Contents Introduction
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Leksykon Polskiej I Światowej Muzyki Elektronicznej
Piotr Mulawka Leksykon polskiej i światowej muzyki elektronicznej „Zrealizowano w ramach programu stypendialnego Ministra Kultury i Dziedzictwa Narodowego-Kultura w sieci” Wydawca: Piotr Mulawka [email protected] © 2020 Wszelkie prawa zastrzeżone ISBN 978-83-943331-4-0 2 Przedmowa Muzyka elektroniczna narodziła się w latach 50-tych XX wieku, a do jej powstania przyczyniły się zdobycze techniki z końca XIX wieku m.in. telefon- pierwsze urządzenie służące do przesyłania dźwięków na odległość (Aleksander Graham Bell), fonograf- pierwsze urządzenie zapisujące dźwięk (Thomas Alv Edison 1877), gramofon (Emile Berliner 1887). Jak podają źródła, w 1948 roku francuski badacz, kompozytor, akustyk Pierre Schaeffer (1910-1995) nagrał za pomocą mikrofonu dźwięki naturalne m.in. (śpiew ptaków, hałas uliczny, rozmowy) i próbował je przekształcać. Tak powstała muzyka nazwana konkretną (fr. musigue concrete). W tym samym roku wyemitował w radiu „Koncert szumów”. Jego najważniejszą kompozycją okazał się utwór pt. „Symphonie pour un homme seul” z 1950 roku. W kolejnych latach muzykę konkretną łączono z muzyką tradycyjną. Oto pionierzy tego eksperymentu: John Cage i Yannis Xenakis. Muzyka konkretna pojawiła się w kompozycji Rogera Watersa. Utwór ten trafił na ścieżkę dźwiękową do filmu „The Body” (1970). Grupa Beaver and Krause wprowadziła muzykę konkretną do utworu „Walking Green Algae Blues” z albumu „In A Wild Sanctuary” (1970), a zespół Pink Floyd w „Animals” (1977). Pierwsze próby tworzenia muzyki elektronicznej miały miejsce w Darmstadt (w Niemczech) na Międzynarodowych Kursach Nowej Muzyki w 1950 roku. W 1951 roku powstało pierwsze studio muzyki elektronicznej przy Rozgłośni Radia Zachodnioniemieckiego w Kolonii (NWDR- Nordwestdeutscher Rundfunk). Tu tworzyli: H. Eimert (Glockenspiel 1953), K. Stockhausen (Elektronische Studie I, II-1951-1954), H. -
Product Informations Product Informations
Product Informations Product Informations A WORD ABOUT SYNTHESIS A - Substractive (or analog) synthesis (usually called “Analog” because it was the synthesis you could find on most of the first analog synthesizers). It starts out with a waveform rich in harmonics, such as a saw or square wave, and uses filters to make the finished sound. Here are the main substractive synthesis components : Oscillators: The device creating a soundwave is usually called an oscillator. The first synthesizers used analog electronic oscillator circuits to create waveforms. These units are called VCO's (Voltage Controlled Oscillator). More modern digital synthesizers use DCO's instead (Digitally Controlled Oscillators). A simple oscillator can create one or two basic waveforms - most often a sawtooth-wave - and a squarewave. Most synthesizers can also create a completely random waveform - a noise wave. These waveforms are very simple and completely artificial - they hardly ever appear in the nature. But you would be surprised to know how many different sounds can be achieved by only using and combining these waves. 2 / 17 Product Informations Filters: To be able to vary the basic waveforms to some extent, most synthesizers use filters. A filter is an electronic circuit, which works by smoothing out the "edges" of the original waveform. The Filter section of a synthesizer may be labled as VCF (Voltage Controlled Filter) or DCF (Digitally Controlled Filter). A Filter is used to remove frequencies from the waveform so as to alter the timbre. •Low-Pass Filters allows the lower frequencies to pass through unaffected and filters out (or blocks out) the higher frequencies. -
Live Coding and Csound 90
PROCEEDINGS OF THE rd 3 INTERNATIONAL CSOUND CONFERENCE Edited by Gleb G. Rogozinsky ICSC 2015 Saint Petersburg, Russia 2 – 4 October 2015 2015 ICSC 1 The Bonch-Bruevich Saint Petersburg State University of Telecommunications PROCEEDINGS OF THE 3rd INTERNATIONAL CSOUND CONFERENCE Edited by Gleb G. Rogozinsky ICSC 2015 Saint Petersburg, Russia 2015 ICSC 2 – 4 October 2015 2 Proceedings of the Third International Csound Conference © Gleb G. Rogozinsky, 2016 © The Bonch-Bruevich St. Petersburg State University of Telecommunications, 2016 ISBN 978-5-89160-124-6 УДК 004.9 UDC 004.9 http://csound.github.io/icsc2015/ 2015 ICSC 3 FOREWORD Dear reader, You have before you the proceedings of a unique conference. Csound is a computer music language that has been continually evolving since its inception in 1986. During that time it has united people of all ages from around the world and from a wide range of disciplines: audio technology, media programming, contemporary, academic and avant-garde music, digital signal processing, telecommunications and electronic dance music. The Csound community presents a unique forum of users where programming and compositional issues are discussed in equal measure and with equal energy. A special aspect of this conference was that it took place in St. Petersburg, Russia: a city of great culture, world-renowned museums and beautiful white nights, and the city where Nikolay Rimsky-Korsakov and Dmitry Shostokovich wrote their most famous pieces. Without doubt, St. Petersburg merited hosting the 3rd International Csound Conference. Russia has great heritage in the world of electronic music, being the country from which the theremin and the ANS synthesizer originated, but in more recent times Russia has seen less innovation, so I am particularly proud to be able to contribute to remedying this by hosting this conference. -
Dance Music Manual This Page Intentionally Left Blank Dance Music Manual Tools, Toys and Techniques
Dance Music Manual This page intentionally left blank Dance Music Manual Tools, Toys and Techniques Second Edition Rick Snoman AMSTERDAM • BOSTON • HEIDELBERG • LONDON • NEW YORK • OXFORD PARIS • SAN DIEGO • SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Focal Press is an imprint of Elsevier Linacre House, Jordan Hill, Oxford OX2 8DP, UK 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA First published 2009 Copyright © 2009, Rick Snoman. Published by Elsevier Ltd. All rights reserved The right of Rick Snoman to be identifi ed as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 No part of this publication may be reproduced, stored in a retrieval system or transmit- ted in any form or by any means electronic, mechanical, photocopying, recording or otherwise without the prior written permission of the publisher Permissions may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford, UK: phone ( ϩ 44) (0) 1865 843830; fax ( ϩ 44) (0) 1865 853333; email: [email protected]. Alternatively you can submit your request online by visiting the Elsevier website at http://elsevier.com/locate/permissions, and selecting Obtaining permission to use Elsevier material Notice No responsibility is assumed by the publisher for any injury and/or damage to persons or property as a matter of products liability, negligence or otherwise, or from any use or operation of any methods, products, instructions or ideas contained in the material herein British Library Cataloguing in Publication Data snoman, Rick The dance music manual : tools, toys and techniques. -
Contents Introduction
Contents Introduction Introduction.......................................................................................1 Thank you for purchasing the Novation ReMOTE LE Using this manual.........................................................................1 controller keyboard. This device may be used to control Main features ................................................................................2 sequencers, popular software virtual instrument applications Conventions used in this manual.............................................2 (on a computer) or traditional hardware instruments via Quick Start Guide............................................................................3 either a USB connection or a standard MIDI interface. The Connecting the ReMOTE LE....................................................3 ReMOTE LE front panel provides nine knobs and nine Connecting to a computer using the USB Port...................3 buttons (with a Group B switch that doubles the controls Driver Installation........................................................................3 for each template), along with an X/Y touchpad and Playing and controlling software synthesizers from the pitch/mod joystick, all of which can be easily configured ReMOTE LE ..................................................................................3 exactly the way you want and saved/instantly recalled using Controlling a sequencer ............................................................4 the onboard Template Memories. Power supply or battery -
Howard Scarr
PROGRAMMING ANALOGUE SYNTHS VIRUS TUTORIAL BY HOWARD SCARR PROGRAMMING ANALOGUE SYNTHS VIRUS TUTORIAL BY HOWARD SCARR © 2002 Access Music GmbH. Printed in Germany All rights reserved. This book is protected by the copyright and distributed under licenses restricting it’s use, copying, distribution, and decompilation. No parts of this book may be reproduced in any form by any means without prior written authorisation of Access Music GmbH and its licensors, if any. TRADEMARKS Access, the Access logo and Virus are trademarks or registered trademarks of Access Music GmbH in Germany and certain other countries. All other product names mentioned herin are the trademarks of their respective owner. CONTACT Access Music GmbH Am Stadion 10 45659 Recklinghausen Germany Email: [email protected] Web: http://www.access-music.de CREDITS Written by Howard Scarr Production supervision and layout: Marc Schlaile SPECIAL THANKS TO Alex Schmidt, Andreas Gammel, Anselm Roessler, Basil Brooks, Ben Crosland, Bernie Krause, Cosmic Dreamer, Drew Neumann, Geoff Farr, Ingo Gebhardt, Jeza, Maik Fliege, Manuel Schleis, Matt Picone, Matthew Stolley, Robert Margouleff, Terence M. Pender, Thilo Kramny, Zack Steinkamp. SYNTH PICTURES COURTESY OF MAGAZINE - WWW.KEYS.DE Table of Contents Introduction ............................................................................................................ 11 About This Tutorial.......................................................................................... 11 Setting Up...................................................................................................... -
Access Music VIRUS TI2 -Synthétiseur
Démarrage - 1.1 OU trouver QUOI ? Access Music VIRUS TI2 -Synthétiseur Aide-mémoire d’utilisation Loïc Duffar Virus TI2 Polar Virus TI2 Desktop Virus TI2 Darckstar Virus TI2 Keyboard VIRUS TI2 - Aide-mémoire d’utilisation Janvier 2020 1/190 Démarrage - 1.1 OU trouver QUOI ? Sommaire court (Le sommaire complet est à la fin du document) Pour une lecture à l’écran pensez à utiliser les signets du PDF pour naviguer dans le document 1 DÉMARRAGE 6 1.1 OU TROUVER QUOI ? 6 1.2 INTRODUCTION DU MANUEL QUICK START 7 1.3 INSTALLATION 8 1.3.1 MARCHE/ARRÊT 8 1.3.2 CONNEXIONS 8 1.4 CONTRÔLE DU VIRUS 10 1.5 MODUS OPERANDI 11 1.5.1 BOUTONS MODE & EXIT 11 1.5.2 LES PRESETS 13 1.5.3 CRÉER VOS PROPRES SONS 15 1.5.4 PATCHES - TUTORIAL 15 1.6 « VIRUS CONTROL CENTER » 16 1.7 À PROPOS DE POLYPHONIE 17 1.7.1 GÉNÉRALITÉS 17 1.7.2 MAXIMISER LA POLYPHONIE 17 1.8 CONCLUSION 19 2 MANUEL D’UTILISATION 20 2.1 PRÉSENTATION DES PARAMÈTRES 20 2.1.1 SECTION « OSCILLATORS » 20 2.1.2 SECTION « MIXER » 25 2.1.3 SECTION « FILTERS » 27 2.1.4 SECTIONS « ENVELOPE » À DROITE DU PANNEAU 31 2.1.5 SECTION « MODULATORS » 33 2.1.6 SECTION « ARP » 37 2.1.7 SECTION « EFFECTS » 38 2.2 LES BOUTONS « UTILITY » 41 3 MANUEL DE RÉFÉRENCE 43 3.1 PARAMÈTRES DE SON 44 3.1.1 OSCILLATEURS 44 3.1.2 FILTRES 64 3.1.3 ENVELOPPES 68 3.1.4 PARAMÈTRES DE MOD MATRIX 70 3.1.5 SOURCES DE MODULATION SPÉCIALES 71 3.1.6 MODULATOR PARAMETERS 72 3.1.7 PARAMÈTRES ARPÉGIATEUR 76 3.1.8 PARAMÈTRES D’EFFETS 77 3.1.9 COMMON 99 VIRUS TI2 - Aide-mémoire d’utilisation Janvier 2020 2/190 Démarrage - 1.1 OU trouver QUOI -
Remote25 V1.5.Qxd
Copyright: Novation E.M.S Limited 2003 ReMOTE User Guide Version 1.5 Features and specifications subject to change without notice due to improvements www.novationmusic.com CONTENTS Contents Introduction............................................................................................ 2 Using This Manual.................................................................................. 2 Main Features......................................................................................... 2 Conventions Used In This Manual.......................................................... 3 Quick Start Guide................................................................................... 4 Getting Started - Connecting Up to equipment using MIDI.................... 4 Power Supply and Battery Operation..................................................... 5 Connecting to a Computer System using USB....................................... 6 Installing the USB driver Software.......................................................... 6 Connecting to a Computer Using the USB Port..................................... 8 Connecting to MIDI and a Computer using the USB port....................... 9 Using Preset Template labels................................................................. 10 Using Programmable Template Controls................................................ 13 Sending a Snapshot of the Controls....................................................... 14 Selecting a Sound on External MIDI devices........................................ -
Novation X-Station Manual
CONTENTS Contents Introduction........................................................... 2 The Delay Effect........................................................... 23 In the Package.................................................................2 The Reverb Effect......................................................... 24 Product Registration.........................................................2 The Chorus Effect......................................................... 24 Using This Manual........................................................ 2 The Compressor........................................................... 25 MIDI Controller Section Main Features......................... 2 The Distortion Effect..................................................... 26 Audio Section Main Features........................................ 2 The EQ Processor........................................................ 26 Synthesizer Features.......................................................2 Advanced Features............................................. 27 Quick Start Guide.................................................. 3 Using The Transport Buttons....................................... 27 Conventions used in this Manual.................................... 3 The Global Mode Menu.............................................. 27 Connecting Up To equipment......................................... 3 Saving The Global Settings To Memory....................... 29 Stand Alone Operation.................................................... 3