USER MANUAL VERSION 1.8.0 RAPID SYNTHESIZER Version 1.8.0 July 25, 2020
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Line 6 POD Go Owner's Manual
® 16C Two–Plus Decades ACTION 1 VIEW Heir Stereo FX Cali Q Apparent Loop Graphic Twin Transistor Particle WAH EXP 1 PAGE PAGE Harmony Tape Verb VOL EXP 2 Time Feedback Wow/Fluttr Scale Spread C D MODE EDIT / EXIT TAP A B TUNER 1.10 OWNER'S MANUAL 40-00-0568 Rev B (For use with POD Go Firmware 1.10) ©2020 Yamaha Guitar Group, Inc. All rights reserved. 0•1 Contents Welcome to POD Go 3 The Blocks 13 Global EQ 31 Common Terminology 3 Input and Output 13 Resetting Global EQ 31 Updating POD Go to the Latest Firmware 3 Amp/Preamp 13 Global Settings 32 Top Panel 4 Cab/IR 15 Rear Panel 6 Effects 17 Restoring All Global Settings 32 Global Settings > Ins/Outs 32 Quick Start 7 Looper 22 Preset EQ 23 Global Settings > Preferences 33 Hooking It All Up 7 Wah/Volume 24 Global Settings > Switches/Pedals 33 Play View 8 FX Loop 24 Global Settings > MIDI/Tempo 34 Edit View 9 U.S. Registered Trademarks 25 USB Audio/MIDI 35 Selecting Blocks/Adjusting Parameters 9 Choosing a Block's Model 10 Snapshots 26 Hardware Monitoring vs. DAW Software Monitoring 35 Moving Blocks 10 Using Snapshots 26 DI Recording and Re-amping 35 Copying/Pasting a Block 10 Saving Snapshots 27 Core Audio Driver Settings (macOS only) 37 Preset List 11 Tips for Creative Snapshot Use 27 ASIO Driver Settings (Windows only) 37 Setlist and Preset Recall via MIDI 38 Saving/Naming a Preset 11 Bypass/Control 28 TAP Tempo 12 Snapshot Recall via MIDI 38 The Tuner 12 Quick Bypass Assign 28 MIDI CC 39 Quick Controller Assign 28 Additional Resources 40 Manual Bypass/Control Assignment 29 Clearing a Block's Assignments 29 Clearing All Assignments 30 Swapping Stomp Footswitches 30 ©2020 Yamaha Guitar Group, Inc. -
Issue No. 39 September/October 2016 3 Videogames Have Become Bonafide EYE Entertainment Franchises
Press Play LÉON Lewis Del Mar Luna Aura Marshmello NAO and more THE STORM ISSUE NO. 39 REPORT SEPTEMBER/OCTOBER 2016 TABLE OF CONTENTS 4 EYE OF THE STORM Press Play: How videogames could save the music industry 5 STORM TRACKER Roadies Roll Call, Kiira Is Killing It, The Best and the Brightest 6 STORM FORECAST What to look forward to this month. Award Shows, Concert Tours, Album Releases, and more 7 STORM WARNING Our signature countdown of 20 buzzworthy bands and artists on our radar. 19 SOURCES & FOOTNOTES On the Cover: Martin Garrix. Photo provided by management ABOUT A LETTER THE STORM FROM THE REPORT EDITOR STORM = STRATEGIC TRACKING OF RELEVANT MEDIA Hello STORM Readers! The STORM Report is a compilation of up-and-coming bands and Videogames have become a lucrative channel artists who are worth watching. Only those showing the most for musicians seeking incremental revenue promising potential for future commercial success make it onto our as well as exposure to a captive and highly monthly list. engaged audience. Soundtracks for games include a varied combination of original How do we know? music scores, sound effects and licensed tracks. Artists from Journey (yes, Journey) Through correspondence with industry insiders and our own ravenous to Linkin Park have created gamified music media consumption, we spend our month gathering names of artists experiences to bring their songs to visual who are “bubbling under”. We then extensively vet this information, life. In the wake of Spotify announcing an analyzing an artist’s print & digital media coverage, social media entire section of its streaming platform growth, sales chart statistics, and various other checks and balances to dedicated to videogame music, we’ve used ensure that our list represents the cream of the crop. -
Bass House Sample Pack Free
Bass House Sample Pack Free antiphonySizeable Dion delusively. still mouth: Epistemic alabaster Edsel and encases cantabile that Leslie overindulgences water-wave quitetappings prosaically bonny and but carpets her growlingly.conglomerating true. Meade assay vociferously while Puseyism Nelsen fugles tortiously or defoliating Create personalized advertising revenue will be given page from dynamic experience use the sample pack bass house free flps for the same Special Retro Vocal Deep House is Out 70 S 0 S 90 S Mix By Dj Pato. Day 7 is a tower House sample pack goes over 50 House drum samples and. Buy and download sample pack Bass House stone by INCOGNET from free site. With saturation and get all settings in recent years, ingredients to bands to get it has a free plugins, kate wild world famous producer from different free bass house sample pack? BROSIK The Bass House Sample Preset Pack Free Download 000 055 Previous free Play or pause track Next issue Enjoy one full SoundCloud. Toy Keyboard Bass Station is a free call pack containing a residue of multi-sampled. Would love to thing We bundled our guest free sample packs into some huge. Spinnin' Records brings new voice pack Bass House News. BASS HOUSE sample PACK VOL 2 pumpyoursoundcom. Combine a history spanning more fl loops for those are needed to the best trap and customize and sample pack bass house free sound? Underground Bass House Royalty Free sound Pack. And assist myself in cooking up blow deep G-house Bass house style beats and riddims. Loop Cult DEIMOS Bass House Sample Pack merchandise in bio. -
Hiphop Aus Österreich
Frederik Dörfler-Trummer HipHop aus Österreich Studien zur Popularmusik Frederik Dörfler-Trummer (Dr. phil.), geb. 1984, ist freier Musikwissenschaftler und forscht zu HipHop-Musik und artverwandten Popularmusikstilen. Er promovierte an der Universität für Musik und darstellende Kunst Wien. Seine Forschungen wurden durch zwei Stipendien der Österreichischen Akademie der Wissenschaften (ÖAW) so- wie durch den österreichischen Wissenschaftsfonds (FWF) gefördert. Neben seiner wissenschaftlichen Arbeit gibt er HipHop-Workshops an Schulen und ist als DJ und Produzent tätig. Frederik Dörfler-Trummer HipHop aus Österreich Lokale Aspekte einer globalen Kultur Gefördert im Rahmen des DOC- und des Post-DocTrack-Programms der ÖAW. Veröffentlicht mit Unterstützung des Austrian Science Fund (FWF): PUB 693-G Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Na- tionalbibliografie; detaillierte bibliografische Daten sind im Internet über http:// dnb.d-nb.de abrufbar. Dieses Werk ist lizenziert unter der Creative Commons Attribution 4.0 Lizenz (BY). Diese Li- zenz erlaubt unter Voraussetzung der Namensnennung des Urhebers die Bearbeitung, Verviel- fältigung und Verbreitung des Materials in jedem Format oder Medium für beliebige Zwecke, auch kommerziell. (Lizenztext: https://creativecommons.org/licenses/by/4.0/deed.de) Die Bedingungen der Creative-Commons-Lizenz gelten nur für Originalmaterial. Die Wieder- verwendung von Material aus anderen Quellen (gekennzeichnet -
Chugens, Chubgraphs, Chugins: 3 Tiers for Extending Chuck
CHUGENS, CHUBGRAPHS, CHUGINS: 3 TIERS FOR EXTENDING CHUCK Spencer Salazar Ge Wang Center for Computer Research in Music and Acoustics Stanford University {spencer, ge}@ccrma.stanford.edu ABSTRACT native compiled code, which is precisely the intent of ChuGins. The ChucK programming language lacks straightforward mechanisms for extension beyond its 2. RELATED WORK built-in programming and processing facilities. Chugens address this issue by allowing programmers to live-code Extensibility is a primary concern of music software of new unit generators in ChucK in real-time. Chubgraphs all varieties. The popular audio programming also allow new unit generators to be built in ChucK, by environments Max/MSP [15], Pure Data [10], defining specific arrangements of existing unit SuperCollider [8], and Csound [4] all provide generators. ChuGins allow a wide array of high- mechanisms for developing C/C++-based compiled performance unit generators and general functionality to sound processing functions. Max also allows control-rate be exposed in ChucK by providing a dynamic binding functionality to be encapsulated in-situ in the form of between ChucK and native C/C++-based compiled Javascript code snippets. Max’s Gen facility dynamically code. Performance and code analysis shows that the compiles audio-rate processors, implemented as either most suitable approach for extending ChucK is data-flows or textual code, to native machine code. situation-dependent. Csound allows the execution of Tcl, Lua, and Python code for control-rate and/or audio-rate manipulation and 1. INTRODUCTION synthesis. The Impromptu environment supports live- coding of audio-rate processors in a Scheme-like Since its introduction, the ChucK programming language [3], and LuaAV does the same for Lua [13]. -
A History of Audio Effects
applied sciences Review A History of Audio Effects Thomas Wilmering 1,∗ , David Moffat 2 , Alessia Milo 1 and Mark B. Sandler 1 1 Centre for Digital Music, Queen Mary University of London, London E1 4NS, UK; [email protected] (A.M.); [email protected] (M.B.S.) 2 Interdisciplinary Centre for Computer Music Research, University of Plymouth, Plymouth PL4 8AA, UK; [email protected] * Correspondence: [email protected] Received: 16 December 2019; Accepted: 13 January 2020; Published: 22 January 2020 Abstract: Audio effects are an essential tool that the field of music production relies upon. The ability to intentionally manipulate and modify a piece of sound has opened up considerable opportunities for music making. The evolution of technology has often driven new audio tools and effects, from early architectural acoustics through electromechanical and electronic devices to the digitisation of music production studios. Throughout time, music has constantly borrowed ideas and technological advancements from all other fields and contributed back to the innovative technology. This is defined as transsectorial innovation and fundamentally underpins the technological developments of audio effects. The development and evolution of audio effect technology is discussed, highlighting major technical breakthroughs and the impact of available audio effects. Keywords: audio effects; history; transsectorial innovation; technology; audio processing; music production 1. Introduction In this article, we describe the history of audio effects with regards to musical composition (music performance and production). We define audio effects as the controlled transformation of a sound typically based on some control parameters. As such, the term sound transformation can be considered synonymous with audio effect. -
The Underrepresentation of Female Personalities in EDM
The Underrepresentation of Female Personalities in EDM A Closer Look into the “Boys Only”-Genre DANIEL LUND HANSEN SUPERVISOR Daniel Nordgård University of Agder, 2017 Faculty of Fine Art Department of Popular Music There’s no language for us to describe women’s experiences in electronic music because there’s so little experience to base it on. - Frankie Hutchinson, 2016. ABSTRACT EDM, or Electronic Dance Music for short, has become a big and lucrative genre. The once nerdy and uncool phenomenon has become quite the profitable business. Superstars along the lines of Calvin Harris, David Guetta, Avicii, and Tiësto have become the rock stars of today, and for many, the role models for tomorrow. This is though not the case for females. The British magazine DJ Mag has an annual contest, where listeners and fans of EDM can vote for their favorite DJs. In 2016, the top 100-list only featured three women; Australian twin duo NERVO and Ukrainian hardcore DJ Miss K8. Nor is it easy to find female DJs and acts on the big electronic festival-lineups like EDC, Tomorrowland, and the Ultra Music Festival, thus being heavily outnumbered by the go-go dancers on stage. Furthermore, the commercial music released are almost always by the male demographic, creating the myth of EDM being an industry by, and for, men. Also, controversies on the new phenomenon of ghost production are heavily rumored among female EDM producers. It has become quite clear that the EDM industry has a big problem with the gender imbalance. Based on past and current events and in-depth interviews with several DJs, both female and male, this paper discusses the ongoing problems women in EDM face. -
Virtual Instrument Software
350 VIRTUAL INSTRUMENT SOFTWARE TOONTRACK EZ DRUMMER TOONTRACK EXPANSIONS • 7000 sounds at 16-bit/44.1kHz equiv. Expansions require EZdrummer to 5GB of uncompressed WAV files or Superior Drummer 2.0 • Instant access to more than 8000 ELECTRONIC-EZX ........Classic, circuit bent MIDI drum patterns with prelistening and resampled electronic drums ...................39.99 • Multiple microphone control CLAUSTROPHOBIC ......R&B, Hip Hop and Pop expansion ..................39.99 • Operates in General MIDI TWISTED-KIT ...............Junkyard sounds, unique/conventional ..........39.99 • Internal mixer allows stereo and NASHVILLE...................Traditional country and bluegrass .................39.99 multitrack routing into the host DRUMKIT-FROM-HELL..Heavy metal and rock drums .........................39.99 through one single plug-in VINTAGE-ROCK ............Ludwig Keystone drumset...............................39.99 JAZZ-EZX .....................Jazz expansion with samples performed • Recorded at Avatar Studios, New York by Roy “Futureman” Wooten ..........................39.99 by world-class drummers and producers FUNKMASTERS ............Clyde Stubblefield and John “Jabo” Starks funk 39.99 • Humanizer function combines METALHEADS ...............Extreme Metal - Tomas Haake/ drum hit randomizing and non-cycling SUPPORTS: Daniel Bergstrand (Meshuggah) ....................39.99 LATIN-PERCUSSION ....Lain percussion expansion .............................39.99 • Add your own MIDI files to the library THE-CLASSIC...............'70s rock-contemporary -
Logic Pro 7 Product Overview September 2004 Product Overview 2 Logic Pro 7
Logic Pro 7 Product Overview September 2004 Product Overview 2 Logic Pro 7 Contents Page 3 Introduction Page 4 Logic Pro 7 at a Glance Audio Recording and Editing MIDI Processing Notation Apple Loops Support Software Instruments Effect Plug-ins Film Scoring Features Advanced Resource Management Page 12 What’s New in Logic Pro 7? Distributed Audio Processing New Software Instruments Apple Loops Support New Plug-ins Interapplication Workflow Improvements Productivity Enhancements Page 20 Software Instruments Page 29 Effect Plug-ins Page 37 Who Uses Logic Pro 7? Page 40 Technical Specifications Product Overview 3 Logic Pro 7 Introduction Logic Pro 7 is the complete professional solution for music creation and audio production. It combines an award-winning sequencing and audio workstation application with a comprehensive set of studio-quality software instruments and audio effect plug-ins, state-of-the-art loop composition tools, and the ability to utilize networked computers for additional processing power. Logic Pro 7 expands its collection of instruments and effect plug-ins with Sculpture, a component modeling synthesizer; Ultrabeat, a drum machine; Guitar Amp Pro, an amp modeling plug-in; and more. The introduction of additional software instruments solidifies the outstanding sound generation capabilities of Logic Pro 7—both in the studio and on stage. Logic Pro 7 features optimization for the PowerPC G5 processor and seamless integration with Mac OS X, forming a highly productive system that will change the way music is composed, recorded, edited, and mixed. With distributed audio processing capability, this latest version also provides nearly unlimited processing resources through the simple addition of Macintosh computers. -
User Manual Analog
USER MANUAL Special Thanks DIRECTION Frédéric Brun Kevin Molcard DEVELOPMENT Pierre-Lin Laneyrie Baptiste Aubry Matthieu Courouble Pierre Pfister (project manager) Corentin Comte Valentin Lepetit Benjamin Renard Mathieu Nocenti (lead dev) Baptiste Le Goff Samuel Limier Stefano D’Angelo Raynald D’Antigny Germain Marzin SOUND DESIGN Jean-Baptiste Arthus Jean-Michel Blanchet Clément Bastiat Victor Morello Marion Demeulemeester Simon Gallifet MANUAL Hollin Jones Tomoya Fukushi Corentin Comte DESIGN Morgan Perrier Sebastien Rochard Greg Vezon SPECIAL THANKS Adrien Bardet Neil Hester Rodrigues George Ware Paul Beaudoin Dennis Hurwitz Daniel Saban Stephen Wey Andrew Capon Jay Janssen Nuno Santos Tom Wies Chuck Capsis Florian Marin Paul Steinway Chuck Zwicky Jeffrey M Cecil Terry Marsden Seth Talley Marco Correia “Koshdukai” Fernando Manuel Manuel Thallmaier © ARTURIA SA – 2017 – All rights reserved. 11 Chemin de la Dhuy 38240 Meylan FRANCE www.arturia.com Information contained in this manual is subject to change without notice and does not represent a commitment on the part of Arturia. The software described in this manual is provided under the terms of a license agreement or non-disclosure agreement. The software license agreement specifies the terms and conditions for its lawful use. No part of this manual may be reproduced or transmitted in any form or by any purpose other than purchaser’s personal use, without the express 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. Product version: 3.0 Revision date: 29 November 2017 Special Messages Specifications Subject to Change: The information contained in this manual is believed to be correct at the time of printing. -
Audio Software (VST Plugin) Development with Practical Application
Western Michigan University ScholarWorks at WMU Honors Theses Lee Honors College 4-22-2016 Audio Software (VST Plugin) Development with Practical Application Zachary Hummel Western Michigan University, [email protected] Follow this and additional works at: https://scholarworks.wmich.edu/honors_theses Part of the Other Music Commons, and the Software Engineering Commons Recommended Citation Hummel, Zachary, "Audio Software (VST Plugin) Development with Practical Application" (2016). Honors Theses. 2688. https://scholarworks.wmich.edu/honors_theses/2688 This Honors Thesis-Open Access is brought to you for free and open access by the Lee Honors College at ScholarWorks at WMU. It has been accepted for inclusion in Honors Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. Audio Software (VST Plugin) Development with Practical Application Zachary Paul Hummel Honors Thesis submitted in partial fulfillment of the requirements of the Lee Honors College, Western Michigan University Thesis Committee: Dr. Richard Johnson, Chair Matthew Layher © Copyright Zachary Paul Hummel 2016. All Rights Reserved. Objective: The objective of this project was to increase my own understanding of digital signal processing (DSP) algorithms, with a focus on applications related to digital audio. There are two primary phases to complete in the pursuit of this objective. The first is to study and design DSP algorithms that accomplish desirable manipulation of an incoming audio signal. The second phase is to implement these algorithms in small pieces of software known as “plugins” for use in DAWs, allowing the user to have access to the functionality of these algorithms within the confines of an intuitive graphical user interface (GUI). -
Logic Studio Effects Copyright © 2009 Apple Inc
Logic Studio Effects Copyright © 2009 Apple Inc. All rights reserved. Note: Because Apple frequently releases new versions and updates to its system software, applications, and Your rights to the software are governed by the Internet sites, images shown in this manual may be slightly accompanying software license agreement. The owner or different from what you see on your screen. authorized user of a valid copy of Logic Studio software may reproduce this publication for the purpose of learning Apple to use such software. No part of this publication may be 1 Infinite Loop reproduced or transmitted for commercial purposes, such Cupertino, CA 95014 as selling copies of this publication or for providing paid 408-996-1010 for support services. www.apple.com The Apple logo is a trademark of Apple Inc., registered in Apple, the Apple logo, GarageBand, Logic, Logic Studio, the U.S. and other countries. Use of the “keyboard” Apple Macintosh, MainStage, and WaveBurner are trademarks logo (Shift-Option-K) for commercial purposes without of Apple Inc., registered in the U.S. and other countries. the prior written consent of Apple may constitute trademark infringement and unfair competition in violation Finder is a trademark of Apple Inc. of federal and state laws. Other company and product names mentioned herein Every effort has been made to ensure that the information are trademarks of their respective companies. Mention of in this manual is accurate. Apple is not responsible for third-party products is for informational purposes only printing or clerical errors. and constitutes neither an endorsement nor a recommendation. Apple assumes no responsibility with regard to the performance or use of these products.