KROSS Voice Name List

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Voice Name List 1 Table of Contents Programs . .3 27(INT): Percussion Kit. 49 Category: PIANO . .3 28(INT): Orchestra&Ethno Kit . 50 Category: E.PIANO . .4 29(INT): BD&SD Catalog 1. 52 Category: ORGAN . .5 30(INT): BD&SD Catalog 2. 53 Category: BELL. .6 31(INT): Cymbal Catalog . 54 Category: STRINGS . .7 32(INT): Rock Kit 1 Mono. 55 Category: BRASS . .8 33(INT): Jazz Kit Mono . 56 Category: SYNTH LEAD . .9 34(INT): Wild Kit . 57 Category: SYNTH PAD . 10 35(INT): Breakin' Kit. 58 Category: GUITAR . 11 36(INT): R'n'B Kit. 59 Category: BASS . 12 37(INT): Trapper Kit. 60 Category: DRUM/SFX. 13 38(INT): Bigroom Kit . 61 39(INT): Tropical Kit . 62 Combinations. 15 40(INT): JazzyHop Kit . 63 Category: PIANO . 15 41(INT): Japanese Catalog . 64 Category: E.PIANO . 15 Category: ORGAN . 15 GM Drum Kits . 65 Category: BELL. 16 58(GM): STANDARD . 65 Category: STRINGS . 16 59(GM): ROOM . 66 Category: BRASS . 16 60(GM): POWER . 67 Category: SYNTH LEAD . 17 61(GM): ELECTRONIC . 68 Category: SYNTH PAD . 17 62(GM): ANALOG. 69 Category: GUITAR . 18 63(GM): JAZZ . 70 Category: BASS . 18 64(GM): BRUSH. 71 Category: DRUM/SFX. 19 65(GM): ORCHESTRA . 72 66(GM): SFX. 73 Favorites . 20 FAVORITES- A . 20 Preset Arpeggio Patterns/User Arpeggio Patterns 74 FAVORITES- B . 20 FAVORITES- C . 20 Drum Track Patterns/Pattern Presets. 79 FAVORITES- D. 20 Template songs . 82 Drum Kits. 21 P00: Pop . 82 P01: Rock . 82 00(INT): Basic Kit 1. 21 P02: Jazz . 82 01(INT): Basic Kit 2. 22 P03: Latin . 83 02(INT): Rock Kit 1. 23 P04: Reggae. 83 03(INT): Rock Kit 2. 24 P05: Country . 83 04(INT): Power Kit 1 . 25 P06: Unplugged. 84 05(INT): Power Kit 2 . 26 P07: Euro Trad. ..

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Owner S Manual
HD-4 Owner s Manual Virgin Musical Instruments Precaution Thank you for purchasing this electronic instrument.For perfect operation and security, please read the manual carefully and keep it for future reference. Safety Precautions CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated “dangerous voltage”within the product s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance(servicing) instructions in the literature accompanying the product. Important Safety Instructions 1) Read these instructions. apparatus. When a cart is used, use caution when 2) Keep these instructions. moving the cart/apparatus combination to avoid 3) Heed all warnings. injury from tip-over(Figure 1). 4) Follow all instructions. (Figure 1) 13) Unplug this apparatus during lightning storms 5) Do not use this apparatus near water. or when unused for a long periods fo time. 6) Clean only with dry cloth. 14) Refer all servicing to qualified service personnel. 7) Do not block any ventilation openings, install in Servicing is required when the apparatus has been accordance with the manufacturer s instructions. damaged in any way, such as power-supply cord or 8) Do not install near the heat sources such as plug is damaged, liquid has been spilled or objects radiators, heat registers, stoves, or other apparatus have fallen into the apparatus, the apparatus has (including amplifiers) that produce heat.
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Owner's Manual 5057870-B
OWNER’S MANUAL WARRANTY We at DigiTech® are very proud of our products and back-up each one we sell with the following warranty: 1. Please register online at digitech.com within ten days of purchase to validate this warranty. This warranty is valid only in the United States. 2. DigiTech warrants this product, when purchased new from an authorized U.S. DigiTech dealer and used solely within the U.S., to be free from defects in materials and workmanship under normal use and service. This warranty is valid to the original purchaser only and is non-transferable. 3. DigiTech liability under this warranty is limited to repairing or replacing defective materials that show evidence of defect, provided the product is returned to DigiTech WITH RETURN AUTHORIZATION, where all parts and labor will be covered up to a period of one year. A Return Authorization number may be obtained by contacting DigiTech. The company shall not be liable for any consequential damage as a result of the product’s use in any circuit or assembly. 4. Proof-of-purchase is considered to be the responsibility of the consumer. A copy of the original purchase receipt must be provided for any warranty service. 5. DigiTech reserves the right to make changes in design, or make additions to, or improvements upon this product without incurring any obligation to install the same on products previously manufactured. 6. The consumer forfeits the benefits of this warranty if the product’s main assembly is opened and tampered with by anyone other than a certified DigiTech technician or, if the product is used with AC voltages outside of the range suggested by the manufacturer.
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Smash Hits Volume 60
35p USA $1 75 March I9-April 1 1981 W I including MIND OFATOY RESPECTABLE STREE CAR TROUBLE TOYAH _ TALKING HEADS in colour FREEEZ/LINX BEGGAR &CO , <0$& Of A Toy Mar 19-Apr 1 1981 Vol. 3 No. 6 By Visage on Polydor Records My painted face is chipped and cracked My mind seems to fade too fast ^Pg?TF^U=iS Clutching straws, sinking slow Nothing less, nothing less A puppet's motion 's controlled by a string By a stranger I've never met A nod ofthe head and a pull of the thread on. Play it I Go again. Don't mind me. just work here. I don't know. Soon as a free I can't say no, can't say no flexi-disc comes along, does anyone want to know the poor old intro column? Oh, no. Know what they call me round here? Do you know? The flannel panel! The When a child throws down a toy (when child) humiliation, my dears, would be the finish of a more sensitive column. When I was new you wanted me (down me) Well, I can see you're busy so I won't waste your time. I don't suppose I can drag Now I'm old you no longer see you away from that blessed record long enough to interest you in the Ritchie (now see) me Blackmore Story or part one of our close up on the individual members of The Jam When a child throws down a toy (when toy) (and Mark Ellen worked so hard), never mind our survey of the British funk scene.
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IN SEARCH of WARMER CLIMES Following a Move to LA, Bonobo Returns to Ninja Tune with New LP, ‘Migration’
MUSIC ONE STOP SHOP February’s tunes reviewed p.106 THE LONG GAME Albums arriving this month p.128 MIX ‘N’ MATCH Compilations not to miss p.132 IN SEARCH OF WARMER CLIMES Following a move to LA, Bonobo returns to Ninja Tune with new LP, ‘Migration’... p.129 djmag.com 105 HOUSE BEN ARNOLD QUICKIES Roberto Clementi Avesys EP [email protected] Pets Recordings 8.0 Sheer class from Roberto Clementi on Pets. The title track is brooding and brilliant, thick with drama, while 'Landing A Man'’s relentless thump betrays a soft and gentle side. Lovely. Jagwar Ma Give Me A Reason (Michael Mayer Does The Amoeba Remix) Marathon MONEY 8.0 SHOT! Showing that he remains the master (and managing Baba Stiltz to do so in under seven minutes too), Michael Mayer Is Everything smashes this remix of baggy dance-pop dudes Studio Barnhus Jagwar Ma out of the park. 9.5 The unnecessarily young Baba Satori Stiltz (he's 22) is producing Imani's Dress intricate, brilliantly odd house Crosstown Rebels music that bearded weirdos 8.0 twice his age would give their all chopped hardcore loops, and a brilliance from Tact Recordings Crosstown is throwing weight behind the rather mid-life crises for. Think the bouncing bassline. Sublime work. comes courtesy of roadman (the unique sound of Satori this year — there's an album dizzying brilliance of Robag small 'r' is intentional), aka coming — but ignore the understatedly epic Ewan Whrume for a reference point, Dorsia Richard Fletcher. He's also Tact's Pearson mixes of 'Imani's Dress' at your peril.
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One Voice for Flute and Clarinet Sheet Music
One Voice For Flute And Clarinet Sheet Music Download one voice for flute and clarinet sheet music pdf now available in our library. We give you 4 pages partial preview of one voice for flute and clarinet sheet music that you can try for free. This music notes has been read 1706 times and last read at 2021-09-29 22:51:37. In order to continue read the entire sheet music of one voice for flute and clarinet you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Voice, Flute Ensemble: Woodwind Duet Level: Intermediate [ READ SHEET MUSIC ] Other Sheet Music Les Elphants The Elephants For Voice Clarinet Flute And String Quartet Mp3 Les Elphants The Elephants For Voice Clarinet Flute And String Quartet Mp3 sheet music has been read 2201 times. Les elphants the elephants for voice clarinet flute and string quartet mp3 arrangement is for Intermediate level. The music notes has 1 preview and last read at 2021-09-28 14:22:11. [ Read More ] Eine Kleine Nachtmusik For Flute Clarinet Bass Clarinet And Piano Eine Kleine Nachtmusik For Flute Clarinet Bass Clarinet And Piano sheet music has been read 3048 times. Eine kleine nachtmusik for flute clarinet bass clarinet and piano arrangement is for Advanced level. The music notes has 6 preview and last read at 2021-09-28 18:20:44. [ Read More ] Georg Philipp Telemann 12 Fantasias For Flute Without Bass Twv 40 2 13 Arranged For Bb Clarinet By Paul Wehage Georg Philipp Telemann 12 Fantasias For Flute Without Bass Twv 40 2 13 Arranged For Bb Clarinet By Paul Wehage sheet music has been read 3741 times.
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Note About the Drumsets Almost All Drum Sets Use Layer 1 for the Bass Drums, Layer 2 for the Snares, Layer 3 for the Rest, Layer 4 for Only the Hi-Hats
Intro The Techno Synth Construction Yard 32 MB ROM is a stunning collection of great new sounds designed for the dance, ambient and techno producer or artist. European sound designer Rob Papen has assembled over 600 of his best samples and coupled them with the Proteus 2000’s ultra-powerful synth engine to create a sound set like you’ve never heard before! Proteus’ 12 knob controllers let you tweak sounds to your heart’s content. Presets can morph into completely new sounds and textures at the touch of your fingers. Explore the presets by pressing the Audition button! The Techno Synth Construction Yard includes 136 spankin’ new RIFFs which you can use as backing tracks in your music. Note about the Drumsets Almost all drum sets use Layer 1 for the Bass Drums, Layer 2 for the Snares, Layer 3 for the rest, Layer 4 for only the hi-hats. This means also that the open hi-hat and closed hi-hat work together like real drums! This layering is also useful when using separate outputs or adding FX In the basic setting of the presets the knob control- lers for FX-A and B work only on Layer 2 (snares) and Layer 3 (rest of percussion and drums). Layer 1 and Layer 4 will stay dry for the FX-A knob (K). The non-GM sets have extra Bass and Snare Drums in each kit. Also Note: Many presets have a drum kit located at C-2 to A#1. 2 E-MU Systems TEKNO-Snyth 2 10/28/99, 4:36 PM Note about the MIDI G and MIDI H Controllers Almost all presets use clocked LFOs (MIDI G and MIDI H) to make the sound sync with your song.
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ANSAMBL ( [email protected] ) Umelec
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M50 Voice Name List
Voice Name List Table of Contents Combination . .2 GM Drum Kit . 76 Bank A. .2 48 (GM): STANDARD . 76 Bank B. .3 49 (GM): ROOM . 77 Bank C. .4 50 (GM): POWER. 78 51 (GM): ELECTRONIC . 79 Program . .6 52 (GM): ANALOG . 80 Bank A. .6 53 (GM): JAZZ . 81 Bank B. .7 54 (GM): BRUSH . 82 Bank C. .8 55 (GM): ORCHESTRA. 83 Bank D . .9 56 (GM): SFX . 84 Bank E . 10 Bank G / g(1)…g(9) / g(d). 11 Drum Track Patterns/Preset Patterns. 86 Drum Kit . .14 Template song . 88 00 (INT): Studio Standard Kit. 14 Preset Arpeggio Patterns/User Arpeggio Patterns . 90 01 (INT): Funk Kit. 16 02 (INT): Jazz/Brush Kit . 18 Multisample. 94 03 (INT): B.Real Rap Kit . 20 ROM mono . 94 04 (INT): Acoustic Pop Kit. 22 ROM stereo . 97 05 (INT): Wild Rock Kit . 24 Drumsample . 98 06 (INT): New Processed Kit. 26 07 (INT): Electro Rock Kit . 28 ROM mono . 98 08 (INT): Insane FX Kit . 30 ROM stereo . 103 09 (INT): Nu Style Kit . 32 Demo Song. 104 10 (INT): Hip Hop Kit . 34 S000 . 104 11 (INT): Tricki kit. 36 S001 . 104 12 (INT): Mashed Kit. 38 S002 . 104 13 (INT): Drum'n'Bass Kit . 40 S003 . 104 14 (INT): House Kit . 42 Cue List . 104 15 (INT): Trance Kit . 44 16 (INT): Hard House Kit . 46 17 (INT): Psycho-Chill Kit . 48 18 (INT): Down Low Rap Kit. 50 19 (INT): Orch.-Ethnic Kit . 52 20 (INT): Original Perc . 54 21 (INT): Brazilian Perc. 56 22 (INT): Cuban Perc .
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An Analysis of Twentieth-Century Flute Sonatas by Ikuma Dan, Hikaru
Flute Repertoire from Japan: An Analysis of Twentieth-Century Flute Sonatas by Ikuma Dan, Hikaru Hayashi, and Akira Tamba D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Daniel Ryan Gallagher, M.M. Graduate Program in Music The Ohio State University 2019 D.M.A. Document Committee: Professor Katherine Borst Jones, Advisor Dr. Arved Ashby Dr. Caroline Hartig Professor Karen Pierson 1 Copyrighted by Daniel Ryan Gallagher 2019 2 Abstract Despite the significant number of compositions by influential Japanese composers, Japanese flute repertoire remains largely unknown outside of Japan. Apart from standard unaccompanied works by Tōru Takemitsu and Kazuo Fukushima, other Japanese flute compositions have yet to establish a permanent place in the standard flute repertoire. The purpose of this document is to broaden awareness of Japanese flute compositions through the discussion, analysis, and evaluation of substantial flute sonatas by three important Japanese composers: Ikuma Dan (1924-2001), Hikaru Hayashi (1931- 2012), and Akira Tamba (b. 1932). A brief history of traditional Japanese flute music, a summary of Western influences in Japan’s musical development, and an overview of major Japanese flute compositions are included to provide historical and musical context for the composers and works in this document. Discussions on each composer’s background, flute works, and compositional style inform the following flute sonata analyses, which reveal the unique musical language and characteristics that qualify each work for inclusion in the standard flute repertoire. These analyses intend to increase awareness and performance of other Japanese flute compositions specifically and lesser- known repertoire generally.
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Chorusing and Flanging Effects on The
. The Independent News Magazine for Ensoniq Users Inthis issue Chorusing and Flanging Effects on the SQs - The Plot Thickens Articles: Clark Salisbury Chorusing and Flanging on the SQs Clark Salisbury cover give the impression that the original signal is echoing. This simple approach yields the DP/4 Specifications original signal and a single echo. If one Ensoniq " 9 wishes to create the sound of multiple (More) "Hidden Waves" on the VFX echoes, one need only route the delayed sig- Walter Cooper ". 14 nal back into the delay itself. This delayed signal is then again delayed, yielding a Sample Variations second echo, and since the output of the William PonJ ".. 15 delay is routed back to its own input, this Pickin' on EPS Bass Sounds second echo is again delayed, and so on. TomShear " 17 The process of routing a delayed signal Welcome to this month's installment of back into the delay is referred to as Reviews: "Programming The SQ When You Should "regeneration" or "feedback." Le Cover Dust Covers Be Looking For A Real Job." So far we've Steve VincenJ 4 talked about how to route voices to the ef- If this regenerated signal is routed back into fects busses and how to work with the the delay at full intensity, however, the Basement Tapes: G2 Daniel Mandel 6 reverb parameters to customize reverb ef- echoes will continue to multiply at full fects. This time out, let's move on to some volume until the sound finally becomes a I Jazz Through MIDI of the other on-board effects.
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Hand Claps, Orchestra Hits, and the Production of Popular Music
Cult Sound Studies: Hand Claps, Orchestra Hits, and the Production of Popular Music Paul Harkins is a lecturer in music at Edinburgh Napier University. His research is about the history and use of digital technologies in popular music and his book, Digital Sampling, is due to be published by Routledge. Other research interests include copyright, mash-ups, and the music industries. His academic writing has been published in Popular Music, Popular Music & Society, IASPM@Journal, Journal on the Art of Record Production, and Reseaux. [email protected] Brockhaus, Immanuel. Cult Sounds. http://www.cult-sounds.com Writing about popular music has often caused problems for scholars attempting to make sense of its sounds. Sociologists have been accused of failing to take them seriously by focusing on the contexts of production, distribution, and consumption and ignoring the ‘text’. Treating music as a text, though, has created its own issues as musicologists use the tools of musical analysis to look at lyrics and notes, things that are easy to write down or notate. Since the turn of the century, there have been a number of developments that have impacted on how scholars approach the sounds of popular music: the Art of Record Production (ARP) conference, which started in 2005, brought together those researching music within the academy, sound engineers starting PhDs, and record producers with books to promote. Moreover, the growth of Sound Studies as an interdisciplinary field has led to an increased focus on the production of sound itself, often outwith the contexts of music making and popular music.
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Kraftmaschine
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