar and Amp Distribution Switcher Table of Contents ....................................................... Page PART 1: GETTING TO KNOW THE JX44 Seven Section Breakdown ......................................................................1 Feature Set Overview ..............................................................................2 Front Panel Features and Functions .......................................................3 Rear Panel Features and Functions ........................................................5 PART 2: USING THE JX44 Setting Up Inputs and Guitars .................................................................8 Setting Up Outputs and Amps .................................................................9 PART 3: PROGRAMMING BANKS Programing The JX44 ..............................................................................10 Programming The JR5 Remote Footswitch .............................................11 PART 4: USING THE ADVANCED FEATURES EFX Local Effects Loop ...........................................................................12 -
Mooer-Ge300-En.Pdf
Amp modelling & Synth & Multi Effects Contents Precautions 01 Main Features 02 Top Panel 03-04 Back Panel 05-06 Home Display 07-08 Footswitch Modes 09-10 CTRL Footswitches 11 Recommended Setups 12-15 Effects Blocks 16-18 SYNTH 19-22 COMP 23-24 WAH 25-27 FXA / FXB 28-30 DS/OD 31 AMP 32-35 CAB 36-37 IR 38 NS 39 TONE CAP 40-51 EQ 52 FX LOOP 53-57 DELAY 58-59 REVERB 60-61 VOL 62 GLB-EQ 63 SYSTEM 64 Input 64 Output 65 USB AUDIO 66-67 MIDI 68-81 FS COLOR 82 TAP 83 SCREEN 84 RESET 84 SAVE PRESET 85 EXP 86-90 TUNER 91 LOOPER 92 Firmware Update 93-94 SPECILICATIONS 95-96 Precautions *Please read carefully before proceeding* Power Supply Please connect the designated AC adapter to an AC outlet of the correct voltage. Please be sure to use only an AC adapter which supplies 9V DC , 3A , center negative. Unplug the AC power adapter when not in use or during electrical storms. Please only use the original power supply included with your device. Connections Always turn off the power of this and all other equipment before connecting or disconnecting, this will help prevent malfunction and / or damage to other devices. Also make sure to disconnect all connection cables and the power cord before moving this unit. Cleaning Clean only with a soft, dry cloth. If necessary, slightly moisten the cloth. Do not use abrasive cleanser, cleaning alcohol, paint thinners, wax, solvents, cleaning fluids, or chemical-impregnated wiping cloths.