Instrument: Turntable, an Urban, Electric Friction Idiophone
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The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification
The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below). -
ISP 13 INVISIBL SKRATCH PIKLZ the 13Th Floor LP
INVISIBL SKRATCH PIKLZ THE 13TH FLOOR Holy Crap…Who Goes There? Fresh Out of FVCKS Kenny G's Perm CATALOG: ISP13-LP Ultimate FORMAT: 2xLP STREET: 12/09/16 Black Hole vs. Brown Hole LABEL: THUD RUMBLE Reverse Cowgirl Polka Fist Pump The Freestyle Fanatic Booby Trap Universally acknowledged as some of the most skilled scratch DJs in the world, turntable legends the Invisibl Skratch Piklz are releasing their first ever full-length album: The 13th Floor. After nearly 16 years apart, original members Qbert, Shortkut, and D-Styles have come together again to record The 13th Floor. Composed with a heavy jazz sound in mind, the roughly 35-minute LP is an amazing homage to what true DJing is – and the perfect embodiment of the iconic Invisibl Skratch Piklz sound. Recorded using three DJ mixers and three turntables, the album showcases the trio’s deft skills and inspired talent, and displays how they have progressed and perfected their sound all while pushing the art of turntablism into brave new dimensions. The 13th Floor deftly blends the abstract artistry of scratching with undeniable musicality: lush synths, warm horns, solid basslines, and fat vibes. It’s easy to feel “Fresh Out of FVCKS” – a track that creeps up the keys and slowly shoves its way in. “Kenny G’s Perm” is surprisingly relaxed, a mellow and sludge-covered jam. From the aggressive roughness of “Polka Fist Pump” to the thick sound of “The Freestyle Fanatic,” the LP flips, knocks, twists, and finds truth on the turntables. Fusing elements of jazz, rock and hip hop, the album demonstrates true artistry, creative composition, and masterful turnta- blism. -
Master Blaster Bluetooth Boombox
Master Blaster Bluetooth Boombox with CD Player, AM/FM Stereo Radio, CD/USB MP3 Playback, 10 Watts RMS output, 3-way Power Operation (AC/DC/Car-Boat adaptor) SB2149 OWNER’S MANUAL WARNING TO PREVENT FIRE OF SHOCK HAZARD, DO NOT USE THIS PLUG WITH AN EXTENSION CORD, RECEPTACLE OR OTHER OUTLET UNLESS THE BLADES CAN BE FULLY INSERTED TO PREVENT BLADE EXPOSURE. TO PREVENT FIRE OR SHOCK HAZARD, DO NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE. The Caution Marking is located at the back enclosure of the apparatus. The Rating plate is located at the back enclosure of the apparatus IMPORTANT SAFETY INSTRUCTIONS 1. Read these instructions. 2. Keep these instructions. 3. Heed all warnings. 4. Follow all instructions. 5. Do not use this apparatus near water. 6. Clean only with dry cloth. 7. Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions. 8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that product heat. 9. Do not defeat the safety purpose of the polarized or grounding-type plug. 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 the third prong is provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet. 10. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus. -
Bluetooth Boombox Buddy System
www.Sharkk.com Bluetooth Boombox Buddy System Owner’s Guide Model SP-SK869TW Introduction Thank you for your purchase of the SHARKK Bluetooth Boombox Buddy System. Please take the time to read this manual carefully before you begin using your new items. The Boombox Buddy System is more than just two arbitrarily linked speakers. Rather it is a true wireless, surround sound experience with a transportive result that is truly greater then the mere sum of it’s parts. Featuring two Bluetooth 4.0 powered wireless boomboxes, the Boombox Buddy System is packed with advanced features and equipped with the very latest in wireless technology. And with each speaker equipped with a high-capacity 4400mAh battery, you can rock out for up to 18 hours on a single charge! 2 Introduction In addition to the Boombox Buddy System, the SHARKK Lifestyle Brand is pleased to be able to offer a wide variety of consumer accessories across many different product categories. Keyboards, mobile device cases, speakers and smartphones are but a few of the items that make up our extensive online cata- log and we welcome you to visit us and browse our handpicked selection of the latest consumer accessories at sharkk.com. Here at SHARKK, the quality of our products and the satisfaction of our cus- tomers are the two greatest passions of our enterprise, as we endeavor to bring you top quality items at competitive prices. 3 Getting Started Box Content • 2x Bluetooth Speakers • 2x USB Charging Cables • 2x 3.5mm Audio Cables • 2x Power Adapters • 1x User Manual 4 Instructions 6 7 8 9 10 11 12 13 1 2 3 4 5 5 Getting Started Power Indicator 1 • Flashing Blue: device is turned on and active. -
Course Syllabus Live-Performance Disc Jockey Techniques 3 Credits
Course Syllabus Live-Performance Disc Jockey Techniques 3 Credits MUC135, Section 33575 Scottsdale Community College, Department of Music Fall 2015 (September 1 to December 18, 2015) Tuesday Evenings 6:30 PM - 9:10 PM (Room MB-136) Instructor: Rob Wegner, B.S., M.A. ([email protected] or [email protected]); Cell: 480-695-6270 Office Hours: Monday’s 6:00 - 7:30PM (Room MB-139) Recommended Text: How to DJ Right: The Art and Science of Playing Records by Bill Brewster and Frank Broughton (Grove Press, 2003). ISBN: 0-8021- 3995-7 Groove Music: The Art and Culture of the Hip-Hop DJ by Mark Katz (Oxford University Press, 2012). ISBN-10: 0195331125 Recommended DVD: Scratch: A Film by Doug Prey by Doug Prey (Palm Pictures, 2001). Required Gear: Headphones (for labs) Additional Suggested Reading: Off the Record by Doug Shannon (1982), Pacesetter Publishing House. Last Night A DJ Saved My Life, The History of the Disc Jockey by Bill Brewster & Frank Broughton (2000), Grove Press. On The Record: The Scratch DJ Academy Guide by Phil White & Luke Crisell (2009), St. Martin’s Griffin. Looking for the Perfect Beat by Kurt B. Reighley (2000), Pocket Books. How to Be a DJ by Chuck Fresh (2001), Brevard Marketing. DJ Culture by Ulf Poschardt (1995), Quartet Books Limited. The Mobile DJ Handbook, 2nd Edition by Stacy Zemon (2003), Focal Press. Turntable Basics by Stephen Webber (2000), Berklee Press. Course Objectives Upon successful completion of this course, you should be able to: explain the historical innovations that led to the evolution of -
Secret Aerophones?
Secret Aerophones? The extent to which the contained air inside the body of an instrument is a dominant, even a predominant characteristic of its sound is something that has been concerning me for some time. It is not, so far as I know, something that has been studied in any detail, save spasmodically in a few special cases mentioned below. For example it can be demonstrated easily that slit drums, although nominally idiophones, function as giant Helmholtz resonators. If one strikes the drum while progressively occluding the slit with the hand, the pitch will drop as one reduces the area of open hole. This was first established by Raymond Clausen in his fieldwork on Malekula, when the people he was studying tried to produce a drum with the lowest possible sound by making the slit as large as possible, and discovered to their horror that the sound was much higher than usual. Stamping tubes are nominally idiophones but the pitch they produce when stamped on the ground is that of the contained air column. This can be demonstrated, as well as by listening to the type of sound, by blowing across the open end. The same may also be true of tubular bells, a type of idiophone that has not yet been adequately studied. The better made English hunting and coach horns produce the same pitch when struck as when blown; this is presumably done to reinforce their sound. New Guinea dance drums are clearly drums, but it is clear to the ear that the pitches they produce are those of the contained air column, not those of the membrane and that they also function as stamping tubes. -
DJ Skills the Rise of the Hip-Hop DJ 3
The Rise of the Hip-Hop DJ 1 74 The Rise of The Hip-hop DJ DJs were Hip-hop’s original architects, and remain crucial to its contin- ued development. Hip-hop is more than a style of music; it’s a culture. As with any culture, there are various artistic expressions of Hip-hop, the four principal expressions being: • visual art (graffiti) • dance (breaking, rocking, locking, and popping, collectively known in the media as “break dancing”) • literature (rap lyrics and slam poetry) • music (DJing and turntablism) Unlike the European Renaissance or the Ming Dynasty, Hip-hop is a culture that is very much alive and still evolving. Some argue that Hip-hop is the most influential cultural movement in history, point- ing to the globalization of Hip-hop music, fashion, and other forms of expression. Style has always been at the forefront of Hip-hop. Improvisation is called free styling, whether in rap, turntablism, breaking, or graf- fiti writing. Since everyone is using the essentially same tools (spray paint for graffiti writers, microphones for rappers and beat boxers, their bodies for dancers, and two turntables with a mixer for DJs), it’s the artists’ personal styles that set them apart. It’s no coincidence that two of the most authentic movies about the genesis of the move- ment are titled Wild Style and Style Wars. There are also many styles of writing the word “Hip-hop.” The mainstream media most often oscillates between “hip-hop” and “hip hop.” The Hiphop Archive at Harvard writes “Hiphop” as one word, 2 DJ Skills The Rise of the Hip-Hop DJ 3 with a capital H, embracing KRS-ONE’s line of reasoning that “Hiphop Kool DJ Herc is a culture with its own foundation narrative, history, natives, and 7 In 1955 in Jamaica, a young woman from the parish of Saint Mary mission.” After a great deal of input from many people in the Hip-hop community, I’ve decided to capitalize the word but keep the hyphen, gave birth to a son who would become the father of Hip-hop. -
Turntablism and Audio Art Study 2009
TURNTABLISM AND AUDIO ART STUDY 2009 May 2009 Radio Policy Broadcasting Directorate CRTC Catalogue No. BC92-71/2009E-PDF ISBN # 978-1-100-13186-3 Contents SUMMARY 1 HISTORY 1.1-Defintion: Turntablism 1.2-A Brief History of DJ Mixing 1.3-Evolution to Turntablism 1.4-Definition: Audio Art 1.5-Continuum: Overlapping definitions for DJs, Turntablists, and Audio Artists 1.6-Popularity of Turntablism and Audio Art 2 BACKGROUND: Campus Radio Policy Reviews, 1999-2000 3 SURVEY 2008 3.1-Method 3.2-Results: Patterns/Trends 3.3-Examples: Pre-recorded music 3.4-Examples: Live performance 4 SCOPE OF THE PROBLEM 4.1-Difficulty with using MAPL System to determine Canadian status 4.2- Canadian Content Regulations and turntablism/audio art CONCLUSION SUMMARY Turntablism and audio art are becoming more common forms of expression on community and campus stations. Turntablism refers to the use of turntables as musical instruments, essentially to alter and manipulate the sound of recorded music. Audio art refers to the arrangement of excerpts of musical selections, fragments of recorded speech, and ‘found sounds’ in unusual and original ways. The following paper outlines past and current difficulties in regulating these newer genres of music. It reports on an examination of programs from 22 community and campus stations across Canada. Given the abstract, experimental, and diverse nature of these programs, it may be difficult to incorporate them into the CRTC’s current music categories and the current MAPL system for Canadian Content. Nonetheless, turntablism and audio art reflect the diversity of Canada’s artistic community. -
I'm Looking for a Portable Waterproof Boombox That Plays Cd's As Well As Ipods That Has Really Great Sound Quality
E-List View: Boomboxes Queries: I'm looking for a portable waterproof boombox that plays cd's as well as ipods that has really great sound quality. Any recommendations! We go through one at least every six months due to CD's skipping and connection/power issues. Please post make & model on elist. Responses: I bought a waterproof boombox from Brookstone, but it is ONLY for ipods. It has a remote, which is really great, and the ipod is protected in an enclosure. GREAT Sound, even for an outdoor pool! About $99. The construction industry makes outdoor moisture boomboxes that play ipods. They are built to stay in on piece if a bomb goes off. Check the tool department in large hardware or home stores building. Sony ZS-H10CP Heavy-Duty CD Radio Boombox. Found it on Amazon.com for $109.85. It requires a patch cord to plug in an ipod. I have owned 3 Sony Waterproof boomboxes over the last 20 years and all had superior sound. It is bigger than most portables and is encased w/sturdy plastic w/a handle for ease in carrying. It plugs in or works on battery. This heavy duty box replaced several others which did not stand the test of time, and the assault of air travel, salt and fresh water and salt air. It has been going strong now for quite a while without a hitch and still looks good. It does not use cassettes but does use CD’s and has an ipod connection. Currently I use one from Frontgate catalog for about $300.00. -
1 "Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology" Tim Lawrence Journal of Popular Music S
"Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology" Tim Lawrence Journal of Popular Music Studies, 20, 3, 2008, 276-329 This story begins with a skinny white DJ mixing between the breaks of obscure Motown records with the ambidextrous intensity of an octopus on speed. It closes with the same man, debilitated and virtually blind, fumbling for gospel records as he spins up eternal hope in a fading dusk. In between Walter Gibbons worked as a cutting-edge discotheque DJ and remixer who, thanks to his pioneering reel-to-reel edits and contribution to the development of the twelve-inch single, revealed the immanent synergy that ran between the dance floor, the DJ booth and the recording studio. Gibbons started to mix between the breaks of disco and funk records around the same time DJ Kool Herc began to test the technique in the Bronx, and the disco spinner was as technically precise as Grandmaster Flash, even if the spinners directed their deft handiwork to differing ends. It would make sense, then, for Gibbons to be considered alongside these and other towering figures in the pantheon of turntablism, but he died in virtual anonymity in 1994, and his groundbreaking contribution to the intersecting arts of DJing and remixology has yet to register beyond disco aficionados.1 There is nothing mysterious about Gibbons's low profile. First, he operated in a culture that has been ridiculed and reviled since the "disco sucks" backlash peaked with the symbolic detonation of 40,000 disco records in the summer of 1979. -
DAB/USB/MP3/CD/PLL FM Radio/Cassette Portable Boombox DENVER TDC-250 Instruction Manual
DAB/USB/MP3/CD/PLL FM Radio/Cassette Portable Boombox DENVER TDC-250 Instruction Manual Overview of the Components 1. SKIP+/TUNING+ button 2. ENTER/PLAY/PAUSE/CLOCK button 3. STOP/MENU button 4. SKIP-/TUNING- button 5. CASSETTE DOOR 6. STANDBY/FUNCTION button 7. DISPLAY 8. AMS/MODE button 9. PRE./FOLDER button 10. VOLUME+/ALARM 2 button 11. VOLUME-/ALARM 1 button 12. INFO/SNOOZE button 13. SPEAKER 14. TAPE PLAYING BUTTONS 15. FM ANTENNA 16. HANDLE 17. CD DOOR 18. HEADPHONE JACK 19. USB JACK 20. AUX-IN JACK 21. AC SOCKET 22. BATTERY COMPARTMENT Turn on the unit • Press the “STANDBY/FUNCTION” button to turn on the device. • Press the “STANDBY/FUNCTION” button for approx. 3 seconds to switch into the standby mode. Power Supply • This boombox can be used with the supplied power cable or with 6 x size “C” batteries (batteries not included) • Setting the clock & date The system must be in standby mode in order to set the clock. 1. Press and hold the “ENTER/PLAY/PAUSE/CLOCK” button for approx.2 seconds. 2. Use the “SKIP+/TUNING+” or “SKIP-/TUNING-” buttons to set the time format “12/24hr”. 3. Press the “ENTER/PLAY/PAUSE/CLOCK” button to confirm. 4. Use the “SKIP+/TUNING+” or “SKIP-/TUNING-” buttons to set the hours. 5. Press the “ENTER/PLAY/PAUSE/CLOCK” button to confirm the hour. 6. Repeat step 4 and 5 to set the minute/date. Setting of the alarm time The system must be in standby mode in order to set the alarm. -
Surf Fm™ Floating Stereo Waterproof Boombox with Fm Radio
OUTDOOR SURF FM™ FLOATING STEREO WATERPROOF BOOMBOX WITH FM RADIO HIGH-POWERED SOUND SYSTEM IP67 WATERPROOF/SANDPROOF RECHARGEABLE BATTERY FM RADIO WITH PRESETS Delivers lifelike sound Floats! Safe for pool, beach, Delivers long-lasting fun Plays all your favorite stations trail and rain WIRELESS STEREO-LINK AUX INPUT RUGGED RUBBER BODY CONNECTS TO SMARTPHONE Connects additional Surf FM Easily connect non-Bluetooth® Resists scratches, easy to grip VOICE ASSISTANT devices Send hands-free commands with built-in microphone Enjoy big stereo sound in a totally waterproof floating boombox! Surf FM is a high-performance Bluetooth®-streaming boombox and FM radio with dual full-range drivers coupled with two bass radiators that deliver impressive low-end punch. Driven by a 26-watt dynamic power amplifier, Surf FM also has a built-in microphone so you can answer your phone calls, Bluetooth® music control with Play/Pause, Next/Previous Track buttons and a built-in rechargeable battery for hours of uninterrupted fun. But what really sets Surf FM apart is its special shape and totally waterproof design. Not only does it float when you toss it in the pool, but the speakers stay above water, angled perfectly to deliver great sound. Plus, it has a rugged/rubberized design and IP67 waterproofing. 2020 ION Audio LLC. All rights reserved. All information is preliminary and subject to change. The Bluetooth word mark and logos are registered trademarks owned by Bluetooth SIG, Inc. and any use of such marks by ION Audio is under license. ionaudio.com.