GRP A8 – Analog Studio Synthesizer
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Minimoog Model D Manual
3 IMPORTANT SAFETY INSTRUCTIONS WARNING - WHEN USING ELECTRIC PRODUCTS, THESE BASIC PRECAUTIONS SHOULD ALWAYS BE FOLLOWED. 1. Read all the instructions before using the product. 2. Do not use this product near water - for example, near a bathtub, washbowl, kitchen sink, in a wet basement, or near a swimming pool or the like. 3. This product, in combination with an amplifier and headphones or speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level or at a level that is uncomfortable. 4. The product should be located so that its location does not interfere with its proper ventilation. 5. The product should be located away from heat sources such as radiators, heat registers, or other products that produce heat. No naked flame sources (such as candles, lighters, etc.) should be placed near this product. Do not operate in direct sunlight. 6. The product should be connected to a power supply only of the type described in the operating instructions or as marked on the product. 7. The power supply cord of the product should be unplugged from the outlet when left unused for a long period of time or during lightning storms. 8. Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings. There are no user serviceable parts inside. Refer all servicing to qualified personnel only. NOTE: 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. -
Analog Synthesizer So There Is No Need for Soldering.)
Assembly time: Approximately 20 minutes (The electric circuit comes pre-assembled, Analog Synthesizer so there is no need for soldering.) How to Assemble and Use the Supplement Things you will need Parts in the Kit Phillips screwdriver (No. 1) AA alkaline batteries (4 new) Knobs (5) * Please note that rechargeable NiCd batteries and non-rechargeable Oxyride and nickel-based batteries should not be Washer head screws (7) used due to a high risk of components melting or fire breaking out with these batteries because of accidental short-circuiting or the like. Additionally, because this supplement was designed based on operation at 6 V, it may not operate in the desired way due to an excess of or a deficiency in voltage with the above batteries. Incidentally, most rechargeable batteries provide 1.2 V and Screws (3) Oxyride batteries, 1.7 V. Main unit Cellophane tape Notes for tightening screws The types of screws used for the supplement are those that carve grooves into the plastic as they are inserted (self-threading). The screwdriver most suited to tightening the screws is the #1 JIS screwdriver. When tightening screws, Circuit board firmly press the provided screwdriver straight against the screws and turn. It is said that 70 percent of the force applied is used for pushing against the screw and 30 percent for turning it. Precision screwdrivers are hard to turn, so use a small screwdriver with a grip diameter of about 2 cm. Electrode Slider panel Speaker Cut out the cardboard (Wrapped in cardboard.) case to use as a back cover. -
Imagine Your Art As the New Face of Moog Music's
IMAGINE YOUR ART AS THE NEW FACE OF MOOG MUSIC’S HEADQUARTERS! WELCOME ALL CREATIVES We are excited to be accepting artist submissions for a design that will be the new face of the Moog factory in downtown Asheville, NC. Locals and visitors of our vibrant city have come to know our factory by the iconic synthesizer mural that has adorned the buildingʼs exterior for more than eight years. Now, weʼre ready to breathe new life into the public artwork that represents who we are and the instruments that our employee-owners build inside these four walls. This is where you come in! 1st PLACE WINNER TOP 5 RUNNERS-UP • Moog One 16-Voice Analog Synthesizer ($8,500 value) • Your Choice: Moog Mother-32, DFAM, or Subharmonicon • Your Artwork Displayed on the Moog Factory • Moog Merch Package HOW IT WORKS 1. Synthesize your best ideas of what represents Moog and our creative community. 2. Download the asset pack for artwork templates and specifications on file type and dimension requirements. 3. Submit your custom artwork at www.moogmusic.com/mural by February 19, 2021. Upload your artwork as a high resolution thumbnail that does not exceed 9MB, print files will be requested if you are selected as the winner. You may submit up to three pieces for consideration. 4. Online voting will be open to the public at www.moogmusic.com/mural from January 11 – February 28, 2021. 5. Weʼll select one grand prize winner and five runners-up, and will announce the winners via our email newsletter. The popular public vote will count toward our teamʼs consideration; make sure to share the voting link to your artwork on your website, social media accounts, etc. -
“What Happened to the Post-War Dream?”: Nostalgia, Trauma, and Affect in British Rock of the 1960S and 1970S by Kathryn B. C
“What Happened to the Post-War Dream?”: Nostalgia, Trauma, and Affect in British Rock of the 1960s and 1970s by Kathryn B. Cox A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music Musicology: History) in the University of Michigan 2018 Doctoral Committee: Professor Charles Hiroshi Garrett, Chair Professor James M. Borders Professor Walter T. Everett Professor Jane Fair Fulcher Associate Professor Kali A. K. Israel Kathryn B. Cox [email protected] ORCID iD: 0000-0002-6359-1835 © Kathryn B. Cox 2018 DEDICATION For Charles and Bené S. Cox, whose unwavering faith in me has always shone through, even in the hardest times. The world is a better place because you both are in it. And for Laura Ingram Ellis: as much as I wanted this dissertation to spring forth from my head fully formed, like Athena from Zeus’s forehead, it did not happen that way. It happened one sentence at a time, some more excruciatingly wrought than others, and you were there for every single sentence. So these sentences I have written especially for you, Laura, with my deepest and most profound gratitude. ii ACKNOWLEDGMENTS Although it sometimes felt like a solitary process, I wrote this dissertation with the help and support of several different people, all of whom I deeply appreciate. First and foremost on this list is Prof. Charles Hiroshi Garrett, whom I learned so much from and whose patience and wisdom helped shape this project. I am very grateful to committee members Prof. James Borders, Prof. Walter Everett, Prof. -
A Nonlinear Analysis Framework for Electronic Synthesizer Circuits
A Nonlinear Analysis Framework for Electronic Synthesizer Circuits Fran¸cois Georges Germain Department of Music Research McGill University Montreal, Canada October 2011 A thesis submitted to McGill University in partial fulfillment of the requirements for the degree of Master of Arts. c 2011 Fran¸cois Georges Germain i Abstract This thesis presents a theoretical and experimental study of the nonlinear behaviour of analog synthesizers’ effects. The goal of this thesis is to evaluate and complete current research on nonlinear system modelling, both in and out of the field of music technology. The cases of single-input and multiple-input effects are considered. We first present an electronic analysis of the circuits of common examples of analog effects such as Moog’s lowpass filter and Bode’s ring modulator, extracting the equations of each system. We then discuss the results of experiments made on these systems in order to extract qualitative information about the distortion found in the system input-output relationship. Secondly, we look at the literature for methods used to model single-input nonlinear systems, and we investigate the opportunities to extend these techniques to multi-input systems. We focus on two different modelling approaches. The black-box approach seeks to model the input-output transfer function of the system as closely as possible without any particular assumption on the system. The circuit modelling approach uses the knowledge of electronic component behaviour to extract a transfer function from the known circuit of the system. The results of both approaches are compared to our experiments in order to evaluate their accuracy, identify flaws and, when possible, suggest potential improvements of the methods. -
Roland AX-Edge Parameter Guide
Parameter Guide AX-Edge Editor To edit the tone parameters of the AX-Edge, you’ll use the “AX-Edge Editor” smartphone app. You can download the app from the App Store if you’re using an iOS device, or from Google Play if you’re using an Android device. AX-Edge Editor lets you edit all the parameters except system parameters of the AX-Edge. © 2018 Roland Corporation 02 List of Shortcut Keys “[A]+[B]” indicates the operation of “holding down the [A] button and pressing the [B] button.” Shortcut Explanation To change the value rapidly, hold down one of the Value [-] + [+] buttons and press the other button. In the top screen, jumps between program categories. [SHIFT] In a parameter edit screen, changes the value in steps + Value [-] [+] of 10. [SHIFT] Jumps to the Arpeggio Edit screen. + ARPEGGIO [ON] [SHIFT] Raises or lowers the notes of the keyboard in semitone + Octave [-] [+] units. [SHIFT] Shows the Battery Info screen. + Favorite [Bank] Jumps between parameter categories (such as [SHIFT] + [ ] [ ] K J COMMON or SWITCH). When entering a name Shortcut Explanation [SHIFT] Cycles between lowercase characters, uppercase + Value [-] [+] characters, and numerals. 2 Contents List of Shortcut Keys .............................. 2 Tone Parameters ................................... 19 COMMON (Overall Settings) ............................. 19 How the AX-Edge Is Organized................ 5 SWITCH .............................................. 20 : Overview of the AX-Edge......................... 5 MFX ................................................. -
Historia De La Tecnología Musical - Sintetizadores
Historia de la tecnología musical - Sintetizadores Se presentan en este artículo breves reseñas de los instrumentos musicales electrónicos previos al desarrollo de los instrumentos digitales (que alcanzaron su plenitud a partir de 1980 con los sintetizadores digitales, el sampler y las computadoras). También se hace referencia a algunas de las tendencias estéticas y corrientes musicales (hasta 1950) más ligadas al desarrollo tecnológico o más influidas por este. -1891 Dynamophon o Telharmonium de Taddeus Cahill: Considerado el primer instrumento musical electrónico plenamente desarrollado, era una especie de órgano eléctrico con generadores por ruedas dentadas (dinamos que movilizaban engranajes) que producían tensiones sinusoidales a distintas frecuencias cuyas amplitudes (volumen) podían ser atenuadas mediante resistencias determinando las características de cada registro. Pesaba cerca de 200 toneladas y, ante la inexistencia de los altavoces o parlantes, el instrumento solo podía escucharse por medio de una red telefónica. En 1906 se lo consideraba un "invento eléctrico para producir música científicamente perfecta”. -1919 Eterófono, Termenvox o Theremin de León Theremin (Lev Termen): Instrumento que utiliza generadores de ondas heterodinas y dos antenas: interfiriendo con la mano las antenas el ejecutante puede controlar la altura del sonido y su amplitud, sin tener contacto físico con el instrumento. Dado el timbre casi puro producido por el theremin, el rango musicalmente aprovechable no superaba las 4 octavas. El instrumento fue muy bien recibido en la primera época de la Revolución Rusa y Theremin realizo giras por Alemania, Francia y EE.UU. antes del ascenso definitivo de Josef Stalin en la U.R.S.S. Para la presentación en Francia fue la primera vez que se vendieron entradas de pie en la Opera de París. -
Arturia Minibrute User Manual
USER'S MANUAL Arturia MiniBrute User's Manual 1 6 Legal notes PRODUCT AND PROJECT MANAGEMENT Frédéric BRUN Romain DEJOIE ELECTRONICS Yves USSON Bruno PILLET François BEST Laurent BARET Robert BOCQUIER Antoine BACK DESIGN Axel HARTMANN (Design Box) Daniel VESTER Morgan PERRIER INDUSTRIALIZATION Nicolas DUBOIS Suzy ZHU (Huaxin) MANUAL Yves USSON Craig ANDERTON Antoine BACK Yasu TANAKA Noritaka UBUKATA SPECIAL THANKS TO: Arnaud REBOTINI, Étienne JAUMET, Jean-Benoît DUNCKEL, Simon TARRICONE, Glen DARCEY, Frank ORLICH, Jean-Michel BLANCHET, Frédéric MESLIN, Mathieu BRUN, Gérard BURACCHINI. 1st edition: February 2012 Information contained in this manual is subject to change without notice and does not represent a commitment on behalf of ARTURIA. The hardware unit and the software product described in this manual are provided under the terms of a license agreement or non-disclosure agreement. The license agreement specifies the terms and conditions for its lawful use. No part of this manual may be produced or transmitted in any form or by any purpose other than purchaser’s personal use, without the explicit written permission of ARTURIA S.A. All other products, logos or company names quoted in this manual are trademarks or registered trademarks of their respective owners. © ARTURIA S.A. 1999-2012, all rights reserved. ARTURIA S.A. 4, chemin de Malacher 38240 Meylan FRANCE http://www.arturia.com Arturia MiniBrute User's Manual 2 6 Legal notes TABLE OF CONTENTS 1 Introduction ............................................................................ -
Analog Synthesizers
ELEN E4896 MUSIC SIGNAL PROCESSING Lecture 4: Analog Synthesizers 1. The Problem Of Electronic Synthesis 2. Oscillators 3. Envelopes 4. Filters Dan Ellis Dept. Electrical Engineering, Columbia University [email protected] http://www.ee.columbia.edu/~dpwe/e4896/ E4896 Music Signal Processing (Dan Ellis) 2013-02-11 - 1 /17 1. The Problem of Electronic Synthesis • How can we synthesize notes and music ... and have it sound as good as real instruments? • Real instrument tones are complex Piano Trumpet Plucked Violin Bowed Violin E4896 Music Signal Processing (Dan Ellis) 2013-02-11 - 2 /17 The Analog Synthesizer • Minimum “useful” configuration Envelope Trigger Pitch + harmonics Pitch t Amplitude variation + + Vibrato Cutoff (dynamics) freq Sound Spectral variation Oscillator Filter + Gain f (1970s technology) t Minimoog, 1972 Minimoog, E4896 Music Signal Processing (Dan Ellis) 2013-02-11 - 3 /17 Digital Simulation of Analog • E.g. Loomer Aspect http://www.loomer.co.uk/aspect.htm E4896 Music Signal Processing (Dan Ellis) 2013-02-11 - 4 /17 PureData (Pd) • Visual metaphor based on analog synths “wires” connect modules • Tutorial: http://en.flossmanuals.net/PureData/ E4896 Music Signal Processing (Dan Ellis) 2013-02-11 - 5 /17 2. Oscillators • Pitch = sinusoid? only a single color • Real instruments have more harmonics static spectrum determines instrument sound? • Additive: Combine individual harmonics calculating sinusoids in real time is expensive... • Subtractive: Shape harmonics with filters start with a spectrally rich signal “shape” harmonics efficiently with LTI filters E4896 Music Signal Processing (Dan Ellis) 2013-02-11 - 6 /17 Basic waveforms • Sinusoid • Square wave • Pulse waveform • Sawtooth • Triangle E4896 Music Signal Processing (Dan Ellis) 2013-02-11 - 7 /17 Aside: Bandlimiting • It’s easy to sample “ideal” simple waveforms but the ideal ones are not bandlimited ➝ lots of aliased energy • Solution: Bandlimited waveforms e.g. -
11C Software 1034-1187
Section11c PHOTO - VIDEO - PRO AUDIO Computer Software Ableton.........................................1036-1038 Arturia ...................................................1039 Antares .........................................1040-1044 Arkaos ....................................................1045 Bias ...............................................1046-1051 Bitheadz .......................................1052-1059 Bomb Factory ..............................1060-1063 Celemony ..............................................1064 Chicken Systems...................................1065 Eastwest/Quantum Leap ............1066-1069 IK Multimedia .............................1070-1078 Mackie/UA ...................................1079-1081 McDSP ..........................................1082-1085 Metric Halo..................................1086-1088 Native Instruments .....................1089-1103 Propellerhead ..............................1104-1108 Prosoniq .......................................1109-1111 Serato............................................1112-1113 Sonic Foundry .............................1114-1127 Spectrasonics ...............................1128-1130 Syntrillium ............................................1131 Tascam..........................................1132-1147 TC Works .....................................1148-1157 Ultimate Soundbank ..................1158-1159 Universal Audio ..........................1160-1161 Wave Mechanics..........................1162-1165 Waves ...........................................1166-1185 -
Tangible Virtual Patch Cords
University of Wollongong Research Online University of Wollongong in Dubai - Papers University of Wollongong in Dubai 2018 Tangible Virtual Patch Cords Stefano Fasciani University of Wollongong, [email protected] Habibur Rahman University of Wollongong Follow this and additional works at: https://ro.uow.edu.au/dubaipapers Recommended Citation Fasciani, Stefano and Rahman, Habibur: Tangible Virtual Patch Cords 2018, 316-321. https://ro.uow.edu.au/dubaipapers/1009 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Tangible Virtual Patch Cords Stefano Fasciani Habibur Rahman Faculty of Engineering and Information Sciences Faculty of Engineering and Information Sciences University of Wollongong in Dubai University of Wollongong in Dubai [email protected] [email protected] ABSTRACT and multimedia works. Max and Pd are visual program- ming languages that include a large set of basic operators This paper presents a system to tangibly manipulate the as well as complex modules from the community. Their virtual patching cords in graphical programming envi- programming paradigm resembles modular systems. In- ronments, such as Max and Pure Data. The system in- deed, interactive or algorithmically controlled synthesis cludes a physical interface, a communication protocol, can be programmed by routing control or audio signals and a software library, providing physical extension of across modules and operators. Virtual patching cords in the graphical programming paradigm. The interface in- Pd and Max are abstractions akin to patch cables in mod- cludes a patch bay with connectors representing signal ular synthesizers. In both domains, the physical and the inlet and outlets from the programming environment. -
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University of Huddersfield Repository Quinn, Martin The Development of the Role of the Keyboard in Progressive Rock from 1968 to 1980 Original Citation Quinn, Martin (2019) The Development of the Role of the Keyboard in Progressive Rock from 1968 to 1980. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/34986/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ 0. A Musicological Exploration of the Musicians and Their Use of Technology. 1 The Development of the Role of the Keyboard in Progressive Rock from 1968 to 1980. A Musicological Exploration of the Musicians and Their Use of Technology. MARTIN JAMES QUINN A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Master of Arts.