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Nightlife, Djing, and the Rise of Digital DJ Technologies a Dissertatio
UNIVERSITY OF CALIFORNIA, SAN DIEGO Turning the Tables: Nightlife, DJing, and the Rise of Digital DJ Technologies A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Communication by Kate R. Levitt Committee in Charge: Professor Chandra Mukerji, Chair Professor Fernando Dominguez Rubio Professor Kelly Gates Professor Christo Sims Professor Timothy D. Taylor Professor K. Wayne Yang 2016 Copyright Kate R. Levitt, 2016 All rights reserved The Dissertation of Kate R. Levitt is approved, and it is acceptable in quality and form for publication on microfilm and electronically: _____________________________________________ _____________________________________________ _____________________________________________ _____________________________________________ _____________________________________________ _____________________________________________ Chair University of California, San Diego 2016 iii DEDICATION For my family iv TABLE OF CONTENTS SIGNATURE PAGE……………………………………………………………….........iii DEDICATION……………………………………………………………………….......iv TABLE OF CONTENTS………………………………………………………………...v LIST OF IMAGES………………………………………………………………….......vii ACKNOWLEDGEMENTS…………………………………………………………….viii VITA……………………………………………………………………………………...xii ABSTRACT OF THE DISSERTATION……………………………………………...xiii Introduction……………………………………………………………………………..1 Methodologies………………………………………………………………….11 On Music, Technology, Culture………………………………………….......17 Overview of Dissertation………………………………………………….......24 Chapter One: The Freaks -
CDJ-2000 & CDJ-900 Natural Selection
CDJ-2000 & CDJ-900 Natural Selection A new species of CDJ has arrived. Introducing the CDJ-2000 & CDJ-900 multi-format players. Designed for the ever evolving needs of DJs, the new CDJs handle all major music formats from multiple sources including USB and SD memory devices. CDJ-2000 Natural Selection Introducing a major leap forward for our legendary club standard CDJ series: the CDJ-2000 is the new professional player for the digital age. Playback of multiple file formats / Perform off USB storage devices & SD card / rekordbox™ music database management software included / Pro DJ Link allows music data sharing among players from single source / High-quality Wolfson DAC / 6.1 full-colour LCD screen / Rotary selector function for easy track selection / Needle Search bar for rapid track point selection / MIDI & HID control via USB / Hot Cue Banks / Quantize Looping / 4 point Jog wheel illumination with increased tension adjustability / Tag tracks The CDJ-2000 fizzes with fresh DNA and can play music Wolfson DAC which processes high-quality audio files up from multiple sources, including CD, DVD, USB storage to 96kHz and has a signal-to-noise ratio of 117dB (11dB devices and SD memory cards. Simply take your USB higher than the CDJ-1000MK3), giving incredibly accurate device to the club, plug into the CDJ-2000 and play. sound reproduction. Supported file formats include MP3, AAC, WAV and Each CDJ has a built-in 24-bit/48kHz sound card, along with AIFF (both 16-bit and 24-bit), for the next generation of MIDI and HID control over USB. -
Sheer Genius and Totally Cool! It's Zomo!
SHEER GENIUS AND TOTALLY COOL! IT’S ZOMO! CONTENT Furniture 3 Founded in 2003, the Zomo brand is a division of Headphones 12 GSM-Multimedia GmbH. Developed by Dj’s with a total understanding of the club and nightlife scenes. Pro Stands 18 Zomo products - used by serious Dj’s and found in all good record stores. Laptop Stands 20 Equipment Cases 21 Racks & Equipments 42 Record cases 43 Bags 44 CD-Bags & Cases 50 Accessories 52 Snap this QR code and get an instant access to www.zomo.de Capacity 75/25 Trolley 19” Rack Unit Number of items held inside Classic Cut Luxury travelling with trolley 1 unit = 44.45mm Notebook Size 50/50 Adjustable Panel Rotation Maximum notebook size Half cut for perfect storage Adjustable position/location Rotatable Pro Flight Removable Lid Wheels Cable Cover Extreme flight proofed quality Removable top part Wheels for easy transporting Protect & arrange cables Detailed information on all products on www.zomo.de FURNITURE 3 Berlin MK2 Deckstand Miami MK2 Deckstand Detailed information on all products on www.zomo.de 4 FURNITURE Miami MK2 Toxic Deckstand LT D Berlin MK2 Toxic Deckstand LT D Powerkit PK1 Acryl Front Laptop Tray Acryl Headphone Tray Acryl Powerkit PK2 Detailed information on all products on www.zomo.de FURNITURE 5 Milano Studio Desk Vegas Deckstand Detailed information on all products on www.zomo.de 6 FURNITURE Ibiza 120 Deckstand Ibiza 150 Deckstand Detailed information on all products on www.zomo.de FURNITURE 7 Detroit 120 Detroit 150 Detailed information on all products on www.zomo.de 8 FURNITURE -
SL1 Manual for Serato Scratch Live 2.5.0
SETTING THE stanDARD FOR PROFESSIONAL DJS RANE SL1 FOR SERATO SCRATCH LIVE • OPERATOR’S MANUAL 2.5.0 Important Safety Instructions FCC Statement FCC Declaration of Conformity For the continued safety of yourself and This equipment has been tested and Brand: Rane others we recommend that you read found to comply with the limits for a Class Model: SL1 the following safety and installation B digital device, pursuant to part 15 of instructions. Keep this document in a safe the FCC Rules. These limits are designed This device complies with part 15 of the location for future reference. Please heed to provide reasonable protection against FCC Rules. Operation is subject to the all warnings and follow all instructions. harmful interference in a residential following two conditions: (1) This device installation. This equipment generates, may not cause harmful interference, Do not use this equipment in a location uses and can radiate radio frequency and (2) this device must accept where it might become wet. Clean only energy and, if not installed and used any interference received, including with a damp cloth. This equipment may in accordance with the instructions, interference that may cause undesired be used as a table top device, although may cause harmful interference to operation. stacking of the equipment is dangerous radio communications. However, there and not recommended. is no guarantee that interference will Responsible Party: not occur in a particular installation. Rane Corporation Equipment may be located directly above If this equipment does cause harmful 10802 47th Avenue West or below this unit, but note that some interference to radio or television Mukilteo WA 98275-5000 USA equipment (like large power amplifiers) reception, which can be determined Phone: 425-355-6000 may cause an unacceptable amount of by turning the equipment off and on, hum or may generate too much heat the user is encouraged to try to correct and degrade the performance of this the interference by one or more of the equipment. -
Tap Tap Boom: a Multi-Touch floor Is Great for Creative Collaborative Music Production
Tap Tap Boom: A multi-touch floor is great for creative collaborative music production Jossekin Beilharz, Maximilian Schneider, Johan Uhle, David Wischner Hasso-Plattner Institute Prof.-Dr.-Helmert-Str. 2-3 14482 Potsdam, Germany fjossekin.beilharz, maximilian.schneider, johan.uhle, [email protected] ABSTRACT simultaneously. Therefore Tap Tap Boom offers a new per- Tap Tap Boom is a music production floor. It allows the user spective to music production. to create and edit music in an inspiring environment. Its si- ze encourages collaborative working. The user can use the input modes Step Sequencer, Groovebox and Pad to record music. One can arrange music in clips on a multi-track time- line. In addition to feet input we offer the usage of objects like bottles or saltshakers to interact with the system. Tap Tap Boom elevates creativity by providing a new approach to music production. Author Keywords music production, daw, multi-touch floor INTRODUCTION You can split electronic music production into three sequen- tial parts: In the beginning the musician composes. One ge- nerates and tests ideas. Inspiration and creativity play a key role at this stage. Afterwards the musician arranges the com- position and does the final recordings. The music is comple- Figure 1. On a large floor screen users can record and edit music colla- te. In the end the handcraft of mixing and mastering gives boratively using feet. the final touch to the sound and makes it ready for release. WALKTHROUGH There is a wide variety of tools which aid the process of Device electronic music production. -
3Rd Party Controller Quickstart Guide • Pioneer
3RD PARTY CONTROLLER QUICKSTART GUIDE • PIONEER CDJ-400 • NUMARK DMC2 • • DENON DN-HD2500 • DENON DN-HC4500 • • NUMARK ICDX • SERATO SCRATCH LIVE 3RD PARTY CONTROLLER QUICKSTART 1.8.21 To use a pair of CDJ400s with Scratch LIVE, you Below is the information displayed on the will need at least 3 available USB ports. LCD screen of the Pioneer CDJ-400 when PIONEER CDJ-400 used with Scratch LIVE. If you don’t have 3 ports available you may be able to connect your CDJ400s to a powered Artist name / Song name / Album name. Use the USB hub. It is however, important to always Text Mode / Utility Mode button to toggle* connect your Scratch LIVE hardware directly to your computer. Track number* First, make sure you are running Scratch LIVE BPM - changes in value with pitch slider 1.8.2 or later. (Earlier versions do not movement* support the CDJ400) Tempo % - changes in value with pitch slider Connect your Scratch LIVE hardware (SSL1, movement. TTM57 or the MP4) as per normal into an +- Tempo range. +-6 / +-10 / +-16. Use the available USB port on your computer. Tempo button to toggle. Do the same with both of your CDJ400s, connecting each player to separate USB ports. Time elapsed / Time remaining (Digits) Use the Start Scratch LIVE and set each virtual deck to Time Mode / Auto Cue button to toggle. Internal Mode. Time elapsed / Time remaining (Visual readout) Turn on both CDJ400s, and switch them to USB Use the Time Mode / Auto Cue button to mode by pressing the button in the top left toggle. -
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. -
The Underrepresentation of Female Personalities in EDM
The Underrepresentation of Female Personalities in EDM A Closer Look into the “Boys Only”-Genre DANIEL LUND HANSEN SUPERVISOR Daniel Nordgård University of Agder, 2017 Faculty of Fine Art Department of Popular Music There’s no language for us to describe women’s experiences in electronic music because there’s so little experience to base it on. - Frankie Hutchinson, 2016. ABSTRACT EDM, or Electronic Dance Music for short, has become a big and lucrative genre. The once nerdy and uncool phenomenon has become quite the profitable business. Superstars along the lines of Calvin Harris, David Guetta, Avicii, and Tiësto have become the rock stars of today, and for many, the role models for tomorrow. This is though not the case for females. The British magazine DJ Mag has an annual contest, where listeners and fans of EDM can vote for their favorite DJs. In 2016, the top 100-list only featured three women; Australian twin duo NERVO and Ukrainian hardcore DJ Miss K8. Nor is it easy to find female DJs and acts on the big electronic festival-lineups like EDC, Tomorrowland, and the Ultra Music Festival, thus being heavily outnumbered by the go-go dancers on stage. Furthermore, the commercial music released are almost always by the male demographic, creating the myth of EDM being an industry by, and for, men. Also, controversies on the new phenomenon of ghost production are heavily rumored among female EDM producers. It has become quite clear that the EDM industry has a big problem with the gender imbalance. Based on past and current events and in-depth interviews with several DJs, both female and male, this paper discusses the ongoing problems women in EDM face. -
Controllers As Musical Instruments, Controllerism As Musical Practice
Controllers as Musical Instruments, Controllerism as Musical Practice – Practices of a new 21st Century musical culture – Guillermo de Llera Blanes Dissertação em Ciências Musicais na especialidade de EtnomusicoloGia , A , CAL CULTURE PRACTICES OF 2017 Guillermo de Llera Blanes CONTROLLERS AS MUSICAL 21ST CENTURY ,MUSI INSTRUMENTS, CONTROLLERISM AS MUSICAL PRACITCE, Setembro, 2017 1 Dissertação apresentada para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Ciências Musicais, especialidade de Etnomusicologia, realizada sob a orientação científica do Professor Doutor João Soeiro de Carvalho. 2 Dedicated to my promised one and to the little Controllerists at home. Acknowledgements It is with the utmost gratitude that I thank my brother, the anthropologist Ruy Blanes for his unwavering support, sympathetic guidance and most of all, his humor. His knowledge was a lifeline, for I could always count on his informed opinion, but his greatest aid was in letting me make my own mistakes, and then hinting at various ways to resolve them. It showed me that he was convinced that I was capable of finding my way out of the dead ends, and would overcome the trials and tribulations of writing a thesis. Thank you for believing in me, my brother. To my dear advisor, professor João Soeiro de Carvalho, I have nothing but words of gratitude. You showed unbridled gusto in my research and helped me trod along with unending patience, aware of my limitations in time, experience and knowledge. It was with great delight that I experienced our joint (ad)venture, and I am indebted to you for your kindness, your wisdom and your empathy. -
Models and Algorithms for Control of Sounding Objects
SOb - the Sounding Object IST Project no. IST-2000-25287 Models and Algorithms for Control of Sounding Objects Report Version: 2.0 Report Preparation Date: January 10, 2003 Classification: Pub. Deliverable N. 8 Contract Start Date: 1 Jan. 2001 Duration: 2 years Project Co-ordinator: University of Verona (UNIVR) Partners: University of Udine (UNIUD), University of Limerick (UL), Royal Institute of Technology (KTH) - Stockholm Project funded by the European Community under the ‘Information Society Technologies’ Programme (1998-2002) Contents 1 Introduction 3 2 Toward a new model for sound control 5 2.1 Introduction . 5 2.2 Control models . 5 2.3 Walking and running . 6 2.3.1 Sounds . 6 2.3.2 Tempo . 7 2.4 Controlling the sounds of walking and running . 9 2.5 Pilot experiment: listening to walking and running sounds . 11 2.5.1 Stimuli . 11 2.5.2 Subjects and procedure . 11 2.5.3 Results and discussion . 11 2.6 Conclusions . 12 2.7 Links . 13 3 Scratching: from analysis to modelling 14 3.1 Introduction . 14 3.2 Common set-up for experiments . 14 3.2.1 Method . 15 3.2.2 Material . 15 3.2.3 Instrument line-up . 15 3.3 Experiment 1 - Playing the turntable . 16 3.3.1 Introduction . 16 3.3.2 Equipment . 17 3.3.3 Material . 19 3.3.4 Techniques . 20 3.4 Experiment 2 - Analysis of a genuine performance . 29 3.4.1 Analysis . 29 3.4.2 Method . 29 3.4.3 Equipment . 29 3.4.4 Calibrations . 30 3.4.5 Measurements outline . -
Rhythm Designer Rd-8
Product Information Document Electronic Drum Sets RHYTHM DESIGNER RD-8 Classic Analog Drum Machine with 16 Drum Sounds, 64 Step Sequencer, Wave Designer and Dual-Mode Filter ## Amazing drum machine with authentic analog sound engine to create the classic sound performance ## 16 original drum sounds with A Brief History of Drum Machines additional parameters and global From its humble beginnings as rhythmic support to organists, to later Accent capability setting dance floors ablaze with unrelenting and hypnotic beats, the drum ## Modern and versatile workflow provides enhanced playability, machine has been one of the most unappreciated of all musical inventions. enabling you to create captivating Uncompromising in its metronomic precision, the drum machine provides live performances a flawless rhythm section that never tires of playing the same four-bar ## Powerful 64-step drum sequencer loop. However, when put into the right hands and proper musical context, supports poly-meter, step-repeat, note-repeat, real-time triggering, they can be finessed to create awe-inspiring rhythmic artistry. track-mute and track-solo ## Integrated FX bus features Wave Designer and dual-mode Analog First Drum Machine – Filter with per voice assignment The Rhythmicon ## Live recording, editing and The ground-breaking Rhythmicon was created playback of Analog Filter cutoff by Russian inventor Léon Theremin in 1931. via automation The machine was a collaboration with American ## Storage of up to 16 songs and composer Henry Cowell and can produce 256 patterns, -
A Study of Digital Samplers in Two Eras
On The Significance of Interface Design A Study of Digital Samplers In Two Eras A thesis submitted by Bjørnar Ersland Sandvik In partial fulfillment of the requirements for the Master’s degree in Musicology Department of Musicology Faculty of Humanities University of Oslo November, 2016 Adviser: Ragnhild Brøvig-Hanssen II Acknowledgments The process of completing this thesis would not have been possible without the help and support of a number of people. First of all, I wish to thank my supervisor, Ragnhild Brøvig- Hanssen, for taking a genuine interest in my work, and being so generous with her time, guidance, and support. Her contribution has been absolutely invaluable, and I have appreciated our conversations, her detailed and constructive comments on all of my drafts, and her general encouragement throughout the process. I was lucky enough to get the opportunity to present a draft of this thesis at the 10th Art of Record Production conference at Drexel University, Philadelphia in November 2015. I would like to thank the organizers of the conference, as well as the other participants for valuable feedback, inspiring paper presentations, and interesting conversations. A special thanks go to my co-student Emil Kraugerud, for being such a great travelling companion, and also to Associate Professor Hans T. Zeiner-Henriksen for joining us on a memorably day of sightseeing in New York. In addition, I want to thank the rest of my co-students for interesting conversations, important lunch breaks, and not least our short-lived but magnificent weekly ritual of celebrating “kakefredag” (cake Friday) at the university.