The Vox Continental
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PRODUCT CATALOG WINTER 2014 the Original Red Keyboards the Nord Factory Is Located in the Creative Area of Stockholm Also Known As Sofo, in the District of Södermalm
Nord Keyboards Product Catalog Winter Catalog Product Keyboards Nord SYNTHESIZERS • STAGE PIANOS • COMBO ORGAN Handmade in Sweden by Clavia DMI AB 2014 PRODUCT CATALOG WINTER 2014 The Original Red Keyboards The Nord factory is located in the creative area of Stockholm also known as SoFo, in the district of Södermalm. With everything located in the same building, communication between development and production is only a matter of walking a few meters. We are proud to say all our Nord products are assembled by hand and they all go through a series of tough tests to ensure they’ll be ready for a long and happy life ‘on the road’. CONTENTS SYNTHESIZERS NORD LEAD A1 6 NEW NORD LEAD 4 14 NORD DRUM 2 22 STAGE PIANOS NORD ELECTRO 4 26 NORD PIANO 2 34 NORD STAGE 2 40 COMBO ORGAN NORD C2D 48 SOUND LIBRARIES 56 Manufacturer: Clavia DMI AB, Box 4214, SE-102 65 Stockholm, Sweden Phone: +46 8 442 73 60 | Fax: +46 8 644 26 50 | Email: [email protected] | www.nordkeyboards.com 3 IT ALL STARTED BACK IN 1983... In 1983 founder Hans Nordelius created the Digital In 2001 the first Nord Electro was released, In 2008 we released the Nord Electro 3 and the Percussion Plate 1 – the first drum pad allowing for introducing stunning emulations of classic vintage exclusively licensed sounds from the Mellotron and dynamic playing using sampled sounds. The DPP1 electro-mechanical instruments with a level of Chamberlin. The Electro 3 became one of the most was an instant success and soon thereafter the portability generally not associated with the original successful products we’ve ever made. -
Electric Organ Electric Organ Discharge
1050 Electric Organ return to the opposite pole of the source. This is 9. Zakon HH, Unguez GA (1999) Development and important in freshwater fish with water conductivity far regeneration of the electric organ. J exp Biol – below the conductivity of body fluids (usually below 202:1427 1434 μ μ 10. Westby GWM, Kirschbaum F (1978) Emergence and 100 S/cm for tropical freshwaters vs. 5,000 S/cm for development of the electric organ discharge in the body fluids, or, in resistivity terms, 10 kOhm × cm vs. mormyrid fish, Pollimyrus isidori. II. Replacement of 200 Ohm × cm, respectively) [4]. the larval by the adult discharge. J Comp Physiol A In strongly electric fish, impedance matching to the 127:45–59 surrounding water is especially obvious, both on a gross morphological level and also regarding membrane physiology. In freshwater fish, such as the South American strongly electric eel, there are only about 70 columns arranged in parallel, consisting of about 6,000 electrocytes each. Therefore, in this fish, it is the Electric Organ voltage that is maximized (500 V or more). In a marine environment, this would not be possible; here, it is the current that should be maximized. Accordingly, in Definition the strong electric rays, such as the Torpedo species, So far only electric fishes are known to possess electric there are many relatively short columns arranged in organs. In most cases myogenic organs generate electric parallel, yielding a low-voltage strong-current output. fields. Some fishes, like the electric eel, use strong – The number of columns is 500 1,000, the number fields for prey catching or to ward off predators, while of electrocytes per column about 1,000. -
The Racialization of Jimi Hendrix Marcus K
Eastern Michigan University DigitalCommons@EMU Senior Honors Theses Honors College 2007 The Racialization of Jimi Hendrix Marcus K. Adams Follow this and additional works at: http://commons.emich.edu/honors Part of the African American Studies Commons Recommended Citation Adams, Marcus K., "The Racialization of Jimi Hendrix" (2007). Senior Honors Theses. 23. http://commons.emich.edu/honors/23 This Open Access Senior Honors Thesis is brought to you for free and open access by the Honors College at DigitalCommons@EMU. It has been accepted for inclusion in Senior Honors Theses by an authorized administrator of DigitalCommons@EMU. For more information, please contact lib- [email protected]. The Racialization of Jimi Hendrix Abstract The period of history immediately following World War Two was a time of intense social change. The nde of colonialism, the internal struggles of newly emerging independent nations in Africa, social and political changes across Europe, armed conflict in Southeast Asia, and the civil rights movement in America were just a few. Although many of the above conflicts have been in the making for quite some time, they seemed to unite to form a socio-political cultural revolution known as the 60s, the effects of which continues to this day. The 1960s asw a particularly intense time for race relations in the United States. Long before it officially became a republic, in matters of race, white America collectively had trouble reconciling what it practiced versus what it preached. Nowhere is this racial contradiction more apparent than in the case of Jimi Hendrix. Jimi Hendrix is emblematic of the racial ideal and the racial contradictions of the 1960s. -
Arturia Farfisa V User Manual
USER MANUAL ARTURIA – Farfisa V – USER MANUAL 1 Direction Frédéric Brun Kevin Molcard Development Samuel Limier (project manager) Pierre-Lin Laneyrie Theo Niessink (lead) Valentin Lepetit Stefano D'Angelo Germain Marzin Baptiste Aubry Mathieu Nocenti Corentin Comte Pierre Pfister Baptiste Le Goff Benjamin Renard Design Glen Darcey Gregory Vezon Shaun Ellwood Morgan Perrier Sebastien Rochard Sound Design Jean-Baptiste Arthus Jean-Michel Blanchet Boele Gerkes Stephane Schott Theo Niessink Manual Hollin Jones Special Thanks Alejandro Cajica Joop van der Linden Chuck Capsis Sergio Martinez Denis Efendic Shaba Martinez Ben Eggehorn Miguel Moreno David Farmer Ken Flux Pierce Ruary Galbraith Daniel Saban Jeff Haler Carlos Tejeda Dennis Hurwitz Scot Todd-Coates Clif Johnston Chad Wagner Koshdukai © ARTURIA S.A. – 1999-2016 – All rights reserved. 11, Chemin de la Dhuy 38240 Meylan FRANCE http://www.arturia.com ARTURIA – Farfisa V – USER MANUAL 2 Table of contents 1 INTRODUCTION .................................................................... 5 1.1 What is Farfisa V? ................................................................................................. 5 1.2 History of the original instrument ........................................................................ 5 1.3 Appearances in popular music ......................................................................... 6 1.3.1 Famous Farfisa users and songs:..................................................................... 7 1.4 What does Farfisa V add to the original? ......................................................... -
Hammond SK1/SK2 Owner's Manual
*#1 Model: / STAGE KEYBOARD Th ank you, and congratulations on your choice of the Hammond Stage Keyboard SK1/SK2. Th e SK1 and SK2 are the fi rst ever Stage Keyboards from Hammond to feature both traditional Hammond Organ Voices and the basic keyboard sounds every performer desires. Please take the time to read this manual completely to take full advantage of the many features of your SK1/SK2; and please retain it for future refer- ence. DRAWBARS SELECT MENU/ EXIT UPPER PEDAL LOWER VA L U E ORGAN TYPE PLAY NUMBER NAME PATCH ENTER DRAWBARS SELECT MENU/ EXIT UPPER PEDAL LOWER VA L U E Bourdon OpenDiap Gedeckt VoixClst Octave Flute Dolce Flute Mixture Hautbois ORGAN TYPE 16' 8' 8' II 4' 4' 2' III 8' PLAY NUMBER NAME PATCH ENTER Owner’s Manual 2 IMPORTANT SAFETY INSTRUCTIONS Before using this unit, please read the following Safety instructions, and adhere to them. Keep this manual close by for easy reference. In this manual, the degrees of danger are classifi ed and explained as follows: Th is sign shows there is a risk of death or severe injury if this unit is not properly used WARNING as instructed. Th is sign shows there is a risk of injury or material damage if this unit is not properly CAUTION used as instructed. *Material damage here means a damage to the room, furniture or animals or pets. WARNING Do not open (or modify in any way) the unit or its AC Immediately turn the power off , remove the AC adap- adaptor. tor from the outlet, and request servicing by your re- tailer, the nearest Hammond Dealer, or an authorized Do not attempt to repair the unit, or replace parts in Hammond distributor, as listed on the “Service” page it. -
Early Reception Histories of the Telharmonium, the Theremin, And
Electronic Musical Sounds and Material Culture: Early Reception Histories of the Telharmonium, the Theremin, and the Hammond Organ By Kelly Hiser A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music) at the UNIVERSITY OF WISCONSIN-MADISON 2015 Date of final oral examination: 4/21/2015 The dissertation is approved by the following members of the Final Oral Committee ` Susan C. Cook, Professor, Professor, Musicology Pamela M. Potter, Professor, Professor, Musicology David Crook, Professor, Professor, Musicology Charles Dill, Professor, Professor, Musicology Ann Smart Martin, Professor, Professor, Art History i Table of Contents Acknowledgements ii List of Figures iv Chapter 1 1 Introduction, Context, and Methods Chapter 2 29 29 The Telharmonium: Sonic Purity and Social Control Chapter 3 118 Early Theremin Practices: Performance, Marketing, and Reception History from the 1920s to the 1940s Chapter 4 198 “Real Organ Music”: The Federal Trade Commission and the Hammond Organ Chapter 5 275 Conclusion Bibliography 291 ii Acknowledgements My experience at the University of Wisconsin-Madison has been a rich and rewarding one, and I’m grateful for the institutional and personal support I received there. I was able to pursue and complete a PhD thanks to the financial support of numerous teaching and research assistant positions and a Mellon-Wisconsin Summer Fellowship. A Public Humanities Fellowship through the Center for the Humanities allowed me to actively participate in the Wisconsin Idea, bringing skills nurtured within the university walls to new and challenging work beyond them. As a result, I leave the university eager to explore how I might share this dissertation with both academic and public audiences. -
Vox User Guide
30/7/10 Page 1 INTRODUCTION Thank you for purchasing the Hollow Sun Vox Continental. It features samples from one of the most desirable keyboards of the 60s and 70s and which is still popular today . ABOUT THE CONTINENTAL The Vox Continental is probably the most famous of the 'new breed' of transistor organs that emerged in the early '60s. Previously, organs were built around tone-wheel technology. This undoubtedly created a fantastic (classic) organ sound but made the instruments heavy and unwieldy (and expensive). With the advent of transistors, it was possible to create lightweight, portable organs.... in theory. In practice, the majority sounded thin and weak by comparison. However, that sound in itself appealled to the new 'surf' and 'beatnik' music which was evolving at the time. The portability also appealled to groups. The Vox Continental was unusual in that it actually sounded quite good.... not cheap and cheesy like so many of its rivals. These organs used ‘divide down’ technology (like the later string synths) where there is a master top octave oscillator and all subsequent octaves are achieved simply by dividing the frequency in half and then half again and so on. It allowed these transistor organs to be manufactured very cost effectively. Although possibly better known for their amplifiers (the legendary AC30, for example), Vox actually started life as a manufacturer of 'traditional' home and church organs. With the emerging new micro' technology of transistors, they saw the possibility to use this technology in their products. 30/7/10 Page 2 The Vox Continental was the first of these (1962) and had drawbars to create sounds. -
U1 P1 Squarebass U2 P1 Para Vox U1 P2 Cascades U2
U1 P1 SquareBass U2 P1 Para Vox U1 P2 Cascades U2 P2 MiniVogueBass U1 P3 Pro Soloist U2 P3 SpaceKoto U1 P4 Washy Strings U2 P4 ArcaneSanctum U1 P5 DSI-ra Rydm U2 P5 Hold Key Down U1 P6 BoneDryBass U2 P6 FreezPop Arps U1 P7 GlassyGlisses U2 P7 Prophet Bass U1 P8 HolloLead U2 P8 Lyra Pad U1 P9 Dirty FM U2 P9 Suspect Seq U1 P10 Plonklets U2 P10 Imploder U1 P11 HedgeHunterBass U2 P11 FM BaSS U1 P12 Karimbaloid U2 P12 Ghostly U1 P13 SanturSolo U2 P13 OB Lead U1 P14 Model P Bass U2 P14 Growling Lead U1 P15 Northcoast U2 P15 Tine Smith U1 P16 DnB Loop U2 P16 WT Organ U1 P17 Gargantua U2 P17 Basic D Bass U1 P18 ParaOrgan U2 P18 CompuRhythm U1 P19 Chill Check-In U2 P19 Sad Solo U1 P20 VeloSync U2 P20 CalcuPluck U1 P21 Fretless U2 P21 Pulsar U1 P22 GB Groves U2 P22 SliderLead U1 P23 Trance Induction U2 P23 Tensions U1 P24 Let It Sizzle U2 P24 Funktion 2AM U1 P25 Light Metal Hits U2 P25 Sine in Space U1 P26 Para4Canon U2 P26 TrashBell U1 P27 Bassline U2 P27 DynamicBrass U1 P28 ParaBrass U2 P28 Jaffa Lead U1 P29 Space Chimes U2 P29 ThumpBass U1 P30 Pulse Bomb U2 P30 Para Glurp U1 P31 Spy Level 23 U2 P31 PolyRezSaws U1 P32 ShimmeryArp U2 P32 HP Sweep Solo U1 P33 House Chord U2 P33 Moving East U1 P34 Outer Space Cow U2 P34 Vanilla Analog U1 P35 Blompy U2 P35 Knarly Voice U1 P36 Synth Cello? U2 P36 Crystal Echoes U1 P37 Demon's Breath U2 P37 Buchlier U1 P38 Sky Shimmer U2 P38 Taste Of Sugar U1 P39 ParaLead U2 P39 Son Of Dropped U1 P40 Grecian U2 P40 ThroatySolo U1 P41 Jekyll & Hyde U2 P41 Super Sync Lead U1 P42 Seq Echo U2 P42 Super Pixels U1 P43 OneOscTrip -
Product Catalog 2017
Nord Keyboards Product Catalog 2017 Catalog Product Keyboards Nord STAGE PIANOS • SYNTHESIZERS • COMBO ORGAN Handmade in Sweden by Clavia DMI AB PRODUCT CATALOG 2017 The Original Red Keyboards The Nord factory is located in the creative area of Stockholm also known as SoFo, in the district of Södermalm. With everything located in the same building, communication between development and production is only a matter of walk- ing a few meters. We are proud to say all our Nord products are assembled by hand and they all go through a series of tough tests to ensure they’ll be ready for a long and happy life ‘on the road’. CONTENTS STAGE PIANOS NORD STAGE 3 6 NEW NORD PIANO 3 16 NORD ELECTRO 5 22 SYNTHESIZERS NORD LEAD A1 30 NORD LEAD 4 38 NORD DRUM 3P 46 COMBO ORGAN NORD C2D 50 SOUND LIBRARIES 58 Manufacturer: Clavia DMI AB, Box 4214, SE-102 65 Stockholm, Sweden Phone: +46 8 442 73 60 | Fax: +46 8 644 26 50 | Email: [email protected] | www.nordkeyboards.com 3 COMPANY HISTORY COMPANY IT ALL STARTED BACK IN 1983... In 1983 founder Hans Nordelius created the Digital introducing stunning emulations of classic vintage Chamberlin. The Electro 3 became one of the most In 2013 we celebrated our 30th anniversary as a musical Percussion Plate 1 – the first drum pad allowing for electro-mechanical instruments with a level of successful products we’ve ever made. instrument company by releasing the Nord Lead 4, Nord dynamic playing using sampled sounds. The DPP1 portability generally not associated with the original In 2010 the streamlined Nord Piano was introduced, Drum 2, Nord Pad and the Nord Piano 2 HP! At NAMM was an instant success and soon thereafter the instruments… a lightweight stage piano that featured advanced 2014 we announced the Nord Lead A1 – our award- brand name ddrum was introduced. -
MIDI ROTARY INTERFACE (Fw 1.3)
MIDI ROTARY INTERFACE (fw 1.3) USER'S GUIDE © 2013 – CRUMAR (V.M.Connection) DISCLAIMER This is an OEM device (OEM = Original Equipment Manufacturer), as such it is intended to be part of a more complex product that the end user is going to assemble according to his own needs. Handling this device requires knowledge and skills in electronics and a sense of responsability in dealing with electronic devices. If you're not sure, please contact an expert. The manufacturer (Crumar) cannot be held responsibile of any misuse of this device that goes beyond the original specifications. WARRANTY AND BASIC RECOMMENDATIONS Always work on a clean and tidy area. Always pull off the mains plug before working. Turning off a switch is not enough. Discharge your body from electrostatic energy before touching sensitive electronic devices. Do not unsolder any component from this board. Do not solder wires directly on the board, use the connectors instead. Do not exceed the maximum required power supply voltage. Altering, modifiying or damaging the board voids the warranty. This product is made and distributed in Italy by V.M.Connection Please visit www.crumar.it for more informations. CRUMAR MIDI ROTARY INTERFACE INTRODUCTION This product helps you to connect a number of known “Clonewheel” organs or other MIDI equipment to a vintage or modern rotary speaker or digital simulator. Rotary speakers have motors that establish the speed of the rotating speakers, usually for a slow or fast rotation, or even no rotation. This board receives the command under the form of a MIDI message and controls two mechanical relays that, if connected the right way to the motor circuitry, control the rotation speeds. -
Wavestate Voice Name List
wavestate WAVE SEQUENCING SYNTHESIZER Voice Name List EFGSCJ 1 2 Table of contents Performances ................................................................... 3 Programs ......................................................................... 4 Wave Sequences ............................................................... 7 Multisamples ................................................................. 11 wavestate ............................................................................11 Wavestation .......................................................................16 Plugin Guru .......................................................................18 Effects ............................................................................ 19 3 Performances Performances Name Name Name Name Dark Sonata Split (Hold) Master Sync v30 Shopping Disco Arp Wasted Hip Hop Dawn of a New Day Mayhem Machine 10sec Shopping Disco Wavestate Rhythms Name Daylight is Fading Meanie Jillie Beat 2049 Sine Dreams WaYFunK Split 8-Knob Filter Sequencer Dbl Unpredictable Arp Meet Me in Tokyo Siren Song We 3 Trance 10 Pads on Sample Knob Deep Caramel Swirl MEGA Bass x10 [SmplKnb] Sizzling Stringz Wendy's Groove Split 20 Blades Split Deep House Beat MEGA Unison x5[SmplKnb] Ski Jam 20 Whale Song 1982 Magic Split Dionian Bells Menya SkiBeatz Split Wobble Talk MW Split 2600 in the Matrix Distortion Paradise Metallotronics Skinwalker Ranch WWind Fantasia (Hold) A Peaceful Day Doodles Monster March Split Slap in the Face Split You Better Run! Split Acid Bath -
Transectorial Innovation, Location Dynamics and Knowledge Formation in the Japanese Electronic Musical Instrument Industry
TRANSECTORIAL INNOVATION, LOCATION DYNAMICS AND KNOWLEDGE FORMATION IN THE JAPANESE ELECTRONIC MUSICAL INSTRUMENT INDUSTRY Timothy W. Reiffenstein M.A., Simon Fraser University 1999 B.A., McGill University 1994 DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY In the Department of Geography O Timothy W. Reiffenstein 2004 SIMON FRASER UNIVERSITY July 2004 All rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means, without permission of the author. APPROVAL Name: Timothy W. Reiffenstein Degree: Doctor of Philosophy Title of Thesis: TRANSECTORIAL INNOVATION, LOCATION DYNAMICS AND KNOWLEDGE FORMATION IN TKE JAPANESE ELECTRONIC MUSICAL INSTRUMENT INDUSTRY Examining Committee: Chair: R.A. Clapp, Associate Professor R. Hayter, Professor Senior Supervisor N.K. Blomley, Professor, Committee Member G. Barnes, Professor Geography Department, University of British Columbia Committee Member D. Edgington, Associate Professor Geography Department, University of British Columbia Committee Member W. Gill, Associate Professor Geography Department, Simon Fraser University Internal Examiner J.W. Harrington, Jr., Professor Department of Geography, University of Washington External Examiner Date Approved: July 29. 2004 Partial Copyright Licence The author, whose copyright is declared on the title page of this work, has granted to Simon Fraser University the right to lend this thesis, project or extended essay to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request fiom the library of any other university, or other educational institution, on its own behalf or for one of its users. The author has further agreed that permission for multiple copying of this work for scholarly purposes may be granted by either the author or the Dean of Graduate Studies.