PRO SOLO Single Channel MIDI-CV Converter
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Pro 2 OS 1.4 Addendum
Pro 2 OS 1.4 Manual Addendum Pro 2 OS version 1.4 adds a number of new features not covered in the main Operation Manual. These features are described in the following addendum in the order shown below. New Features in OS 1.4 • Linear frequency modulation for classic DX-style FM. • Arpeggiator Beat Sync. This Global parameter quantizes keyboard perfor- mance of the arpeggiator so that notes are triggered precisely on the beat. • Sequencer Direction parameter, which provides new options for sequencer playback direction: forward, reverse, ping-pong, and random. • Rest/tie note input during step recording on track 1 of the Sequencer. • Lock sequence, which allows you to continuously run the same sequence while changing presets/programs. • MIDI CC output from the Pro 2 sequencer. • Trigger/Gate CV output, which gives you the ability to send a per-step gate signal from the CV output of the Pro 2 Sequencer. • Alternate Tunings. The Pro 2 now ships with 16 preset alternative tunings ranging from Equal temperament to Indonesian Gamelan tunings. Other tuning sets can be downloaded if desired. 1 Checking Your Operating System Version If you’ve just purchased your Pro 2 new, OS 1.4 may already be installed. If not, and you want to use the new features just described, you’ll need to update your OS to version 1.4 or later. To update your Pro 2 OS, you’ll need a computer and a USB cable, or a MIDI cable and MIDI interface. To download the latest version of the Pro 2 OS along with instructions on how to perform a system update, visit the Sequential website at: https://www.sequential.com/download-latest-pro-2-os/ To check your OS version: 1. -
Digital Developments 70'S
Digital Developments 70’s - 80’s Hybrid Synthesis “GROOVE” • In 1967, Max Mathews and Richard Moore at Bell Labs began to develop Groove (Generated Realtime Operations on Voltage- Controlled Equipment) • In 1970, the Groove system was unveiled at a “Music and Technology” conference in Stockholm. • Groove was a hybrid system which used a Honeywell DDP224 computer to store manual actions (such as twisting knobs, playing a keyboard, etc.) These actions were stored and used to control analog synthesis components in realtime. • Composers Emmanuel Gent and Laurie Spiegel worked with GROOVE Details of GROOVE GROOVE System included: - 2 large disk storage units - a tape drive - an interface for the analog devices (12 8-bit and 2 12-bit converters) - A cathode ray display unit to show the composer a visual representation of the control instructions - Large array of analog components including 12 voltage-controlled oscillators, seven voltage-controlled amplifiers, and two voltage-controlled filters Programming language used: FORTRAN Benefits of the GROOVE System: - 1st digitally controlled realtime system - Musical parameters could be controlled over time (not note-oriented) - Was used to control images too: In 1974, Spiegel used the GROOVE system to implement the program VAMPIRE (Video and Music Program for Interactive, Realtime Exploration) • Laurie Spiegel at the GROOVE Console at Bell Labs (mid 70s) The 1st Digital Synthesizer “The Synclavier” • In 1972, composer Jon Appleton, the Founder and Director of the Bregman Electronic Music Studio at Dartmouth wanted to find a way to control a Moog synthesizer with a computer • He raised this idea to Sydney Alonso, a professor of Engineering at Dartmouth and Cameron Jones, a student in music and computer science at Dartmouth. -
The Definitive Guide to Evolver by Anu Kirk the Definitive Guide to Evolver
The Definitive Guide To Evolver By Anu Kirk The Definitive Guide to Evolver Table of Contents Introduction................................................................................................................................................................................ 3 Before We Start........................................................................................................................................................................... 5 A Brief Overview ......................................................................................................................................................................... 6 The Basic Patch........................................................................................................................................................................... 7 The Oscillators ............................................................................................................................................................................ 9 Analog Oscillators....................................................................................................................................................................... 9 Frequency ............................................................................................................................................................................ 10 Fine ...................................................................................................................................................................................... -
User Manual Keystep - Overview 4 1.1.2.2
USER MANUAL Special Thanks DIRECTION Frederic BRUN Nicolas DUBOIS Jean-Gabriel Philippe CAVENEL Kévin MOLCARD SCHOENHENZ ENGINEERING Sebastien COLIN Olivier DELHOMME INDUSTRIALIZATION Nicolas DUBOIS DESIGN Glen DARCEY Sébastien ROCHARD DesignBox TESTING Benjamin RENARD BETA TESTING Marco CORREIA Paul BEAUDOIN Gustavo LIMA Tony Flying Squirrel (Koshdukai) Boele GERKES Guillaume BONNEAU Tom HALL Jeff HALER Mark DUNN MANUAL Leo DER STEPANIAN Minoru KOIKE Jose RENDON (author) Vincent LE HEN Holger STEINBRINK Randy Lee Charlotte METAIS Jack VAN © ARTURIA SA – 2019 – All rights reserved. 26 avenue Jean Kuntzmann 38330 Montbonnot-Saint-Martin FRANCE http://www.arturia.com Information contained in this manual is subject to change without notice and does not represent a commitment on the part of Arturia. The software described in this manual is provided under the terms of a license agreement or non-disclosure agreement. The software license agreement specifies the terms and conditions for its lawful use. No part of this manual may be reproduced or transmitted in any form or by any purpose other than purchaser’s personal use, without the express written permission of ARTURIA S.A. All other products, logos or company names quoted in this manual are trademarks or registered trademarks of their respective owners. Product version: 1.1 Revision date: 21 August 2019 Thank you for purchasing the Arturia KeyStep! This manual covers the features and operation of Arturia’s KeyStep, a full-featured USB MIDI keyboard controller complete with a polyphonic sequencer, arpeggiator, a robust set of MIDI and C/V connections, and outfitted with our new Slimkey keyboard for maximum playability in the minimum space. -
The Synth Issue
THE SYNTH ISSUE KORG ARP ODYSSEY REDUX REVIEWED HANDS ON PREVIEWS Sequential Prophet-6 Moog System 55 Modular Modal Electronics 002 MODES DEMYSTIFIED No Sheet Music Required FAKE IT ’TIL YOU MAKE IT Bigger Samples Aren’t Always Better ROLAND JD-Xi SPACESTATION 3 ARTURIA Meet the Mid-Side Stereo iPROPHET SLOW BLUES MASTER CLASS Mini-Synth to Beat from One Amp Vector Victory Get the Real-Deal Feel 5.2015 | $5.99 A MUSIC PLAYER PUBLICATION 40 YEARS OF GROUNDBREAKING SYNTHS Grammy® winner and MIDI co-creator Dave Smith has designed more groundbreaking synths than anyone. Ever. Whatever your musical need or budget, Dave’s award-winning line of analog and analog/digital hybrid instruments has the right tool for you. Pro 2 · Prophet 12 · Prophet ’08 Mopho · Mopho x4 · Mopho SE Tetra · Tempest · Evolver THE PROPHET-6 IS COMING SOON! www.davesmithinstruments.com Designed and built in California CONTENTS MAY 2015 KNOW TALK 32 SYNTH SOLOING CÞ 8 Voices, tips, and breaking news from the Keyboard community. 4 œ œ We’ve explored his sound; now dive &4 œ œ œ Jan Hammer NEW GEAR SYNTH EDITION into the playing style of . D minor pentatonic 34 BEYOND THE MANUAL 10 In our special synthesizer-focused issue, we bring you first-look Learn tweaks to get more soft synth coverage of the Dave Smith Instruments Prophet 6, Modal mileage from your computer. Electronics 002, and Moog’s Modular systems, plus ten more new synth releases. 36 DANCE Making classic sounds with the ARP. HEAR REVIEW 16 ROAD WARRIORS In NRBQ’s 50th anniversary year, keyboardist 38 ANALOG SYNTH and founding member Terry Adams discusses Korg ARP Odyssey his touring gear, and the Monk tribute he’s always dreamed of making. -
Fusion Best of Vintage Keys 1 to 4 Content
- Sound Research & Development - Fusion Best of Vintage Keys 1-4 Sample Libraries with Program Presets Banks for Alesis Fusion 8HD/6HD. The Best of Vintage Keys series provides the essence of no less than 28 real legends which wrote music history. All sounds were programmed on the original instruments and then carefully sampled for finest sound quality. This handpicked selection offers the typical sounds these instruments are famous for. And a decent Controller Assignment system allows a true rendition of the original performance control. Packed in the 4 titles “Best of Vintage Keys 1-4”, each with the focus on 7 instruments. Available separately and as complete bundle. Sophisticated Controller programming for Control Knobs 1-4, S1 and S2 switches, Trigger Buttons T1-T4, Modulation Wheel, Pitch Bend. Best of Vintage Keys 1 Featured instruments: - Yamaha CS80 - Oberheim Matrix 12 - Mellotron - Minimoog - Korg Mono/Poly - Solina String Ensemble - Elka Synthex Best of Vintage Keys 2 Featured instruments: - Rhodes Chroma - Yamaha DX7II Centennial Version E! - Roland Jupiter 8 - Memorymoog - PPG Wave 2.2 - ARP ProSoloist - Roland VP330 Best of Vintage Keys 3 Featured Instruments: - miniKORG 700S - Godwin Symphoniy - Oberheim OB8 - ARP Odyssey - Polymoog - Polivoks - Korg Trident MkII Best of Vintage Keys 4 Featured instruments: - Korg DW8000 - Farfisa Polychrome - Roland Jupiter 4 - Moog Taurus - Moog Modular - SCI Prophet 5 - ARP Quadra Bonus instruments: - Yamaha PS20 - Casio VL1 General Controller and FX Assignment Use following Controllers -
BOX DIMENSIONS Width, Height
2/19/2015 BOX DIMENSIONS width, height div { CSS height: 300px; width: 400px; background-color: #ee3e80;} p { height: 75%; width: 75%; background-color: #e1ddda;} RESULT 1 2/19/2015 LIMITING WIDTH min-width, max-width CSS td.description { min-width: 450px; max-width: 650px; text-align: left; padding: 5px; margin: 0px;} RESULT 2 2/19/2015 LIMITING HEIGHT min-height, max-height h2, p { CSS width: 400px; font-size: 90%; line-height: 1.2em;} h2 { color: #0088dd; border-bottom: 1px solid #0088dd;} p { min-height: 10px; max-height: 30px;} RESULT 3 2/19/2015 OVERFLOWING CONTENT overflow CSS p.one { overflow: hidden;} p.two { overflow: scroll;} RESULT 4 2/19/2015 BORDER, MARGIN & PADDING BORDER MARGIN PADDING WHITE SPACE & VERTICAL MARGIN Moog Moog Moog synthesizers were created Moog synthesizers were created by Dr. Robert Moog under the by Dr. Robert Moog under the company name Moog Music. company name Moog Music. Popular models include Moog Popular models include Moog Modular, Minimoog, Micromoog, Modular, Minimoog, Micromoog, Moog Rogue, and Moog Source Moog Rogue, and Moog Source Arp Arp ARP Instruments Inc. was set up ARP Instruments Inc. was set up by Alan Peralman, and was the by Alan Peralman, and was the main competitor for Moog during main competitor for Moog during the 1970's. Popular models the 1970's. Popular models include the Arp 2600 and the include the Arp 2600 and the ARP Odyssey. ARP Odyssey. Sequential Circuits Sequential Circuits Inc was Sequential Circuits founded by Dave Smith, and the Sequential Circuits Inc was company was pivotal in the founded by Dave Smith, and the creation of MIDI. -
Pdf Nord Modular
Table of Contents 1 Introduction 1.1 The Purpose of this Document 1.2 Acknowledgements 2 Oscillator Waveform Modification 2.1 Sync 2.2 Frequency Modulation Techniques 2.3 Wave Shaping 2.4 Vector Synthesis 2.5 Wave Sequencing 2.6 Audio-Rate Crossfading 2.7 Wave Terrain Synthesis 2.8 VOSIM 2.9 FOF Synthesis 2.10 Granular Synthesis 3 Filter Techniques 3.1 Resonant Filters as Oscillators 3.2 Serial and Parallel Filter Techniques 3.3 Audio-Rate Filter Cutoff Modulation 3.4 Adding Analog Feel 3.5 Wet Filters 4 Noise Generation 4.1 White Noise 4.2 Brown Noise 4.3 Pink Noise 4.4 Pitched Noise 5 Percussion 5.1 Bass Drum Synthesis 5.2 Snare Drum Synthesis 5.3 Synthesis of Gongs, Bells and Cymbals 5.4 Synthesis of Hand Claps 6 Additive Synthesis 6.1 What is Additive Synthesis? 6.2 Resynthesis 6.3 Group Additive Synthesis 6.4 Morphing 6.5 Transients 6.7 Which Oscillator to Use 7 Physical Modeling 7.1 Introduction to Physical Modeling 7.2 The Karplus-Strong Algorithm 7.3 Tuning of Delay Lines 7.4 Delay Line Details 7.5 Physical Modeling with Digital Waveguides 7.6 String Modeling 7.7 Woodwind Modeling 7.8 Related Links 8 Speech Synthesis and Processing 8.1 Vocoder Techniques 8.2 Speech Synthesis 8.3 Pitch Tracking 9 Using the Logic Modules 9.1 Complex Logic Functions 9.2 Flipflops, Counters other Sequential Elements 9.3 Asynchronous Elements 9.4 Arpeggiation 10 Algorithmic Composition 10.1 Chaos and Fractal Music 10.2 Cellular Automata 10.3 Cooking Noodles 11 Reverb and Echo Effects 11.1 Synthetic Echo and Reverb 11.2 Short-Time Reverb 11.3 Low-Fidelity -
11C Software 1034-1187
Section11c PHOTO - VIDEO - PRO AUDIO Computer Software Ableton.........................................1036-1038 Arturia ...................................................1039 Antares .........................................1040-1044 Arkaos ....................................................1045 Bias ...............................................1046-1051 Bitheadz .......................................1052-1059 Bomb Factory ..............................1060-1063 Celemony ..............................................1064 Chicken Systems...................................1065 Eastwest/Quantum Leap ............1066-1069 IK Multimedia .............................1070-1078 Mackie/UA ...................................1079-1081 McDSP ..........................................1082-1085 Metric Halo..................................1086-1088 Native Instruments .....................1089-1103 Propellerhead ..............................1104-1108 Prosoniq .......................................1109-1111 Serato............................................1112-1113 Sonic Foundry .............................1114-1127 Spectrasonics ...............................1128-1130 Syntrillium ............................................1131 Tascam..........................................1132-1147 TC Works .....................................1148-1157 Ultimate Soundbank ..................1158-1159 Universal Audio ..........................1160-1161 Wave Mechanics..........................1162-1165 Waves ...........................................1166-1185 -
SH-01A Manual.Pages
MONOPHONIC / POLYPHONIC / CHORD MACHINE SYNTHESIZER ローランド SH-01Aのユーザーガイド A USER’S GUIDE TO THE ROLAND SH-01A !1 !2 ACKNOWLEDGEMENTS: This manual was assembled, illustrated, and written by Sunshine Jones. All of the content is taken from either his personal experience, existing documentation, and techniques submitted and found in the public domain. The document is intended as a companion guide for the Roland SH-01A Synthesizer Module. It is in no way offered as a criticism, or intended to be an authoritative guide to replace the official documentation which accompanies the commercial purchase of Roland Boutique, or Roland AIRA musical instruments. Rather, this manual is intended to support the musician, the user of these and other synthesizer modules and inspire them to create music, share sounds, and fully realize the synthesizers in front of them. In the tradition of owner’s manuals, rarely are they opened until problems arise. We tell you over and over again to RTFM, but do you listen? No, no you don’t. Manuals should be both tools for reference and instruction, as well as inspirational guides to possibility. An owner’s manual should be equally a pre purchase discovery, meant to inspire the curious with capability and possibility, and a post purchase celebration of depth, technique, guidance, and surprises. But this is by no means the last word. So many people have read and re read a manual only to still have no idea what the manual was attempting to suggest. This owner’s manual is offered free of charge to anyone curious, or frustrated by the tiny little leaflet which covers the operations of the SH-01A in several languages, as a legible alternative to the official documentation. -
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University of Huddersfield Repository Quinn, Martin The Development of the Role of the Keyboard in Progressive Rock from 1968 to 1980 Original Citation Quinn, Martin (2019) The Development of the Role of the Keyboard in Progressive Rock from 1968 to 1980. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/34986/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ 0. A Musicological Exploration of the Musicians and Their Use of Technology. 1 The Development of the Role of the Keyboard in Progressive Rock from 1968 to 1980. A Musicological Exploration of the Musicians and Their Use of Technology. MARTIN JAMES QUINN A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Master of Arts. -
GRP A8 – Analog Studio Synthesizer
GRP A8 – analog studio synthesizer „If you wanna start, start big!“ is what Groppioni Paolo (GrP) must have told me in 2008. We were sitting in front of a huge proxy of a synthesizer panel. In fact, the A8 – with 127 x 67 cm – is one of the largest synthesizers ever produced. It was built 22 times* and has been in studios in the USA, Switzerland, France, Belgium, Germany and Austria since 2010. [*After the production run ended, Paolo built a last GRP A8 for himself. So there are 23 instruments in total in existence.] Beside its monstruous size, it’s its concept that makes the GRP A8 awe-inspiring. More than that – I believe the GRP A8 has become a milestone in synthesizer history. While most modern analog synthesizers follow the concept of classic synthesizers, GRP has gone its own way. Fabulous sound is the basis, of course, but on top of this the GRP concept is tremendously flexible. There’s a fantastic intuitive user surface (with knobs instead of patches, so you’re faster), MIDI and (!) CV/gate, delightful performance features including the synchronization of all rhythm-based components (LFOs, S/H, auto-pan, sequencer …), and well … a wonderful – absolutely unique! – step-sequencer. | 1 GRP A8 – analog studio synthesizer GRP A8 – sequencer enabling section for VCOs, PWM and filter modulation Overview The GRP A8 is a dual section analog synthesizer capable of creating two entirely separate sounds. The instrument offers: 6x VCOs 6x sub-oscillators 1x noise (for audio and modulation) 2x ring modulator 2x 24dB lowpass filters 2x 12dB