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Kxb10 Bass Guitar Amplifier
OWNER’S MANUAL KXB10 BASS GUITAR AMPLIFIER KXB10 KXB10 Congratulations on the purchase of your new Kustom bass amplifier. Your KXB Model draws on decades of amp design and manufacturing experience at Kustom. This model was built from the ground up to offer world-class tone, useful features and reliable performance. Inside this manual, you’ll find valuable information about the amp’s controls and specifications. Being familiar with its features will help you effectively dial in different tones. We wish you many years of enjoyment with your Kustom amplifier. kustom.com FCC Statements 1. Caution: Changes or modifications to this unit not expressly approved by the party responsible for compliance could void the user’s authority to operate the equipment. 2. Note: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures: • Reorient or relocate the receiving antenna. • Increase the separation between the equipment and receiver. -
The Infinisphere: Expanding Existing Electroacoustic Sound Principles by Means of an Original Design Application Specifically for Trombone
THE INFINISPHERE: EXPANDING EXISTING ELECTROACOUSTIC SOUND PRINCIPLES BY MEANS OF AN ORIGINAL DESIGN APPLICATION SPECIFICALLY FOR TROMBONE BY JUSTIN PALMER MCADARA SCHOLARLY ESSAY Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Jazz Performance in the Graduate College of the University of Illinois at Urbana-Champaign, 2020 Urbana, Illinois Doctoral Committee: Professor James Pugh, Chair and Director of Research Assistant Professor Eli Fieldsteel Professor Erik Lund Professor Charles McNeill DMA Option 2 Thesis and Option 3 Scholarly Essay DEPOSIT COVERSHEET University of Illinois Music and Performing Arts Library Date: July 10, 2020 DMA Option (circle): 2 [thesis] or 3 [scholarly essay] Your full name: Justin Palmer McAdara Full title of Thesis or Essay: The InfiniSphere: Expanding Existing Electroacoustic Sound Principles by Means of an Original Design Application Specifically for Trombone Keywords (4-8 recommended) Please supply a minimum of 4 keywords. Keywords are broad terms that relate to your thesis and allow readers to find your work through search engines. When choosing keywords consider: composer names, performers, composition names, instruments, era of study (Baroque, Classical, Romantic, etc.), theory, analysis. You can use important words from the title of your paper or abstract, but use additional terms as needed. 1. Trombone 2. Electroacoustic 3. Electro-acoustic 4. Electric Trombone 5. Sound Sculpture 6. InfiniSphere 7. Effects 8. Electronic If you need help constructing your keywords, please contact Dr. Bashford, Director of Graduate Studies. Information about your advisors, department, and your abstract will be taken from the thesis/essay and the departmental coversheet. -
Bass Pedals Manual V1.1 (29/08/2012) Introduction
Bass Pedals Manual v1.1 (29/08/2012) Introduction Thank you for choosing Bass Pedals, our virtual analogue bass synthesizer optimized for Native Instruments’ Kontakt 4 / 5 sampler. Bass Pedals is a powerful instrument capable of creating a wide range of huge analogue sounding synth bass tones. We hope you have fun exploring Bass Pedals capabilities, and enjoy creating new sounds with it as much as we have enjoyed developing the instrument itself. This manual is specifically written for the Kontakt 4 / 5 version of Bass Pedals which makes extensive use of Kontakt's advanced script programming and GUI integration. Bass Pedals the Story Bass Pedals is inspired by the sought-after Moog Taurus Mk1 bass synthesizer from the mid seventies. The original Moog Taurus was a basic, but unique and powerful sounding monophonic analogue bass synthesizer with 2 VCO's (sawtooth waveforms), a typical (great sounding) Moog 24db Low pass filter with basic envelope controls, a VCA and 13 large pedals which were intended to be played by the feet. To fully capture the enormous and highly praised ‘Taurus sound’ we heavily multi-sampled an original Taurus MK1’s raw oscillator waveforms as well as 40 heavily multi-sampled preset patches, the latter being designed using the Taurus’s synthesis parameters. All waveforms and preset patches have been carefully recorded with 3 x round robin sample variations to help capture the imperfections and quirkiness of the original instrument. All samples were recorded through an API pre-amp and high end converters. Some patches have been further processed through an Empirical Labs Fatso and Pultec Style analogue EQ. -
Using Ketron Modules with Guitars
USING KETRON MODULES WITH GUITARS Midi Guitars have been around for ages and guitar players have found ways to catch up with their keyboard counterparts in being able to have fun playing different sounds using drum machines and synthesizers. Many have however resorted to using Midifiles and backing tracks (making folks think they are ‘DJ’s now’ because it has been a challenge for them to have a device which they can perform with and which follows them as though they were playing with a live band … until now. The KETRON SD90 (SD9 & SD60), SD40, Midjay Pro & AUDYA 4 and even the older units such as the SD3, XD3, X4 and MS40 (referred to as the module from here on) can be set up to be controlled by Guitar players in various ways, such that the backing tracks FOLLOW YOU, meaning you don’t have to follow a midifile or drum machine or karaoke just to sound good and full. You can choose to use your feet to change the chords (using bass pedals such as the KETRON K8 Pedal board) or simply set up the machine to recognize the chords you play (PIANIST AND GUITARIST mode described on page 68 of the SD9/SD60/SD90 manual) which allows you to simply play and focus on your performance – not your feet. Either way, you are now in full control of the LIVE backing tracks meaning you can for example keep playing a tune, should you reach the end and the audience decide to start dancing, or quickly go into another tune and keep your audience on the dance floor. -
The Composer's Guide to the Tuba
THE COMPOSER’S GUIDE TO THE TUBA: CREATING A NEW RESOURCE ON THE CAPABILITIES OF THE TUBA FAMILY Aaron Michael Hynds A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS August 2019 Committee: David Saltzman, Advisor Marco Nardone Graduate Faculty Representative Mikel Kuehn Andrew Pelletier © 2019 Aaron Michael Hynds All Rights Reserved iii ABSTRACT David Saltzman, Advisor The solo repertoire of the tuba and euphonium has grown exponentially since the middle of the 20th century, due in large part to the pioneering work of several artist-performers on those instruments. These performers sought out and collaborated directly with composers, helping to produce works that sensibly and musically used the tuba and euphonium. However, not every composer who wishes to write for the tuba and euphonium has access to world-class tubists and euphonists, and the body of available literature concerning the capabilities of the tuba family is both small in number and lacking in comprehensiveness. This document seeks to remedy this situation by producing a comprehensive and accessible guide on the capabilities of the tuba family. An analysis of the currently-available materials concerning the tuba family will give direction on the structure and content of this new guide, as will the dissemination of a survey to the North American composition community. The end result, the Composer’s Guide to the Tuba, is a practical, accessible, and composer-centric guide to the modern capabilities of the tuba family of instruments. iv To Sara and Dad, who both kept me going with their never-ending love. -
Bidders Under Bid No. 19-163, Musical Instruments and Equipment
1701 MOUNTAIN INDUSTRIAL BOULEVARD, STONE MOUNTAIN, GA 30083 http://www.dekalbschoolsga.org/solicitations June 04, 2018 TO: All Bidders under Bid No. 19-163, Musical Instruments and Equipment FROM: Purchasing Department, DeKalb County School District ADDENDUM NO. 2 Bid No. 19-163, Musical Instruments, is hereby amended as follows: 1. The deadline to submit questions is hereby revised to Monday, June 18, 2018 by 12:00 PM EST . 2. The deadline to have questions posted with answers is hereby revised to Wednesday, June 20, 2018 by 4:30 PM EST . 3. The Bid Submission Deadline is hereby revised to Tuesday, July 10, 2018 at 2:00 PM EST 4. Public Bid Opening is hereby revised to Wednesday, July 11, 2018 at 2:00 PM EST . 5. Attached is the revised Bid Sheet. Please use the attached Bid Sheet to submit pricing. 6. All other conditions remain in full force and effect. 7. If a response has been submitted and anything in this Addendum causes the offeror to change the item offered or to increase or decrease the bid price, the new price and/or change(s) will be inserted below. ___________________________________________________________________________ 8. All bidders under Bid No. 19-163, Musical Instruments and Equipment, are kindly requested to acknowledge receipt of this Addendum by signing the page below and returning with your proposal. ________________________________________________ COMPANY NAME/ CERTIFYING OFFICIAL SIGNATURE Addendum No. 2 to Bid No. 19-163 Musical Instruments and Equipment Latest Delivery Item ITEM DESCRIPTION Comparable Model Date Unit Price Total Price No. 1/2 Bass Bag (w/backpack) Heritage Cordura #HBB420 $ $ 1 1/2 Bass Outfit, Laminated top, sides and back, ebony fingerboard and 2 tailpiece, 15" endpin( rod--10mm diameter minimum), machines 1 1/4" diameter minimum, Helicore Strings, rosin, Glaesel GL-7622 Cordura bag, Glasser horsehair FRENCH Style bow Int. -
Lafaro DELUXE Double Bass Ampli Er IMPORTANT SAFETY INSTRUCTIONS
LaFaro DELUXE Double Bass amplier IMPORTANT SAFETY INSTRUCTIONS THE LIGHTNING FLASH WITH ARROWHEAD SYMBOL, WITHIN AN EQUILATERAL TRIANGLE, IS INTENDED TO ALERT THE USER TO THE PRESENCE OF UNINSULATED “DANGEROUS VOLTAGE” WITHIN THE PRODUCT ENCLOSURE THAT MAY BE OF A SUFFICIENT MAGNITUDE TO CONSI- THE EXCLAMATION POINT WITHIN AN EQUILATERAL TRIANGLE, IS INTENDED TO ALERT THE USER TO THE PRESENCE OF IMPORTANT OPERATING AND MAINTENANCE INSTRUCTIONS IN TO REDUCE THE RISK OF FIRE OR WARNING ELECTRICAL SHOCK DO NOT EXPOSE THE 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 ampliers) that produce 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 are provided for your safety. If the provided plug does not t into your outlet, consult an electrician for replace- ment 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. 11) Only use attachments/accessories specied by the manufacturer. 12) Use only with the cart, stand, tripod, bracket, or table specied by the manufacturer, or sold with the apparatus. -
2017 Catalog
HOW IT ALL STARTED In 1989, Andrew Barta launched Tech 21 in midtown Manhattan and introduced his unique invention to the world -- the SansAmp™. It originally began 10 years earlier as something he simply wanted for his own personal use. As a performing musician with SansAmp Bass DI/Bass Driver DI (‘92) an electronics background, and whose “day job” was repairing, modifying and customizing amplifiers, Andrew had the expertise -- and the determination -- to make his vision a reality. THE ANALOG SUPREMACY Andrew Barta’s proprietary technology stands alone in the analog domain, a domain to which he remains loyal for several reasons. Ironically, Andrew never intended to become a manufacturer. According to Andrew, “Overall, I think analog is much warmer, more organic and more responsive. There’s also the issue of clarity. At He wanted to sell his technology to a major company and continue extreme settings, digital tends to produce more “artifacts” (garbles) and unnatural noise in the background. So, in turn, this needs his quest as a musician. But none of them understood the potential and how much impact the to be reduced by artificial means such as a noise gate, which I am not fond of. I also prefer analog because there’s no latency.” SansAmp would eventually have. Unable to abandon his idea, Andrew set out on his own. Although this kind of product had never before existed, it took a surprisingly short amount of time to gain The SansAmp technology captures the warm, rich, natural tones of the most sought-after tube amplifiers. Within the parameters acceptance from players. -
Design Approach for a MERUS™ MA12070 Based Musical Instrument Bass Amplifier DEMO BASSAMP 60W MA12070
AN_2005_PL88_2005_091616 Design approach for a MERUS™ MA12070 based musical instrument bass amplifier DEMO_BASSAMP_60W_MA12070 About this document Scope and purpose This document describes the practical and electrical design of a wall-adapter or battery-powered, 60 W, professionally featured and ultraefficient pocket-sized bass instrument amplifier. It is modeled after classic vacuum-tube bass amplifier topology. It utilizes the exceptional audio quality and best-in-class efficiency of Infineon’s MERUSTM amplifier technology to amplify every nuance of a genuine vacuum-tube pre-amplifier. Intended audience This document is for musical audio amplifier design engineers, audio system engineers and portable audio design engineers. Table of contents About this document ....................................................................................................................... 1 Table of contents ............................................................................................................................ 1 1 Introduction .......................................................................................................................... 2 2 Features and performance ...................................................................................................... 3 3 User interface ........................................................................................................................ 5 4 Amplifier topology ................................................................................................................ -
Bass Amplifier
BASS AMPLIFIER RUMBLE STAGE 800 RUMBLE STUDIO 40 ADDENDUM TO EXPANDED OWNER’S MANUAL FIRMWARE V2.0 SEPTEMBER 2018 AMPLIFIER AND EFFECTS MODELS AMPLIFIERS Recently added Rumble Studio 40/Stage 800 amplifier models: • ’66 FLIP-TOP: Based on the beloved mid-’60s Ampeg B-15NF. • SUPER BASSMAN OD: Fender’s present-day flagship bass amp, with blendable tube overdrive. • ACOUSTASONIC: For use with upright bass and piezo-equipped electric/acoustic instruments. Based on the preamp of Fender’s award-winning Acoustasonic amps; flexible string-dynamics feature with selectable notch frequency. • ACOUSTIC SIM: Six distinctive acoustic instrument simulations for transforming electric bass with great-sounding acoustic tone. Paired with Acoustasonic preamp for additional tone shaping. EFFECTS Recently added Rumble Studio 40/Stage 800 effects models: • METAL GATE: Inspired by the ISP Technologies Decimator II G String pedal. Especially ideal for high-gain metal, with a very fast attenuation curve. • MOD SMALL HALL REVERB: Builds on Fender’s Small Hall Reverb by adding lush modulation to internal reverb structure. Added high- and low-frequency cut controls further expand creative possibilities. • MOD LARGE HALL REVERB: Similar to Mod Small Hall Reverb above, with modulation added to internal structure of Fender Large Hall Reverb. • MYTHIC DRIVE: Inspired by the ’90s-era Klon Centaur; a germanium-diode overdrive with smoothly subtle color and character from a complex gain structure that blends clean and distorted signals without significantly altering guitar tone. • SUSTAIN: Inspired by the MXR M-163 Sustain, a rare 1980s compressor pedal with a particularly strong compres- sion effect and a short attack time. -
Soundgas Stock List
e THE SOUNDGAS LIST May 2021 We don't have prices for all the incoming items: in many cases it’s impossible to determine price before assessment, servicing and testing has taken place. As-is: we need to clear our service backlog so are open to offers on unserviced items. We hope that you like the new list and welcome feedback: this is very much a work in progress. “Your list is one of the best, it really is. I just want everything on it.” - Pete Townshend "I’m on the list, thanks. It’s like crack …” - Michael Price All items are serviced and in full working order (and covered by our guarantee) unless stated otherwise. New arrivals highlighted in yellow Prices (where quoted) are in £GBP and exclude delivery. Debit/Credit Card and Paypal payments may incur a surcharge on high value items. *VAT (Sales Tax): Customers outside of the UK the pay the tax-free price shown in the first column where applicable. All prices in the first column show standard VAT-exclusive prices; if the second column has the same price, then there’s no reclaimable VAT on the item. SECTION GUIDE STATUS KEY 1. ECHOES AND EFFECTS 2. RECORDING GEAR: MIXERS - PRES - EQs - COMPRESSORS ETC. Listed now on the Soundgas website, click the link to go to the listing Listed 3. SYNTHS - KEYS - DRUM MACHINES - SAMPLERS Arrived or on its way, yet to be listed. Please enquire. Enquire 4. EFFECT PEDALS Reserved for our studio or further investigation required: not available. On Hold 5. VALVE/TUBE AMPS Unavailable for purchase, but we want them! Wanted! 6. -
47. James Horner 'Take Her to Sea Mr Murdoch' from Titanic
47. James Horner ‘Take her to sea Mr Murdoch’ from Titanic (For Unit 6: Further Musical Understanding) Background information and Performance Circumstances • James Horner (born 1953) is one of America’s foremost Film composers. • His score for Titanic won two academy awards (for best dramatic score and best song), and he has won many other awards for his work. • Horner has had a long working relationship with the director James Cameron, who made both Titanic and Avatar, to date two of the highest-grossing films in the history of cinema. • Other scores include A Beautiful Mind, Cocoon and Aliens. • Horner was ‘classically’ trained initially in California and at then at the Royal College of Music, London. • Horner included Celtic elements in this score, perhaps to reflect the Irish passengers in steerage class, from whom the Leonardo di Caprio character is drawn. Performing forces and their handling • Titanic uses a large symphony orchestra, augmented by a real choir and by synthetic vocal sounds. o Double woodwind, (including the darker sounding A clarinet), plus double bassoon. o 4 horns, 3 trumpets, 3 trombones and tuba, i.e. a conventional symphonic brass section. o Timpani, suspended cymbal, bass drum, tubular bells, bell tree, side drum, glockenspiel, sleigh bells. o 2 harps, piano and synthesiser (voice sound). o SATB choir. o Strings. • Traditional symphonic/Romantic treatment of the orchestra with much doubling of parts. • Few uses of solo timbres • Middle and lower ranges of instruments are favoured, with little above the stave for either Flute or Violins 1-3 Imitative opening. • Doubling of lines across strings/wind/SATB in each part.