ADAM NEELY [INTERMEDIATE] WHO? Adam Neely Is One of the Biggest Names on Music Theory Youtube Right Now
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Song of the Year
General Field Page 1 of 15 Category 3 - Song Of The Year 015. AMAZING 031. AYO TECHNOLOGY Category 3 Seal, songwriter (Seal) N. Hills, Curtis Jackson, Timothy Song Of The Year 016. AMBITIONS Mosley & Justin Timberlake, A Songwriter(s) Award. A song is eligible if it was Rudy Roopchan, songwriter songwriters (50 Cent Featuring Justin first released or if it first achieved prominence (Sunchasers) Timberlake & Timbaland) during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only. 017. AMERICAN ANTHEM 032. BABY Angie Stone & Charles Tatum, 001. THE ACTRESS Gene Scheer, songwriter (Norah Jones) songwriters; Curtis Mayfield & K. Tiffany Petrossi, songwriter (Tiffany 018. AMNESIA Norton, songwriters (Angie Stone Petrossi) Brian Lapin, Mozella & Shelly Peiken, Featuring Betty Wright) 002. AFTER HOURS songwriters (Mozella) Dennis Bell, Julia Garrison, Kim 019. AND THE RAIN 033. BACK IN JUNE José Promis, songwriter (José Promis) Outerbridge & Victor Sanchez, Buck Aaron Thomas & Gary Wayne songwriters (Infinite Embrace Zaiontz, songwriters (Jokers Wild 034. BACK IN YOUR HEAD Featuring Casey Benjamin) Band) Sara Quin & Tegan Quin, songwriters (Tegan And Sara) 003. AFTER YOU 020. ANDUHYAUN Dick Wagner, songwriter (Wensday) Jimmy Lee Young, songwriter (Jimmy 035. BARTENDER Akon Thiam & T-Pain, songwriters 004. AGAIN & AGAIN Lee Young) (T-Pain Featuring Akon) Inara George & Greg Kurstin, 021. ANGEL songwriters (The Bird And The Bee) Chris Cartier, songwriter (Chris 036. BE GOOD OR BE GONE Fionn Regan, songwriter (Fionn 005. AIN'T NO TIME Cartier) Regan) Grace Potter, songwriter (Grace Potter 022. ANGEL & The Nocturnals) Chaka Khan & James Q. Wright, 037. BE GOOD TO ME Kara DioGuardi, Niclas Molinder & 006. -
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 -
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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. -
2021.0114 Masters Final Submission
How can sound engineers working in large format recording facilities participate in collaborative creativity and experience “creative immersion”? Robert Plummer B.Mus (Hons) K1341382 This thesis is being submitted in partial fulfilment of the requirements of Kingston University for the Masters by Research (MRes) award. October 2019 1 Abstract Record production is often seen in musicology as a combination of two or three (often the songwriters’ and producer’s) persons’ creativity, and often not analysed from a collaborative viewpoint. When looking at technical staff on recordings, the producer often takes centre stage. The creative role of the studio engineer is mostly overlooked, yet highly important. A studio engineer’s practices influences the creativity of all of the participants of a recording session, regardless of how creative those practices may be. This research sheds light on the engineer’s effect on the creativity of the recording session including the best practices and workflows to ensure the highest creative output. Included in this research are four case studies of professional studio sessions which I engineered at Visconti Studio. Visconti Studio is a professional recording facility residing at Kingston University’s “Hill Campus”. Having professional practice based research on an area of musicology which is still in its infancy is invaluable. Using existing frameworks, and my own model, I take a look into the case studies, analysing the creative output and the practices that led to such creativity. The recording engineer may not just facilitate creativity, but also be invited into the collaborative process. In this research I demonstrate how, and when, an engineer may experience being collaboratively creative, but also how they may achieve the highest form of this, creative immersion. -
GRP A8 – Analog Studio Synthesizer
GRP A8 – analog studio synthesizer „If you wanna start, start big!“ is what Groppioni Paolo (GrP) must have told me in 2008. We were sitting in front of a huge proxy of a synthesizer panel. In fact, the A8 – with 127 x 67 cm – is one of the largest synthesizers ever produced. It was built 22 times* and has been in studios in the USA, Switzerland, France, Belgium, Germany and Austria since 2010. [*After the production run ended, Paolo built a last GRP A8 for himself. So there are 23 instruments in total in existence.] Beside its monstruous size, it’s its concept that makes the GRP A8 awe-inspiring. More than that – I believe the GRP A8 has become a milestone in synthesizer history. While most modern analog synthesizers follow the concept of classic synthesizers, GRP has gone its own way. Fabulous sound is the basis, of course, but on top of this the GRP concept is tremendously flexible. There’s a fantastic intuitive user surface (with knobs instead of patches, so you’re faster), MIDI and (!) CV/gate, delightful performance features including the synchronization of all rhythm-based components (LFOs, S/H, auto-pan, sequencer …), and well … a wonderful – absolutely unique! – step-sequencer. | 1 GRP A8 – analog studio synthesizer GRP A8 – sequencer enabling section for VCOs, PWM and filter modulation Overview The GRP A8 is a dual section analog synthesizer capable of creating two entirely separate sounds. The instrument offers: 6x VCOs 6x sub-oscillators 1x noise (for audio and modulation) 2x ring modulator 2x 24dB lowpass filters 2x 12dB -
Beat-Heft-DVD #158 Ideen Für Das Studio: 8,5 GB Plugs & Samples Auf DVD
02-2019 BEAT.DE SKILLS FÜR MACHER MUSIK PRODUKTION DJ-ING 3 3 1 8 1 FACEBOOK-FANS IRREN NICHT 19 20 - 02 / 158 TECHNO # BAUSTEINE FÜR DEN CLUB-SOUND 8,5 GB CONSTRUCTOR AUF DVD VOLLVERSION PRIMER* ALLESKÖNNER FÜR ELECTRO TECHNO AKAI FIRE GROOVE, HOOK, ARRANGEMENT, MIX: ALLROUND-CONTROLLER TESTS DARK ENERGY III ERICA PICO II ACL-SYSTEM-1 AKAI ACL-SYSTEM-1 II PICO CYPHER ERICA FIRE DARK III ENERGY 2 UVM. BAUSTEINE FÜR DEN CLUB-SOUND FÜR FL STUDIO WAVERAZOR II LE* SPEZIALIST FÜR SLICING-SYNTHESE 1,4 GB SYNTH-BATTLE* * Online-Registrierung erforderlich NI MASSIVE VERSUS SERUM INTERVIEW IM STUDIO MIT Vollgas: 2,2 GB Samples & Sounds für BUTTRICH Dubstep, Ambient, Trap REASON DARK ENERGY III PRODUCER BESTER KOMPAKTER ALLER ZEITEN? RISER-EFFEKT MUSIKVERTRIEB MIT VOCALS SO GEHT DER ONLINE-VERKAUF 02 4 196779 606997 TESTS NI KONTAKT 6 | CYPHER 2 | NI TRAKTOR 3 | PRESONUS ATOM | ERICA PICO II D 6,99 € CH 12,90 € AT 7,90 CHF LUX 8,20 € IT 8,70 € BEATDVD Über 8 GB Daten für Musiker! JETZT STARTEN Alle Software-Aktionen dieser DVD enden am 05.02.19 Drei Top-DVD-Vollversionen! Exklusive Vollversion NEU: Slicing-Synthese Syntorial Primer Waverazor II LE Der Primer entpuppt sich bereits auf den ersten Blick als wahrer Klang- Der Waverazor II LE ist ein Synthesizer, der mit seiner speziellen Klangäs- künstler: Mit drei Oszillatoren, Sub-Oszillator, analogem Filter mit Reso- thetik polarisiert. Gerade experimentierfreudige Musiker auf der Suche nanz, zahlreichen Hüllkurven und anderen Modulatoren sowie seinen nach drastischen Klängen dürften ihn mögen. Mit seinem Oszillator-Kon- FM-Fähigkeiten empiehlt sich der VA-Synthesizer als erste Wahl für moder- zept und der neuen Slicing-Synthese ragt er aus der Masse an Synthesizern ne elektronische Stile wie Techno, Dance, Trance oder Dubstep. -
Kenton Pro Solo II
PPRRORO SSOOOLLLOO MK II Single channel MIDI-CV converter Operating manual INTRODUCTION Congratulations on your purchase. The PRO SOLO mkII is much more than just a MIDI to CV converter, incorporating a built in LFO as well as portamento functions. Please take some time out to read through all the manual to avoid any operational difficulties. CONNECTIONS To the MIDI In of your other MIDI keyboard MIDI out Filter, Gate, CV MIDI Master keyboard/computer Analogue synth MIDI MIDI AUX, In Thru Gate, CV 9 volt external PRO SOLO power adapter MIDI In Plug your MIDI keyboard or sequencer`s MIDI Out into here. MIDI Thru Plug this into the MIDI In of another piece of your MIDI equipment should it be necessary. CV Plug this into your mono-synth`s input marked CV In, VCO In, KEY VOLT KYBD In, etc. This controls the pitch of your synth. GATE Plug this into your mono-synth`s input marked GATE, V-trig, Trig, S-Trig, etc. This turns the note on and off on your synth. AUX Plug this into your mono-synth`s input marked VCF, fcM, PWM, VCA, Filter, Volume, or any other external control voltage input. This enables you to control effects such as filter cut-off from MIDI controllers (Velocity, mod wheel, etc.). Note; not all mono-synths have additional control inputs. 9V DC Plug your power adapter into here. The converter will take an adapter with an output of 9 volts DC regulated or unregulated, centre +ve. We recommend a Kenton power supply which is made especially for the PRO-SOLO but any plug-top supply can be used as long as the output is 9 volts DC. -
The 2020 Jazz Education Network Conference
THE 2020 JAZZ EDUCATION NETWORK CONFERENCE JEN FEATURES ADONIS ROSE’S NEW ORLEANS! When Adonis Rose took over as artis- tic director of the New Orleans Jazz Orchestra, the group was on the verge of collapse. Through sweat, hard work and lots of faith, the drum- mer/bandleader has the 18-piece group cooking again. Witness them at the JEN Scholarship Concert on Friday night! 38 MEET THE 98 CHECKING IN ARTISTS! WITH ROXY COSS Meet the Artists is a new fea- The wicked good tenor player ture at this year’s JEN con- is also a staunch advocate for ference. During dedicat- equity in jazz. She discusses ed exhibit hours this week, how she founded the Women attendees have an opportu- In Jazz Organization, serves nity to say hello to dozens of on JEN’s Women In Jazz stars from jazz and jazz edu- Committee and strives to help cation. Just head down to create more opportunities for Elite Hall (Level 1)! women on the bandstand! WELCOME TO JEN! JEN CONFERENCE SCHEDULE 10 JEN President’s Welcome 36 Meet the Artists 12 Mayor of New Orleans’ Welcome 38 Hyatt Regency New Orleans Map 14 Meet the Sponsors 40 Tuesday, Jan. 7, Jazz Industry/Music 16 The JEN Board of Directors Business Symposium Schedule 18 JEN Initiatives 42 Tuesday, Jan. 7, JEN Conference Schedule 44 Wednesday, Jan. 8, JEN Conference Schedule 60 Thursday Jan. 9, JEN Conference Schedule Friday, Jan. 10, JEN HONOREES 78 JEN Conference Schedule 22 Scholarship Recipients 24 Composer Showcase Honorees VISIT OUR JEN EXHIBITORS! 26 Sisters In Jazz Honorees 92 Exhibitor List 28 JEN Commissioned Charts 93 Exhibition Hall Map 30 JEN Distinguished Award Honorees 94 JEN Guide Advertiser Index On the cover, clockwise from top left: Bass Extremes with Steve Bailey and Victor Wooten, The New Orleans Jazz Orchestra, the Dirty Dozen Brass Band, Bria Skonberg, Western Michigan University’s Gold Company, Chucho Valdés, the ChiArts Jazz Combo, Carmen Bradford and RJAM, Brubecks Play Brubeck, Tia Fuller and Mark Whitfield. -
Fett, Fett, Fett! Anschlüsse: Audio-Out (Mono), Audio-In, Kopf- Text: Dr
gy 052 keyboards test cd track 02 profil Konzept: Monofoner analoger Synthesizer Klangerzeugung: 2 Oszillatoren mit stufenlos variablen Basiswellenformen (Sägezahn, Drei- Moog Little Phatty – Analog-Synthesizer eck, Rechteck, Pulse; 16', 8', 4', 2'), OSC-Sync, 1 LFO (0,2 – 500 Hz), 2 × ADSR (Filter, Amp), resonanzfähiges Lowpass-Filter (20 Hz – 16 kHz) um- schaltbar (1–4-Pol) Fett, fett, fett! Anschlüsse: Audio-Out (mono), Audio-In, Kopf- text: Dr. Stefan Albus, foto: Dieter Stork hörer, Keyboard-Gate (+5V trigger), CV-In für Filter, Pitch, Volume (±5V) Maße (B × T × H) / Gewicht: 68 × 37,5 × 14,1 cm / 9,9 kg Hersteller / Vertrieb: Und der hat nun den Weg in mein kleines Stu- Moog Music Inc. / EMC Bob Moog, der Mann, der Synthesizer dio gefunden. Trotz der handlichen Ausmaße ist www.moogmusic.com / er knapp zehn Kilo schwer – Donnerwetter, da www. emc-de.com bühnenreif gemacht und ganze muss was drin sein. Und: Design by Axel Hart- UvP / Straßenpreis: Generationen mit dem typischen mann! Die Rückseite sieht aus wie ein Werk- € 1.449,– / ca. € 1.350,– zeugkoffer auf links, aber schick. Und erst der Moog-Sound beglückt hat, hat Namenszug „Bob Moog“, zusammen mit der noch vor seinem Tod vergangenes unscheinbaren Seriennummer „089 of 1.200“ – + exzellenter Sound Jahr ein ganz besonderes Baby nämlich der „Bob Moog Tribute Edition“ –, das + bühnenkompatible Struktur hat was. Überhaupt: So viel Spaß beim Aus- + selbsterklärende Handhabung auf den Weg gebracht: packen muss man bei einem Softsynth erst mal + gute Verarbeitung den Little Phatty. haben! + Design Zweiter Eindruck: Der kleine Dicke, der nicht in + analoge Potis mit Parameter-Tracking Korea, sondern in Asheville, North Carolina, zusammengesteckt wird, wirkt ultrasolide: Damit – kein Aftertouch kann man sicher auch wütende Braunbären – nur ein Modulationsbus stoppen. -
PRO SOLO Single Channel MIDI-CV Converter
PRO SOLO Single channel MIDI-CV converter Operating manual INTRODUCTION Congratulations on your purchase. The PRO SOLO is much more than just a MIDI to CV converter, incorporating a built in LFO as well as portamento functions. Please take some time out to read through all the manual to avoid any operational difficulties. CONNECTIONS To the MIDI In of your other MIDI keyboard MIDI out Filter, Gate, CV MIDI Master keyboard/computer Analogue synth MIDI MIDI AUX, In Thru Gate, CV 9-15V external PRO SOLO power adapter MIDI In Plug your MIDI keyboard or sequencer`s MIDI Out into here. MIDI Thru Plug this into the MIDI In of another piece of your MIDI equipment should it be necessary. CV Plug this into your mono-synth`s input marked CV In, VCO In, KEY VOLT KYBD In, etc. This controls the pitch of your synth. GATE Plug this into your mono-synth`s input marked GATE, V-trig, Trig, S-Trig, etc. This turns the note on and off on your synth. AUX Plug this into your mono-synth`s input marked VCF, fcM, PWM, VCA, Filter, Volume, or any other external control voltage input. This enables you to control effects such as filter cut- off from MIDI controllers (Velocity, mod wheel, etc.). Note; not all mono-synths have additional control inputs. 9-15V DC Plug your power adapter into here. The converter will take an adapter with a range of 9- 15V. The voltage supplied determines the maximum gate voltage that can be obtained. We recommend the Kenton power supply which is made especially for the PRO-SOLO but any plug-top supply can be used as long as the output is regulated and is in the range of 9-15 volts. -
Aglobal Response Events, Recordings Aim to Raise Chesney's Millions for Tsunami Victims
$6.99 (U.S.), $8.99 (CAN.), £5.50 (U.K.), 8.95 (EUROPE), Y2,500 (JAPAN) aw a zW jjBXNCTCC 3 -DIGIT 908 - _ IIIIIIIIIIIIIIIlII111I1lIIIlII11I11III I IIIIIII JtBL2408043$i APR06 A04 B0103 MONTY GREENLY 3740 ELM AVE H A LONG BEACH CA 90807 -3402 1111 NMI lift/ 15, 2005 www.billboard.com THE INTERNATIONAL AUTHORITY ON MUSIC, VIr ''GITAL ENTERTAINMENT ÌIOTH YEAR JANUARY HOT SPOTS Kenny AGlobal Response Events, Recordings Aim To Raise Chesney's Millions For Tsunami Victims A Billboard and Billboard Radio Monitor staff report. 10 Artie Shaw: ATribute As the world continues to respond to the devas- Billboard remembe-s the tation in Southeast Asia following the Dec. 26 late bandleader and clarinetist Choice earthquake and tsunami, the global music com- in a personal tribute by munity is corning together in an unprecedented Tamara Conniff. Country outpouring of support for relief efforts. (Continued on page 60) Star Gets Personal At Caribbean Retreat BY DEBORAH EVANS PRICE 13 He's Game NASHVILLE -After more than a Dr. Dre"s latest protégé, the Game, decade of hit records and relent- creates buzz with his upcoming less touring, Kenny Chesney LINKIN PARK: GRATITUDE, RESPONSIBILITY AND OBLIGATION Aftermath /G -U nit/Interscope ascended to the top of the coun- album debut, "Th2 Documentary." try format last November when he claimed the entertainer of the year prize at the Country Music Assn. Awards. Now he's exercis- Latin Biz Awaits ing his hard -won creative clout to take something of a mLsical left turn. Download Boom On Jan. 25, BNA Records will release "Be As You Are: Songs BY LEILA COBO From an Old Blue Chair," a Latin music fans who visit legal music download album that singerisongwriter stores may experience a sense of déjà vu. -
BTEC HNCD Music
BTEC HIGHER NATIONALS Music Specifi cation First Teaching from September 2018 First Certifi cation from September 2019 Higher National Certifi cate Lvl 4 Higher National Diploma Lvl 5 Edexcel, BTEC and LCCI qualifications Edexcel, BTEC and LCCI qualifications are awarded by Pearson, the UK’s largest awarding body offering academic and vocational qualifications that are globally recognised and benchmarked. For further information, please visit our qualifications website at qualifications.pearson.com. Alternatively, you can get in touch with us using the details on our contact us page at qualifications.pearson.com/contactus About Pearson Pearson is the world's leading learning company, with 35,000 employees in more than 70 countries working to help people of all ages to make measurable progress in their lives through learning. We put the learner at the centre of everything we do, because wherever learning flourishes, so do people. Find out more about how we can help you and your learners at qualifications.pearson.com References to third party material made in this specification are made in good faith. Pearson does not endorse, approve or accept responsibility for the content of materials, which may be subject to change, or any opinions expressed therein. (Material may include textbooks, journals, magazines and other publications and websites.) All information in this specification is correct at time of publication. Pearson BTEC Higher National in Music © SvetaZi/Shutterstock ISBN 978 1 446 95876 6 All the material in this publication is copyright © Pearson Education Limited 2020 Summary of changes in Pearson BTEC Higher Nationals in Music Issue 4 Summary of changes made between previous issue and this current Page issue number Branding 1-514 Added new front cover Applied updated Pearson BTEC Higher Nationals branding colour, font and tables throughout the spec 2.5.1 Progression to university 9 University recognition and articulations section updated and reflects new website.