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Christina Perri 3
MUSIC PRODUCTION GUIDE OFFICIAL NEWS GUIDE FROM YAMAHA & EASY SOUNDS FOR YAMAHA MUSIC PRODUCTION INSTRUMENTS 03|2015 Contents Interview Christina Perri 3 MOTIF Soundset „Air“ by DCP Productions 6 Yamaha Synth Book reloaded 8 VP1 Soundset for MOTIF XF / MOXF 11 MOTIF XS/XF/MOXF Exploring Sound: „Vintage Keyboards“ 15 MOTIF XF / MOXF Performance Soundset „Hybrid Performer“ Part 3 19 Yamaha DTX M12 Touch App 22 The new e-drum kit Yamaha DTX582k 24 CHRISTINA Yamaha KP100 Kick Pad 26 Sounds & Goodies 29 PERRI Imprint 43 DREAMS COME TRUE MUSIC PRODUCTION GUIDE 03|2015 CHRISTINA PERRI - DREAMS COME TRUE “Every time I dream something up, it’s so “I don’t take it lightly,” she says. “I tell everyone, ‘That’s small compared to what actually happens,” the moment my life changed.’ It was incredibly special.” says singer/songwriter Christina Perri. But even as her own life was changing, Perri was changing “Because what actually happens is just other people’s lives through her music. Just a year later, amazing.” her multi-platinum song, “A Thousand Years,” was As an unsigned artist, Christina once dreamed of making released as the second single from the soundtrack album a career out of performing and recording her deeply to The Twilight Saga: Breaking Dawn – Part 1. It achieved personal yet pop-friendly songs. Then one day four years multi-platinum status, with a video that inspired romantic ago, one of her recordings was featured on the hit TV visions among countless Twilight fans. show So You Think You Can Dance, and suddenly she “I had dreamed of having a song on the Twilight stopped dreaming the dream—and began living it. -
Traditional Funk: an Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio
University of Dayton eCommons Honors Theses University Honors Program 4-26-2020 Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Caleb G. Vanden Eynden University of Dayton Follow this and additional works at: https://ecommons.udayton.edu/uhp_theses eCommons Citation Vanden Eynden, Caleb G., "Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio" (2020). Honors Theses. 289. https://ecommons.udayton.edu/uhp_theses/289 This Honors Thesis is brought to you for free and open access by the University Honors Program at eCommons. It has been accepted for inclusion in Honors Theses by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Honors Thesis Caleb G. Vanden Eynden Department: Music Advisor: Samuel N. Dorf, Ph.D. April 2020 Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Honors Thesis Caleb G. Vanden Eynden Department: Music Advisor: Samuel N. Dorf, Ph.D. April 2020 Abstract Recognized nationally as the funk capital of the world, Dayton, Ohio takes credit for birthing important funk groups (i.e. Ohio Players, Zapp, Heatwave, and Lakeside) during the 1970s and 80s. Through a combination of ethnographic and archival research, this paper offers a pedagogical approach to Dayton funk, rooted in the styles and works of the city’s funk legacy. Drawing from fieldwork with Dayton funk musicians completed over the summer of 2019 and pedagogical theories of including black music in the school curriculum, this paper presents a pedagogical model for funk instruction that introduces the ingredients of funk (instrumentation, form, groove, and vocals) in order to enable secondary school music programs to create their own funk rooted in local history. -
MUSIC PRODUCTION GUIDE Official News Guide from Yamaha & Easy Sounds for Yamaha Music Production Instruments
MUSIC PRODUCTION GUIDE OFFICIAL NEWS GUIDE FROM YAMAHA & EASY SOUNDS FOR YAMAHA MUSIC PRODUCTION INSTRUMENTS 04|2014 SPECIAL EDITION Contents 40th Anniversary Yamaha Synthesizers 3 40 years Yamaha Synthesizers The history 4 40 years Yamaha Synthesizers Timeline 5 40th Anniversary Special Edition MOTIF XF White 23 40th Anniversary Box MOTIF XF 28 40th Anniversary discount coupons 30 40th Anniversary MX promotion plan 31 40TH 40th Anniversary app sales plan 32 ANNIVERSARY Sounds & Goodies 36 YAMAHA Imprint 41 SYNTHESIZERS 40 YEARS OF INSPIRATION YAMAHA CELEBRATES 40 YEARS IN SYNTHESIZER-DESIGN WITH BRANDNEW MOTIF XF IN A STUNNIG WHITE FINISH SARY PRE ER M V IU I M N N B A O X H T 0 4 G N I D U L C N I • FL1024M FLASH MEMORY Since 1974 Yamaha has set new benchmarks in the design of excellent synthesizers and has developed • USB FLASH MEMORY (4GB) innovative tools of creativity. The unique sounds of the legendary SY1, VL1 and DX7 have influenced a INCL. SOUND LIBRARIES: whole variety of musical styles. Yamaha‘s know-how, inspiring technique and the distinctive sounds of a - CHICK’S MARK V - CS-80 40-years-experience are featured in the new MOTIF XF series that is now available in a very stylish - ULTIMATE PIANO COLLECTION white finish. - VINTAGE SYNTHESIZER COLLECTION YAMAHASYNTHSEU YAMAHA.SYNTHESIZERS.EU YAMAHASYNTHESIZEREU EUROPE.YAMAHA.COM MUSIC PRODUCTION GUIDE 04|2014 40TH ANNIVERSARY YAMAHA SYNTHESIZERS In 1974 Yamaha produced its first portable Yamaha synthesizers and workstations were and still are analog synthesizer with the SY-1. The the first choice for professionals and amateurs in the multi- faceted music business. -
Pro Audio for Print Layout 1 9/14/11 12:04 AM Page 356
356-443 Pro Audio for Print_Layout 1 9/14/11 12:04 AM Page 356 PRO AUDIO 356 Large Diaphragm Microphones www.BandH.com C414 XLS C214 C414 XLII Accurate, beautifully detailed pickup of any acoustic Cost-effective alternative to the dual-diaphragm Unrivaled up-front sound is well-known for classic instrument. Nine pickup patterns. Controls can be C414, delivers the pristine sound reproduction of music recording or drum ambience miking. Nine disabled for trouble-free use in live-sound applications the classic condenser mic, in a single-pattern pickup patterns enable the perfect setting for every and permanent installations. Three switchable cardioid design. Features low-cut filter switch, application. Three switchable bass cut filters and different bass cut filters and three pre-attenuation 20dB pad switch and dynamic range of 152 dB. three pre-attenuation levels. All controls can be levels. Peak Hold LED displays even shortest overload Includes case, pop filter, windscreen, and easily disabled, Dynamic range of 152 dB. Includes peaks. Dynamic range of 152 dB. Includes case, pop shockmount. case, pop filter, windscreen, and shockmount. filter, windscreen, and shockmount. #AKC214 ..................................................399.00 #AKC414XLII .............................................999.00 #AKC414XLS..................................................949.99 #AKC214MP (Matched Stereo Pair)...............899.00 #AKC414XLIIST (Matched Stereo Pair).........2099.00 Perception Series C2000B AT2020 High quality recording mic with elegantly styled True condenser mics, they deliver clear sound with Effectively isolates source signals while providing die-cast metal housing and silver-gray finish, the accurate sonic detail. Switchable 20dB and switchable a fast transient response and high 144dB SPL C2000B has an almost ruler-flat response that bass cut filter. -
Let's Get Started…
Welcome to the OASYS Experience! This tour guide is your first stop on an amazing journey of discovery. Our goal here is to get you comfortable working with the user interface and control surface, and to give you a “sneak peek” at some of the many incredibly-musical things that you can do with OASYS! After you’ve finished this tour, you can learn more about this great instrument by working with the OASYS Operation and Parameter Guides. And you’ll find new OASYS tutorials, tips and tricks, and support materials by visiting www.korg.com/oasys and www.karma-labs.com/oasys on a regular basis! Let’s get started… Start by loading the factory data and listening to the demo songs: The factory demos allow you to experience OASYS in all of its glory - as a full production studio! In addition to hearing MIDI tracks which show off OASYS’ superb synth engines, several of the demo songs include HD audio tracks and sample data. 1. Press the DISK button > Select the FACTORY folder on the internal hard drive, and then press Open > Select the file PRELOAD.PCG, and then press Load > Check the boxes next to PRELOAD.SNG and PRELOAD.KSC, and then press OK. This will load the factory sounds, demo songs and samples. 2. Press the SEQ button, and then press the SEQ START/STOP button to play the first demo song, “Sinfonia Russe” > Press the SEQ START/STOP button again when finished listening to this song, and then press the pop-up arrow left of the song name, select and playback the other demo songs. -
Digital Piano
Address KORG ITALY Spa Via Cagiata, 85 I-60027 Osimo (An) Italy Web servers www.korgpa.com www.korg.co.jp www.korg.com www.korg.co.uk www.korgcanada.com www.korgfr.net www.korg.de www.korg.it www.letusa.es DIGITAL PIANO ENGLISH MAN0010006 © KORG Italy 2006. All rights reserved PART NUMBER: MAN0010006 E 2 User’s Manual User’s C720_English.fm Page 1 Tuesday, October 10, 2006 4:14 PM IMPORTANT SAFETY INSTRUCTIONS The lightning flash with arrowhead symbol within an equilateral triangle, is intended to alert the user to the presence of uninsulated • Read these instructions. “dangerous voltage” within the product’s enclosure that may be of sufficient magni- • Keep these instructions. tude to constitute a risk of electric shock to • Heed all warnings. persons. • Follow all instructions. • Do not use this apparatus near water. The exclamation point within an equilateral • Mains powered apparatus shall not be exposed to dripping or triangle is intended to alert the user to the splashing and that no objects filled with liquids, such as vases, presence of important operating and mainte- shall be placed on the apparatus. nance (servicing) instructions in the literature accompanying the product. • Clean only with dry cloth. • Do not block any ventilation openings, install in accordance with the manufacturer’s instructions. • Do not install near any heat sources such as radiators, heat reg- THE FCC REGULATION WARNING (FOR U.S.A.) isters, stoves, or other apparatus (including amplifiers) that pro- duce heat. 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. -
Generic Artistic Strategies and Ambivalent Affect
I GENERIC ARTISTIC STRATEGIES AND AMBIVALENT AFFECT THOMAS SMITH A thesis in fulfillment of the requirements for the degree of Doctor of Philosophy Faculty of Art & Design 2019 THOMAS SMITH II Surname/Family Name : Smith Given Name/s : Thomas William Abbreviation for degree as give in the University calendar : 1292 – PhD Art, Design and Media Faculty : Faculty of Art & Design School : School of Art & Design Generic Artistic Strategies and Ambivalent Thesis Title : Affect This practice-based thesis investigates how contemporary artists are using generic artistic strategies and ambivalent affect to inhabit post-digital conditions. It proposes that artists reproducing and re-performing generic post-digital aesthetics both engender and are enveloped by ambivalent affect, and that these strategies are immanently political rather than overtly critical. I argue that ambivalent artworks secede from requirements for newness and innovation, and the exploitation of creative labour that are a feature of post-digital environments. Drawing on Sianne Ngai’s affect theory and Paolo Virno’s post-Fordist thinking, I summarise contemporary conditions for creativity as a ‘general intellect of the post-digital’; proposing that artists’ and workers’ relations with this mode of production are necessarily ambivalent. Throughout this research I produced several performance and video works that exemplify this ambivalence. These works reproduce standardised electronic music, stock imagery and PowerPoint presentations, alongside re-performances of digital labour such as online shopping, image searches, and paying rent online. Through these examples I develop concepts for discussing generic aesthetics, framing them as vital to understanding post-digital conditions. I address works by other artists including Amalia Ulman’s Excellences and Perfections (2014), which I argue is neither critical nor complicit with generic post-digital routines, but rather signals affective ambivalence and a desire to secede from social media performance. -
Pdf Nord Modular
Table of Contents 1 Introduction 1.1 The Purpose of this Document 1.2 Acknowledgements 2 Oscillator Waveform Modification 2.1 Sync 2.2 Frequency Modulation Techniques 2.3 Wave Shaping 2.4 Vector Synthesis 2.5 Wave Sequencing 2.6 Audio-Rate Crossfading 2.7 Wave Terrain Synthesis 2.8 VOSIM 2.9 FOF Synthesis 2.10 Granular Synthesis 3 Filter Techniques 3.1 Resonant Filters as Oscillators 3.2 Serial and Parallel Filter Techniques 3.3 Audio-Rate Filter Cutoff Modulation 3.4 Adding Analog Feel 3.5 Wet Filters 4 Noise Generation 4.1 White Noise 4.2 Brown Noise 4.3 Pink Noise 4.4 Pitched Noise 5 Percussion 5.1 Bass Drum Synthesis 5.2 Snare Drum Synthesis 5.3 Synthesis of Gongs, Bells and Cymbals 5.4 Synthesis of Hand Claps 6 Additive Synthesis 6.1 What is Additive Synthesis? 6.2 Resynthesis 6.3 Group Additive Synthesis 6.4 Morphing 6.5 Transients 6.7 Which Oscillator to Use 7 Physical Modeling 7.1 Introduction to Physical Modeling 7.2 The Karplus-Strong Algorithm 7.3 Tuning of Delay Lines 7.4 Delay Line Details 7.5 Physical Modeling with Digital Waveguides 7.6 String Modeling 7.7 Woodwind Modeling 7.8 Related Links 8 Speech Synthesis and Processing 8.1 Vocoder Techniques 8.2 Speech Synthesis 8.3 Pitch Tracking 9 Using the Logic Modules 9.1 Complex Logic Functions 9.2 Flipflops, Counters other Sequential Elements 9.3 Asynchronous Elements 9.4 Arpeggiation 10 Algorithmic Composition 10.1 Chaos and Fractal Music 10.2 Cellular Automata 10.3 Cooking Noodles 11 Reverb and Echo Effects 11.1 Synthetic Echo and Reverb 11.2 Short-Time Reverb 11.3 Low-Fidelity -
Edisyn a Java-Based Synthesizer Patch Editor, Version 28 by Sean Luke [email protected]
Edisyn A Java-based Synthesizer Patch Editor, Version 28 By Sean Luke [email protected] Contents 1 About Edisyn 2 2 Starting Edisyn 3 3 Edisyn Patch Editors 4 4 Creating and Setting Up Additional Patch Editors5 5 Loading and Saving Files 6 5.1 Loading or Receiving a Bulk- or Bank-Sysex File . .6 5.2 Batch Downloads . .7 5.3 Exporting to Text . .7 6 Communicating with a Synthesizer8 6.1 Playing Test Notes . .9 6.2 Testing the Incoming Connection . .9 7 Communicating with a Controller9 7.1 Testing the Incoming Connection . 10 7.2 Remote Control of your Synthesizer . 10 7.3 Remote Control of Edisyn . 10 8 Communicating with a Software Synth or Digital Audio Workstation 11 9 Editing and Exploratory Patch Creation 12 9.1 Editing Tools . 12 9.2 Exploration Tools . 13 9.3 Restricting Mutation and Recombination to Only Certain Parameters . 14 9.4 Hill-Climbing . 15 9.5 Constricting . 16 9.6 Morphing . 17 9.7 Deep Learned Neural Hill-Climbing and Randomization . 19 10 Writing a Patch Editor 20 10.1 Understand What You’re Getting Into . 20 10.2 Setting Up the Development Environment . 21 10.3 Creating Files . 22 10.4 Getting the UI Working . 22 10.5 Getting Input from the Synth (and File Loading) Working . 34 10.6 Getting Output to the Synth (and File Writing) Working . 38 10.7 Creating an Init File . 39 10.8 Getting Batch Downloads Working . 39 10.9 Other Stuff . 39 10.10Submitting Your Patch Editor! . 40 1 1 About Edisyn Edisyn is a no-nonsense synthesizer patch editor for the editing and parameter exploration of a variety of synthesizers. -
Owner's Manual
CZ/PL 88 MINI OWNER’S MANUAL Firmware Version 5.04 WELCOME Thank you for purchasing a CZ/PL 88 mini Synthesizer Memory Module! This manual is a complete guide to using your CZ/PL 88 mini with most synthesizers that support SysEx. For use with the Casio CZ series of synthesizers, please consult the CZ/PL 88 mini Owner’s Manual For the Casio CZ. CONNECTIONS Connect the PL88 as follows: USB POWER If using the USB cord for power, connect to an appropriate USB compliant (5V) power source. This could be a USB powerbank for cordless operation. POWER If using the standard power port, connect to a 9V, center-positive adapter. MIDI You will need 2 standard MIDI cables. Connect the PL88 MIDI OUT port to your synthesizer’s MIDI IN port. Connect the PL88 MIDI IN port to your synthesizer’s MIDI OUT port. Remember: OUT to IN, IN to OUT. SYSTEM CHECKS Find your synthesizer model in the Appendix and make sure your synthesizer is ready to send and received MIDI sysex data, and that memory protection is turned off. POWER The PL88 will turn on when power is applied at either power connection. To turn the PL88 off, disconnect the power source. MIDI CONNECTION The PL88 has 2 modes to handle MIDI connection. You can toggle between the modes by pressing 7 to access the SETT menu, then D (Enter). The first option is CONN (Connection). Use the #,* buttons to select one of the 2 available options, then press D to confirm. LOOP. This is the factory setting. -
Order of the Shadow Wolf Cyberzine
SoCiEtIeS ArCh NeMeSiS CyBeRpUnK E-ZiNe Issue #2 December 2014 welcome to the order of the... o o . o . o o o o o . o . ________ ___ ___ ________ ________ ________ ___ o __ |\ ____\|\ \|\ \|\ __ \|\ ___ \|\ __ \|\ \ |\ \ o \ \ \___|\ \ \\\ \ \ \|\ \ \ \_|\ \ \ \|\ \ \ \ \ \ \ \ \_____ \ \ __ \ \ __ \ \ \ \\ \ \ \\\ \ \ \ __\ \ \ . \|____|\ \ \ \ \ \ \ \ \ \ \ \_\\ \ \ \\\ \ \ \|\__\_\ \ ____\_\ \ \__\ \__\ \__\ \__\ \_______\ \_______\ \____________\ |\_________\|__|\|__|\|__|\|__|\|_______|\|_______|\|____________| . o \|_________| | | | . | . | | O . o | . o | O | /\ o /\ ___ O __ ________ ___ ________ . | \-------/ | . |\ \ |\ \|\ __ \|\ \ |\ _____\ / \ \ \ \ \ \ \ \ \|\ \ \ \ \ \ \__/ . | __ __ | . \ \ \ __\ \ \ \ \\\ \ \ \ \ \ __\ / \ \ \ \|\__\_\ \ \ \\\ \ \ \____\ \ \_| / \ . \ \____________\ \_______\ \_______\ \__\ / \ . \|____________|\|_______|\|_______|\|__| . / \ O | | . | / \ O . O . | . / \ /\ THE LAUNDRoMAT OF YOUR MIND /\ O O / \ /\ /\ EXTRA BIG DECEMBER ISSUE!!! / \ . / \/ \/ \ . /..\ < . / \ . / \ \ \ _\' /_ / . / \ . / \ \ \ . / . \ . / \ /________\___\___\ | . | /____ ___\ || || || \ . / || /\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\ ============================================================================== The Order OF THE SHADOW WOLF IS NOW IN COLOR!!!!! your online cyber-zine for: Occult home experiments - Synthesizers - Sorcery & Magick - DIY projects - Movies - Music - Counter Culture - UFOlogy - Poetry - Obsolete computers - Artificial Intelligence - Rastafarian Language -
PPG Wave 3.V
PRESS RELEASE • FOR IMMEDIATE RELEASE • 02/12/10 CONTACT For review samples please e-mail: [email protected] For Waldorf Music info contact: [email protected] PPG Wave 3.V Waldorf releases new soft synth plug-in Waldorf, GERMANY: Waldorf Music is proud to announce availability of its new PPG Wave 3.V soft synth plug-in as of December 2, 2010… The PPG Wave 3.V is a virtual recreation of the legendary PPG Wave series, arguably amongst the most coveted high-end synthesizers of the Eighties. Originally developed by Wolfgang Palm — famed for inventing wavetable synthesis (whereby groups of short, single-cycle waves can be swept digitally from one to the next — a wavetable in PPG-speak), their unique, groundbreaking sounds graced countless hit records that have since inspired a whole generation of producers, composers, and listeners alike. While a full-blown PPG Music Computer System originally cost somewhere in the region of a classy, luxury car — affordable only to a few top musicians and producers, now anyone can enjoy these still-unique sounds in their favourite VST or AU host DAW at a fraction of that price! In 1981, the PPG Wave 2 was the first digital wavetable synthesizer — an eight-voice, one-oscillator- per-voice affair — with analogue filters and VCAs; upping the ante to two oscillators per voice, the eight-voice PPG Wave 2.2 made history a year later with hitherto-unheard sensational sound patterns, thanks to its 32 wavetables with 64 waveforms in each wavetable, as well as awesome analogue sounds, brilliant bells, cathedral-like choirs, and other digital delights.