What Is MIDI?
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Pro 2 OS 1.4 Addendum
Pro 2 OS 1.4 Manual Addendum Pro 2 OS version 1.4 adds a number of new features not covered in the main Operation Manual. These features are described in the following addendum in the order shown below. New Features in OS 1.4 • Linear frequency modulation for classic DX-style FM. • Arpeggiator Beat Sync. This Global parameter quantizes keyboard perfor- mance of the arpeggiator so that notes are triggered precisely on the beat. • Sequencer Direction parameter, which provides new options for sequencer playback direction: forward, reverse, ping-pong, and random. • Rest/tie note input during step recording on track 1 of the Sequencer. • Lock sequence, which allows you to continuously run the same sequence while changing presets/programs. • MIDI CC output from the Pro 2 sequencer. • Trigger/Gate CV output, which gives you the ability to send a per-step gate signal from the CV output of the Pro 2 Sequencer. • Alternate Tunings. The Pro 2 now ships with 16 preset alternative tunings ranging from Equal temperament to Indonesian Gamelan tunings. Other tuning sets can be downloaded if desired. 1 Checking Your Operating System Version If you’ve just purchased your Pro 2 new, OS 1.4 may already be installed. If not, and you want to use the new features just described, you’ll need to update your OS to version 1.4 or later. To update your Pro 2 OS, you’ll need a computer and a USB cable, or a MIDI cable and MIDI interface. To download the latest version of the Pro 2 OS along with instructions on how to perform a system update, visit the Sequential website at: https://www.sequential.com/download-latest-pro-2-os/ To check your OS version: 1. -
Digital Developments 70'S
Digital Developments 70’s - 80’s Hybrid Synthesis “GROOVE” • In 1967, Max Mathews and Richard Moore at Bell Labs began to develop Groove (Generated Realtime Operations on Voltage- Controlled Equipment) • In 1970, the Groove system was unveiled at a “Music and Technology” conference in Stockholm. • Groove was a hybrid system which used a Honeywell DDP224 computer to store manual actions (such as twisting knobs, playing a keyboard, etc.) These actions were stored and used to control analog synthesis components in realtime. • Composers Emmanuel Gent and Laurie Spiegel worked with GROOVE Details of GROOVE GROOVE System included: - 2 large disk storage units - a tape drive - an interface for the analog devices (12 8-bit and 2 12-bit converters) - A cathode ray display unit to show the composer a visual representation of the control instructions - Large array of analog components including 12 voltage-controlled oscillators, seven voltage-controlled amplifiers, and two voltage-controlled filters Programming language used: FORTRAN Benefits of the GROOVE System: - 1st digitally controlled realtime system - Musical parameters could be controlled over time (not note-oriented) - Was used to control images too: In 1974, Spiegel used the GROOVE system to implement the program VAMPIRE (Video and Music Program for Interactive, Realtime Exploration) • Laurie Spiegel at the GROOVE Console at Bell Labs (mid 70s) The 1st Digital Synthesizer “The Synclavier” • In 1972, composer Jon Appleton, the Founder and Director of the Bregman Electronic Music Studio at Dartmouth wanted to find a way to control a Moog synthesizer with a computer • He raised this idea to Sydney Alonso, a professor of Engineering at Dartmouth and Cameron Jones, a student in music and computer science at Dartmouth. -
The Definitive Guide to Evolver by Anu Kirk the Definitive Guide to Evolver
The Definitive Guide To Evolver By Anu Kirk The Definitive Guide to Evolver Table of Contents Introduction................................................................................................................................................................................ 3 Before We Start........................................................................................................................................................................... 5 A Brief Overview ......................................................................................................................................................................... 6 The Basic Patch........................................................................................................................................................................... 7 The Oscillators ............................................................................................................................................................................ 9 Analog Oscillators....................................................................................................................................................................... 9 Frequency ............................................................................................................................................................................ 10 Fine ...................................................................................................................................................................................... -
User Manual Keystep - Overview 4 1.1.2.2
USER MANUAL Special Thanks DIRECTION Frederic BRUN Nicolas DUBOIS Jean-Gabriel Philippe CAVENEL Kévin MOLCARD SCHOENHENZ ENGINEERING Sebastien COLIN Olivier DELHOMME INDUSTRIALIZATION Nicolas DUBOIS DESIGN Glen DARCEY Sébastien ROCHARD DesignBox TESTING Benjamin RENARD BETA TESTING Marco CORREIA Paul BEAUDOIN Gustavo LIMA Tony Flying Squirrel (Koshdukai) Boele GERKES Guillaume BONNEAU Tom HALL Jeff HALER Mark DUNN MANUAL Leo DER STEPANIAN Minoru KOIKE Jose RENDON (author) Vincent LE HEN Holger STEINBRINK Randy Lee Charlotte METAIS Jack VAN © ARTURIA SA – 2019 – All rights reserved. 26 avenue Jean Kuntzmann 38330 Montbonnot-Saint-Martin FRANCE http://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: 1.1 Revision date: 21 August 2019 Thank you for purchasing the Arturia KeyStep! This manual covers the features and operation of Arturia’s KeyStep, a full-featured USB MIDI keyboard controller complete with a polyphonic sequencer, arpeggiator, a robust set of MIDI and C/V connections, and outfitted with our new Slimkey keyboard for maximum playability in the minimum space. -
CD-Synth: a Rotating, Untethered, Digital Synthesizer
CD-Synth: a Rotating, Untethered, Digital Synthesizer Patrick Chwalek Joseph A. Paradiso Responsive Environments Group Responsive Environments Group MIT Media Lab MIT Media Lab 75 Amherst Street 75 Amherst Street Cambridge, MA 02139, USA Cambridge, MA 02139, USA [email protected] [email protected] ABSTRACT sounds out of a combination of oscillators, filters, and ef- We describe the design of an untethered digital synthesizer fects. For light-based synthesizer systems, transmitted light that can be held and manipulated while broadcasting au- can be modulated in specific patterns to change virtually dio data to a receiving off-the-shelf Bluetooth receiver. The any characteristic of a sound that is produced by photodi- synthesizer allows the user to freely rotate and reorient the ode exposure. An example is Jacques Dudon's photosonic instrument while exploiting non-contact light sensing for a instrument [7, 4] from the 1980s, which was composed of truly expressive performance. The system consists of a suite a photodiode, light source, semi-transparent rotating disk, of sensors that convert rotation, orientation, touch, and user and an optical filter. The disk was patterned in such a way proximity into various audio filters and effects operated on that when rotated, the intensity of light passing through it preset wave tables, while offering a persistence of vision dis- changes at audio frequencies (like an optical sound track on play for input visualization. This paper discusses the design a film, or vintage optical samplers like the Optigan), and of the system, including the circuit, mechanics, and software was further operated on by the handheld filter or manu- layout, as well as how this device may be incorporated into ally moving the lightsource and/or photodetector, so that a performance. -
User Manual Synclavier V
USER MANUAL ARTURIA – Synclavier V – USER MANUAL 1 Direction Frédéric Brun Kevin Molcard Development Cameron Jones (lead) Valentin Lepetit Baptiste Le Goff (project manager) Samuel Limier Stefano D’Angelo Germain Marzin Baptiste Aubry Mathieu Nocenti Corentin Comte Pierre Pfister Pierre-Lin Laneyrie Benjamin Renard Design Glen Darcey Sebastien Rochard Shaun Ellwood Greg Vezon Morgan Perrier Sound Design Drew Anderson Victor Morello Jean-Baptiste Arthus Dave Polich Wally Badarou Stéphane Schott Jean-Michel Blanchet Paul Shilling Marion Demeulemeester Edware Ten Eyck Richard Devine Nori Ubukata Thomas Koot Manual Kevin E. Maloney Jason Valax Corentin Comte ARTURIA – Synclavier V – USER MANUAL 2 Special Thanks Brandon Amison Steve Lipson Matt Bassett Terence Marsden François Best Bruce Mariage Alejandro Cajica Sergio Martinez Chuck Capsis Shaba Martinez Dwight Davies Jay Marvalous Kosh Dukai Miguel Moreno Ben Eggehorn Ken Flux Pierce Simon Franglen Fernando Manuel Rodrigues Boele Gerkes Daniel Saban Jeff Haler Carlos Tejeda Neil Hester James Wadell Chris Jasper Chad Wagner Laurent Lemaire Chuck Zwick © ARTURIA S.A. – 1999-2016 – All rights reserved. 11 Chemin de la Dhuy 38240 Meylan FRANCE http://www.arturia.com ARTURIA – Synclavier V – USER MANUAL 3 Table of contents 1 INTRODUCTION ........................................................................................... 11 1.1 What is Synclavier V? ................................................................................................... 11 1.2 1.2 History of the Original Instrument -
(Tom) E. Oberheim
-·· Computer • History Museum Oral History of Thomas (Tom) E. Oberheim Interviewed by: Alex Bochannek, Computer History Museum Gene Radzik, Audio Engineering Society (AES) Recorded: October 29, 2012 Dolby Laboratories Inc. San Francisco, California CHM Reference number: X6701.2013 © 2012 Computer History Museum Oral History of Thomas E. Oberheim Gene Radzik: The time is 2:00 PM on Monday, October the 29, 2012. I’m Gene Radzik with the Audio Engineering Society [AES]. Alex Bochannek: And I’m Alex Bochannek with the Computer History Museum [CHM]. Gene Radzik: We’re located in San Francisco, California at the mixing studios of Dolby Laboratories with Tom [Thomas Elroy] Oberheim. Tom, thank you for granting this interview. For this oral history, I’d like to begin by capturing your back history. Would you mind telling us when and where you were born, and how audio entered your life? Tom Oberheim: I was born in Manhattan, Kansas— home of Kansas State University. Although it was Kansas State College when I was there. I was born in that town and raised— and went to school there and went right on to the Kansas State. In 1956 I got the bug to leave town for a while and met some people in Wichita and moved to California and arrived in California in July of ’56 with $10 in my pocket and a broken down car and that’s where I started. The first few months I just worked at a— at an aircraft company that needed somebody in their dark room because I had worked in a camera shop when I was in high school. -
Performance in EDM - a Study and Analysis of Djing and Live Performance Artists
California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses Capstone Projects and Master's Theses 12-2018 Performance in EDM - A Study and Analysis of DJing and Live Performance Artists Jose Alejandro Magana California State University, Monterey Bay Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes_all Part of the Music Performance Commons Recommended Citation Magana, Jose Alejandro, "Performance in EDM - A Study and Analysis of DJing and Live Performance Artists" (2018). Capstone Projects and Master's Theses. 364. https://digitalcommons.csumb.edu/caps_thes_all/364 This Capstone Project (Open Access) is brought to you for free and open access by the Capstone Projects and Master's Theses at Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. For more information, please contact [email protected]. Magaña 1 Jose Alejandro Magaña Senior Capstone Professor Sammons Performance in EDM - A Study and Analysis of DJing and Live Performance Artists 1. Introduction Electronic Dance Music (EDM) culture today is often times associated with top mainstream DJs and producers such as Deadmau5, Daft Punk, Calvin Harris, and David Guetta. These are artists who have established their career around DJing and/or producing electronic music albums or remixes and have gone on to headline world-renowned music festivals such as Ultra Music Festival, Electric Daisy Carnival, and Coachella. The problem is that the term “DJ” can be mistakenly used interchangeably between someone who mixes between pre-recorded pieces of music at a venue with a set of turntables and a mixer and an artist who manipulates or creates music or audio live using a combination of computers, hardware, and/or controllers. -
SH-01A Manual.Pages
MONOPHONIC / POLYPHONIC / CHORD MACHINE SYNTHESIZER ローランド SH-01Aのユーザーガイド A USER’S GUIDE TO THE ROLAND SH-01A !1 !2 ACKNOWLEDGEMENTS: This manual was assembled, illustrated, and written by Sunshine Jones. All of the content is taken from either his personal experience, existing documentation, and techniques submitted and found in the public domain. The document is intended as a companion guide for the Roland SH-01A Synthesizer Module. It is in no way offered as a criticism, or intended to be an authoritative guide to replace the official documentation which accompanies the commercial purchase of Roland Boutique, or Roland AIRA musical instruments. Rather, this manual is intended to support the musician, the user of these and other synthesizer modules and inspire them to create music, share sounds, and fully realize the synthesizers in front of them. In the tradition of owner’s manuals, rarely are they opened until problems arise. We tell you over and over again to RTFM, but do you listen? No, no you don’t. Manuals should be both tools for reference and instruction, as well as inspirational guides to possibility. An owner’s manual should be equally a pre purchase discovery, meant to inspire the curious with capability and possibility, and a post purchase celebration of depth, technique, guidance, and surprises. But this is by no means the last word. So many people have read and re read a manual only to still have no idea what the manual was attempting to suggest. This owner’s manual is offered free of charge to anyone curious, or frustrated by the tiny little leaflet which covers the operations of the SH-01A in several languages, as a legible alternative to the official documentation. -
MUS421–571.1 Electroacoustic Music Composition Kirsten Volness – 20 Mar 2018 Synthesizers
MUS421–571.1 Electroacoustic Music Composition Kirsten Volness – 20 Mar 2018 Synthesizers • Robert Moog – Started building Theremins – Making new tools for Herb Deutsch – Modular components connected by patch cables • Voltage-controlled Oscillators (multiple wave forms) • Voltage-controlled Amplifiers • AM / FM capabilities • Filters • Envelope generator (ADSR) • Reverb unit • AMPEX tape recorder (2+ channels) • Microphones Synthesizers Synthesizers • San Francisco Tape Music Center • Morton Subotnick and Ramon Sender • Donald Buchla – “Buchla Box”– 1965 – Sequencer – Analog automation device that allows a composer to set and store a sequence of notes (or a sequence of sounds, or loudnesses, or other musical information) and play it back automatically – 16 stages (16 splices stored at once) – Pressure-sensitive keys • Subotnick receives commission from Nonesuch Records (Silver Apples of the Moon, The Wild Bull, Touch) Buchla 200 Synthesizers • CBS buys rights to manufacture Buchlas • Popularity surges among electronic music studios, record companies, live performances – Wendy Carlos – Switched-on Bach (1968) – Emerson, Lake, and Palmer, Stevie Wonder, Mothers of Invention, Yes, Pink Floyd, Herbie Hancock, Chick Corea – 1968 Putney studio presents sold-out concert at Elizabeth Hall in London Minimoog • No more patch cables! (Still monophonic) Polyphonic Synthesizers • Polymoog • Four Voice (Oberheim Electronics) – Each voice still patched separately • Prophet-5 – Dave Smith at Sequential Circuits – Fully programmable and polyphonic • GROOVE -
Muc 4313/5315
MUC 4313/5315 Reading Notes: Chadabe - Electric Sound Sample Exams Moog Patch Sheet Project Critique Form Listening List Truax - Letter To A 25-Year Old Electroacoustic Composer Fall 2003 Table of Contents Chadabe - Electric Sound Chapter Page 1 1 2 3 3 7 4 9 5 10 6 14 7 18 8 21 9 24 10 27 11 29 12 33 Appendex 1 – Terms and Abbreviations 35 Appendex 2 – Backus: Fundamental Physical Quantities 36 Sample Exams Exam Page Quiz 1 37 Quiz 2 40 Mid-Term 43 Quiz 3 47 Quiz 4 50 Final 53 Moog Patch Sheet 59 Project Critique Form 60 Listening List 61 Truax - Letter to a 25-Year Old Electroacoustic Composer 62 i Chapter 1, The Early Instruments What we want is an instrument that will give us a continuous sound at any pitch. The composer and the electrician will have to labor together to get it. (Edgard Varèse, 1922) History of Music Technology 27th cent. B.C. - Chinese scales 6th cent. B.C. - Pythagoras, relationship of pitch intervals to numerical frequency ratios (2:1 = 8ve) 2nd cent. C.E. - Ptolemy, scale-like Ptolemaic sequence 16 cent. C.E. - de Salinas, mean tone temperament 17th cent. C.E. - Schnitger, equal temperament Instruments Archicembalo (Vicentino, 17th cent. C.E.) 31 tones/8ve Clavecin electrique (La Borde, 18th cent. C.E.) keyboard control of static charged carillon clappers Futurist Movement L’Arte dei Rumori (Russolo, 1913), description of futurist mechanical orchestra Intonarumori, boxes with hand cranked “noises” Gran concerto futuristica, orchestra of 18 members, performance group of futurist “noises” Musical Telegraph (Gray, 1874) Singing Arc (Duddell, 1899) Thaddeus Cahill Art of and Apparatus for Generating and Distributing Music Electronically (1897) Telharmonium (1898) New York Cahill Telharmonic Company declared bankruptcy (1914) Electrical Means for Producing Musical Notes (De Forest, 1915), using an audion as oscillator, more cost effective Leon Theremin Aetherphone (1920) a.k.a. -
Creation and Performance of Music Structures
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1987 Creation and performance of music structures Charles J. Zacky The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Zacky, Charles J., "Creation and performance of music structures" (1987). Graduate Student Theses, Dissertations, & Professional Papers. 1933. https://scholarworks.umt.edu/etd/1933 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. COPYRIGHT ACT OF 1976 THIS IS AN UNPUBLISHED MANUSCRIPT IN WHICH COPYRIGHT SUBSISTS. ANY FURTHER REPRINTING OF ITS CONTENTS MUST BE APPROVED BY THE AUTHOR, I^TANSFIELD LIBRARY UNIVERSITY OF MONTANA DATE : 19 87 THE CREATION AND PERFORMANCE OF MUSIC STRUCTURES Charles J. Zacky B.A., University of California, 1974 M.M., University of Montana, 1983 Presented in partial fulfillment of the requirements for the degree of Master of Science University of Montana 1987 Approved by Chairman,Board of Examiners Date UMI Number: EP35196 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion.