Choosing a Drum Set for Worship
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PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized. -
The Percussion Family 1 Table of Contents
THE CLEVELAND ORCHESTRA WHAT IS AN ORCHESTRA? Student Learning Lab for The Percussion Family 1 Table of Contents PART 1: Let’s Meet the Percussion Family ...................... 3 PART 2: Let’s Listen to Nagoya Marimbas ...................... 6 PART 3: Music Learning Lab ................................................ 8 2 PART 1: Let’s Meet the Percussion Family An orchestra consists of musicians organized by instrument “family” groups. The four instrument families are: strings, woodwinds, brass and percussion. Today we are going to explore the percussion family. Get your tapping fingers and toes ready! The percussion family includes all of the instruments that are “struck” in some way. We have no official records of when humans first used percussion instruments, but from ancient times, drums have been used for tribal dances and for communications of all kinds. Today, there are more instruments in the percussion family than in any other. They can be grouped into two types: 1. Percussion instruments that make just one pitch. These include: Snare drum, bass drum, cymbals, tambourine, triangle, wood block, gong, maracas and castanets Triangle Castanets Tambourine Snare Drum Wood Block Gong Maracas Bass Drum Cymbals 3 2. Percussion instruments that play different pitches, even a melody. These include: Kettle drums (also called timpani), the xylophone (and marimba), orchestra bells, the celesta and the piano Piano Celesta Orchestra Bells Xylophone Kettle Drum How percussion instruments work There are several ways to get a percussion instrument to make a sound. You can strike some percussion instruments with a stick or mallet (snare drum, bass drum, kettle drum, triangle, xylophone); or with your hand (tambourine). -
Musebox™ Virtual Instrument and Effects Module
MuseBox™ Virtual Instrument and Effects Module Operating Manual www.peavey.com ENGLISH 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. Intended to alert the user of the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product. CAUTION: Risk of electrical shock — DO NOT OPEN! CAUTION: To reduce the risk of electric shock, do not remove cover. No user serviceable parts inside. Refer servicing to qualified service personnel. WARNING: To prevent electrical shock or fire hazard, this apparatus should not be exposed to rain or moisture‚ and objects filled with liquids‚ such as vases‚ should not be placed on this apparatus. Before using this apparatus‚ read the operating guide for further warnings. SPANISH Este símbolo tiene el propósito, de alertar al usuario de la presencia de “(voltaje) peligroso” sin aislamiento dentro de la caja del producto y que puede tener una magnitud suficiente como para constituir riesgo de descarga eléctrica. Este símbolo tiene el propósito de alertar al usario de la presencia de instruccones importantes sobre la operación y mantenimiento en la información que viene con el producto. PRECAUCION: Riesgo de descarga eléctrica ¡NO ABRIR! PRECAUCION: Para disminuír el riesgo de descarga eléctrica, no abra la cubierta. No hay piezas útiles dentro. Deje todo mantenimiento en manos del personal técnico cualificado. ADVERTENCIA: Para prevenir choque electrico o riesgo de incendios, este aparato no se debe exponer a la lluvia o a la humedad. -
Nitro Drum Kit Assembly Guide
Assembly Guide Guía de armado Guide de montage alesis.com Guida di montaggio Montageanleitung Manual Version 1.0 Note: Use the drum key (V) to loosen or 1 tighten the bolts of clamps when assembling 23 the kit or making adjustments. E F Nota: Use la llave (V) para aflojar o apretar F F los pernos de las abrazaderas cuando arme el kit o haga ajustes. Remarque : Utilisez la clé de batterie (V) E pour dévisser ou resserrer les boulons des bagues de fixation lors de l’assemblage de A B l'ensemble pour batterie ou pour faire des A B ajustements. CD G Nota bene: servirsi della chiave della batteria (V) per allentare o stringere i bulloni A/B dei morsetti al momento di montare il kit o di C/D apportare regolazioni. A Hinweis: Verwenden Sie den E/F Stimmschlüssel (V), um die Klemmen bei der Montage des Kits oder bei Anpassungen zu lockern oder festzuziehen. 4 5 H 6 8 I I H H I I I H H H 6 789 L M L/M M J J K Q ON Q J/K P O+N alesis.com Manual Version 1.0 Box Contents Connection Diagram Schema dei collegamenti A (1) B (1) C (1) Contenido de la caja Diagrama de conexión Anschlussübersicht Contenu de la boîte Schéma d’installation Contenuti della confezione Important: Use the cable snake (R) to connect the drum pads and cymbal pads to the module (Q) (as Lieferumfang shown in the Connection Diagram). Importante: Use el grupo de cables (R) para conectar D (1) E (1) F (2) G (1) los módulos de tambores y platillos al módulo (Q) (como se muestra en el diagrama de conexión). -
The PAS Educators' Companion
The PAS Educators’ Companion A Helpful Resource of the PERCUSSIVE ARTS SOCIETY EDUCATION COMMITTEE Volume VIII Fall 2020 PERCUSSIVE ARTS SOCIETY 1 EDUCATORS’ COMPANION THE PAS EDUCATORS’ COMPANION PERCUSSIVE ARTS SOCIETY EDUCATION COMMITTEE ARTICLE AUTHORS DAVE GERHART YAMAHA CORPORATION OF AMERICA ERIK FORST MESSIAH UNIVERSITY JOSHUA KNIGHT MISSOURI WESTERN STATE UNIVERSITY MATHEW BLACK CARMEL HIGH SCHOOL MATT MOORE V.R. EATON HIGH SCHOOL MICHAEL HUESTIS PROSPER HIGH SCHOOL SCOTT BROWN DICKERSON MIDDLE SCHOOL AND WALTON HIGH SCHOOL STEVE GRAVES LEXINGTON JUNIOR HIGH SCHOOL JESSICA WILLIAMS ALABAMA STATE UNIVERSITY EMILY TANNERT PATTERSON CAMBRIDGE UNIVERSITY PRESS How to reach the Percussive Arts Society: VOICE 317.974.4488 FAX 317.974.4499 E-MAIL [email protected] WEB www.pas.org HOURS Monday–Friday, 9 A.M.–5 P.M. EST PERCUSSIVE ARTS SOCIETY 1 TABLE OF CONTENTS BUILDING A STRONG FOUNDATION OF THE SNARE DRUM FULCRUM 3 by Dr. Dave Gerhart CONSISTENCY MATTERS: Developing a Shared Vernacular for Beginning 6 Percussion and Wind Students in a Heterogeneous Classroom by Dr. Erik M. Forst PERFECT PART ASSIGNMENTS - ACHIEVING THE IMPOSSIBLE 10 by Dr. Joshua J. Knight TOOLS TO KEEP STUDENTS INTRIGUED AND MOTIVATED WHILE PRACTICING 15 FUNDAMENTAL CONCEPTS by Matthew Black BEGINNER MALLET READING: DEVELOPING A CURRICULUM THAT COVERS 17 THE BASES by Matt Moore ACCESSORIES 26 by Michael Huestis ISOLATING SKILL SETS, TECHNIQUES, AND CONCEPTS WITH 30 BEGINNING PERCUSSION by Scott Brown INCORPORATING PERCUSSION FUNDAMENTALS IN FULL BAND REHEARSAL 33 by Steve Graves YOUR YOUNG PERCUSSIONISTS CRAVE ATTENTION: Advice and Tips on 39 Instructing Young Percussionists by Jessica Williams TEN TIPS FOR FABULOUS SNARE DRUM FUNDAMENTALS 46 by Emily Tannert Patterson ADDITIONAL RESOURCES 49 2 PERCUSSIVE ARTS SOCIETY EDUCATORS’ COMPANION BUILDING A STRONG FOUNDATION OF THE SNARE DRUM FULCRUM by Dr. -
Design and Evaluation of a Digitally Active Drum
Personal and Ubiquitous Computing https://doi.org/10.1007/s00779-020-01391-6 ORIGINAL ARTICLE Design and evaluation of a digitally active drum Peter Williams1 · Daniel Overholt1 Received: 21 November 2019 / Accepted: 5 March 2020 © The Author(s) 2020 Abstract Despite the ever growing variety and popularity of commercially available electronic percussion (EP) instruments, there are still a significant number of active musicians who prefer to use acoustic drums. Digitally active drum (DAD) is an enhanced snare drum that provides sonic capabilities associated with digital musical instruments in the form of a traditional acoustic drum allowing full use of acoustic drumming gesture vocabulary. By using an in-built loud speaker and tactile sound transducers system, a Bela Cape and Beagle Bone Black, near field photoelectric sensors and a synthesis and effects patch built in Pure Data (PD), a prototype of a hybrid acoustic - electronic instrument has been made. This prototype has been evaluated by five expert drummers and two co-performers in both group and solo settings in order to determine its effectiveness and potential role in professional music making. Keywords Augmented drums · Electronic percussion · Music technology · Digital musical instruments · New interfaces for musical expression · Sound & music computing · Active acoustics · Hybrid instruments · Musical instrument evaluation 1 Introduction this despite the advantages of portability and variety of sound characteristics that they exhibit. Research was carried Many musicians embrace the products of newly developed out as to why this might be the case by reviewing drumming technology because of the new dimensions for personal forums and magazines, in addition to five unstructured expression they provide. -
TD-30 Data List
Data List Preset Drum Kit List No. Name Pad pattern No. Name Pad pattern 1 Studio 41 RockGig 2 LA Metal 42 Hard BeBop 3 Swingin’ 43 Rock Solid 4 Burnin’ 44 2nd Line 5 Birch 45 ROBO TAP 6 Nashville 46 SATURATED 7 LoudRock 47 piccolo 8 JJ’s DnB 48 FAT 9 Djembe 49 BigHall 10 Stage 50 CoolGig LOOP 11 RockMaster 51 JazzSes LOOP 12 LoudJazz 52 7/4 Beat LOOP 13 Overhead 53 :neotype: 1SHOT, TAP 14 Looooose 54 FLA>n<GER 1SHOT, TAP 15 Fusion 55 CustomWood 16 Room 56 50s King 17 [RadioMIX] 57 BluesRock 18 R&B 58 2HH House 19 Brushes 59 TechFusion 20 Vision LOOP, TAP 60 BeBop 21 AstroNote 1SHOT 61 Crossover 22 acidfunk 62 Skanky 23 PunkRock 63 RoundBdge 24 OpenMaple 64 Metal\Core 25 70s Rock 65 JazzCombo 26 DrySound 66 Spark! 27 Flat&Shallow 67 80sMachine 28 Rvs!Trashy 68 =cosmic= 29 melodious TAP 69 1985 30 HARD n’BASS TAP 70 TR-808 31 BazzKicker 71 TR-909 32 FatPressed 72 LatinDrums 33 DrumnDubStep 73 Latin 34 ReMix-ulator 74 Brazil 35 Acoutronic 75 Cajon 36 HipHop 76 African 37 90sHouse 77 Ka-Rimba 38 D-N-B LOOP 78 Tabla TAP 39 SuperLoop TAP 79 Asian 40 >>process>>> 80 Orchestra TAP Copyright © 2012 ROLAND CORPORATION All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION. Roland and V-Drums are either registered trademarks or trademarks of Roland Corporation in the United States and/or other countries. -
Microphone Techniques for Drums (English)
MICROPHONE TECHNIQUES DRUMS A Shure Educational Publication Microphone Techniques Table of Contents for DRUMS General Rules . 4 Microphone Positions . 6 Overhead-Cymbals . 7 Snare drum . 7 Bass drum (kick drum) . 7 Tom-toms . 7 Hi-hat . 8 Snare, hi-hat and hi-tom . 8 Cymbals, floor tom and hi-tom . 8 Timbales, congas, bongos . 9 Tambourine . 9 Steel drums . 9 Xylophone, marimba, vibraphone . 9 Glockenspiel . 9 Glossary . 10 Microphone Selection Guide . 11 Drums 3 Microphone Techniques for DRUMS GENERAL RULES Microphone technique is largely a matter of personal taste — whatever method sounds right for the particular instrument, musician, and song is right. There is no one ideal microphone to use on any particular instrument. There is also no one ideal way to place a microphone. Place the microphone to get the sound you want. However, the desired sound can often be achieved more quickly and consistently by understanding basic microphone characteristics, sound-radiation properties of musical instruments, and acoustic fundamentals. Here are some suggestions to follow when miking musical instruments for sound reinforcement. • Try to get the sound source (instrument, voice, or amplifier) to sound good acoustically (“live”) before miking it. • Use a microphone with a frequency response that is limited to the frequency range of the instrument, if possible, or filter out frequencies below the lowest fundamental frequency of the instrument. • To determine a good starting microphone position, try closing one ear with your finger. Listen to the sound source with the other ear and move around until you find a spot that sounds good. Put the microphone there. -
African Drumming in Drum Circles by Robert J
African Drumming in Drum Circles By Robert J. Damm Although there is a clear distinction between African drum ensembles that learn a repertoire of traditional dance rhythms of West Africa and a drum circle that plays primarily freestyle, in-the-moment music, there are times when it might be valuable to share African drumming concepts in a drum circle. In his 2011 Percussive Notes article “Interactive Drumming: Using the power of rhythm to unite and inspire,” Kalani defined drum circles, drum ensembles, and drum classes. Drum circles are “improvisational experiences, aimed at having fun in an inclusive setting. They don’t require of the participants any specific musical knowledge or skills, and the music is co-created in the moment. The main idea is that anyone is free to join and express himself or herself in any way that positively contributes to the music.” By contrast, drum classes are “a means to learn musical skills. The goal is to develop one’s drumming skills in order to enhance one’s enjoyment and appreciation of music. Students often start with classes and then move on to join ensembles, thereby further developing their skills.” Drum ensembles are “often organized around specific musical genres, such as contemporary or folkloric music of a specific culture” (Kalani, p. 72). Robert Damm: It may be beneficial for a drum circle facilitator to introduce elements of African music for the sake of enhancing the musical skills, cultural knowledge, and social experience of the participants. PERCUSSIVE NOTES 8 JULY 2017 PERCUSSIVE NOTES 9 JULY 2017 cknowledging these distinctions, it may be beneficial for a drum circle facilitator to introduce elements of African music (culturally specific rhythms, processes, and concepts) for the sake of enhancing the musi- cal skills, cultural knowledge, and social experience Aof the participants in a drum circle. -
Product Guide 2020
Product Guide 2020 ZILDJIAN 2020 PRODUCT GUIDE CYMBAL FAMILIES 3 K FAMILY 5 A FAMILY 13 FX FAMILY 17 S FAMILY 19 I FAMILY 21 PLANET Z 23 L80 LOW VOLUME 25 CYMBAL PACKS 27 GEN16 29 BAND & ORCHESTRAL CYMBALS 31 GEAR & ACCESSORIES 57 DRUMSTICKS 41 PRODUCT LISTINGS 59 1 Product Guide 2 THE CYMBAL FAMILY 3 Product Guide 4 THE FAMILY K ZILDJIAN CYMBALS K Zildjian cymbals are known for their dark, warm sounds that harkens back to the original K cymbals developed by Zildjian in 19th Century Turkey. Instantly recognizable by their ˝vented K˝ logo, K cymbals capture the aura of original Ks but with far greater consistency, making them the choice of drummers from genres as diverse as Jazz, Country and Rock. RIDES SIZES CRASHES SIZES HIHATS SIZES EFFECTS SIZES Crash Ride 18˝ 20˝ 21˝ Splash 8˝ 10˝ 12˝ HiHats 13˝ 14˝ Mini China 14˝ Ride 20˝ 22˝ Dark Crash Thin 15˝ 16˝ 17˝ 18˝ 19˝ 20˝ K/Z Special HiHats 13˝ 14˝ EFX 16˝ 18˝ Heavy Ride 20˝ Dark Crash Medium Thin 16˝ 17˝ 18˝ Mastersound HiHats 14˝ China 17˝ 19˝ Light Ride 22˝ 24˝ Cluster Crash 16˝ 18˝ 20˝ Light HiHats 14˝ 15˝ 16˝ Dark Medium Ride 22˝ Sweet Crash 16˝ 17˝ 18˝ 19˝ 20˝ Sweet HiHats 14˝ 15˝ 16˝ Light Flat Ride 20˝ Sweet Ride 21˝ 23˝ DETAILS: Exclusive K Zildjian random hammering, traditional wide groove lathing, all Traditional except 21” Crash Ride 6 SPECIAL DRY K CUSTOM CYMBALS K Custom cymbals are based on the darker, dryer sounds of the legendary K line but have been customized with unique finishes, K CUSTOM SPECIAL DRY CYMBALS tonal modifications, and manufacturing techniques. -
Electronic Drum Kit
ELECTRONIC DRUM KIT INSTRUCTION MANUAL Models: PTEDRL12, PTEDRL14 Dear Customer Thank you sincerely for buying our hand roll drum kit. We are specialized in devel- oped and manufactured hand roll drum kit and piano for over 15years. This hand roll drum kit is a handy size product which is very easy to carry, in order to have a bast experience affect, please pay attention to the operation, wish you enjoy it, thanks again for your cooperation! I. Specification: 1. 7 drum pad: (Include crash cymbal, ride cymbal, open/close hi-hat, snare,high tom, low tom-tom, oor tom-tom) 9 drum pad: (include 2 crash cymbal, ride cymbal, open/close hi-hat, snare, base drum, high tom-tom, low tom-tom, oor tom-tom) 2 drum pedals: (include 1 hi-hat, 1 base drum) 2. 12demo songs, 7drum sounds, accompaniment 3. Volume Control: lever 9 4. Speed Control :lever 15 5. Could record and play 6. Audio input,match your cell phone, tablet, PC and other device which could support music. 7. With speaker, using as stereo II. Features: 1. The world's rst Multinational, portable, and professional drum 2. Fit for family entertainment/friends gathering and drum practice 3. Multi-sounds, simulated the really drum kits 4. The standard drum conguration and the extension for foot pedal could bring you real-life drum experience 5. Include accompaniment/ demo songs,control the playing speed free, this Is the best choice for drum learning 6. Include recording function,get all your inspiration in record easily 7. With two high-quality stereo speakers 8. -
Percussion Primer / Triangle by Neil Grover
Percussion Primer / Triangle by Neil Grover SELECTION The triangle should be the highest, non-pitched member of the percussion family. Sizes range from 4” to 10”, however, the best size for concert playing is between 6” and 9”. A larger triangle provides a bigger internal working area for easier execution, however, it is heavier and more difficult to control. Triangles are made from steel, brass or bronze, each producing a different sonority. SUSPENSION A triangle needs to be suspended so that it vibrates unencumbered and freely, al- lowing maximum overtone resonance to be produced. It is very important that the instrument be suspended using a very thin, yet strong, mono-filament line. Fishing line works great and is also inexpensive. The use of string, cable, shoelaces, etc. will effec- tively dampen the resonance of any triangle. Using a second “catch line” will pre- vent the triangle from falling to the floor, should the primary line break. A light “triangle clip” will allow the triangle to be mounted on a music stand when not in use. STROKE The triangle should never be played when mounted on a music stand. It should al- ways be held at eye level and struck on the bottom leg with a motion that “pushes away” the bottom leg. This method will produce the maximum overtone sonority. A triangle sound full of overtones will blend with other instruments. Remember, a tri- angle is a non-pitched instrument and should have a very lush array of overtones, it should not sound like a bell! BEATERS Beaters are available in a large variety of sizes (diameters), materials and shapes.