DOCSLIB.ORG

WAVEDRUM Owner's Manaul

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Owner´s Manual E 2 1 Thank you for purchasing the Korg WAVEDRUM THE FCC REGULATION WARNING (for USA) dynamic percussion synthesizer. This equipment has been tested and found to comply This owner’s manual contains a great deal of informa- with the limits for a Class B digital device, pursuant tion that will help you understand the WAVEDRUM to Part 15 of the FCC Rules. These limits are and play it to its fullest potential. In order- to ensure designed to provide reasonable protection against that you are taking complete advantage of your harmful interference in a residential installation. This WAVEDRUM, please read this manual carefully and equipment generates, uses, and can radiate radio fre- use the product as directed. quency energy and, if not installed and used in accor- dance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a Precautions particular installation. If this equipment does cause harmful interference to radio or television reception, Location which can be determined by turning the equipment off and on, the user is encouraged to try to correct the Using the unit in the following locations can result in a interference by one or more of the following mea- malfunction. sures: • In direct sunlight • Reorient or relocate the receiving antenna. • Locations of extreme temperature or humidity • Increase the separation between the equipment • Excessively dusty or dirty locations and receiver. • Locations of excessive vibration • Connect the equipment into an outlet on a circuit • Close to magnetic fields different from that to which the receiver is con- Power supply nected. Please connect the designated AC adapter to an AC outlet • Consult the dealer or an experienced radio/TV of the correct voltage. Do not connect it to an AC outlet technician for help. of voltage other than that for which your unit is intended. Unauthorized changes or modification to this system can void the user’s authority to operate this equip- Interference with other electrical devices ment. Radios and televisions placed nearby may experience reception interference. Operate this unit at a suitable dis- Notice regarding disposal (EU only) tance from radios and televisions. When this “crossed-out wheeled bin” symbol Handling is displayed on the product, owner’s manual, To avoid breakage, do not apply excessive force to the battery, or battery package, it signifies that switches or controls. when you wish to dispose of this product, manual, package or battery you must do so in Care an approved manner. Do not discard this prod- If the exterior becomes dirty, wipe it with a clean, dry uct, manual, package or battery along with ordinary cloth. Do not use liquid cleaners such as benzene or thin- household waste. Disposing in the correct manner ner, or cleaning compounds or flammable polishes. will prevent harm to human health and potential dam- age to the environment. Since the correct method of Keep this manual disposal will depend on the applicable laws and regu- After reading this manual, please keep it for later refer- lations in your locality, please contact your local ence. administrative body for details. If the battery con- tains heavy metals in excess of the regulated amount, Keeping foreign matter out of your equipment a chemical symbol is displayed below the “crossed- Never set any container with liquid in it near this equip- out wheeled bin” symbol on the battery or battery ment. If liquid gets into the equipment, it could cause a package. breakdown, fire, or electrical shock. Be careful not to let metal objects get into the equipment. If something does slip into the equipment, unplug the AC adapter from the wall outlet. Then contact your nearest Korg dealer or the store where the equipment was pur- chased. 2 Cautions for use Cautions for use Contents Each individual WAVEDRUM unit will differ slightly Precautions ................................................................ 2 depending on the type of head used, how it is tuned or Cautions for use ......................................................... 3 played, and how it has been maintained. Please take note of the following points as well as the preceding “Cautions Introduction ............................................................... 4 for safety.” Parts of the WAVEDRUM ............................................ 5 Do not place heavy objects on the head for long periods If pressure is applied to the surface of the head for a long Preparations ..........................................6 period, the rubber cushion and sensor under the head will Connecting audio devices .......................................... 6 become deformed, and this can harm the playability of the instrument. Turning the power on ................................................ 6 Avoid placing heavy objects on the head or placing the Attaching the WAVEDRUM to a stand ........................ 6 WAVEDRUM upside down for long periods. Feedback Performing .............................................7 The sensors in the WAVEDRUM detect the vibrations that Performance techniques ............................................ 7 occur in the head and body when you strike the WAVE- Selecting programs .................................................... 7 DRUM with your hand or a drum stick. In some situa- Assigning programs to buttons 1–4 .......................... 7 tions, the WAVEDRUM may also act as a microphone and pick up loud sounds from nearby high output speakers in addition to vibrations produced by directly striking the Editing ...................................................8 WAVEDRUM. Basic editing procedure ............................................. 8 Especially when monitoring the WAVEDRUM with a large PA setup, the WAVEDRUM sounds emitted by the Saving your edited settings ....................................... 9 speakers can be transmitted through the floor or stand (or Important editing parameters ................................... 9 directly through the air) and be picked up once again by the WAVEDRUM. Parameter list ......................................12 When such vibrations are detected by the WAVEDRUM and sent back through the speakers, feedback will occur, Edit 1 ( Ed1) ........................................................... 12 and an uncontrollable and continuous sound will result. Edit 2 ( Ed2) ........................................................... 14 Feedback places severe stress on amps and speakers, and Global ( GLb) .......................................................... 15 can cause serious damage to equipment. Thus, when a Single-size algorithm .............................................. 16 powerful monitoring system is used, the equalizers and limiters of the PA system should be adjusted to prevent Double-size algorithms ............................................ 26 the WAVEDRUM from producing feedback, similar to preventing feedback for vocal and acoustic instrument Appendix ..............................................28 mics. Restoring the factory settings .................................. 28 Data handling Replacing the drum head ........................................ 28 Unexpected malfunctions can result in the loss of mem- Tuning the drum head ............................................. 28 ory contents. Korg cannot accept any responsibility for any loss or damage which you may incur as a result of Calibration ............................................................... 29 data loss. Error messages ........................................................ 30 Troubleshooting ...................................................... 30 Specifications ........................................................... 30 Index ....................................................................... 31 *This product was developed under license of physical modeling tone generator patents (http://www.sondius- xg.com) owned by Stanford University USA and Yamaha Corporation. *All product names and company names are the trade- marks or registered trademarks of their respective own- ers. 3 Introduction Main features Revolutionary synthesis technology 100 preset programs, 100 user programs The WAVEDRUM generates sound by detecting the There are 100 built-in preset programs that combine per- sound of your strike via the head and rim sensors, and cussion, drums, and sound effects in complex ways that processing this audio source by DSP (Digital Signal Pro- can produce completely different sounds according to cessing) sound synthesis technology to create unique your playing technique. Programs that you edit can be sounds. At the same time, a PCM sound source is also saved in the 100 user programs. played using your strike as the trigger. Using this combination of methods, the WAVEDRUM Live mode produces a rich variety of percussion sounds that give You can register twelve frequently-used programs (four you an extremely wide range of freedom for perfor- programs x three banks) in buttons 1–4 for immediate mance expression. By using subtle motions of your fin- recall. This is convenient for live performances. gers or hand to strike, rub, or scratch the WAVEDRUM, 100 loop phrases or by playing it using sticks, mallets, or brushes, you can The built-in 100 loop phrases cover a broad range of obtain a high degree of expressive and dynamic range genres and tempos, allowing you to play along for a one- that rivals that of acoustic drums or percussion instru- person jam session.
Recommended publications
  • The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification

    The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification

    The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below).
  • The Science of String Instruments

    The Science of String Instruments

    The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D.
  • Making Music from Around the World

    Making Music from Around the World

    The Birmingham Botanical Gardens Making Music From Around The World The Birmingham Botanical Gardens & Glasshouses Introduction In the Music National Curriculum, one of the general requirements for study throughout Key Stages 1, 2 and 3 is the inclusion of music from ‘a variety of cultures, Western and non-Western’. However, it is not always that easy to find ways of introducing a multicultural dimension to the teaching of music in the classroom. At the Botanical Gardens we have an exciting collection of musical instruments made from natural materials, which come from around the world. These instruments are available for workshop sessions, which allow the pupils to explore a new world of sound and learn more about the places they come from and the people who make them. This booklet describes the fascinating instruments available; the plant materials used in their construction and practical fun activities that can be carried out with the pupils at the Gardens. Acknowledgements Many thanks must go to Andy Wilson from Knock on Wood for supplying us with most of our instruments and helpful background information. Musical Instruments Africa Bean Pod Rattle Perhaps the simplest rattle of them all. This example is the pod of the Royal Poinciana tree from Madagascar. Baobab Rattle Another simple rattle using the fruit and seeds of the Baobab tree. Another kind of seed pod rattle. Possibly using Capala fruits from the Passiflora group of plants threaded onto a stick. Nyatiti Uses a calabash as the body of the instrument which acts as the sound box. Musical Instruments Africa Caxixi (Kasheeshee) A strong, split cane woven basket rattle from Cameroon.
  • Following the Trail of the Snake: a Life History of Cobra Mansa “Cobrinha” Mestre of Capoeira

    Following the Trail of the Snake: a Life History of Cobra Mansa “Cobrinha” Mestre of Capoeira

    ABSTRACT Title of Document: FOLLOWING THE TRAIL OF THE SNAKE: A LIFE HISTORY OF COBRA MANSA “COBRINHA” MESTRE OF CAPOEIRA Isabel Angulo, Doctor of Philosophy, 2008 Directed By: Dr. Jonathan Dueck Division of Musicology and Ethnomusicology, School of Music, University of Maryland Professor John Caughey American Studies Department, University of Maryland This dissertation is a cultural biography of Mestre Cobra Mansa, a mestre of the Afro-Brazilian martial art of capoeira angola. The intention of this work is to track Mestre Cobrinha’s life history and accomplishments from his beginning as an impoverished child in Rio to becoming a mestre of the tradition—its movements, music, history, ritual and philosophy. A highly skilled performer and researcher, he has become a cultural ambassador of the tradition in Brazil and abroad. Following the Trail of the Snake is an interdisciplinary work that integrates the research methods of ethnomusicology (oral history, interview, participant observation, musical and performance analysis and transcription) with a revised life history methodology to uncover the multiple cultures that inform the life of a mestre of capoeira. A reflexive auto-ethnography of the author opens a dialog between the experiences and developmental steps of both research partners’ lives. Written in the intersection of ethnomusicology, studies of capoeira, social studies and music education, the academic dissertation format is performed as a roda of capoeira aiming to be respectful of the original context of performance. The result is a provocative ethnographic narrative that includes visual texts from the performative aspects of the tradition (music and movement), aural transcriptions of Mestre Cobra Mansa’s storytelling and a myriad of writing techniques to accompany the reader in a multi-dimensional journey of multicultural understanding.
  • Land- ​ En Volkenkunde

    Land- ​ En Volkenkunde

    Music of the Baduy People of Western Java Verhandelingen van het Koninklijk Instituut voor Taal- , Land- en Volkenkunde Edited by Rosemarijn Hoefte (kitlv, Leiden) Henk Schulte Nordholt (kitlv, Leiden) Editorial Board Michael Laffan (Princeton University) Adrian Vickers (The University of Sydney) Anna Tsing (University of California Santa Cruz) volume 313 The titles published in this series are listed at brill.com/ vki Music of the Baduy People of Western Java Singing is a Medicine By Wim van Zanten LEIDEN | BOSTON This is an open access title distributed under the terms of the CC BY- NC- ND 4.0 license, which permits any non- commercial use, distribution, and reproduction in any medium, provided no alterations are made and the original author(s) and source are credited. Further information and the complete license text can be found at https:// creativecommons.org/ licenses/ by- nc- nd/ 4.0/ The terms of the CC license apply only to the original material. The use of material from other sources (indicated by a reference) such as diagrams, illustrations, photos and text samples may require further permission from the respective copyright holder. Cover illustration: Front: angklung players in Kadujangkung, Kanékés village, 15 October 1992. Back: players of gongs and xylophone in keromong ensemble at circumcision festivities in Cicakal Leuwi Buleud, Kanékés, 5 July 2016. Translations from Indonesian, Sundanese, Dutch, French and German were made by the author, unless stated otherwise. The Library of Congress Cataloging-in-Publication Data is available online at http://catalog.loc.gov LC record available at http://lccn.loc.gov/2020045251 Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”.
  • IJHS Newsletter 07, 2008

    IJHS Newsletter 07, 2008

    NNeewwsslleetttteerr ooff tthhee IInntteerrnnaattiioonnaall JJeeww’’ss HHaarrpp SSoocciieettyy BoardMatters FeatureComment The opening of the Museum in Yakutsk Franz Kumpl An interview with Fred Crane Deirdre Morgan & Michael Wright RegionalNews PictureGallery Images from the opening of the Museum in Yakutsk Franz Kumpl WebWise IJHS website goes ‘live’ AndFinally… Correspondence NoticeBoard Membership August 2008 Spring / Summer Issue 7 Page 1 of 14 August 2008 Issue 7 BoardMatters – From the President Page 2 FeatureComment – The new Khomus Museum in Yakutsk & Interview with Frederick Crane Page 3 RegionalNews Page 5 PictureGallery Page 12 WebWise Page 13 AndFinally… Page 13 NoticeBoard Page 15 To contribute to the newsletter, send your emails to [email protected] or post to: Michael Wright, General Secretary, IJHS Newsletter, 77 Beech Road, Wheatley, Oxon, OX33 1UD, UK Signed articles or news items represent the views of their authors only. Cover photograph & insert courtesy of Franz Kumpl & Michael Wright Editorial BoardMatters NEWS HEADLINES From the president THE NEW KHOMUS MUSEUM OPENS IN Dear friends, YAKUTSK. The Journal of the International Jew‟s Harp Society, IJHS LAUNCHES ITS FIRST WEBSITE. besides this Newsletter, is indispensable to our work FRED CRANE STEPPING DOWN AS JOURNAL and an integral part the paying members get for their EDITOR. yearly membership fee. Given that the Society basically runs on goodwill, it History has shown that the difference between Journal never ceases to amaze me how much we manage to and Newsletter are as follows: achieve. Sometimes it may seem that nothing is The Journal is published ideally once per year in a happening much, but, just like the swan swimming printed version and with the objective of providing (above) majestically along on the water, the legs are paddling opportunities for the publication of scientific Michael Wight, like mad beneath.
  • Exhibition Music Workshops

    Exhibition Music Workshops

    EXHIBITION an interactive exhibition with contemporary musical instruments, sound installations and devices, audiovisual displays, games and talks. MUSIC concert with Victor Gama’s unique Pangeia Instrumentos and music compositions. WORKSHOPS music and instrument building workshops for kids and adults in the gallery space or at local schools. Paul Hamlyn Hall, Royal Opera House, Londres, Reino Unido Paul Hamlyn Hall, Royal Opera House, Londres, Reino Unido 'the event's most impressive and resonant mix of sound, vision and concept was Instrumentos, an exhibition/performance in the beautiful Paul Hamlyn Hall by Angola-born inventor and musician Victor Gama. Each instrument is a beautiful object; each implies a different audio-visual journey that's both ethnic and high tech.' The Guardian VISION A space of free experimentation and performance for the visitor INSTRUMENTOS is an exhibition of the The new digital technologies have allowed Pangeia Instrumentos series of the de-materialization of the musical contemporary musical instruments. These instrument and consequently making are acoustic musical instruments, sound music without the object. In designing devices and sound installations designed new instruments we make use of those and built through a process of same technologies to re-materialize the experimentation with design, sound and object while using form and design as music. variables in writing new music. Hub National Centre for Craft & Design, United Kingdom EXHIBITION Since 1999 PangeiArt has developed an award winning exhibition that is part of a collection of more then thirty unique contemporary musical instruments designed by musician/composer Victor Gama. Among the instruments are the Toha, a visitors are invited to touch and play the type of harp made with 42 strings to be instruments on display.
  • Built-In Music Data Lists • Listas De Datos De Música Incorporados

    Built-In Music Data Lists • Listas De Datos De Música Incorporados

    14M10APPEND-WL-1A.fm 1 ページ ２０１８年８月９日 木曜日 午後１２時８分 269 WARM SYNTH-BRASS 1 62 35 381 SINE LEAD 80 2 494 SALUANG 77 43 608 GM TENOR SAX 66 0 270 WARM SYNTH-BRASS 2 62 38 DSP 382 VELO.SINE LEAD 80 44 495 SULING BAMBOO 2 77 42 609 GM BARITONE SAX 67 0 271 ANALOG SYNTH-BRASS 62 36 383 SYNTH SEQUENCE 80 8 496 OUD 1 105 11 610 GM OBOE 68 0 EN/ES/DE/FR/NL/IT/SV/PT/CN/TW/RU/TR 272 80'S SYNTH-BRASS 62 2 384 SEQUENCE SAW 81 15 497 OUD 2 105 42 611 GM ENGLISH HORN 69 0 273 TRANCE BRASS 63 32 385 SEQUENCE SINE 80 7 498 SAZ 15 4 612 GM BASSOON 70 0 274 TRUMPET 1 56 32 DSP 386 8BIT ARPEGGIO 1 80 9 499 KANUN 1 15 5 613 GM CLARINET 71 0 Built-in Music Data Lists • Listas de datos de música incorporados • 275 TRUMPET 2 56 2 387 8BIT ARPEGGIO 2 80 45 500 KANUN 2 15 33 614 GM PICCOLO 72 0 276 TRUMPET 3 56 36 DSP 388 8BIT WAVE 80 35 501 BOUZOUKI 105 43 615 GM FLUTE 73 0 277 MELLOW TRUMPET 56 3 389 SAW ARPEGGIO 1 81 8 502 RABAB 105 44 616 GM RECORDER 74 0 Listen der vorinstallierten Musikdaten • Listes des données de musique intégrées • 278 MUTE TRUMPET 59 1 390 SAW ARPEGGIO 2 81 9 503 KEMENCHE 110 44 617 GM PAN FLUTE 75 0 279 AMBIENT TRUMPET 56 33 DSP 391 VENT LEAD 82 32 504 NEY 1 72 10 618 GM BOTTLE BLOW 76 0 280 TROMBONE 57 32 392 CHURCH LEAD 85 32 505 NEY 2 72 41 619 GM SHAKUHACHI 77 0 Ingebouwde muziekgegevenslijsten • Liste dei dati musicali incorporati • 281 JAZZ TROMBONE 57 33 393 DOUBLE VOICE LEAD 85 34 506 ZURNA 111 9 620 GM WHISTLE 78 0 282 FRENCH HORN 60 32 394 SYNTH-VOICE LEAD 85 1 507 ARABIC ORGAN 16 7 621 GM OCARINA 79 0 283 FRENCH HORN
  • TC 1-19.30 Percussion Techniques

    TC 1-19.30 Percussion Techniques

    TC 1-19.30 Percussion Techniques JULY 2018 DISTRIBUTION RESTRICTION: Approved for public release: distribution is unlimited. Headquarters, Department of the Army This publication is available at the Army Publishing Directorate site (https://armypubs.army.mil), and the Central Army Registry site (https://atiam.train.army.mil/catalog/dashboard) *TC 1-19.30 (TC 12-43) Training Circular Headquarters No. 1-19.30 Department of the Army Washington, DC, 25 July 2018 Percussion Techniques Contents Page PREFACE................................................................................................................... vii INTRODUCTION ......................................................................................................... xi Chapter 1 BASIC PRINCIPLES OF PERCUSSION PLAYING ................................................. 1-1 History ........................................................................................................................ 1-1 Definitions .................................................................................................................. 1-1 Total Percussionist .................................................................................................... 1-1 General Rules for Percussion Performance .............................................................. 1-2 Chapter 2 SNARE DRUM .......................................................................................................... 2-1 Snare Drum: Physical Composition and Construction .............................................
  • ~········R.~·~~~ Fiber-Head Connector ______Grating Region

    ~········R.~·~~~ Fiber-Head Connector ______Grating Region

    111111 1111111111111111111111111111111111111111111111111111111111111 US007507891B2 (12) United States Patent (10) Patent No.: US 7,507,891 B2 Lau et al. (45) Date of Patent: Mar. 24,2009 (54) FIBER BRAGG GRATING TUNER 4,563,931 A * 111986 Siebeneiker et al. .......... 841724 4,688,460 A * 8/1987 McCoy........................ 841724 (75) Inventors: Kin Tak Lau, Kowloon (HK); Pou Man 4,715,671 A * 12/1987 Miesak ....................... 398/141 Lam, Kowloon (HK) 4,815,353 A * 3/1989 Christian ..................... 841724 5,012,086 A * 4/1991 Barnard ................... 250/222.1 (73) Assignee: The Hong Kong Polytechnic 5,214,232 A * 5/1993 Iijima et al. ................... 841724 5,381,492 A * 111995 Dooleyet al. ................. 385112 University, Kowloon (HK) 5,410,404 A * 4/1995 Kersey et al. ............... 356/478 5,684,592 A * 1111997 Mitchell et al. ............. 356/493 ( *) Notice: Subject to any disclaimer, the term of this 5,848,204 A * 12/1998 Wanser ........................ 385112 patent is extended or adjusted under 35 5,892,582 A * 4/1999 Bao et al. ................... 356/519 U.S.c. 154(b) by 7 days. 6,201,912 Bl * 3/2001 Kempen et al. ............... 385/37 6,274,801 Bl * 8/2001 Wardley.. ... ... ..... ... ... ... 841731 (21) Appl. No.: 11/723,555 6,411,748 Bl * 6/2002 Foltzer .......................... 38517 6,797,872 Bl 9/2004 Catalano et al. (22) Filed: Mar. 21, 2007 6,984,819 B2 * 112006 Ogawa .................. 250/227.21 7,002,672 B2 2/2006 Tsuda (65) Prior Publication Data 7,015,390 Bl * 3/2006 Rogers . ... ... ... ..... ... ... ... 841723 7,027,136 B2 4/2006 Tsai et al.
  • Sample Library Catalog 2006

    Sample Library Catalog 2006

    AMG | ART VISTA | BARDSTOWN AUDIO | BELA D MEDIA | BEST SERVICE | BIG FISH AUDIO | BOLDER SOUNDS | CKSDE DAN DEAN PRO | DISCOVERY SOUND | EASTWEST | FIXED NOISE | GARRITAN | NATIVE INSTRUMENTS | NUMERICAL SOUND POST MUSICAL INSTRUMENTS | PRECISIONSOUND | SONIC IMPLANTS | SONIC REALITY | SONICCOUTURE | SOUNDLABEL SPIRIT CANYON AUDIO | TAP SPACE | VIENNA SYMPHONIC LIBRARY | ZERO-G SAMPLE LIBRARY CATALOG 2006 ForFor more more information: information: www.native-instruments.com www.native-instruments.com Welcome Welcome to the first sample library catalog for the Native Instruments samplers Kontakt, Battery, Kompakt, and Intakt. This catalog features a huge selection of over 130 professional and award winning sample libraries from various sample developers. You will find anything from Orchestral to Electronic, featuring the best available sample libraries in the world. All libraries are specifically designed for the Native Instruments software samplers Kontakt, Battery, Intakt and Kompakt. Some of these libraries contain special versions of Kompakt, Intakt or Kontakt Player and don´t necessarily need the full version of the sampler. Since 2003, Kontakt has fast become the standard in software sampling. Over 50 companies all over the world chose Kontakt or Battery to be their favourite platform for developing sample libraries and over 100.000 users are currently using the Kontakt engine with Kontakt, Kompakt, Intakt, Battery or Kontakt Player. If you want to know more about the sampler products or sample libraries, please visit the Native
  • Jurgita Nagrockytė DAMBRELIO RAIDA LIETUVOS MUZIKINIUOSE

    Jurgita Nagrockytė DAMBRELIO RAIDA LIETUVOS MUZIKINIUOSE

    VYTAUTO DIDŽIOJO UNIVERSITETAS HUMANITARINIŲ MOKSLŲ FAKULTETAS ETNOLOGIJOS IR FOLKLORISTIKOS KATEDRA Jurgita Nagrockytė DAMBRELIO RAIDA LIETUVOS MUZIKINIUOSE ANSAMBLIUOSE Magistro baigiamasis darbas Etninės kultūros studijų programa, valstybinis kodas 62407H101 Etnologijos studijų kryptis Vadovas prof. habil. dr. Romualdas Apanavičius ___________ ___________ (Moksl. laipsnis, vardas, pavardė) (Parašas) (Data) Apginta doc. dr. Jonas Vaičenonis ___________ ____________ (Fakulteto dekanas) (Parašas) (Data) Kaunas, 2010 1. TURINYS 1. TURINYS ....................................................................................................................................... 1 2. SANTRAUKA................................................................................................................................ 2 3. SUMMARY.................................................................................................................................... 3 4. ĮVADAS ......................................................................................................................................... 4 5. DAMBRELIO ISTORIJA, ATSIRADIMO PRIELAIDOS LIETUVOJE..................................... 7 5.1 Dambrelio raida pasaulyje ....................................................................................................... 7 5.2 Dambrelio istorinė raida .......................................................................................................... 9 5.3 Dambrelio istoriniai atradimai Europoje ir Jungtinėje karalystėje .........................................