US-20X20 Reference Manual
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User Manual Version 1.0 Published November 2013 Copyright©2013 Asrock INC
User Manual Version 1.0 Published November 2013 Copyright©2013 ASRock INC. All rights reserved. Copyright Notice: No part of this documentation may be reproduced, transcribed, transmitted, or translated in any language, in any form or by any means, except duplication of documentation by the purchaser for backup purpose, without written consent of ASRock Inc. Products and corporate names appearing in this documentation may or may not be registered trademarks or copyrights of their respective companies, and are used only for identification or explanation and to the owners’ benefit, without intent to infringe. Disclaimer: Specifications and information contained in this documentation are furnished for informational use only and subject to change without notice, and should not be constructed as a commitment by ASRock. ASRock assumes no responsibility for any errors or omissions that may appear in this documentation. With respect to the contents of this documentation, ASRock does not provide warranty of any kind, either expressed or implied, including but not limited to the implied warranties or conditions of merchantability or fitness for a particular purpose. In no event shall ASRock, its directors, officers, employees, or agents be liable for any indirect, special, incidental, or consequential damages (including damages for loss of profits, loss of business, loss of data, interruption of business and the like), even if ASRock has been advised of the possibility of such damages arising from any defect or error in the documentation or product. The terms HDMI™ and HDMI High-Definition Multimedia Interface, and the HDMI logo are trademarks or registered trademarks of HDMI Licensing LLC in the United States and other countries. -
Infocus Projector Setup Guide for a PC Laptop Computer How to Connect a Laptop Computer to an Infocus Projector
InFocus Projector Setup Guide for a PC Laptop Computer How to connect a laptop computer to an InFocus projector Component Composite Y VGA RS-232 Pb L M1-DA S-video Pr R Table of Contents Good - If you have a 15-pin VGA port on your laptop computer, see page 2. Better - If you have a DVI port on your laptop computer and M1 port on your projector, see page 3. For more information and troubleshooting... Read the tips, common issues and frequently asked questions on pages 4-7. Copyright © 1999-2005 InFocus Corporation. All Rights Reserved. Connecting a PC laptop computer to an InFocus projector with a VGA connector Setup Requirements Laptop computer with 15-pin male VESA (VGA) port Good Projector with M1 port M1 to VGA/USB cable (6 ft, InFocus part #SP-DVI-A) Laptop Computer Connector Panel 1 connector panel may vary from actual product Connect to computer speakers or projector (if supported).* VGA connector Plug the VGA connector into the monitor port on the laptop computer. Composite 2 Video ProjectorNet RS-232 L Projector Connector Panel M1-DA S-video R connector panel may vary from actual product USB connector for Microsoft PowerPoint A or mouse control with InFocus remote. Composite (Not required for projector use) Connect the M1-A connector to the M1 port on the projector. Video ProjectorNet RS-232 L 3 M1-DA S-video R A M1 to VGA/USB cable (6 ft) (InFocus standard accessory) Power on the projector, then the laptop computer. If the image does not appear on the screen, see M1-A connector Tips, Common Issues and FAQs. -
US-16X08 Reference Manual
D01247020B US-16x08USB2.0 Audio Interface/Mic Preamp Reference Manual Before connecting this unit to a computer, you must download and install a dedicated driver. Contents 1 – Introduction ..............................................3 Windows 8 ....................................................................23 Features ..................................................................................3 Windows 7 ....................................................................23 Conventions used in this manual ..................................3 Mac OS X and iTunes ........................................................24 iOS ..........................................................................................24 2 – Names and functions of parts ..................4 Front panel ............................................................................4 9 – MIDI Implementation Chart ...................25 Rear panel ..............................................................................5 10 – Troubleshooting ...................................26 3 – Installation ................................................6 Troubleshooting ................................................................26 System requirements.........................................................6 11 – Specifications ........................................28 Windows ..........................................................................6 Specifications .....................................................................28 Mac OS X..........................................................................6 -
Common Tape Manipulation Techniques and How They Relate to Modern Electronic Music
Common Tape Manipulation Techniques and How They Relate to Modern Electronic Music Matthew A. Bardin Experimental Music & Digital Media Center for Computation & Technology Louisiana State University Baton Rouge, Louisiana 70803 [email protected] ABSTRACT the 'play head' was utilized to reverse the process and gen- The purpose of this paper is to provide a historical context erate the output's audio signal [8]. Looking at figure 1, from to some of the common schools of thought in regards to museumofmagneticsoundrecording.org (Accessed: 03/20/2020), tape composition present in the later half of the 20th cen- the locations of the heads can be noticed beneath the rect- tury. Following this, the author then discusses a variety of angular protective cover showing the machine's model in the more common techniques utilized to create these and the middle of the hardware. Previous to the development other styles of music in detail as well as provides examples of the reel-to-reel machine, electronic music was only achiev- of various tracks in order to show each technique in process. able through live performances on instruments such as the In the following sections, the author then discusses some of Theremin and other early predecessors to the modern syn- the limitations of tape composition technologies and prac- thesizer. [11, p. 173] tices. Finally, the author puts the concepts discussed into a modern historical context by comparing the aspects of tape composition of the 20th century discussed previous to the composition done in Digital Audio recording and manipu- lation practices of the 21st century. Author Keywords tape, manipulation, history, hardware, software, music, ex- amples, analog, digital 1. -
ARTIFICIAL REVERBERATION Ainnol
ARTIFICIAL REVERBERATION Ainnol Lilisuliani Ahmad Rasidi (SID : 430566949) Digital Audio Systems, DESC9115, Semester 1 2014 Graduate Program in Audio and Acoustics Faculty of Architecture, Design and Planning, The University of Sydney -------------------------------------------------------------------------------------------------------------------------------------- 1.0 Abstract Digital reverberation is an audio effect that is very common in musical production. It can be used to enhance recorded sounds that often sounds “dry” and “flat”. The principal idea of artificial reverberation was initiated by Manfred Schroeder in the 1960’s. Since then, many artificial reverb algorithms have been created. This review will look into two types of reverberation, convolution and algorithm based reverberation, focusing on Schroeder’s delay network algorithm and the applications of artificial reverberation in many areas. 2.0 Introduction Sound is a mechanical energy that travels through air at the speed of about 344 m/s. The speed varies upon the properties of air it travels, mostly due to the change of temperature and sometimes due to the humidity. In an enclosed space, this longitudinal waves of sound would reduce its amplitude the further it travels from the source until it reaches a surface. Depending upon the characteristic of the surface, some of the energy of the sound will be absorbed while some shall be reflected back into space. The reflected sound will bounce again as it meets other surface or obstacles, hence creating a complex pattern of reflection. Reverberation is the term we use for the collection of reflected sounds from the surfaces in an enclosed space. It is measured by reverberation time, which is perceived as the time for the sound to die away 60 decibels after the sound sources ceases (Sabine, 1972) . -
Using Headsets and Other Audio Devices with Cisco IP Communicator
CHAPTER 5 Using Headsets and Other Audio Devices with Cisco IP Communicator This chapter describes how to use audio devices such as a handset, headset, and the computer speaker and microphone with the audio modes for Cisco IP Communicator (handset mode, headset mode, and speakerphone mode). • Obtaining Audio Devices, page 5-1 • Using a Headset, page 5-2 • Using Your Computer as a Speakerphone, page 5-4 • Using a USB Handset, page 5-5 • Removing and Re-Installing Audio Devices, page 5-6 Obtaining Audio Devices Your system administrator might supply you with audio devices. If you plan to purchase them, ask your system administrator for the most up-to-date list of supported devices. User Guide for Cisco IP Communicator Release 7.0 OL-10863-01 5-1 Chapter 5 Using Headsets and Other Audio Devices with Cisco IP Communicator Using a Headset Using a Headset You can use a USB headset or an analog headset with Cisco IP Communicator. • A USB headset has a flat, rectangular plug that connects to a USB port on your computer. • An analog headset has rounded plugs that connect to the computer audio jacks. Analog headsets work with the computer sound card and do not require device drivers. This table describes how to use a headset to place and receive calls. If you want to... Then... Use a headset to Make sure that the Headset button is activated (lit) to indicate that place and receive Cisco IP Communicator is operating in headset mode. You can toggle headset calls mode on and off by clicking the Headset button or by entering the keyboard shortcut Ctrl + H. -
Recording and Amplifying of the Accordion in Practice of Other Accordion Players, and Two Recordings: D
CA1004 Degree Project, Master, Classical Music, 30 credits 2019 Degree of Master in Music Department of Classical music Supervisor: Erik Lanninger Examiner: Jan-Olof Gullö Milan Řehák Recording and amplifying of the accordion What is the best way to capture the sound of the acoustic accordion? SOUNDING PART.zip - Sounding part of the thesis: D. Scarlatti - Sonata D minor K 141, V. Trojan - The Collapsed Cathedral SOUND SAMPLES.zip – Sound samples Declaration I declare that this thesis has been solely the result of my own work. Milan Řehák 2 Abstract In this thesis I discuss, analyse and intend to answer the question: What is the best way to capture the sound of the acoustic accordion? It was my desire to explore this theme that led me to this research, and I believe that this question is important to many other accordionists as well. From the very beginning, I wanted the thesis to be not only an academic material but also that it can be used as an instruction manual, which could serve accordionists and others who are interested in this subject, to delve deeper into it, understand it and hopefully get answers to their questions about this subject. The thesis contains five main chapters: Amplifying of the accordion at live events, Processing of the accordion sound, Recording of the accordion in a studio - the specifics of recording of the accordion, Specific recording solutions and Examples of recording and amplifying of the accordion in practice of other accordion players, and two recordings: D. Scarlatti - Sonata D minor K 141, V. Trojan - The Collasped Cathedral. -
DLM8 and DLM12 2000W Powered Loudspeakers with DL2 Digital Mixer
DLM8 and DLM12 2000W Powered Loudspeakers with DL2 Digital Mixer OWNER’S MANUAL Important Safety Instructions 1. Read these instructions. 20. NOTE: This equipment has been tested and found to comply with 2. Keep these instructions. the limits for a Class B digital device, pursuant to part 15 of the FCC 3. Heed all warnings. Rules. These limits are designed to provide reasonable protection 4. Follow all instructions. against harmful interference in a residential installation. This equipment 5. Do not use this apparatus near water. generates, uses, and can radiate radio frequency energy and, if not 6. Clean only with a dry cloth. installed and used in accordance with the instructions, may cause 7. Do not block any ventilation openings. Install in accordance with the manu- harmful interference to radio communications. However, there is no facturer’s instructions. guarantee that interference will not occur in a particular installation. 8. Do not install near any heat sources such as radiators, heat registers, stoves, If this equipment does cause harmful interference to radio or television or other apparatus (including amplifiers) that produce heat. reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or 9. Do not defeat the safety purpose of the polarized or grounding-type plug. more of the following measures: A polarized plug has two blades with one wider than the other. A grounding- type plug has two blades and a third grounding prong. The wide blade or • Reorient or relocate the receiving antenna. the third prong are provided for your safety. -
Tecra® M9 Series User's Guide
Tecra® M9 Series User’s Guide If you need assistance: ❖ Toshiba’s Support Web site pcsupport.toshiba.com ❖ Toshiba Global Support Centre Calling within the United States (800) 457-7777 Calling from outside the United States (949) 859-4273 For more information, see “If Something Goes Wrong” on page 177 in this guide. GMAD00118010 04/07 2 Handling the cord on this product will expose you to lead, a chemical known to the State of California to cause birth defects or other reproductive harm. Wash hands after handling. Model: Tecra® M9 Series Recordable and/or ReWritable Drive(s) and Associated Software Warranty The computer system you purchased may include Recordable and/or ReWritable optical media drive(s) and associated software, among the most advanced data storage technologies available. As with any new technology, you must read and follow all set-up and usage instructions in the applicable user guides and/or manuals enclosed or provided electronically. If you fail to do so, this product may not function properly and you may lose data or suffer other damage. TOSHIBA AMERICA INFORMATION SYSTEMS, INC. (“TOSHIBA”), ITS AFFILIATES AND SUPPLIERS DO NOT WARRANT THAT OPERATION OF THE PRODUCT WILL BE UNINTERRUPTED OR ERROR FREE. YOU AGREE THAT TOSHIBA, ITS AFFILIATES AND SUPPLIERS SHALL HAVE NO RESPONSIBILITY FOR DAMAGE TO OR LOSS OF ANY BUSINESS, PROFITS, PROGRAMS, DATA, NETWORK SYSTEMS OR REMOVABLE STORAGE MEDIA ARISING OUT OF OR RESULTING FROM THE USE OF THE PRODUCT, EVEN IF ADVISED OF THE POSSIBILITY THEREOF. Protection of Stored Data For your important data, please make periodic back-up copies of all the data stored on the hard disk or other storage devices as a precaution against possible failures, alteration, or loss of the data. -
AIR Creative Collection Provides a Comprehensive Set of Digital Signal Processing Tools for Professional Audio Production with Pro Tools
AIR® Creative Collection User Guide English User Guide (English) Chapter 1: Audio Plug-Ins Overview Plug-ins are special-purpose software components that provide additional signal processing and other functionality to Avid® Pro Tools®. These include plug-ins that come with Pro Tools, as well as many other plug-ins that can be added to your system. Additional plug-ins are available both from AIR and third-party developers. See the documentation that came with the plug-in for operational information. AIR Audio Plug-Ins AIR Creative Collection provides a comprehensive set of digital signal processing tools for professional audio production with Pro Tools. Other AIR plug-ins are available for purchase from AIR at www.airmusictech.com. AIR Creative Collection is included with Pro Tools, providing a comprehensive suite of digital signal processing effects that include EQ, dynamics, delay, and other essential audio processing tools. The following sound-processing, effects, and utility plug-ins are included: Chorus Ensemble Fuzz-Wah Multi-Delay Spring Reverb Distortion Filter Gate Kill EQ Non-Linear Reverb Stereo Width Dynamic Delay Flanger Lo-Fi Phaser Talkbox Enhancer Frequency Shifter Multi-Chorus Reverb Vintage Filter The following virtual instrument plug-ins are also included: Boom Drum machine and sequencer DB-33 Tonewheel organ emulator with rotating speaker simulation Mini Grand Acoustic grand piano Structure Free Sample player Vacuum Vacuum tube–modeled monophonic synthesizer Xpand!2 Multitimbral synthesizer and sampler workstation Avid and Pro Tools are trademarks or registered trademarks of Avid Technology, Inc. in the U.S. and other countries. 3 AAX Plug-In Format AAX (Avid Audio Extension) plug-ins provide real-time plug-in processing using host-based ("Native") or DSP-based (Pro Tools HD with Avid HDX hardware accelerated systems only) processing. -
Quick-Start Guide Package Contents
Quick-start guide USB 3.0 to Dual DisplayPort Adapter - 4K 60Hz USB32DP24K60 Installation FR: Guide de l’utilisateur - fr.startech.com Notes: DE: Bedienungsanleitung - de.startech.com • You may need to restart your computer during the software ES: Guía del usuario - es.startech.com installation process. Be sure to save any unsaved material before NL: Gebruiksaanwijzing - nl.startech.com you install the software. PT: Guia do usuário - pt.startech.com • If you’re running Windows 7, macOS 10.10 or macOS 10.1, ensure IT: Guida per l’uso - it.startech.com the USB video adapter is not connected to your computer until after driver installation. If you’re running Windows 7, macOS 10.10 or macOS 10.11, you must ensure the latest drivers from the StarTech.com website are installed before 1. If you’re running Windows 7, macOS 10.10 or macOS 10.11, connecting the USB video adapter to the computer. download the latest software from the StarTech.com website: If you’re running Windows 8 (or later), or macOS http://www.StarTech.com/USB32DP24K60 10.12 (or later), you can utilize an internet Note: If you’re running Windows 8 (or later), or macOS 10.12 connection to automatically install the latest drivers as soon as the USB video adapter is connected to the (or later) proceed to step 5. computer. 2. The software will be compressed in a .zip folder. Extract the contents of the folder to a location on your computer that’s easy Package contents to access, such as your Desktop or Downloads folder. -
Computer Hardware Апаратне Забезпечення
МІНІСТЕРСТВО ОСВІТИ І НАУКИ УКРАЇНИ ЖИТОМИРСЬКИЙ ДЕРЖАВНИЙ УНІВЕРСИТЕТ ІМЕНІ ІВАНА ФРАНКА І. В. Кузнєцова, А. Г. Статкевич Computer Hardware Апаратне забезпечення Практикум з англійської мови для студентів фізико-математичного факультету спеціальностей: «Інформатика», «Математика та інформатика», «Фізика та інформатика» Житомир 2012 УДК 004.42:811.11(07) ББК 73:81.432.1 К 78 Рекомендовано до друку рішенням вченої ради Житомирського державного університету імені Івана Франка (протокол № 3 від 22 жовтня 2010 р.) Гриф МОН від 10 червня 2011р. Рецензенти: Панасенко Н. І. – доктор філологічних наук, професор кафедри германської та фінської філології Київського національного лінгвістичного університету; Борисов О. О. – кандидат філологічних наук, доцент кафедри германської філології Чернігівського національного педагогічного університету імені Т. Шевченка; Ємець О. В. – кандидат філологічних наук, доцент, завідувач кафедри романо-герман- ських мов Хмельницького національного університету Кузнєцова І. В., Статкевич А. Г. Апаратне забезпечення: практикум з англійської мови для студентів фізико- математичного факультету спеціальностей: «Інформатика», «Математика та інформатика», «Фізика та інформатика». – Житомир: Вид-во ЖДУ ім. І. Франка, 2012. – 124 с. Практикум складається з 8 розділів, текстів для самостійного опрацювання, додаткового читання та додатків. Тексти підібрані з оригінальної науково-технічної літератури та містять необхідну термінологію зі спеціальності. До складу розділів входять лексико-граматичні та комунікативні вправи, що