CA99 / CA79 Basic Operation Owner’S Manual
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Resonance and Resonators
Dept of Speech, Music and Hearing ACOUSTICS FOR VIOLIN AND GUITAR MAKERS Erik Jansson Chapter II: Resonance and Resonators Fourth edition 2002 http://www.speech.kth.se/music/acviguit4/part2.pdf Index of chapters Preface/Chapter I Sound and hearing Chapter II Resonance and resonators Chapter III Sound and the room Chapter IV Properties of the violin and guitar string Chapter V Vibration properties of the wood and tuning of violin plates Chapter VI The function, tone, and tonal quality of the guitar Chapter VII The function of the violin Chapter VIII The tone and tonal quality of the violin Chapter IX Sound examples and simple experimental material – under preparation Webpage: http://www.speech.kth.se/music/acviguit4/index.html ACOUSTICS FOR VIOLIN AND GUITAR MAKERS Chapter 2 – Fundamentals of Acoustics RESONANCE AND RESONATORS Part 1: RESONANCE 2.1. Resonance 2.2. Vibration sensitivity 2.3. The mechanical and acoustical measures of the resonator 2.4. Summary 2.5. Key words Part 2: RESONATORS 2.6. The hole-volume resonator 2.7. Complex resonators 2.8. Mesurements of resonances in bars, plates and shells 2.9. Summary 2.10. Key words Jansson: Acoustics for violin and guitar makers 2.2 Chapter 2. FUNDAMENTALS OF ACOUSTICS - RESONANCE AND RESONATORS First part: RESONANCE INTRODUCTION In chapter 1, I presented the fundamental properties of sound and how these properties can be measured. Fundamental hearing sensations were connected to measurable sound properties. In this, the second chapter the concept of RESONANCE and of RESONATORS will be introduced. Resonators are fundamental building blocks of the sound generating systems such as the violin and the guitar. -
General MIDI 2 February 6, 2007
General MIDI 2 February 6, 2007 Version 1.2a Including PAN Formula, MIDI Tuning Changes and Mod Depth Range Recommendation Published By: The MIDI Manufacturers Association Los Angeles, CA PREFACE Abstract: General MIDI 2 is a group of extensions made to General MIDI (Level 1) allowing for expanded standardized control of MIDI devices. This increased functionality includes extended sounds sets and additional performance and control parameters. New MIDI Messages: Numerous new MIDI messages were defined specifically to support the desired performance features of General MIDI 2. The message syntax and details are published in the Complete MIDI 1.0 Detailed Specification version 1999 (and later): MIDI Tuning Bank/Dump Extensions (C/A-020) Scale/Octave Tuning (C/A-021) Controller Destination Setting (C/A-022) Key-Based Instrument Controll SysEx Messages (C/A-023) Global Parameter Control SysEx Message (C/A-024) Master Fine/Course Tuning SysEx Messages (C/A-025) Modulation Depth Range RPN (C/A-026) General MIDI 2 Message: Universal Non-Realtime System Exclusive sub-ID #2 under General MIDI sub-ID #1 is reserved for General MIDI 2 system messages (see page 21 herein). Changes from version 1.0 to version 1.1: o Section 3.3.5: changed PAN formula per RP-036 o Section 4.7: Added new recommendations per RP-037 Changes from version 1.1 to version 1.2: o Section 3.4.4: added recommendation for Mod Depth Range Response per RP-045 o V 1.2a is reformatted for PDF distribution General MIDI 2 Specification (Recommended Practice) RP-024 (incorporating changes per RP-036, RP-037, and RP-045) Copyright ©1999, 2003, and 2007 MIDI Manufacturers Association Incorporated ALL RIGHTS RESERVED. -
General Midi Specifications
General MIDI 11/5/03 8:28 AM GENERAL MIDI Not everyone becomes involved with MIDI and electronic instruments because they want to create all kinds of new sounds. Some of us are just musicians who want a palette of good sounds with which to compose and perform. A need arose in the computer world for better sounds in games and multimedia. Those needs were recognized, and a new part of the MIDI standard was born. Welcome to General MIDI. No, not a high ranking musical military officer, General MIDI (GM) is an unusual part of the MIDI specification called a recommended practice. It isn't a MIDI message or command. Instead, it is a description of a class of musical instruments that all share a consistent set of feature and capabilities. This means that music created for playback on a GM instrument will sound musically consistent on any GM instrument. A typical MIDI system is very personalized. You choose the instruments you want to use and the sounds that are in each instrument. Manufacturers developing new synthesizers are free to put any kind of sounds in teh machine as they wish, in any order. Sequences you record in your studio with your equipment will not automatically fit into other MIDI systems. You will need to put some amount of effort in to redirecting channels and changing pitch change messages to fit the new gear you are using. SPECIFICATIONS All of this extra noodling disappears with GM. Any instrument that bears the mighty GM logo must adhere to a predetermined list of feature and patch assignments. -
Musical Acoustics - Wikipedia, the Free Encyclopedia 11/07/13 17:28 Musical Acoustics from Wikipedia, the Free Encyclopedia
Musical acoustics - Wikipedia, the free encyclopedia 11/07/13 17:28 Musical acoustics From Wikipedia, the free encyclopedia Musical acoustics or music acoustics is the branch of acoustics concerned with researching and describing the physics of music – how sounds employed as music work. Examples of areas of study are the function of musical instruments, the human voice (the physics of speech and singing), computer analysis of melody, and in the clinical use of music in music therapy. Contents 1 Methods and fields of study 2 Physical aspects 3 Subjective aspects 4 Pitch ranges of musical instruments 5 Harmonics, partials, and overtones 6 Harmonics and non-linearities 7 Harmony 8 Scales 9 See also 10 External links Methods and fields of study Frequency range of music Frequency analysis Computer analysis of musical structure Synthesis of musical sounds Music cognition, based on physics (also known as psychoacoustics) Physical aspects Whenever two different pitches are played at the same time, their sound waves interact with each other – the highs and lows in the air pressure reinforce each other to produce a different sound wave. As a result, any given sound wave which is more complicated than a sine wave can be modelled by many different sine waves of the appropriate frequencies and amplitudes (a frequency spectrum). In humans the hearing apparatus (composed of the ears and brain) can usually isolate these tones and hear them distinctly. When two or more tones are played at once, a variation of air pressure at the ear "contains" the pitches of each, and the ear and/or brain isolate and decode them into distinct tones. -
Science and the Stradivarius
FEATURES Stradivarius violins are among the most sought-after musical instruments in the world. But is there a secret that makes a Stradivarius sound so good, and can modern violins match the wonderful tonal quality of this great Italian instrument? Science and the Stradivarius Colin Gough IS TH ERE really a lost secret that sets Stradivarius 1 violin basics violins apart from the best instruments made today? After more than a hundred years of vigor- force rocks bridge ous debate, this question remains highly con- bowing tentious, provoking strongly held but divergent direction views among players, violin makers and scientists alike. All of the greatest violinists of modern times certainly believe it to be true, and invariably per- form on violins by Stradivari or Guarneri in pref- erence to modern instruments. Violins by the great Italian makers are, of course, beautiful works of art in their own right, and are coveted by collectors as well as players. Particularly outstanding violins have reputedly changed hands for over a million pounds. In con- (a) A copy of a Guarnerius violin made by the trast, fine modern instruments typically cost about 19th-century French violin maker Vuillaume, shown from the player's perspective. £ 10 000, while factory-made violins for beginners (b) A schematic cross-section of the violin at the can be bought for under £100. Do such prices bridge, with the acoustically important really reflect such large differences in quality? components labelled - including the "f-hole" The violin is the most highly developed and Helmholtz air resonance. most sophisticated of all stringed instruments. -
Creative® Sound Blaster® Audiopci TM
® ® TM Creative Sound Blaster AudioPCI 128 MODEL CT5801 Creative’s Industry-Standard 1373-Based Sound Card Delivers High Quality Digital Audio The model CT5801 Sound Blaster® AudioPCITM 128 for Hewlett-Packard, is an outstanding sound card solution that delivers excellent audio quality and features at an affordable price. The Sound Blaster AudioPCI 128 is driven by Creative’s industry-standard ES1373 DSP engine, coupled with AC97 version 2.1 CODEC, providing the next generation of audio performance while maintaining full Sound Blaster 16 legacy compatibility. Audio - Primary Features The Sound Blaster AudioPCI 128 is a complete digital audio recording and playback system, capable of 16- bit/48KHz fidelity. The Sound Blaster AudioPCI 128 delivers 128-voice polyphony for wavetable audio, real- time DSP effects including reverb, chorus and spatialization, plus real-time bass and treble equalization control. In addition, the Sound Blaster AudioPCI 128 supports 3D Positional Audio, Microsoft’s DirectSound, DirectSound 3D, Environmental Audio Extensions (EAX) for DirectSound3D, and support for the Aureal A3D API, which allows applications written to the A3D API to run on the Sound Blaster AudioPCI 128. A stereo 2w/channel amplifier is also included. Compatibility The Sound Blaster AudioPCI 128 is fully Plug and Play compliant for ease of use in either genuine DOS, DOS Box, Windows Millenium, Windows 95/98/98SE, Windows NT, and Windows 2000 applications, and is fully Sound Blaster 16 compatible in MS-DOS utilizing a patented method of Sound Blaster emulation developed by Creative. In addition, the AudioPCI 128 offers full General MIDI capability, and also supports Microsoft’s PC98, PC99, and Multimedia PC Level II and III specifications. -
Foundations for Music-Based Games
Die approbierte Originalversion dieser Diplom-/Masterarbeit ist an der Hauptbibliothek der Technischen Universität Wien aufgestellt (http://www.ub.tuwien.ac.at). The approved original version of this diploma or master thesis is available at the main library of the Vienna University of Technology (http://www.ub.tuwien.ac.at/englweb/). MASTERARBEIT Foundations for Music-Based Games Ausgeführt am Institut für Gestaltungs- und Wirkungsforschung der Technischen Universität Wien unter der Anleitung von Ao.Univ.Prof. Dipl.-Ing. Dr.techn. Peter Purgathofer und Univ.Ass. Dipl.-Ing. Dr.techn. Martin Pichlmair durch Marc-Oliver Marschner Arndtstrasse 60/5a, A-1120 WIEN 01.02.2008 Abstract The goal of this document is to establish a foundation for the creation of music-based computer and video games. The first part is intended to give an overview of sound in video and computer games. It starts with a summary of the history of game sound, beginning with the arguably first documented game, Tennis for Two, and leading up to current developments in the field. Next I present a short introduction to audio, including descriptions of the basic properties of sound waves, as well as of the special characteristics of digital audio. I continue with a presentation of the possibilities of storing digital audio and a summary of the methods used to play back sound with an emphasis on the recreation of realistic environments and the positioning of sound sources in three dimensional space. The chapter is concluded with an overview of possible categorizations of game audio including a method to differentiate between music-based games. -
MP7SE Owner's Manual
Introduction Main Operation EDIT Menu STORE Button & SETUPs Owner’s Manual Recorder USB Menu SYSTEM Menu Appendix Thank you for purchasing this Kawai MP7SE stage piano. This owner’s manual contains important information regarding the instrument’s usage and operation. Please read all chapters carefully, keeping this manual handy for future reference. About this Owner’s Manual Before attempting to play this instrument, please read the Introduction chapter from page 10 of this owner’s manual. This chapter provides a brief explanation of each section of the MP7SE’s control panel, an overview of its various jacks and connectors, and details how the components of the instrument’s sound are structured. The Main Operation chapter (page 20) provides an overview of the instrument’s most commonly used functions, beginning with turning zones on and off, adjusting their volume, and selecting sounds. Later on, this chapter introduces basic sound adjustment using the four control knobs, before examining how reverb, EFX, and amp simulation can all be applied to dramatically change the character of the selected sound. Next, the MP7SE’s authentic Tonewheel Organ mode is outlined, explaining how to adjust drawbar positions using zone faders and control knobs, and change the organ’s percussion characteristics. The chapter closes with an explanation of the instrument’s global EQ and transpose functions. The EDIT Menu chapter (page 38) lists all available INT mode and EXT mode parameters by category for convenient reference. The STORE Button & SETUP Menus chapter (page 64) outlines storing customised sounds, capturing the entire panel configuration as a SETUP, then recalling different SETUPs from the MP7SE’s internal memory. -
Ohjelmallinen Audion Generointi
Cecilia Matilainen OHJELMALLINEN AUDION GENEROINTI Tradenomi Tietojenkäsittely Syksy 2015 TIIVISTELMÄ Tekijä: Cecilia Matilainen Työn nimi: Ohjelmallinen audion generointi Koulutusala: Luonnontieteiden ala, tradenomikoulutus Asiasanat: pelit, peliäänet, audio, peliohjelmointi, äänisynteesi, digitaalinen ääni, digitaaliset signaalit Tässä opinnäytetyössä esitellään vaihtoehtoinen tapa tuottaa pelin audiosisältö eli äänisynteesin käyttäminen äänitiedostojen sijasta. Äänisynteesi on analogisessa muodossaan ollut ainoa tapa tuottaa peliaudiota menneinä vuosikymmeninä. Kun muistia oli erittäin vähän, sisälsivät kotikonsolit ja kolikkopelit rautatasolla äänipiirin, joka huolehti äänisynteesistä ohjelmakoodissa annettujen komentojen mukaisesti. Nykyään kovalevytilan ja keskusmuistin suuri määrä mahdollistavat esiäänitettyjen äänitiedostojen käyttämisen peleissä. Toisaalta, digitaalisten äänitiedostojen koko on edelleen suuri. Prosessorit taas ovat kehittyneet niin tehokkaiksi, että reaaliaikaisen digitaalisen äänisynteesin mahdollisuudet ovat suuremmat kuin koskaan aikaisemmin. Äänisynteesillä pystytään, toteutuksen laadusta riippuen, jopa korvaamaan äänitiedostojen käyttö. Tämän uuden mahdollisuuden haluaa opinnäytetyö nostaa tietoisuuteen. Tutkielmaa voi ehkä pitää jopa haasteena tai provokaationa uuden (vai pitäisikö sanoa unohdetun) taidelajin harjoittamiseen: kuinka hyvä musiikkikappale tai mehukas ääniefekti voidaan aikaansaada pelkästään ohjelmakoodia käyttäen? Tutkielman aihe syntyi sitä kautta, että siinä yhdistyy ohjelmointi, retropelien -
A Guide to Extended Techniques for the Violoncello - By
Where will it END? -Or- A guide to extended techniques for the Violoncello - By Dylan Messina 1 Table of Contents Part I. Techniques 1. Harmonics……………………………………………………….....6 “Artificial” or “false” harmonics Harmonic trills 2. Bowing Techniques………………………………………………..16 Ricochet Bowing beyond the bridge Bowing the tailpiece Two-handed bowing Bowing on string wrapping “Ugubu” or “point-tap” effect Bowing underneath the bridge Scratch tone Two-bow technique 3. Col Legno............................................................................................................21 Col legno battuto Col legno tratto 4. Pizzicato...............................................................................................................22 “Bartok” Dead Thumb-Stopped Tremolo Fingernail Quasi chitarra Beyond bridge 5. Percussion………………………………………………………….25 Fingerschlag Body percussion 6. Scordatura…………………………………………………….….28 2 Part II. Documentation Bibliography………………………………………………………..29 3 Introduction My intent in creating this project was to provide composers of today with a new resource; a technical yet pragmatic guide to writing with extended techniques on the cello. The cello has a wondrously broad spectrum of sonic possibility, yet must be approached in a different way than other string instruments, owing to its construction, playing orientation, and physical mass. Throughout the history of the cello, many resources regarding the core technique of the cello have been published; this book makes no attempt to expand on those sources. Divers resources are also available regarding the cello’s role in orchestration; these books, however, revolve mostly around the use of the instrument as part of a sonically traditional sensibility. The techniques discussed in this book, rather, are the so-called “extended” techniques; those that are comparatively rare in music of the common practice, and usually not involved within the elemental skills of cello playing, save as fringe oddities or practice techniques. -
K-Sounds Piano 2
Contents CD Directories “Info” Directory “PCG” Directory “Samples” Directory Program List Combination List CD Directories When you first load the CD, you should see three directories: “Samples,” “PCG,” and “Info.” The “Info” directory contains this documentation file and the unique user registration file. This documentation file explains the organization of the CD and describes the sounds, and the registration file lists the unique number with which your CD is registered to you. Go to Contents Page The “PCG” directory contains two files. PIANO_2.PCG is designed for Triton, Triton Rack, Triton Studio, and Triton Extreme models. P2_LE&TR.PCG is designed for Triton LE and TR models. Both files contain the programs and combinations that use the sample data you will load separately. Before you load a .PCG file , we suggest that you save all of your user data to a compatible storage device. This safeguard will keep you from permanently losing any of your sounds or settings. To play the piano sounds, load the .PCG file designed for your Triton model before loading files from the “Samples” directory. You do not need to reload this file each time the Triton is turned on. The programs and combinations will remain in memory until you overwrite them. By default, PIANO_2.PCG loads programs to the internal "E" bank and combinations to the internal "D" bank. You can load the file as a whole, or you can load programs or combinations by themselves. Feel free to load the combinations to an alternate bank. We suggest you keep the programs in the internal E bank to ensure that the combinations play correctly. -
Scoring Percussion and Drum Set Parts in Sibelius Tom Rudolph, Presenter Email: [email protected] Website
Scoring Percussion and Drum Set Parts in Sibelius Tom Rudolph, presenter Email: [email protected] Website: www.tomrudolph.com The PAS Standard Sibelius uses the Percussive Arts Society (PAS) standard for drum set notation. There are three basic rules for this style of notation: About Drum Maps • Sibelius uses percussion maps or drum maps that assign sounds and percussion notation to specific lines and spaces. • There are many different drum maps in Sibelius and the sounds and noteheads are frequently assigned differently in each map. • Sibelius gives you two options when entering into percussion staves with a MIDI keyboard. You can play the MIDI drum pitch or play the staff notes to which the percussion sound is assigned. I find playing the MIDI note on a MIDI keyboard to be the most efficient entry method and it usually requires the least amount of editing. First, you must tell Sibelius which entry method you are going to use. 1. Select Preferences: a. Mac: Select Sibelius > Preferences > Note Input. b. Win: Select File > Preferences > Note Input. 2. Under Percussion staves, check “The MIDI Device’s drum map.” 3. Click OK to close the Preferences window Below is a partial list of the standard General MIDI percussion map note assignments. You can download the complete file from www.sibeliusbook.com in the Downloads page: 1. Open the sample file: DrumNotation.sib. 2. Select the percussion staff. 3. Press Esc to clear the selection. 4. Play the notes on your MIDI keyboard. You should hear the corresponding drum sound as the notes are played.