DOCSLIB.ORG

606 Delay F/X Machine User’S Guide User’S 606 Table of Contents

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
606 Delay F/X Machine User’S Guide User’S 606 Table of Contents 606 DelayF/xMachine 606 User’s Guide Table of Contents Chapter 1 Introduction 1 Chapter 2 Operator Safety Summary 2 Chapter 3 Fast Setup 3 Chapter 4 Front & Rear Panel Controls 4 Chapter 5 Connections 10 Chapter 6 Levels of Operations 12 Chapter 7 Presets 13 Chapter 8 Modifying Factory Presets & Creating Presets 17 Chapter 9 Program Modules 20 Chapter 10 Parameters 26 Chapter 11 Specifications 44 Chapter 12 Troubleshooting 45 Chapter 13 Warranty and Service 46 Appendix A MIDI Implementation 48 Appendix B Flow Diagram 54 Appendix C Parameter Chart 56 Appendix D Factory Presets 58 Appendix E Declaration of Conformity 61 Rev B.01, 7 October, 1999 Symetrix part number 53606-0B01 Subject to change without notice. ©1999, Symetrix, Inc. All right reserved. Symetrix is a registered trademark of Symetrix, Inc. Mention of third-party products is for informational purposes only and constitutes neither an endorsement nor a recommendation. Symetrix assumes no responsibility with regard to the performance or use of these products. Under copyright laws, no part of this manual may be reproduced or transmitted in any form or by any 6408 216th St. SW means, electronic or mechanical, including photo- Mountlake Terrace, WA 98043 USA Tel (425) 778-7728 606 copying, scanning, recording or by any information storage and retrieval system, without permission, in Fax (425) 778-7727 writing, from Symetrix, Inc. Email: [email protected] i Chapter 1 Introduction Thank you for your purchase of the 606 Delay F/x Machine. Our inspiration for the 606 came from the classic delays of the seventies. Their broad user controls and easy operation gave musicians and producers a host of signature sounds within quick reach. With its distinctive tones, superior sound quality and complete creative control, the 606 couples the classics with the cutting edge. It offers all the programming possibilities you could want, and then lets you evolve them live with simple knob adjustments. In short, the 606 can become much more than a simple delay effect and yet remain very simple to use. Its programming possibilities are extensive, but we've also loaded it with basic presets for use as-is or in some modified form. The Parameter Chart, Preset Chart and Flowchart included with the unit will prove invaluable should you choose to explore the 606's full capabilities. Of course we recommend that you read this manual cover-to-cover. You’ll find the answer to most of your questions inside. However, if you’re in a hurry (like most of us), go directly to the Fast Setup section; it will help you get connected and running right away. If you have technical questions beyond the scope of this manual contact our Customer Service Department at: Phone: (425) 778-7728 (8am - 4:30pm Pacific Time) Fax: (425) 778-7727 Email: [email protected] INPUT PROGRAMMING DELAY LINE 1 DELAY LINE 2 GLOBAL LEVEL PRESET LOAD SAVE MODE SELECT MOD SELECT MOD SOURCE MOD DESTINATION MOD LEVELOSCILLATOR RATE DIFFUSION 1 MODEL DIFFUSION 2 MODEL ROOM SIZE PARAM SELECT CH1 CH2 FILTER FREQ. FILTER Q DIFFUSION AMOUNT MIDI CLK SYNC FILTER FREQ. FILTER Q DIFFUSION AMOUNT MIDI CLK SYNC PARAM ADJUST MIDI CLIP 606 CLOCK DELAY F/x -6dB DUAL MACHINE -18dB RATE RATE MIN MAX MONO SIGNAL COUPLED MIX TIME FEEDBACK MODULATION MIX TIME FEEDBACK MODULATION OUTPUT LEVEL Front panel DELAY F/X 606 MACHINE REMOTE CONTROL BALANCED/UNBALANCED OUTPUTS BALANCED/UNBALANCED INPUTS AC INPUT MANUFACTURED IN FOR MIDI DUMP OF LYNNWOOD, WA, USA CHANNEL 2 CHANNEL 1 CHANNEL 2 CHANNEL 1 12 WATTS INTERNAL PROGRAMS, MAXIMUM PRESS AND HOLD THE FRONT PANEL SELECT PUSHBUTTON. FABRIQUÉ AUX E.-U. PAR SYMETRIX INC., LYNNWOOD, WASHINGTON. MIDI OUT/THRU MIDI IN FOOTSWITCH RÉFÉREZ TOUTE RÉPARATION À UN TECHNICIEN QUALIFIÉ. Rear panel 606 1 Operator Safety Summary Chapter 2 The information in this summary is intended Caution Identifies information that, if not for persons who operate the equipment as well heeded, may cause damage to the as repair personnel. Specific warnings and 606 or other equipment in your cautions are found throughout this manual system. wherever they may apply; they do not appear Warning Identifies information that, if in this summary. ignored, may be hazardous to The notational conventions used in this manual your health or that of others. and on the equipment itself are described in the following paragraphs. Power source - Electrical power requirements for US and Canadian models are 117 VAC EQUIPMENT MARKINGS Nominal, 105 to 125 VAC, 60 Hz, 20 Watts maximum. UL and C-UL listing applies only to this rating. This product is intended to CAUTION operate from a power source that does not RISK OF ELECTRIC SHOCK DO NOT OPEN apply more than 255Vrms between the power supply conductors or between either power TO REDUCE THE RISK OF FIRE OR supply conductor and ground. A protective WARNING: ELECTRIC SHOCK DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE ground connection, by way of the grounding RISQUE DE CHOC ELECTRIQUE conductor in the power cord, is essential for AVIS: NE PAS OUVRIR SEE OWNERS MANUAL. VOIR CAHIER D’INSTRUCTIONS. safe operation. No user serviceable parts inside. Refer servicing to qualified service personnel. Il ne se trouve a l’interieur aucune piece pourvant entre reparée l’usager. Danger from loss of ground - If the protec- S’adresser a un reparateur compétent. tive ground connection is lost, all accessible conductive parts, including knobs and controls The lightning flash with arrowhead symbol that may appear to be insulated, can render an within an equilateral triangle is intended to electric shock. alert the user of the presence of uninsulated Proper power cord - Use only the power cord “dangerous voltage” within the product's specified for the product. enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. Operating location - This product is intended for use in a rack-mounted environment. Do The exclamation point within an equilateral not operate this equipment under any of the triangle is intended to alert the user of the following conditions: explosive atmospheres, presence of important operating and mainte- in wet locations, in inclement weather, nance (servicing) instructions in the literature improper or unknown AC mains voltage, or if accompanying the 606 (i.e. this manual). improperly fused. Caution To prevent electric shock, do not Stay out of the box - To avoid personal injury use the polarized plug supplied or injury to others, do not remove the product with the 606 with any extension covers or panels. Do not operate the product cord, receptacle, or other outlet without the covers and panels properly unless the blades can be fully installed. inserted. TERMS Several notational conventions are used in this manual. Some paragraphs may use NOTE, Caution, or Warning as a heading or certain typefaces and capitalization are used to identify certain words. These are: NOTE: Identifies information that needs extra emphasis. A NOTE generally supplies extra information to help you to better 606 use the 606. 2 Chapter 3 Fast Setup If you’re in a hurry to get the 606 into your sound system and don’t have time to thoroughly read this manual, the following steps will probably be enough to get you started: 1. Turn the INPUT LEVEL control completely counterclockwise. 2. Connect the 606 to AC power. If you are using the Tap Tempo footswitch, you need to connect the footswitch before applying AC power, and you should read the rest of this manual, particularly the section about the Tap Tempo Input and the section about Parameter 68. 3. Check to see if the bottom LED of the three LED’s to the right of the SELECT button is lit. If one of the other three LED’s is lit, press the SELECT button repeatedly until the bottom LED lights. This sets the four DELAY LINE 1 controls and the four DELAY LINE 2 controls to correspond to the parameters that are printed below them (i.e. MIX, TIME, FEEDBACK and MODULATION). 4. Adjust the OUTPUT LEVEL control (on the far right ) clockwise until “0.0” appears in the display window. 5. Connect all audio inputs and outputs that you need. Typically, this will entail connecting two cables from your mixing console’s auxiliary (or effects) sends to the ¼" CHANNEL 1 and CHANNEL 2 INPUT connectors on the 606. Connect two ¼" cables from the CHANNEL 1 and CHANNEL 2 OUTPUTS of the 606 to either two mono returns on your console, or to a stereo return on your console. These console returns can be auxiliary (or effects) returns, or, if you prefer, you can use line-level channel inputs. 6. Turn the PRESET control until “2CH” appears in the display window of the 606. This preset should be loaded in the #1 preset position (at the beginning of the preset range as you turn the PRESET control counterclockwise) and in the #100 preset position (near the end of the preset range as you turn the PRESET control clockwise). “2CH” should now be flashing in the display window, indicating that it has been selected, but not loaded. 7. Load this preset by pressing the LOAD button, holding the LOAD button in until the display goes blank and then displays “2CH” steadily, without flashing. Now release the LOAD button. You have now set the 606 for independent two-channel operation. This means that the CHANNEL 1 INPUT will feed DELAY LINE 1, which will be routed to the CHANNEL 1 OUTPUT. The CHANNEL 2 INPUT will feed DELAY LINE 2, which will be routed to the CHANNEL 2 OUTPUT. 8. Send audio to the inputs of the 606, and adjust the INPUT CONTROL for a good level (lighting the green SIGNAL and -12dB LED’s consistently, and the yellow -6dB LED occasionally).
Load more

Recommended publications
  • DM2000VCM Data Sheet
    Digital Mixing Console DM2000VCM Overview This powerful digital production console offers DAW control, 6.1 channel surround mixing capability, and a range of top-quality effects, including many employing renowned Yamaha VCM technology. The DM2000VCM Digital Production Console is a first-class platform for stereo or surround audio production. Rear Panel Features • Precise 24-bit/96-kHz audio and high-performance head amps. • 96 inputs and 22 buses (8 group buses, 12 auxiliary buses, and a stereo bus) mix capacity at 96kHz. • Eight advanced multi-effect processors plus six 31-band GEQs. • Scene memory and auto-mix functions for efficient workflow. • Versatile channel pairing and grouping functions enhance mixing efficiency. • Comprehensive interface with touch-sensitive 100-mm motor faders. • Six Mini-YGDAI expansion slots for easy I/O expansion in a variety of formats. • Compatible with Windows and Macintosh versions of Studio Manager version2 Software for seamless PC and Console interoperability. • Easy integration with computer-based DAWs (Digital Audio Workstations) or digital recorders to create an advanced digital production environment. • A comprehensive range of features for surround production, including an enhanced surround monitoring environment with bass management. • A variety of Yamaha VCM effects and high-resolution REV-X reverbs. • Included in the THX pm3™ Studio Certification Program Approved Equipment List. Technical Data Sheet 1 / 6 Digital Mixing Console DM2000VCM Specifications 1/2 Functional Specifications Input Mixing
    [Show full text]
  • Accordion Electronic Keyboard Electric Organ
    Accordion Electronic Keyboard Electric Organ Technical Requirements & Discussion Questions for Recorded Graded Exams The following list of technical requirements should be performed to make up the Technical Work component of the exam for: • Accordion (pp.1-5 • Electronic Keyboard (pp.!-1" • Electric Organ (pp. 11-1# Candidates may choose which scales or arpeggios to perform but should& where possible& select a variety of different ke%s. Close attention should be paid to instructions on articulation and dynamics. Further guidelines on specific requirements for each grade (such as the set scales for each grade and instructions on hands together or separate performance) can be found in the rele'ant L$*+ syllabus. Accordion Grade Technical Requirements Scales ,ne ma-or scale ,ne minor scale C chromatic scale .ellow shake in C "hords - a mixture of full and broken chords should be performed in a variety of ke%s and in'ersions: one ma-or one minor one augmented one dominant 7th one diminished 7th Discussion Questions .oth questions to be answered at an% point during the exam: • Which of the pieces you pla%ed today is your fa'ourite and wh%0 • What is the mood of this piece0 1 Grade $% Technical Requirements Scales ,ne ma-or scale ,ne minor scale C chromatic scale .ellow shake in C "hords - a mixture of full and broken chords should be performed in a variety of ke%s and in'ersions: two ma-or two minor one augmented one dominant 7ths one diminished 7ths Discussion Questions .oth questions to be answered at an% point during the exam: • Which of
    [Show full text]
  • Introduction to the Digital Snake
    TABLE OF CONTENTS What’s an Audio Snake ........................................4 The Benefits of the Digital Snake .........................5 Digital Snake Components ..................................6 Improved Intelligibility ...........................................8 Immunity from Hums & Buzzes .............................9 Lightweight & Portable .......................................10 Low Installation Cost ...........................................11 Additional Benefits ..............................................12 Digital Snake Comparison Chart .......................14 Conclusion ...........................................................15 All rights reserved. No part of this publication may be reproduced in any form without the written permission of Roland System Solutions. All trade- marks are the property of their respective owners. Roland System Solutions © 2005 Introduction Digital is the technology of our world today. It’s all around us in the form of CDs, DVDs, MP3 players, digital cameras, and computers. Digital offers great benefits to all of us, and makes our lives easier and better. Such benefits would have been impossible using analog technology. Who would go back to the world of cassette tapes, for example, after experiencing the ease of access and clean sound quality of a CD? Until recently, analog sound systems have been the standard for sound reinforcement and PA applications. However, recent technological advances have brought the benefits of digital audio to the live sound arena. Digital audio is superior
    [Show full text]
  • The Audio Mixing Console First Course, Fourth Grading Period, Week One
    How To Run A Board: The Audio Mixing Console First course, Fourth grading period, Week one The mixing console at a radio station or production/recording studio can be an intimidating sight. Some have even looked at it and said, “Gosh, you must be able to fl y the Space Shuttle if you can work that!” In truth, a mixing console is a very basic piece of equipment. When broken down to its component parts, it is quite an easy beast to tame. What we will do in this lesson is start from the ground up, working with one element of the mixing desk, and then move on to put together the rest of the puzzle with the other elements. Soon after, we will move towards a more hands-on approach, allowing students to use the console in ways that are important and necessary to the industry. Whether they decide to pursue a career in broadcasting, journalism or engineering, students will discover just how vital a piece of equipment this is in any of the above professions. This lesson is provided by Brian Jarbow, NPR engineer. Enduring Understanding The ability to understand how a mixing console is used is essential in broadcasting, journalism or engineering. Essential Questions How does a mixing console work? How does the signal pass through it? How is it useful in mixing pieces for broadcast? Objectives and Outcomes • Students will be able to route a signal through the console. • Students will be able to route multiple sources to mix and control several signals happening at one time.
    [Show full text]
  • MX300 User Guide IMPORTANT SAFETY INSTRUCTIONS
    Stereo Reverb MX300 Effects Procesor MX300 User Guide IMPORTANT SAFETY INSTRUCTIONS WARNING FOR YOUR PROTECTION READ THE FOLLOWING: READ THESE INSTRUCTIONS. KEEP THESE INSTRUCTIONS. HEED ALL WARNINGS. FOLLOW ALL INSTRUCTIONS. The symbols shown above are internationally accepted symbols that warn of potential hazards with electrical products. The lightning flash with arrowpoint in an equilateral triangle means DO NOT USE THIS APPARATUS NEAR WATER. that there are dangerous voltages present within the unit. The exclamation point in an equilateral triangle indicates that it is CLEAN ONLY WITH A DRY CLOTH. necessary for the user to refer to the owner’s manual. FOR INDOOR USE ONLY. These symbols warn that there are no user serviceable parts inside the unit. Do not open the unit. Do not attempt to service the unit DO NOT BLOCK ANY OF THE VENTILATION OPENINGS. INSTALL IN ACCORDANCE yourself. Refer all servicing to qualified personnel. Opening the WITH THE MANUFACTURER’S INSTRUCTIONS. chassis for any reason will void the manufacturer’s warranty. Do not get the unit wet. If liquid is spilled on the unit, shut it off DO NOT INSTALL NEAR ANY HEAT SOURCES SUCH AS RADIATORS, HEAT REGISTERS, immediately and take it to a dealer for service. Disconnect the unit STOVES, OR OTHER APPARATUS (INCLUDING AMPLIFIERS) THAT PRODUCE HEAT. during storms to prevent damage. ONLY USE ATTACHMENTS/ACCESSORIES SPECIFIED BY THE MANUFACTURER. The following is indicative of low altitude use; do not use this product above UNPLUG THIS APPARATUS DURING LIGHTNING STORMS OR WHEN UNUSED FOR 2000m. LONG PERIODS OF TIME. Do not defeat the safety purpose of the polarized or grounding-type plug.
    [Show full text]
  • Piano / Keyboard for Absolute Beginners
    Learn How to Play Piano / Keyboard For Absolute Beginners A Self Tuition Book For Adults and Teenagers! Martin Woodward ISBN: Copyright © Martin Woodward 2015 All rights reserved Printing for buyers use only is permitted Enquires: http://gonkmusic.com 2 Copyright © Martin Woodward 2015 - www.gonkmusic.com 2 Acknowledgements To all the fantastic musicians who I’ve had the privilege of working with back in the 1960s / 70s including: Pip Williams (guitarist / record producer); Tex Marsh (drummer); Roger Flavell (bassist); Kevin Fogarty (guitarist); Ralph Denyer (singer / songwriter); Phil Childs (bassist); Jim Smith (drums); George Lee (saxophonist); Ron Thomas (bassist); Emile Ford (No. 1 UK singer / songwriter). To my early mentors: Alan Simonds (guitarist / vocalist); big bruv Steve (guitarist) and Mr. Henley (my inspirational music teacher at Warlingham School 1960 - 65). And to Myriad Software: http://www.myriad-online.com for the Melody Assistant music notation software which was used for the production of this book. - Thanks! 3 Copyright © Martin Woodward 2015 - www.gonkmusic.com 3 4 Copyright © Martin Woodward 2015 - www.gonkmusic.com 4 Contents Introduction ............................................................................................................. 11 Get the Best from this Book ................................................................................ 12 Using the links ..................................................................................................... 12 Trust Your Self ...................................................................................................
    [Show full text]
  • XENYX X2442USB/X2222USB/X1832USB/X1622USB User Manual Table of Contents Thank You
    User Manual X2442 /X2222 / X1832 /X1622 Premium 24/22/18/16-Input 4/2, 3/2 and 2/2-Bus Mixer with XENYX Mic Preamps & Compressors, British EQs, 24-Bit Multi-FX Processor and USB/Audio Interface 2 XENYX X2442USB/X2222USB/X1832USB/X1622USB User Manual Table of Contents Thank you ....................................................................... 2 Important Safety Instructions ...................................... 3 Legal Disclaimer ............................................................. 3 Limited warranty ............................................................ 3 1. Introduction ............................................................... 4 1.1 General mixing console functions ................................ 4 1.2 The user’s manual ............................................................... 5 1.3 Before you get started ...................................................... 5 2. Control Elements and Connectors .......................... 5 2.1 Mono channels .................................................................... 5 2.2 Stereo channels ................................................................... 7 2.3 Interface panel and main section ................................. 8 3. Graphic 9-Band Equalizer (X1832USB only) .......... 12 4. Digital Effects Processor ......................................... 13 5. Rear Panel Connectors ............................................ 13 5.1 Main mix outputs, insert points and control room outputs.............................................................. 13 5.2
    [Show full text]
  • Si Impact Brochure
    Also available MADI-USB USB MADI USB COMBO OPTICAL MADI CAT 5 MADI 32X32 (CAT 5) 32X32 (USB) 64X64 64X64 A complete range of powerful I/O expansion cards Featuring a 32x32 expansion card slot on the rear panel, Si Impact can Optical MADI Dual Cat5 MADI be used in the widest range of applications and integrated seamlessly with existing systems and hardware. MULTIDIGITAL AES CARD (XLR) AES CARD (D-SUB) 32X32 4X4 8X8 A full range of ViSi Connect expansion cards is available for multiple TM ® I/O formats, including MADI and industry standard protocols such as CobraNet Aviom A-Net Rocknet®, CobraNetTM and DanteTM. Soundcraft is committed to the continued development of the ViSi AVIOM A-NET COBRANET BLU LINK 16X16 32X32 16X16 Connect expansion card range, developing new cards as new network AES/EBU AES/EBU D-Type protocols become available. 32-Channel USB Recording included BLU link RockNet®ROCKNET DANTE 64X64 64X64 Stagebox Ready Multi Digital Card DanteTM Remote mixing with your iPad® Available on the App Store, the Soundcraft Si Impact remote iPad® app gives instant hands-on control over all important mixer functions direct from your iPad®. Application examples - • Optimise the front of house mix from anywhere in the room • Set mic gains and 48V from the stage • Adjust monitor levels while standing next to the artist • Adjust channel strip settings remote from the console • Use to extend the fader count of an existing control surface • Allow multiple users on the same console to control their own mixes Laptop not included Soundcraft, Harman International Industries Ltd., Cranborne House, Cranborne Road, Potters Bar, Hertfordshire EN6 3JN, UK T: +44 (0)1707 665000 F: +44 (0)1707 660742 E: [email protected] 40-input Digital Mixing Console Soundcraft USA, 8500 Balboa Boulevard, Northridge, CA 91329, USA T: +1-818-893-8411 F: +1-818-920-3208 E: [email protected] and 32-in/32-out USB Interface www.soundcraft.com ® Part No: 5058401 E & OE 04/2015 with iPad Control #41450 - Si_Impact_Brochure_V5_US_LAUNCH.indd 1-2 20/04/2015 13:17 Walk up.
    [Show full text]
  • Powermate 600 Power Mixer
    Technische Informationen Architects and engineers specifications PowerMate 600 Power Mixer BESCHREIBUNG DESCRIPTION Die Integration von Mischpult, Leistungsverstärker und The integration of mixing console, power amplifier and effects Effektgeräten in ein kompaktes und modernes Gehäuse erlebt devices in a compact and modern unit reaches a new high with beim PowerMate 600 einen Höhepunkt. Mit 6 Mic/Line- sowie the PowerMate 600. zwei Stereo/Line Kanälen, zwei mischbaren 24 bit Effektgeräten, With 6 Mic/Line as well as two Stereo/Line channels, two mixable 7 Band Master Equalizer und integriertem Power-Amplifier 24-bit effects devices, a 7 band master equalizer and integrated mit 2 x 300 Watt Leistung ist der PowerMate 600 die absolute 2 x 300 W power amplifier, the PowerMate 600 is the absolute Allroundlösung für viele Anwendungen. allround solution for a multitude of applications, ideally suited to Bestens geeignet als Komplettlösung sowohl für Alleinunterhalter the needs of both single entertainers and small bands. als auch kleinere Bands. Für Schulen, Vereine oder ähnliche For schools, clubs or similar institutions, the PowerMate is the Institutionen ist dieser PowerMate der ideale Problemlöser für perfect tool for a wide range of sound reinforcement tasks. unterschiedlichste Beschallungsaufgaben. Sicher und kompakt Safe and easy to carry, fast and simple to set up, intuitive and zu transportieren, schnell und einfach aufzubauen sowie eine uncomplicated to operate, the smallest member of the PowerMate unkomplizierte Bedienung sind die Hauptmerkmale des kleinsten family delivers Dynacord quality in a compact, elegant frame. Mitglieds in der PowerMate Family. Pro-Mixing Pro-Mixing All the features of a professional mixing console but without the Professionelle Mischpult-Features auf engstem Raum.
    [Show full text]
  • Playing Music in Just Intonation: a Dynamically Adaptive Tuning Scheme
    Karolin Stange,∗ Christoph Wick,† Playing Music in Just and Haye Hinrichsen∗∗ ∗Hochschule fur¨ Musik, Intonation: A Dynamically Hofstallstraße 6-8, 97070 Wurzburg,¨ Germany Adaptive Tuning Scheme †Fakultat¨ fur¨ Mathematik und Informatik ∗∗Fakultat¨ fur¨ Physik und Astronomie †∗∗Universitat¨ Wurzburg¨ Am Hubland, Campus Sud,¨ 97074 Wurzburg,¨ Germany Web: www.just-intonation.org [email protected] [email protected] [email protected] Abstract: We investigate a dynamically adaptive tuning scheme for microtonal tuning of musical instruments, allowing the performer to play music in just intonation in any key. Unlike other methods, which are based on a procedural analysis of the chordal structure, our tuning scheme continually solves a system of linear equations, rather than relying on sequences of conditional if-then clauses. In complex situations, where not all intervals of a chord can be tuned according to the frequency ratios of just intonation, the method automatically yields a tempered compromise. We outline the implementation of the algorithm in an open-source software project that we have provided to demonstrate the feasibility of the tuning method. The first attempts to mathematically characterize is particularly pronounced if m and n are small. musical intervals date back to Pythagoras, who Examples include the perfect octave (m:n = 2:1), noted that the consonance of two tones played on the perfect fifth (3:2), and the perfect fourth (4:3). a monochord can be related to simple fractions Larger values of mand n tend to correspond to more of the corresponding string lengths (for a general dissonant intervals. If a normally consonant interval introduction see, e.g., Geller 1997; White and White is sufficiently detuned from just intonation (i.e., the 2014).
    [Show full text]
  • 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.
    [Show full text]
  • A Brief, Comprehensive History of the Cordovox and Other Electronic Accordions” by Fabio G
    “A Brief, Comprehensive History of the Cordovox and other electronic accordions” By Fabio G. Giotta Many technical and musical geniuses poured their hearts and souls in to the design and production of these amazing instruments whose electronic technology originated in the late 1950’s, 60’s and 70’s; the Ages of Technology, Space and Jet Travel. The acoustic accordion technology (typically 15,000 parts in a full size instrument) spans from roughly 1900 through the age of its electronic counterparts. This article endeavors to correct some of the rampant inaccuracies and invalid opinions about the Cordovox and other electronic accordions found on the World Wide Web, including some of the statements posted at Google Answers, and errant statements by some Ebay sellers and non-accordion oriented retailers, including musical instrument shops. Herein, I opine and make a combination of declarations, observations, and well-educated guesses based on my own personal experience with these instruments, continuing interaction with accordion industry experts such as: Gordon Piatanesi (Colombo & Sons Accordions-San Francisco, CA), Joe Petosa (Petosa Accordions-Seattle, WA), The curators of the Museo Internazionale Della Fisarmonica-Castelfidardo, Italia (International Museum of the Accordion), including Paolo Brandoni (Brandoni & Sons Accordions-General Accordion Co.), Fabio Petromilli (Comune of Castelfidardo), Beniamino Bugiolacchi-Museum President, and their colleagues Maestro Gervasio Marcosignori, concert accordionist, arranger, recording artist, and former Director of Instrument Development for Farfisa S.p.A. Organ electronics experts such as *Dave Matthews, *David Trouse, *David Tonelli and *Peter Miller, and study of written, official documents such as books, brochures, advertisements, owner’s guides, service manuals, and historical accounts, inlcluding the following: The Golden Age of the Accordion--Flynn/Davison/Chavez, Super VI Scandalli…Una Fisarmonica Nella Storia--Jercog, and Per Una Storia Della Farfisa-- Strologo.
    [Show full text]