DOCSLIB.ORG

E-MU Proteus Rack Library User Manual

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
E-MU Proteus Rack Library User Manual PROTEUS RACK LIBRARY KONTAKT AND KONTAKT PLAYER USER MANUAL Table of Contents 1. Overview 03 2. Functionality 05 Main Panel 05 Amplifier Envelope Panel 06 Keyboard/Effects Amount Panel 06 Reverb Panel 07 Delay Panel 07 Chorus Panel 08 Arpeggiator 1 Panel 09 Arpeggiator 2 Panel 09 Arpeggiator Note Order 10 Solo Panel 11 3. NKS 12 4. Category Reference 13 5. Program Listing 14 Page | 2 Digital Sound Factory E-MU Proteus Rack Overview Welcome to the World of Proteus Thank you for purchasing the E-MU Proteus Rack. This sound set is a Kontakt library and requires the free Kontakt Player (https://www.native-instruments.com/) the full version of Kontakt, Komplete, or Maschine. Please see Getting Started for installation details. The E-MU Proteus sound modules revolutionized the world of digital music performance and composition. The Proteus 2000 style product line was the second generation of the Proteus family with 128 voice polyphony, arpeggiator, solo mode, effects, and four sound ROM slots for a total 128 mb sounds This Kontakt library was designed and produced by the original E-MU sound and graphic designers. Starting with the original waveforms, Kontakt instruments were mapped and programmed to match the hardware modules. The powerful script programming integrates the hardware functionality to the screen for the same great look and feel as the modules. Proteus Rack is designed for Kontakt Player and the full version of Kontakt. The instruments are seamlessly integrated to be controlled by all Native Instruments NKS hardware. Included are Proteus 2000, Mo’ Phatt, Virtuoso, Xtreme Lead-1, Planet Earth, and Vintage Pro. Over 3,500 legacy sounds that will expand your imagination. Page | 3 Digital Sound Factory E-MU Proteus Rack Kontakt View Page | 4 Digital Sound Factory E-MU Proteus Rack Functionality Master Controls Main Panel Main Toggle Button - A/E/I - B/F/J - C/G/K - D/H/L The Main Panel includes a toggle button that controls what screen is active. The toggle advances between the A-D, E-H, & I-L controller groups. The effects toggle button switches between the effect types. The green LED indicates the active set of controls. A-D Filter - Tone, Presence, Shape, Image E-H Amplitude Envelope - Attack, Decay, Sustain, Release I-L Keyboard/Effects – Dyn 1, Dyn 2, FX A, FX B Volume Control The master volume of the instrument. A-D Controls Tone - Filter - Filter cutoff amount Presence - Resonance amount. Shape - Filter Envelope Amount Image - Stereo image Effects Button Activates effects settings. ARP Button Activates arpeggiator settings. Solo Button Activates solo settings. Page | 5 Digital Sound Factory E-MU Proteus Rack Amplifier Envelope Panel E-H Controls Attack - Amplifier attack time Decay - Amplifier decay time Sustain - Amplifier sustain time Release - Amplifier release time Keyboard/Effects Amount Panel I-L Controls Dyn 1 - (Dynamic 1) Velocity to Amplifier Dyn 2 - (Dynamic 2) Velocity to Filter Cutoff FX A - Reverb Send FX B - Delay Send Page | 6 Digital Sound Factory E-MU Proteus Rack Effects Controls Effects Reverb Panel Effects Toggle Button The effects toggle button switches between the effect types. The green LED indicates the active set of controls. Reverb: Predelay - Size - Stereo - Amount Delay: Feedback - Time - Pan - Amount Chorus: Depth - Speed - Unit - Amount Reverb Controls Predelay - Time between the end of the initial sound and first reflections. Size - Room size. Stereo - Positioning of reverb reflections. Amount - Amount of reverb signal. Effects Delay Panel Delay Controls Feedback - Delayed signal sent back to the delay line Time – Tempo synced. Separates the frequency of delay signals. Pan - Positioning of the delay signal Amount - Amount of delay signal Page | 7 Digital Sound Factory E-MU Proteus Rack Effects Chorus Panel Chorus Controls Depth - Amount of pitch modulation Speed - Frequency of the pitch modulation Unit - Separation of the pitch modulation Amount - Amount of chorus signal Page | 8 Digital Sound Factory E-MU Proteus Rack Arpeggiator Controls Arpeggiator Panel 1 Arp Toggle Button The Arp toggle button switches between the effect types. The green LED indicates the active set of controls. Arp 1: Mode - Duration - Rate - Swing Arp 2: Octave - Strike – FX Rate - Velocity Arpeggiator 1 Controls Mode: Selects between four modes. <Off> Arpeggiator off. <On> Arpeggiator on key down. Off on key up. <Hold> Latch played keys - new played keys take priority. <Hold+-> Latch all played keys - new played keys will be added. Duration: Modifies the duration of the arpeggiated MIDI notes in percent. Rate: Tempo synced. Sets the step rate of the arpeggiator. Swing: Offsets step values to swing or push the feel of the steps. Arpeggiator Panel 2 Arpeggiator 2 Controls Octave: Sets the octave range upward or downward. Strike: Sets the number or repeats for each note. FX Rate: Controls the rate (time) parameter of the effect. Velocity: Enabled - velocities derived from rhythmic grid. Deactivated - played velocities scaled by rhythmic grid. Page | 9 Digital Sound Factory E-MU Proteus Rack Steps Controls the number (2 - 32) of steps of the rhythmic pattern. Rhythm Grid The lower right-hand corner displays the amplitude amount of each step in the arpeggiator pattern. Step values are set with the mouse and can be returned to 0 using CTRL/Click. Arpeggiator Note Order Select Note Order Menu The menu contains 16 pattern choices. As Played will follow what is played. This works very nicely with <Hold> latch all played keys and <Hold+-> latch all played keys Page | 10 Digital Sound Factory E-MU Proteus Rack Solo Controls Solo Panel Solo Controls Solo - Solo mode off/on Legato - Legato mode off/on Glide - Glide off/on Rate - Glide rate Page | 11 Digital Sound Factory E-MU Proteus Rack NKS Compatibility Designed for Komplete Kontrol Hardware and Software The Proteus Rack library is designed to work with all NKS hardware enabled products. NKS seamlessly integrates the hardware and software allowing control in both directions. Software parameters are displayed on the hardware and mapped to the controllers. Sounds are tagged with category names to quickly locate the desired sound. The Light Guide color indicates the module currently selected. Proteus 2000 - Cyan, Mo’ Phatt - Purple, Planet Earth - Green, Virtuoso - Red, Xtreme Lead - Light Orange, and Vintage Pro - Blue. Original Proteus Hardware Modules Page | 12 Digital Sound Factory E-MU Proteus Rack Proteus Rack Library Category Reference Proteus 2000 Mo' Phatt Virtuoso kit: Drum Kit amb: Ambient bas: Basses brs: Brass Instruments arp: Arpeggiated brs: Brass led: Leads bas: Basses cel: Cello bs1: Acoustic Bass brs: Brass instrument cmb: Combination, section nse: Noises gtr: Guitar, acoustic or electric prc: Percussion bs2: Electric Bass hit: Short, powerful sfx: Sound Effects orc: Orchestral sounds key: Keyboard instrument, organ vla: Viola bs3: Sub Bass kit: Drum kit vln: Violin pad: Sustained, pad-like led: Leads wav: Simple waveform bs4: Dance Bass pad: Sustained, rich wnd: Woodwind prc: Percussive sfx: Sound Effects bs5: Miscellaneous str: Strings scr: Scratches syn: Synthesizer, harmonically rich gtr: Guitar vox: Vocals sfx: Sound Effects hit: Orchestra Hit / Short Blast str: Strings (violins, cellos, etc.) kb1: Piano syn: Synthesizers kb2: Electric Piano vox: Vocals kb3: Organs wav: Simple Waveforms kb4: Hybrid/Mixed Keyboards wnd: Wind Instruments Planet Earth Xtreme Lead-1 Vintage Pro arp: Arpeggiated arp: Arpeggiated arp: Arpeggiator preset bas: Basses air: Wind noise instrument kit: Drum Kit bow: Bowed bas: Basses led: Leads cmb: Combination bel: Bells bas: Bass instruments kit: Drum kit edg: Edgy, cutting org: Organs pad: Sustained, rich hit: Shorter brs: Brass instruments plk: Plucked key: Keyboard instrument, organ pad: Sustained, ethereal sound pr1: Percussion - hand & stick drums kit: Drum kit prc: Percussion instrument pr2: Percussion led: Leads cmb: Combination of instruments pr3: Percussion - electric nse: Noises sfx: Sound Effect pr4: Percussion - tuned pad: Sustained, pad-like epo: Electric Piano wnd: Wind Instrument prc: Percussion str: Strings (violins, cellos, etc.) whs: Whistle raw: Playable, vanilla gtr: Guitar sfx: Sound Effects sfx: Sound Effects syn: Synthesizers syn: Complex, harmonically rich vox: Vocals vox: Vocals key: Keyboard variations wal: Dense, harmonically complex wnd: Wind instruments Page | 13 Digital Sound Factory E-MU Proteus Rack Proteus Rack Library Program List Proteus 2000 Programs Bank 0 Bank 1 Bank 2 Bank 3 000 kb1 -Dynamic Grand 000 kb4 - Dance 000 bs3 - Sub-Basement 000 bs5 - Ultimate 2 001 kb4 - Yo My Dynos 001 kb4 - Dyno Piano 001 bs3 - Subtle Bass 001 bs5 - Ultimate 3 002 orc - Orchestral 002 kb4 - DynoWahClav 002 bs3 - Super Sub 002 bs5 - VP1 1 003 gtr - Grusty 003 kb4 - E Grand 003 bs3 - The Tunnel 003 bs5 - VP1 2 004 bs1 - A Ku Stq 004 kb4 - Elecre 1 003 bs3 - Thip Kong 004 bs5 - WetMonica 005 kb3 - - Rock in B 005 kb4 - Elecre 2 004 bs3 - Thickley Dub 005 gtr - Carlos 006 kb2 - Wide Suitcase 006 kb4 - Elecre 3 006 bs3 - Way Low Down 006 gtr - Cast Teller 007 led - Zimppler 007 kb4 - Electrified 007 bs3 - Wide Chorus 007 gtr - Chuckin 008 bs4 - Analog Planet 008 kb4 - EP Fog 008 bs3 - ZuB CoMpLeX 008 gtr - Cry Babies 009 kit - Kit 1 009 kb4 - EP Roll 1 009 bs4 - 3 O WorM 009 gtr - Dark Gut 010 kb1 - And Voice 010 kb4 - EP Roll 2 010 bs4 - Acid 010 gtr - Distorter-X 011 sfx - Metal Science 011 kb4 - EP Roll 3 011 bs4 - Acid 4 Ever 011 gtr - Dolobroso 012 syn - Silk OBXsaws 012 kb4 - Farfisa 1 012 bs4 - Analogic
Load more

Recommended publications
  • Funkids Amb La Black Music Big Band & Brodas Junior
    Dossier pedagògic — FunKids amb la Black Music Big Band Dossier pedagògic FunKids amb la Black Music Big Band & Brodas Junior Auditori de Girona Dossier pedagògic — FunKids amb la Black Music Big Band —3 Presentació —4 Fitxa artística —5 Black Music Big Band- BMBB —6 Què és una Big Band: una gran orquestra de jazz —7 Ball urbà — 2 Dossier pedagògic — FunKids amb la Black Music Big Band Presentació Qui no es mou amb la música funky? La proposta fresca Un espectacle i rítmica de l’Auditori Obert, en què els alumnes desco- briran l’essència de la música negra amb el funky i el soul amb més de 45 com a protagonistes. Un concert formatiu sobre la Big participants dalt Band, els seus instruments i estil amb explicacions en català i pinzellades en anglès (fàcilment comprensibles de l’escenari per als nens i nenes). Tot plegat de la mà dels joves de la entre músics i BMBB i al costat dels ballarins de Brodas Junior, que fa- ballarins ran del FunKids un concert ple d’espectacularitat i ritme! Qui no es mou amb la música funky? Arriba una proposta fresca i rítmica de l’Auditori Obert, en la qual els més joves descobriran l’essència de la música negra amb el funky i el soul com a protagonistes. Un concert formatiu i pedagògic que ens parlarà de la Big Band, els seus instru- ments i estil, el mon del ball urbà, etc.... Què podrem conèixer a FunKids? - Els seus instruments: secció de saxos, trompetes, trombons i la base rítmica - Escoltarem les diferents veus de la Black Music - Viurem els diferents estils de balls urbans com el locking, el popping, el bboying o el hiphop I tot això amb explicacions en català i pinzellades en anglès.
    [Show full text]
  • EDM (Dance Music): Disco, Techno, House, Raves… ANTHRO 106 2018
    EDM (Dance Music): Disco, Techno, House, Raves… ANTHRO 106 2018 Rebellion, genre, drugs, freedom, unity, sex, technology, place, community …………………. Disco • Disco marked the dawn of dance-based popular music. • Growing out of the increasingly groove-oriented sound of early '70s and funk, disco emphasized the beat above anything else, even the singer and the song. • Disco was named after discotheques, clubs that played nothing but music for dancing. • Most of the discotheques were gay clubs in New York • The seventies witnessed the flowering of gay clubbing, especially in New York. For the gay community in this decade, clubbing became 'a religion, a release, a way of life'. The camp, glam impulses behind the upsurge in gay clubbing influenced the image of disco in the mid-Seventies so much that it was often perceived as the preserve of three constituencies - blacks, gays and working-class women - all of whom were even less well represented in the upper echelons of rock criticism than they were in society at large. • Before the word disco existed, the phrase discotheque records was used to denote music played in New York private rent or after hours parties like the Loft and Better Days. The records played there were a mixture of funk, soul and European imports. These "proto disco" records are the same kind of records that were played by Kool Herc on the early hip hop scene. - STARS and CLUBS • Larry Levan was the first DJ-star and stands at the crossroads of disco, house and garage. He was the legendary DJ who for more than 10 years held court at the New York night club Paradise Garage.
    [Show full text]
  • Repeat-The-Beat: Industries, Genres and Citizenships in Dance Music Magazines Repeat-The-Beat: Iii
    Repeat-The-Beat: Industries, Genres and Citizenships in Dance Music Magazines Christy Elizabeth Newman This dissertation is submitted in partial fulfilment of the requirements for the degree of Bachelor of Arts (Honours) in Communication Studies at Murdoch University 1997 Repeat-The-Beat: i Declaration I declare that this dissertation is my own account of my research and contains as its main content work which has not previously been submitted for a degree at any tertiary educational institution. ____________________ Christy Elizabeth Newman Repeat-The-Beat: ii Copyright License Permission to copy all or part of this thesis for study and research purposes is hereby granted. 1. Signed Christy Elizabeth Newman Date: November 3, 1997 2. Title of Thesis:Repeat-the-Beat: Industries, Genres and Citizenships in Dance Music Magazines Repeat-The-Beat: iii Abstract This thesis examines a particular cultural object: dance music magazines. It explores the co-imbrication of the magazines with dance music and considers how a reconfiguration of the field of genre theory can help to dismantle the generic separations of ‘textual’ and ‘industrial’ approaches to cultural objects. The main argument of the thesis is as follows. The magazine industries produce an object of cultural exchange which is made commercially viable through a narrowing of its target audiences. These audiences arise in the space created by the dance music industries’ negotiation of an imagined contest between 'underground' authenticity and 'mainstream' productivity. In turn, dance music magazines produce a powerfully exclusive space for the communication networks of the dance music genre by capitalising on the desire to stabilise genre and therefore taking up generic instability as a positive youth marketing strategy.
    [Show full text]
  • 9Rgrou / F BT Expra6s
    f- r n r:l I h. l_ i U ll tl L L. I I l--.- a I "bt" transeau t I : 'q a I I l ? kl I \ € 7 I \ 0 T a I I F II I , L r ^ I \ l t XI ?ortv 9rgrou / F BT expra6s... I \ .a 12 I ! ! I ./ J L. I tl I n I I I a 1 / T / t f I , t I I - \ \ \ ,/ 7 ll 7 / E t / / WWW.EIEH'I, ,1LL.EtrIM TICHTO RAP HOUSE REGGAE ROCK DAIiCEHATL ACIO IUI{GLE AMBIEI{T II{OUSTRIAI- BHAIiGRA FREESTYI"E SOUI. fUI{K R&B LATIII IiI,tR o 'AZZ o alternativelndusttiol . bhongro . blues . dub. freestyle . hi-nry / house. iozzvibes . jungle.latin. rop. reggoe/dancehall remix poradiso . rock . techno music & business: take o ride on the bt express... prem um music zine: print * web I tl v f! t) \ I ) , I t a , ) 1 1 I' ! t I I --l t I E l = ti _) http : / /www.streetso u n d.co m Eorror.rn.orrrr richdmrnrlil*'t^Ll'^fl-t##fhHffiJt**nurr,*r.ro* o,,,"oo, t)ag (IuExTED,ToRS: lonnld.msrAP.&ltLry.s !g'f.mll:rin ($htiff) S P.lnnrle BoG TECtltO. r Todd "Lrh" BlGe T!(H. L.dh tdno.& *O(t. b f!t|rlc! Ht.tPG. ocrnc. rd tDtlOa-AI-tARGE. trtrl.t flodtE SoUL flJ N( R&B.Syu.li Houde aLrtRNATlVt. B.mrd io6lit G FREESIYLE . Rody lrp..t xtE jU . SEwTCES ?.d E. top.E JAZZ VIEES . Ri.l Edl.i NGIE Cl.rl.s lftGlyrn REGGAE Dlrc & T.ry D.hopo los HOUSE lnita E( vldta BHANGRA Iln Frhry / lcI sn€graour{D u( .woorba ( coxla rS um$ | M.td and uiai 6olg.
    [Show full text]
  • Pre-Pedidos: 15 - Febrero - 2019
    CLICK AQUÍ PARA VISITAR EL INDICE CON TODOS LOS LISTADOS DISPONIBLES descuento del 9% para pedidos de este listado recibidos hasta el 22 - febrero - 2019 inclusive PRE-PEDIDOS: 15 - FEBRERO - 2019 MINT 23.60 € CONDITION POD aka KENNY LARKIN - THE VANGUARD (DARK COMEDY RMX) 21.48 € MINTC023 2LP MC023 TECHNO / DETROIT REPRESS GBR A1 Mint Condition - A reissue label focused on excavating the outer fringes of classic House and Techno. A2 Unreleased mixes, classics and overlooked gems mined from the last 20+ of contemporary dance music are the order of the day. From Chicago, Detroit and New York to London and beyond, Mint Condition B1 have got their expert digging hats on to bring you exclusive heat and those rarer than rare jams that have B2 been on your wants list for years! Dig in. Detroit bred / LA based producer Kenny Larkin has long been a force to be reckoned with, both in the studio and in the DJ booth. His 'Vanguard EP' from 1992 was C1 released under the name POD, another of his aliases used for the deep sonic exploration of Techno that he C2 undertook, thus changing the face of modern electronic music right up to this day. Featured here is the full '92 EP with the addition of another POD rarity entitled 'Chinese Checkers', lifted from a compilation a D1 number of years later. The music contained within this 2 x 12" reissue should not be understated, this is pure, D2 unadulterated Detroit Techno sounds of the highest order 13.10 € LONE ROMANTIC FREDDY FRESH - REGENERATOR 2 (feat.
    [Show full text]
  • Pre-Pedidos: 06 - Mayo - 2016
    CLICK AQUÍ PARA VISITAR EL INDICE CON TODOS LOS LISTADOS DISPONIBLES descuento del 3% para pedidos de este listado recibidos hasta el 13 - mayo - 2016 inclusive PRE-PEDIDOS: 06 - MAYO - 2016 DONT 11.50 € CHRIS MOSS ACID - JOKER EP DONT32 12" TECHNO / ACID / ELECTRO UK A1 Chris Moss Acid returns to Don't for a follow up to last year's 'The Acid That Ate Bournemouth' with 4 tracks of blistering proportions. 'The Joker' is a twisted and squelchy hard nosed House/Techno hybrid that A2 punches through a sound system, while 'Pumped Up MF' nestles coyly between Ghetto/Booty and Acid B1 with a suggestive bassline ripping things apart. On the flip, more mayhem with 'DP Acid' which is as derranged as they come before the EP closes in magnificent style with 'Elektra', Electro's answer to B2 Bohemian Rhapsody TRIBE 12 11.20 € CESSMAN - KING OF MY MIND / INNER CITY VIBES T12006 12" DUBSTEP UK A1 Released: May / June 2016 B1 BLUEPRINT 11.20 € OLIVER HO - AWAKENING THE SENTIENT BPR02 12" TECHNO REPRESS UK A1 A2 James Ruskin's Blueprint sub-series is back with a newly re-mastered reissue of this classic Oliver Ho four track EP from 1999. A great reissue of this mid-period Blueprint title from their original artist Oliver Ho. New B1 full colour label sleeve to celebrate the 20th anniversary of this classic techno label ! B2 DARKNET 11.10 € LADO / DAVE TARRIDA - MARKSCHEIDER / SOUTHPAW DARKNET015 12" TECHNO AUS A1 A2 Four intense techno monsters from the minds of LADO (AFU, Nachtstrom, Dancefloor Killers) and Dave Tarrida (Tresor, Gynoid, Sativae) who deliver their split EP on Darknet.
    [Show full text]
  • Ambient Music the Complete Guide
    Ambient music The Complete Guide PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Mon, 05 Dec 2011 00:43:32 UTC Contents Articles Ambient music 1 Stylistic origins 9 20th-century classical music 9 Electronic music 17 Minimal music 39 Psychedelic rock 48 Krautrock 59 Space rock 64 New Age music 67 Typical instruments 71 Electronic musical instrument 71 Electroacoustic music 84 Folk instrument 90 Derivative forms 93 Ambient house 93 Lounge music 96 Chill-out music 99 Downtempo 101 Subgenres 103 Dark ambient 103 Drone music 105 Lowercase 115 Detroit techno 116 Fusion genres 122 Illbient 122 Psybient 124 Space music 128 Related topics and lists 138 List of ambient artists 138 List of electronic music genres 147 Furniture music 153 References Article Sources and Contributors 156 Image Sources, Licenses and Contributors 160 Article Licenses License 162 Ambient music 1 Ambient music Ambient music Stylistic origins Electronic art music Minimalist music [1] Drone music Psychedelic rock Krautrock Space rock Frippertronics Cultural origins Early 1970s, United Kingdom Typical instruments Electronic musical instruments, electroacoustic music instruments, and any other instruments or sounds (including world instruments) with electronic processing Mainstream Low popularity Derivative forms Ambient house – Ambient techno – Chillout – Downtempo – Trance – Intelligent dance Subgenres [1] Dark ambient – Drone music – Lowercase – Black ambient – Detroit techno – Shoegaze Fusion genres Ambient dub – Illbient – Psybient – Ambient industrial – Ambient house – Space music – Post-rock Other topics Ambient music artists – List of electronic music genres – Furniture music Ambient music is a musical genre that focuses largely on the timbral characteristics of sounds, often organized or performed to evoke an "atmospheric",[2] "visual"[3] or "unobtrusive" quality.
    [Show full text]
  • Sensación Táctil Y Audiotáctil En La Música
    1 Universidad Nacional de La Plata Facultad de Bellas Artes Doctorado en Artes Sensación táctil y audiotáctil en la música El caso de las músicas electrónicas utilizadas para el baile social en locales de baile de la Ciudad Autónoma de Buenos Aires y alrededores Doctorando: Sergio Iván Anzil Director: Gustavo Basso Codirector: Carlos Mastropietro La Plata, diciembre de 2016 2 El movimiento corporal está apretadamente atado de varias formas a la percepción y a otras formas de cognición y emoción. […] el cuerpo, a través de sus habilidades motoras, sus propios movimientos y su postura, informa y forma a la cognición. Shaun Gallagher1 Visualización de ondas sonoras y de choque originadas en la caída de un libro.2 1 "Bodily movement is closely tied in various ways to perception and to other forms of cognition and emotion. […] the body, through its motor abilities, its actual movements, and its posture, informs and shapes cognition." Citado en Zeiner-Henriksen, H. The PoumTchak pattern. Correspondences between Rhythm, Sound and Movement in Electronic Dance Music. pp. 26-27 2 Fuente de la imagen: Settles, G. y otros. (2008). Schlieren imaging of loud sounds and weak shock waves in air near the limit of visibility. pp.8 3 ÍNDICE GENERAL PREFACIO ................................................................................................................................................ 8 INTRODUCCIÓN ................................................................................................................................... 10 CAMPO
    [Show full text]
  • Night Life in Europe and Recreative Drug Use. SONAR 98
    Night life in Europe and recreative drug use. SONAR 98 Authors: Amador Calafat, Karl Bohrn, Montserrat Juan, Anna Kokkevi, Nicole Maalsté, Fernando Mendes, Alfonso Palmer, Kellie Sherlock, Joseph Simon, Paolo Stocco, Mª Pau Sureda, Peter Tossmann, Goof van de Wijngaart, Patricia Zavatti Nigut life in Europe and recreative drug use. SONAR and recreative Nigut life in Europe 98 Financed with the assistance of the EUROPEAN COMMISSION IREFREA IREFREA IREFREA is a european network interested in the promotion and research of primary prevention of different sorts of juvenile malaise and the study of associated protective and risk factors. NIGHT LIFE IN EUROPE AND RECREATIVE DRUG USE. SONAR 98 Research Coordinator: Amador Calafat 3 NIGHT LIFE IN EUROPE AND RECREATIVE DRUG USE. SONAR 98 Authors: Amador Calafat, Karl Bohrn, Montserrat Juan, Anna Kokkevi, Nicole Maalsté, Fernando Mendes, Alfonso Palmer, Kellie Sherlock, Joseph Simon, Paolo Stocco, Mª Pau Sureda, Peter Tossmann, Goof van de Wijngaart, Patrizia Zavatti Collaborators: Susanne Ebner (Vienna); Laura de Fazio (Modena); Alan Haughton (Manchester); Lucia Mariano (Coimbra); Claudia Pilgrim (Berlin); Jérome Reynaud (Nice); Ioanna Siamou (Athens); Rebecca Simpson (Manchester); Sabine Tyrväinen (Vienna); Erika Van Vliet (Utrecht) IREFREA Financed with the assistance of the EUROPEAN COMMISSION NEITHER THE COMMISSION, NOR ANY PERSON ACTING IN ITS NAME, IS RESPONSIBLE FOR THE USE THAT MIGHT BE MADE OF THE INFORMATION INCLUDED IN THIS DOCUMENT ORGANISATIONS, INSTITUTIONS AND NATIONAL RESEARCH GROUPS PARTICIPATING IN THIS RESEARCH IREFREA DEUSCHTLAND CSST / CREDIT Horst Brömer Joseph Simon Drogenhilfe Tannehof Berlin e v 10, Av. Malausséna. 06000 Nice (France) Wilhelmsaue, 116. 10715 Berlin Tel:+330493926321 - Fax: +330493026320 tel +49307440213 - Fax: +493076403229 E-mail: [email protected] [email protected] INSTITUTE SOZIAL UND GESUNDHERST IREFREA - ESPAÑA Karl Böhrn Amador Calafat, Montse Juan, Mª Pau Sureda Pladenhanergasse, 20/1.
    [Show full text]
  • Xiami Music Genre 文档
    xiami music genre douban 2021 年 02 月 14 日 Contents: 1 目录 3 2 23 3 流行 Pop 25 3.1 1. 国语流行 Mandarin Pop ........................................ 26 3.2 2. 粤语流行 Cantopop .......................................... 26 3.3 3. 欧美流行 Western Pop ........................................ 26 3.4 4. 电音流行 Electropop ......................................... 27 3.5 5. 日本流行 J-Pop ............................................ 27 3.6 6. 韩国流行 K-Pop ............................................ 27 3.7 7. 梦幻流行 Dream Pop ......................................... 28 3.8 8. 流行舞曲 Dance-Pop ......................................... 29 3.9 9. 成人时代 Adult Contemporary .................................... 29 3.10 10. 网络流行 Cyber Hit ......................................... 30 3.11 11. 独立流行 Indie Pop ......................................... 30 3.12 12. 女子团体 Girl Group ......................................... 31 3.13 13. 男孩团体 Boy Band ......................................... 32 3.14 14. 青少年流行 Teen Pop ........................................ 32 3.15 15. 迷幻流行 Psychedelic Pop ...................................... 33 3.16 16. 氛围流行 Ambient Pop ....................................... 33 3.17 17. 阳光流行 Sunshine Pop ....................................... 34 3.18 18. 韩国抒情歌曲 Korean Ballad .................................... 34 3.19 19. 台湾民歌运动 Taiwan Folk Scene .................................. 34 3.20 20. 无伴奏合唱 A cappella ....................................... 36 3.21 21. 噪音流行 Noise Pop ......................................... 37 3.22 22. 都市流行 City Pop .........................................
    [Show full text]
  • Drum and Bass
    Bartošík Tomáš UČO : 415433 Subkultura Elektronická Taneční hudba – Drum and bass Subkultury jsou osobité menšinové skupiny, které se od sebe liší podle určitých norem, hodnot a životního stylu charakterizující určitou skupinu lidí v rámci širšího společenství i když se třeba z části podíli na dominantní kultuře a na fungování širšího společenství. Čím komplexnější je světová kultura a celkový počet obyvatel na planetě, tím více subkultur vzniká. Subkultury zahrnují různý postoj k práci, módě, dorozumívání, církvi a náboženství, sexu, škole, k rasistické otázce, politice nebo hudbě. Subkultury samotné mají někdy tendenci k vědomému sebeuzavírání, k vytváření svých subkulturních hranic, které pak plní funkci sebeudržení a sebeobrany. Tento fenomén byl doložen například v chování subkultury ortodoxních židů a některých náboženských skupin v USA(1). Subkultury si mnohdy vytváří svůj vlastní jazyk nebo symboliku. Elektronická hudba patří spíše mezi subkultury mládeže, je to vcelku nový termín protože elektronická hudba je spíše hudbou naší generace než generace předchozí, kdy nebyli ještě počítače a hudební digitání technika na takové úrovni na jaké jsou dnes. Subkulturu mládeže jde smysluplně vymezit a pochopit pouze ve srovnání s hodnotama, chováním a životním způsobem dospělých v jedné a téže společnosti. Většinou se předpokládá, že subkultura mládeže vzniká tam, kde se historicky a situačně zvýrazní odlišnosti životní filozofie a životního stylu mladých natolik, že se vytvoří specifický kulturní vzor chování(2).Normy a vzory chování jsou pouze jedním z mnoha prvků životního způsobu společnosti a nejsou vyhrazeny jenom pro mladší generace. Například rapovat nebo tancovat na hip-hop může i šedesátník. Jde vlastně o jakýsi životní styl teenagerů, jejich názory na určitou problematiku a trávení volného času.
    [Show full text]
  • Data Specifications and Collection
    Ref. Ares(2018)2835897 - 31/05/2018 D2.1 – Data specifications and collection May 31st, 2018 Author/s: Manos Schinas (CERTH), Symeon Papadopoulos (CERTH) Contributor/s: Yiannis Kompatsiaris (CERTH), Frédéric Notet (MMAP), Quimi Luzón (BMAT), Geoffroy Peeters (IRCAM), Rebecka Sjöström (PGM), Daniel Johansson (SYB), Tommy Vaudecrane (BN) Deliverable Lead Beneficiary: CERTH This project has been co-funded by the HORIZON 2020 Programme of the European Union. This publication reflects the views only of the author, and the Commission cannot be held responsible for any use, which may be made of the information contained therein. Multimodal Predictive Analytics and Recommendation Services for the Music Industry 2 Deliverable number or D2.1 – Data specifications and collection supporting document title Type Report Dissemination level Public Publication date 31-05-2018 Author(s) Manos Schinas (CERTH), Symeon Papadopoulos (CERTH) Contributor(s) Yiannis Kompatsiaris (CERTH), Frédéric Notet (MMAP), Quimi Luzón (BMAT), Geoffroy Peeters (IRCAM), Rebecka Sjöström (PGM), Daniel Johansson (SYB), Tommy Vaudecrane (BN) Reviewer(s) Julien Perret (BN), Maria Stella Tavella (MMAP), Vasilis Papanikolaou (ATC), Daniel Molina (BMAT) Keywords music data, data collection, API, database, music platforms, broadcast data, social media, music content, music knowledge base, data management Website www.futurepulse.eu CHANGE LOG Version Date Description of change Responsible V0.1 05/04/2018 First deliverable draft version, table of contents Manos Schinas V0.5 27/04/2018
    [Show full text]