JDX 48 Amplifier Direct Box
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DM2000VCM Data Sheet
Digital Mixing Console DM2000VCM Overview This powerful digital production console offers DAW control, 6.1 channel surround mixing capability, and a range of top-quality effects, including many employing renowned Yamaha VCM technology. The DM2000VCM Digital Production Console is a first-class platform for stereo or surround audio production. Rear Panel Features • Precise 24-bit/96-kHz audio and high-performance head amps. • 96 inputs and 22 buses (8 group buses, 12 auxiliary buses, and a stereo bus) mix capacity at 96kHz. • Eight advanced multi-effect processors plus six 31-band GEQs. • Scene memory and auto-mix functions for efficient workflow. • Versatile channel pairing and grouping functions enhance mixing efficiency. • Comprehensive interface with touch-sensitive 100-mm motor faders. • Six Mini-YGDAI expansion slots for easy I/O expansion in a variety of formats. • Compatible with Windows and Macintosh versions of Studio Manager version2 Software for seamless PC and Console interoperability. • Easy integration with computer-based DAWs (Digital Audio Workstations) or digital recorders to create an advanced digital production environment. • A comprehensive range of features for surround production, including an enhanced surround monitoring environment with bass management. • A variety of Yamaha VCM effects and high-resolution REV-X reverbs. • Included in the THX pm3™ Studio Certification Program Approved Equipment List. Technical Data Sheet 1 / 6 Digital Mixing Console DM2000VCM Specifications 1/2 Functional Specifications Input Mixing -
Magpick: an Augmented Guitar Pick for Nuanced Control
Magpick: an Augmented Guitar Pick for Nuanced Control Fabio Morreale Andrea Guidi Andrew McPherson Creative Arts and Industries Centre For Digital Music Centre For Digital Music University of Auckland, Queen Mary University of Queen Mary University of New Zealand London, UK London, UK [email protected] [email protected] [email protected] ABSTRACT This paper introduces the Magpick, an augmented pick for electric guitar that uses electromagnetic induction to sense the motion of the pick with respect to the permanent mag- nets in the guitar pickup. The Magpick provides the gui- tarist with nuanced control of the sound that coexists with traditional plucking-hand technique. The paper presents three ways that the signal from the pick can modulate the guitar sound, followed by a case study of its use in which 11 guitarists tested the Magpick for five days and composed a piece with it. Reflecting on their comments and experi- Figure 1: The Magpick is composed of two parts: a ences, we outline the innovative features of this technology hollow body (black) and a cap (brass). from the point of view of performance practice. In partic- ular, compared to other augmentations, the high tempo- ral resolution, low latency, and large dynamic range of the The challenge is to find ways to sense the movement of Magpick support a highly nuanced control over the sound. the pick with respect to the guitar with high resolution, Our discussion highlights the utility of having the locus of high dynamic range, and low latency, then use the resulting augmentation coincide with the locus of interaction. -
Loudspeakers and Headphones 21 –24 August 2013 Helsinki, Finland
CONFERENCE REPORT AES 51 st International Conference Loudspeakers and Headphones 21 –24 August 2013 Helsinki, Finland CONFERENCE REPORT elsinki, Finland is known for having two sea - An unexpectedly large turnout of 130 people almost sons: August and winter (adapted from Con - overwhelmed the organizers as over 75% of them Hnolly). However, despite some torrential rain in registered around the time of the “early bird” cut-off the previous week, the weather during the conference date. Twenty countries were represented with most of was excellent. The conference was held at the Helsinki the participants coming from Europe, but some came Congress Paasitorni, which was built in the first from as far away as Los Angeles, San Francisco, Lima, decades of the twentieth century. The recently restored Rio de Janeiro, Tokyo, and Guangzhou. Companies building is made of granite that was dug from the such Apple, Beats, Comsol, Bose, Genelec, Harman, ground where the building now stands. The location KEF, Neumann, Nokia, Samsung, Sennheiser, Skype, near the city center and right by the harbor proved to and Sony were represented by their employees. be an excellent location both for transportation and Universities represented included Aalto (in Helsinki), the social program. Aalborg, Budapest, and Kyushu. 790 J. Audio Eng. Soc., Vol. 61, No. 10, 2013 October CONFERENCE REPORT A packed House of Science and Letters for the Tutorial Day Sponsors Juha Backmann insists that “Reproduced audio WILL be better in the future.” J. Audio Eng. Soc., Vol. 61, No. 10, 2013 October 791 CONFERENCE REPORT low-frequency performance can still be designed using Thiele- Small parameters in a simulation, and the effect of individual parameters (such as voice coil length and pole piece size) on the system performance can be seen directly. -
Voip V2 Loudspeaker Amplifier (Wireless) Operations Guide
VoIP V2 Loudspeaker Amplifier (Wireless) Operations Guide Part #011096 Document Part #930361E for Firmware Version 6.0.0 CyberData Corporation 3 Justin Court Monterey, CA 93940 (831) 373-2601 VoIP V2 Paging Amplifier Operations Guide 930361E Part # 011096 COPYRIGHT NOTICE: © 2011, CyberData Corporation, ALL RIGHTS RESERVED. This manual and related materials are the copyrighted property of CyberData Corporation. No part of this manual or related materials may be reproduced or transmitted, in any form or by any means (except for internal use by licensed customers), without prior express written permission of CyberData Corporation. This manual, and the products, software, firmware, and/or hardware described in this manual are the property of CyberData Corporation, provided under the terms of an agreement between CyberData Corporation and recipient of this manual, and their use is subject to that agreement and its terms. DISCLAIMER: Except as expressly and specifically stated in a written agreement executed by CyberData Corporation, CyberData Corporation makes no representation or warranty, express or implied, including any warranty or merchantability or fitness for any purpose, with respect to this manual or the products, software, firmware, and/or hardware described herein, and CyberData Corporation assumes no liability for damages or claims resulting from any use of this manual or such products, software, firmware, and/or hardware. CyberData Corporation reserves the right to make changes, without notice, to this manual and to any such product, software, firmware, and/or hardware. OPEN SOURCE STATEMENT: Certain software components included in CyberData products are subject to the GNU General Public License (GPL) and Lesser GNU General Public License (LGPL) “open source” or “free software” licenses. -
Guitar Resonator GR-Junior II
Guitar Resonator GR-Junior II User Manual Copyright © by Vibesware, all rights reserved. www.vibesware.com Rev. 1.0 Contents 1 Introduction ...............................................................................................1 1.1 How does it work ? ...............................................................................1 1.2 Differences to the EBow and well known Sustainers ............................2 2 Fields of application .................................................................................3 2.1 Feedback playing everywhere / composing / recording ........................3 2.2 On stage ...............................................................................................3 2.3 New ways of playing .............................................................................4 3 Start-Up of the GR-Junior .........................................................................5 4 Playing techniques ...................................................................................5 4.1 Basics ...................................................................................................5 4.2 Harmonics control by positioning the Resonator ...................................6 4.3 Changing harmonics by phase shifting .................................................6 4.4 Some string vibration basics .................................................................6 4.5 Feedback of multiple strings .................................................................9 4.6 Limits of playing, pickup selection, -
Introduction to the Digital Snake
TABLE OF CONTENTS What’s an Audio Snake ........................................4 The Benefits of the Digital Snake .........................5 Digital Snake Components ..................................6 Improved Intelligibility ...........................................8 Immunity from Hums & Buzzes .............................9 Lightweight & Portable .......................................10 Low Installation Cost ...........................................11 Additional Benefits ..............................................12 Digital Snake Comparison Chart .......................14 Conclusion ...........................................................15 All rights reserved. No part of this publication may be reproduced in any form without the written permission of Roland System Solutions. All trade- marks are the property of their respective owners. Roland System Solutions © 2005 Introduction Digital is the technology of our world today. It’s all around us in the form of CDs, DVDs, MP3 players, digital cameras, and computers. Digital offers great benefits to all of us, and makes our lives easier and better. Such benefits would have been impossible using analog technology. Who would go back to the world of cassette tapes, for example, after experiencing the ease of access and clean sound quality of a CD? Until recently, analog sound systems have been the standard for sound reinforcement and PA applications. However, recent technological advances have brought the benefits of digital audio to the live sound arena. Digital audio is superior -
The Audio Mixing Console First Course, Fourth Grading Period, Week One
How To Run A Board: The Audio Mixing Console First course, Fourth grading period, Week one The mixing console at a radio station or production/recording studio can be an intimidating sight. Some have even looked at it and said, “Gosh, you must be able to fl y the Space Shuttle if you can work that!” In truth, a mixing console is a very basic piece of equipment. When broken down to its component parts, it is quite an easy beast to tame. What we will do in this lesson is start from the ground up, working with one element of the mixing desk, and then move on to put together the rest of the puzzle with the other elements. Soon after, we will move towards a more hands-on approach, allowing students to use the console in ways that are important and necessary to the industry. Whether they decide to pursue a career in broadcasting, journalism or engineering, students will discover just how vital a piece of equipment this is in any of the above professions. This lesson is provided by Brian Jarbow, NPR engineer. Enduring Understanding The ability to understand how a mixing console is used is essential in broadcasting, journalism or engineering. Essential Questions How does a mixing console work? How does the signal pass through it? How is it useful in mixing pieces for broadcast? Objectives and Outcomes • Students will be able to route a signal through the console. • Students will be able to route multiple sources to mix and control several signals happening at one time. -
Take Your Guitar Further
The VGA-3 V-Guitar Amplifier puts Roland’s most sought-after guitar and amp models in a compact digital amp at a very friendly price. This 50-watt brute uses COSM modeling to deliver a stunning range of electric and acoustic guitar models—plus unique GK effects—from any GK pickup-equipped guitar. There are also 11 programmable COSM amp models, 3-band EQ, and three independent effects processors that can be accessed using any standard electric guitar. TaTaTa k k k e e e Yo Yo Yoururur Guitar Guitar Guitar Further Further Further ● Rated Power Output 50 W ● Patches 10 (Recalled from Panel), 40 (Recalled from MIDI Foot Controller) ● Nominal Input Level (1 kHz) INPUT: -10 dBu, EXT IN: -10 dBu ● Speaker 30 cm (12 inches) x 1 ● Connectors Front: GK In, Input, Recording Out/Phones, Rear: EXT In, EXP Pedal, Foot SW, MIDI In ● Power Supply AC 117/230/240 V ● Power Consumption 55 W ● Dimensions 586 (W) x 260 (D) x 480 (H) mm / 23-1/8 (W) x 10-1/4 (D) x 18-15/16 (H) inches ● Weight 18.5 kg / 40 lbs. 13 oz. ● Accessory Owner's Manual * 0 dBu=0.775 Vrms ■ Roland’s Flagship Modeling Amplifier. The VGA-7 V-Guitar Amplifier is the most powerful and complete modeling amplifier in history. This technological marvel serves up a range of COSM amp sounds, onboard effects, and speaker cabinet simulations—plus models of different electric and acoustic guitars, pickups, and tunings using any steel-string guitar and an optional GK-2A Divided Pickup. -
XENYX X2442USB/X2222USB/X1832USB/X1622USB User Manual Table of Contents Thank You
User Manual X2442 /X2222 / X1832 /X1622 Premium 24/22/18/16-Input 4/2, 3/2 and 2/2-Bus Mixer with XENYX Mic Preamps & Compressors, British EQs, 24-Bit Multi-FX Processor and USB/Audio Interface 2 XENYX X2442USB/X2222USB/X1832USB/X1622USB User Manual Table of Contents Thank you ....................................................................... 2 Important Safety Instructions ...................................... 3 Legal Disclaimer ............................................................. 3 Limited warranty ............................................................ 3 1. Introduction ............................................................... 4 1.1 General mixing console functions ................................ 4 1.2 The user’s manual ............................................................... 5 1.3 Before you get started ...................................................... 5 2. Control Elements and Connectors .......................... 5 2.1 Mono channels .................................................................... 5 2.2 Stereo channels ................................................................... 7 2.3 Interface panel and main section ................................. 8 3. Graphic 9-Band Equalizer (X1832USB only) .......... 12 4. Digital Effects Processor ......................................... 13 5. Rear Panel Connectors ............................................ 13 5.1 Main mix outputs, insert points and control room outputs.............................................................. 13 5.2 -
Electric Guitar Amplifier with Digital Effects
Electric Guitar Amplifier With Digital Effects By Shawn Garrett Senior Project February, 2011 Computer Engineering Department California Polytechnic State University, San Luis Obispo © 2011 Shawn Garrett Garrett 1 Table of Contents Table of Figures .......................................................................................................................... 3 Acknowledgement ...................................................................................................................... 4 Abstract ....................................................................................................................................... 5 I. Introduction ............................................................................................................................ 6 II. Background ........................................................................................................................... 7 III. Requirements ....................................................................................................................... 9 IV. Design Approach Alternatives ............................................................................................ 13 V. Project Design ..................................................................................................................... 14 VI. Physical Construction and Integration ................................................................................ 21 VII. Integrated System Tests and Results ............................................................................... -
Si Impact Brochure
Also available MADI-USB USB MADI USB COMBO OPTICAL MADI CAT 5 MADI 32X32 (CAT 5) 32X32 (USB) 64X64 64X64 A complete range of powerful I/O expansion cards Featuring a 32x32 expansion card slot on the rear panel, Si Impact can Optical MADI Dual Cat5 MADI be used in the widest range of applications and integrated seamlessly with existing systems and hardware. MULTIDIGITAL AES CARD (XLR) AES CARD (D-SUB) 32X32 4X4 8X8 A full range of ViSi Connect expansion cards is available for multiple TM ® I/O formats, including MADI and industry standard protocols such as CobraNet Aviom A-Net Rocknet®, CobraNetTM and DanteTM. Soundcraft is committed to the continued development of the ViSi AVIOM A-NET COBRANET BLU LINK 16X16 32X32 16X16 Connect expansion card range, developing new cards as new network AES/EBU AES/EBU D-Type protocols become available. 32-Channel USB Recording included BLU link RockNet®ROCKNET DANTE 64X64 64X64 Stagebox Ready Multi Digital Card DanteTM Remote mixing with your iPad® Available on the App Store, the Soundcraft Si Impact remote iPad® app gives instant hands-on control over all important mixer functions direct from your iPad®. Application examples - • Optimise the front of house mix from anywhere in the room • Set mic gains and 48V from the stage • Adjust monitor levels while standing next to the artist • Adjust channel strip settings remote from the console • Use to extend the fader count of an existing control surface • Allow multiple users on the same console to control their own mixes Laptop not included Soundcraft, Harman International Industries Ltd., Cranborne House, Cranborne Road, Potters Bar, Hertfordshire EN6 3JN, UK T: +44 (0)1707 665000 F: +44 (0)1707 660742 E: [email protected] 40-input Digital Mixing Console Soundcraft USA, 8500 Balboa Boulevard, Northridge, CA 91329, USA T: +1-818-893-8411 F: +1-818-920-3208 E: [email protected] and 32-in/32-out USB Interface www.soundcraft.com ® Part No: 5058401 E & OE 04/2015 with iPad Control #41450 - Si_Impact_Brochure_V5_US_LAUNCH.indd 1-2 20/04/2015 13:17 Walk up. -
Chapter 186 NOISE
Chapter 186 NOISE §186-1. Loud and unnecessary noise §186-3. Permits for amplifying devices. prohibited. §186-4. Stationary noise limits; maximum §186-2. Loud and unnecessary noises permissible sound levels. enumerated. §186-5. Violations and penalties. [HISTORY: Adopted by the Village Board of the Village of Albany 5-11-1992 as Sec. 11-2- 7 of the 1992 Code. Amendments noted where applicable.] GENERAL REFERENCES Disorderly conduct -- See Ch. 110. Parks and navigable waters -- See Ch. 198, §198-1B(2). Peace and good order -- See Ch. 202. §186-1. Loud and unnecessary noise prohibited. It shall be unlawful for any person to make, continue or cause to be made or continued any loud and unnecessary noise. It shall be unlawful for any person knowingly or wantonly to use or operate, or to cause to be used or operated, any mechanical device, machine, apparatus or instrument for intensification or amplification of the human voice or any sound or noise in any public or private place in such manner that the peace and good order of the neighborhood is disturbed or that persons owning, using or occupying property in the neighborhood are disturbed or annoyed. §186-2. Loud and unnecessary noises enumerated. The following acts are declared to be loud, disturbing and unnecessary noises in violation of this chapter, but this enumeration shall not be deemed to be exclusive: A. Horns; signaling devices. The sounding of any horn or signaling device on any automobile, motorcycle or other vehicle on any street or public place in the village for longer than three seconds in any period of one minute or less, except as a danger warning; the creation of any unreasonable loud or harsh sound by means of any signaling device and the sounding of any plainly audible device for an unreasonable period of time; the use of any signaling device except one operated by hand or electricity; the use of any horn, whistle or other device operated by engine exhaust and the use of any signaling device when traffic is for any reason held up.