DOCSLIB.ORG

Casio-Ct-X700.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Casio-Ct-X700.Pdf CT-X700 EN/ES USER’S GUIDE Please keep all information for future reference. Safety Precautions Before trying to use the Digital Keyboard, be sure to read the separate “Safety Precautions”. This recycle mark indicates that the packaging conforms to the environmental protection legislation in Germany. GUÍA DEL USUARIO Guarde toda la información para futuras consultas. Esta marca de reciclaje indica que el empaquetado se ajusta a la legislación de protección ambiental en Alemania. Precauciones de seguridad Antes de intentar usar el teclado digital, asegúrese de leer las “Precauciones de seguridad” separadas. About Music Score data You can use a computer to download music score data from the CASIO Website. For more information, visit the URL below. http://world.casio.com/ Acerca de los datos de partituras Puede utilizar un PC para descargar los datos de partituras desde el sitio web de CASIO. Para obtener más información, visite la siguiente URL. http://world.casio.com/ C MA1710-A Printed in China CTX700-ES-1A CTX700-ES-1A.indd 1 2017/10/05 11:03:13 CTX700-ES-1A.indd 2 Please note the following important information before using this product. this using before information important following the note Please Important! • product. the cleaning before AC adaptor the to disconnect sure Be • not a toy. is TheAC adaptor • adaptor. AD-E95100L a CASIO Useonly • years. 3 under children for intended not is product The • terminals. battery the not Do short-circuit • weak. are getting they any sign after aspossible as soon batteries Replace • compartment. battery the near as indicated correctly are facing poles (–) negative and (+) positive that sure make Always • types. or equivalent batteries recommended Use • Nevermix old batterieswith new ones. • batteries. rechargeable not Do use • batteries. to recharge attempt Never • check Carefully first. any damage for AC Adaptor the check to sure be unit, the power to Adaptor AC the optional using Before seriously damaged. seriously is that AC adaptor use an children let Never damage. serious other and wire exposed cuts, breakage, for cord the power the interference by one or more of the following measures: the following of more or one by interference the correct to to try is encouraged user the on, and off equipment the by turning be determined can which reception, television or radio to interference harmful does cause equipment this If installation. aparticular in occur not will interference that guarantee no is there However, communications. radio to interference harmful may cause instructions, the with accordance in used and installed not if and, energy frequency radio radiate can and uses generates, equipment This installation. residential a in interference harmful against protection reasonable provide to designed are limits These Rules. FCC of 15 the Part to pursuant device, digital B a Class for the limits with comply to and found tested has been equipment This interference that may cause undesired operation. undesired cause may that interference including received, interference any accept must device this (2) and interference, harmful cause not may device This (1) conditions: two following the to subject is Operation Rules, FCC the 15 of Part with complies device This 973-361-5400 number: Telephone NEW 07801 DOVER, JERSEY AVENUE, 570 MT. PLEASANT Address: INC. CASIO AMERICA, party: Responsible LTD. CO., COMPUTER CASIO Name: Trade CT-X700 Number: Model equipment. the operate to authority user’s the void could compliance for responsible party the by approved expressly not modifications or Changes •others. of trademarks registered be may manual this in used names product and Company • Guide. User’s in this illustrations the in shown that from different may be product of the appearance Theactual • notice. without change to subject are manual of this Thecontents • LIMITATION, WITHOUT (INCLUDING, DAMAGES WHATSOEVER FOR ANY BE LIABLE CASIO IN EVENT SHALL NO • personal own, your for Except prohibited. is entirety, its or part in either manual, this of contents the of reproduction Any •help. for technician radio/TV or experienced an dealer the Consult • is connected. receiver the to which that from different onacircuit an outlet into the equipment Connect • receiver. and equipment the between separation the Increase •antenna. receiving the or relocate Reorient POSSIBILITY OF SUCH DAMAGES. SUCH OF POSSIBILITY OF THE ADVISED CASIO HAS BEEN EVEN IF MANUAL OR PRODUCT, TO THIS OF OR USE USE INABILITY OUT OF THE ARISING INFORMATION) LOSS OF INTERRUPTION, BUSINESS PROFITS, LOSS OF DAMAGES FOR laws. copyright under is prohibited of CASIO consent the without manual this of contents the of use any other use, Model: CT-X700 Version : 1.0 Declaration of Conformity According to EU Directive to According Conformity of Declaration Function Transmitted Recognized Remarks www.casio-europe.com Casio-Platz 1,22848Norderstedt,Germany Casio EuropeGmbH Responsible withintheEuropeanUnion: 6-2, Hon-machi1-chome,Shibuya-ku,Tokyo151-8543,Japan CASIO COMPUTERCO.,LTD. Manufacturer: Basic Default 1 1 - 16 Channel Changed 1 - 16 1 - 16 Declaration of Conformity Default Mode 3 Mode 3 CAUTION FCC Mode Messages X X Altered NOTICE Note 12 - 120 0 - 127 Number True voice 0 - 127 *1 Note ON O 9nH v = 1 - 127 O 9nH v = 1 - 127 Velocity Note OFF O 8nH v = 0 - 127 O 8nH v = 0 - 127, 9nH v = 0 After Key’s X X Touch Ch’s X O Pitch Bender X O 0 O O Bank select 1 X O Modulation 5 X O Portamento Time 6, 38 X *2*4 O *2 Data entry LSB, MSB 7 O *4 O Volume 10 O *4 O Pan 11 X *4 O Expression 64 O *3 O Hold 1 65 X O Portamento Switch 66 O *3 O Sostenuto 67 O *3 O Soft pedal Control 71 X *4 O Filter resonance 72 X *4 O Release time Change 73 X *4 O Attack time 74 X *4 O Filter cutoff 75 X O Decay time 76 X O Vibrato rate 77 X O Vibrato depth 78 X O Vibrato delay 84 X O Portamento Control 91 X *4 O Reverb send level 93 X *4 O Chorus send level 94 X *4 O Delay send level 100, 101 X *2*4 O *2 RPN LSB, MSB Program O 0 - 127 O 0 - 127 Change :True # System Exclusive O *2 O *2 System : Song Pos X X Common : Song Sel X X : Tune X X System : Clock X X Real Time : Commands X X : All sound off X *4 O : Reset all controller X *4 O Aux : Local ON/OFF X X Messages : All notes OFF X *4 O : Active Sense O O : Reset X X *1: Depends on tone. *1: Depende del tono. Remarks *2: For details about RPN and system exclusive *2: Para obtener información acerca de RPN y los messages, see MIDI Implementation at mensajes exclusivos del sistema, consulte http://world.casio.com/. Implementación MIDI en *3: In accordance with pedal effect setting. http://world.casio.com/. *4: Output along with certain operations. *3: De acuerdo con el ajuste de efecto de pedal. *4: Se genera junto con determinadas operaciones. 2017/10/05 11:03:13 Mode 1 : OMNI ON, POLY Mode 2 : OMNI ON, MONO O : Yes Mode 3 : OMNI OFF, POLY Mode 4 : OMNI OFF, MONO X : No Using Music Preset EN-30 Contents Using Auto Harmonize EN-30 General Guide EN-2 Using the (ct) Number Keys and Using the Arpeggiator EN-31 the (dk) [–] and [+] Keys . EN-4 [5] (EXIT) Key Long-press. EN-5 Looking Up the Notes of Chords Categories. EN-5 (Chord Book) EN-32 Returning the Digital Keyboard to Its Factory Default Settings . EN-5 Saving Keyboard Setups to English Getting Ready to Play EN-6 Registration Memory EN-34 Preparing the Music Stand . EN-6 To save a setup to registration memory . .EN-34 Power Supply . EN-6 To recall a setup from registration memory . .EN-35 Disabling Overwrite of Specific Settings Playing the Digital Keyboard EN-7 (Freeze). .EN-35 Turning on Power and Playing . EN-7 Recording Your Keyboard Play EN-36 Using Headphones . EN-7 Recording and Playing Back Keyboard Play . .EN-36 Changing Keyboard Response to Touch Pressure (Touch Response) . EN-8 Overdubbing a Recorded Track . .EN-36 Adjusting Display Contrast . EN-8 Muting a Track . .EN-37 Using the Metronome . EN-8 Changing the Recording Track while in Record Standby . .EN-38 Changing the Tempo Setting . EN-9 Recording Keyboard Play Along Controlling the Keyboard Sounds EN-10 with a Song Lesson . .EN-38 Deleting a Song . .EN-39 Select from a variety of musical instrument Deleting a Track . .EN-39 sounds . EN-10 Saving Recorded Data on an External Device . .EN-39 Layering and Splitting Tones. EN-10 Using Reverb . EN-13 FUNCTION Button (cs) Functions EN-40 Using Chorus . EN-13 Changing the Scale of the Keyboard . .EN-43 Changing the Equalizer Setting. EN-14 On-screen Keyboard. .EN-43 Using a Pedal . EN-14 Deleting All Data in Digital Keyboard Memory . .EN-44 Changing the Pitch (Transpose, Tuning, Octave Shift). EN-15 Connecting External Devices EN-44 Playing Built-in Songs EN-16 Connecting a Computer . .EN-44 Playing the Demo Songs. EN-16 MIDI Settings . .EN-45 Playing Back a Particular Song. EN-16 Storing and Loading Digital Keyboard Memory Data. .EN-46 Increasing the Selection of Songs. EN-18 Connecting to Audio Equipment . .EN-47 Using Built-in Songs to Master Reference EN-48 Keyboard Play EN-19 Troubleshooting . .EN-48 Selecting the Song and Part You Want Error Indicators . .EN-49 to Practice . EN-19 Specifications . .EN-50 Easy Mode . EN-19 Operating Precautions . .EN-51 Lessons 1, 2, and 3. EN-20 Playing without Guidance .
Load more

Recommended publications
  • When Maqam Is Reduced to a Place Eyal Sagui Bizawe
    When Maqam is Reduced to a Place Eyal Sagui Bizawe In March 1932, a large-scale impressive festival took place at the National Academy of Music in Cairo: the first international Congress of Arab Music, convened by King Fuad I. The reason for holding it was the King’s love of music, and its aim was to present and record various musical traditions from North Africa and the Middle East, to study and research them. Musical delegations from Egypt, Iraq, Syria, Morocco, Algiers, Tunisia and Turkey entered the splendid building on Malika Nazli Street (today Ramses Street) in central Cairo and in between the many performances experts discussed various subjects, such as musical scales, the history of Arab music and its position in relation to Western music and, of course: the maqam (pl. maqamat), the Arab melodic mode. The congress would eventually be remembered, for good reason, as one of the constitutive events in the history of modern Arab music. The Arab world had been experiencing a cultural revival since the 19th century, brought about by reforms introduced under the Ottoman rule and through encounters with Western ideas and technologies. This renaissance, termed Al-Nahda or awakening, was expressed primarily in the renewal of the Arabic language and the incorporation of modern terminology. Newspapers were established—Al-Waq’i’a al-Masriya (Egyptian Affairs), founded under orders of Viceroy and Pasha Mohammad Ali in 1828, followed by Al-Ahram (The Pyramids), first published in 1875 and still in circulation today; theaters were founded and plays written in Arabic; neo-classical and new Arab poetry was written, which deviated from the strict rules of classical poetry; and new literary genres emerged, such as novels and short stories, uncommon in Arab literature until that time.
    [Show full text]
  • Electrophonic Musical Instruments
    G10H CPC COOPERATIVE PATENT CLASSIFICATION G PHYSICS (NOTES omitted) INSTRUMENTS G10 MUSICAL INSTRUMENTS; ACOUSTICS (NOTES omitted) G10H ELECTROPHONIC MUSICAL INSTRUMENTS (electronic circuits in general H03) NOTE This subclass covers musical instruments in which individual notes are constituted as electric oscillations under the control of a performer and the oscillations are converted to sound-vibrations by a loud-speaker or equivalent instrument. WARNING In this subclass non-limiting references (in the sense of paragraph 39 of the Guide to the IPC) may still be displayed in the scheme. 1/00 Details of electrophonic musical instruments 1/053 . during execution only {(voice controlled (keyboards applicable also to other musical instruments G10H 5/005)} instruments G10B, G10C; arrangements for producing 1/0535 . {by switches incorporating a mechanical a reverberation or echo sound G10K 15/08) vibrator, the envelope of the mechanical 1/0008 . {Associated control or indicating means (teaching vibration being used as modulating signal} of music per se G09B 15/00)} 1/055 . by switches with variable impedance 1/0016 . {Means for indicating which keys, frets or strings elements are to be actuated, e.g. using lights or leds} 1/0551 . {using variable capacitors} 1/0025 . {Automatic or semi-automatic music 1/0553 . {using optical or light-responsive means} composition, e.g. producing random music, 1/0555 . {using magnetic or electromagnetic applying rules from music theory or modifying a means} musical piece (automatically producing a series of 1/0556 . {using piezo-electric means} tones G10H 1/26)} 1/0558 . {using variable resistors} 1/0033 . {Recording/reproducing or transmission of 1/057 . by envelope-forming circuits music for electrophonic musical instruments (of 1/0575 .
    [Show full text]
  • Mary Gottschalk Cultures of the Middle East 220 Professor Abdelrahim Salih Final Paper Music in the Middle East
    Gottschalk 1 Mary Gottschalk Cultures of the Middle East 220 Professor Abdelrahim Salih Final Paper Music in the Middle East The “Middle East” is a term to describe the areas of North Africa and East Asia, where there is a deep cultural history and diverse people, commonly grouped in this term for their cultural similarities. As with trade, information, and innovation, music and the arts moved and assimilated throughout the area. Music pervades the culture in aspects of religion, tradition, and entertainment, and differs according to various conceptions of music based within those religious and cultural ideals. This paper will discuss some of the similarities and differences in middle eastern music: in the instruments as they relate to location, conceptions as they are formed by Muslim doctrine, and traditions based in their respective time periods. Instruments / Place Musical instruments in the middle east range in the complexity, skill needed to play, and type. Broad classifications consist of percussion, bowed, plucked, and wind instruments (Touma 1996 109). A predominant stringed instrument is known as the ‟ud, which literally means “wood”, but it has many names and variations throughout the world (Miller and Shahriari 2006 204). The ‟ud, or al‟ud “…is a fretless, plucked short-necked lute with a body shaped like half a pear” (Touma 1996 109). Its history traces back to the eighth century BCE with changes in size and number of strings, and today is commonly seen with “…five „courses‟ of strings, a course being a pair tuned in unison” (Miller and Shahriari 2006 204). The lack of frets allows the musician to articulate fine gradations of tone, strumming with either a plectrum or fingernails over the middle of the „ud‟s body (Miller and Shahriari 2006 205).
    [Show full text]
  • Brasilian Rhythms and Drumming Techniques
    BRASILIAN RHYTHMS AND DRUMMING TECHNIQUES Dr. Jason Koontz Director of Percussion Studies Eastern Kentucky University GENERAL CHARACTERISTICS OF AFRO-BRASILIAN MUSIC *Call and response *Rhythmic complexity (syncopation & polyrhythm) *Structure based on melodic/rhythmic ostinato patterns *Use of timeline/clave *Music as means of communal participation SAMBA - AFRO-BRASILIAN URBAN POPULAR SONG/DANCE FORM Carnival samba (e.g. Samba Batucada and Samba Enredo (Rio,São Paulo), Axé (Bahia) §Characterized by heavy percussion, songs about themes presented in Carnival Pagode (Year-round) samba §Characterized by light percussion and plucked string accompaniment (guitar, cavaquinho) §Songs often satiric, witty, improvised Partido Alto Rhythm Variations A ™2 ≈ ¿™ ¿ ¿ ¿ ¿ ≈ ¿ ¿ ™ / 4 J 3 B ™ ¿ ¿ ≈ ¿ ¿ ≈ ¿™ ¿ ¿ ™ / J 5 C ™ ≈ ¿ ¿ ‰ ¿ ¿ ¿ ¿™ ¿ ™ / J 7 D ™ ≈ ¿ ¿ ‰ ¿ ¿ ¿ ≈ ¿ ¿ ™ / J 9 E *"palma da mão" rhythm ™ ¿™ ¿ ‰ ¿ ¿™ ¿ ‰ ¿ / J J PAGODE INSTRUMENTS: Surdo de Mão – Bass drum instrument played with the hand (a.k.a. Tan Tan, Rebolo) Tamborim (tom-boo-reem), a small single-headed frame drum Pandeiro, (pahn-dey-roo) a tambourine Reco-Reco (hecko-hecko) – scraped metal spring instrument (like a metal Guiro) Cuica (Kwee-Ka) friction drum Cavaquinho – Brasilian counterpart to the Portuguese Cavaquinho, and Ukulele (steel strings G-D-B-G) Pagode (pah-go-jee) rhythms A pattern 1 B pattern 2 > > > > > > > > ° ™2 œ œ œ ™ ™ œ œ œ œ œ œ œ œ ™ Cuíca / ™4 ≈ œ œ œ ≈ œ œ ™ ™ œ œ œ œ œ œ œ œ ™ ™2 ≈ ≈ ™ ™ ≈ ≈ ™ Tamborim / ™4 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ™ ™ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ™ *"Teleco-teco" rhythm (based on Partido Alto) >. >. >o >. >. >. >o >. ™ o o ™ ™ ™ 2 >¿ >¿ o >¿ ≈ o o ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ Pandeiro / ™4 ≈ œ œ œ œ œ ™ ™ œ œ œ œ œ œ œ œ ™ t f h f t f h f t f h f t f h f .
    [Show full text]
  • TITLE Secondary Music (8-12): a Guide/Resource Book for Teachers
    DOCUMENT RESUME ED 221 408 SO 013 861 TITLE Secondary Music (8-12): A Guide/Resource Book for Teachers. INSTITUTION British Columbia Dept. of Education, Victoria. Curriculum Development Branch. PUB DATE 80 NOTE 248p. EDRS PRICE MF01/PC10 Plus Postage. DESCRIPTORS Bands (Music); Choral Music; Course Content; *Curriculum Development; Curriculum Guides; Educational Objectives; Evaluation Methods; Jazz; Music Activities; Musical.Composition; *Music Education; Orchestras; Resource Materials; Secondary Education; Singing IDENTIFIERS Stringed Instruments ABSTRACT Goals and objectives, lesson ideas, evaluation techniques, and other resources to help secondary musicteachers in British Columbia organize and develop musicprograms are provided in this resource book. An introductory section briefly discussesthe secondary music program, presenting a scope andsequence and outlining goals and leatnieg outcomes. Following this, thebook is divided into four major sections,one for each of the major areas of music: band; choral music; strings; and music composition.Learning outcomes and related content are outlined for eacharea. Sample outlines and units, suggested seating plans, glossaries, and bibliographies of reierence materialsare also provided for each music area. The appendices containan outline of fine arts goals for secondary school programs, evaluation suggestions and plans,a sample student practice report form, tips for planning field trips,a listing of professional music associations and journals,suggestions for class projects, and listings of
    [Show full text]
  • Universidade Estadual De Campinas Rodolfo Vilaggio
    UNIVERSIDADE ESTADUAL DE CAMPINAS RODOLFO VILAGGIO ARILHO ESTUDO INTERPRETATIVO DA OBRA VARIAÇÕES RÍTMICAS OPUS 15 DE MARLOS NOBRE CAMPINAS 2018 UNIVERSIDADE ESTADUAL DE CAMPINAS RODOLFO VILAGGIO ARILHO ESTUDO INTERPRETATIVO DA OBRA VARIAÇÕES RÍTMICAS OPUS 15 DE MARLOS NOBRE Tese de Doutorado apresentada a Pós- Graduação do Instituto de Artes da Universidade Estadual de Campinas como parte dos requisitos exigidos para a obtenção do título de Doutor em Música. Área de concentração: Música: Teoria, Criação e Prática. Orientador: Prof. Dr. Fernando Augusto de Almeida Hashimoto Este exemplar corresponde à versão final da tese defendida pelo aluno Rodolfo Vilaggio Arilho, e orientado pelo Prof. Dr. Fernando Augusto de Almeida Hashimoto. CAMPINAS 2018 15 Agência(s) de fomento e nº(s) de processo(s): Não se aplica. Ficha catalográfica Universidade Estadual de Campinas Biblioteca do Instituto de Artes Silvia Regina Shiroma - CRB 8/8180 Arilho, Rodolfo Vilaggio, 1979- Ar42e AriEstudo interpretativo da obra Variações Rítmicas opus 15 de Marlos Nobre / Rodolfo Vilaggio Arilho. – Campinas, SP : [s.n.], 2018. AriOrientador: Fernando Augusto de Almeida Hashimoto. AriTese (doutorado) – Universidade Estadual de Campinas, Instituto de Artes. Ari1. Nobre, Marlos, 1939-. 2. Percussão (Música). 3. Instrumentos de percussão. 4. Música brasileira. 5. Música - Interpretação (Fraseado, dinâmica, etc.). I. Hashimoto, Fernando Augusto de Almeida, 1972-. II. Universidade Estadual de Campinas. Instituto de Artes. III. Título. Informações para Biblioteca Digital
    [Show full text]
  • Vocabulaire Des Musiques Latino-Américaines
    JORGE ANTUÑES ISABELLE LEYMARIE CHRISTOPHE PIRENNE VOCABULAIRE DES MUSIQUES LATINO-AMERICAINES Minerve Musique Ouverte AVANT PROPOS L'immense espace géographique qui va de la Terre de Feu au Sud du Texas et des côtes du Chili aux Petites Antilles fut le théâtre sublime et sanglant d'une histoire marquée par d’incessants mouvements migratoires qui débutèrent au XVIe siècle, avec la colonisation. La diversité et l’ampleur de ces flux d'hommes de toutes races, de toutes provenances et de toutes croyances est à l'origine d’un univers culturel complexe, dont la principale caractéristique est le métissage. Les rencontres entre les indiens et les occidentaux, entre les indiens et les noirs africains, entre les occidentaux et les africains, entre les nombreuses races africaines... ont été à l'origine de phénomènes d'acculturation complexes et variés. Les musiques indigènes, européennes et africaines ont été réinterprétées, recréées pour aboutir à des formes inédites variant selon les régions ou le degré d’influence de chacune des sources. À côté des chocs brutaux résultant des génocides ou de la succession de colonisateurs, les différentes phases de colonisation de certaines régions se sont opérées tantôt par une lente maturation des acquis (lorsque ces régions connaissent une relative stabilité), tantôt "naturellement" (dans les régions les plus hostiles certains indigènes ont préservé leur culture). La collecte de ce répertoire traditionnel est, le plus souvent, très récente, et de nombreuses analyses ont porté sur des descriptions plutôt que sur des sources sonores ou de la musique écrite. Dans le cas de certaines civilisations précolombiennes (Aztèques, Mayas, Incas) l’archéologie, de même que la conservation de certains codex ou, comme au Pérou, le témoignage de colons avisés tels que Garcilaso de la Vega et Felipe Guaman Poma de Ayala, ont permis de combler certaines lacunes.
    [Show full text]
  • Music and Dance of the Middle East
    Music and Dance 1 Cultures of the Middle East Midterm paper: Class of Professor Abdelrahim Salih Music and Dance of the Middle East Music transcends language. It can put forth emotions of deep sorrow or ecstatic joy whether the language of the song is in Chinese, English, French or Arabic. With music comes dance. Dance is shaped by the music, as it is the dancer‟s duty to display the emotions of the music; dance is as diverse as the music itself is. Middle Eastern music is a language of its own; it is extraordinarily different from Western music and was shaped by its own great theoreticians of music. The instruments of the Middle East are exotic looking, though they are the ancestors of many Western instruments. The dances of the Middle East vary – there are feminine dances and masculine dances and dances that everyone joins. In the Middle East, music and dance cannot be put under one category because of the extreme variations throughout the region itself. From the beautiful melodies of Debussy to the dramatic compositions of Mozart, there is one thing in common: they are all based on an octave scale that includes thirteen notes. They are based on the Western scale. Vocalists using the Western scale must be very precise when it comes to the notes because there are no “in-between” or quarter notes. Also, compositions are almost always polyphonic; they have both a melody and a harmony (Todd, 2003). A piece that does not include a harmony is considered to be rather simple and not a great classical.
    [Show full text]
  • MP-Price-List-2020-EUR.Pdf
    PRICE LIST 2020 EURO Model Description Price PICKUP PICKUP INSTRUMENTS NEW MPDS1 digital percussion stomp box 199,00 € NEW MPS1 analog percussion stomp box 89,00 € NEW MPSM stomp box mount 49,90 € FX10 fx pedal 169,00 € PBASSBOX pickup bassbox 129,00 € PSNAREBOX pickup snarebox 119,00 € NEW MIC-PERC percussion microphone 24,90 € KA9P-AB pickup kalimba, african brown 99,90 € PICKUP CAJONS NEW PAESLDOB artisan edition pickup cajon, solea line 299,00 € PWCP100MB pickup cajon, woodcraft professional, makah-burl frontplate 199,00 € PSC100B pickup cajon, snarecraft, baltic birch frontplate 149,00 € PSUBCAJ6B pickup vertical subwoofer cajon, baltic birch 249,00 € PTOPCAJ2WN pickup slaptop cajon, turbo, walnut playing surface 189,00 € PTOPCAJ4MH-M pickup slaptop cajon, mahogany playing surface 149,00 € NEW PBASSCAJ-KIT cocktail cajon kit 499,00 € NEW PBASSCAJ cocktail cajon 169,90 € NEW PBC1B pickup bongo cajon 79,90 € NEW PCST pickup cajon snare tap 74,90 € NEW PCTT pickup cajon tom tap 69,90 € NEW MMCS mini cajon speaker 59,90 € PA-CAJ cajon preamp 99,00 € NEW CMS cajon microphone stand 9,90 € CAJONS ARTISAN EDITION CAJONS AEMLBI martinete line, brazilian ironwood with ukola woodframe frontplate 1.199,00 € AEFLIH fandango line, indian heartwood frontplate 699,00 € AESELIH seguiriya line, indian heartwood frontplate 469,00 € AESELCB seguiriya line, canyon-burl frontplate 469,00 € AECLWN cantina line, walnut frontplate 499,00 € AEBLLB buleria line, lava-burl frontplate 299,00 € AEBLMY buleria line, mongoy frontplate 299,00 € AESLEYB soleà line,
    [Show full text]
  • Cinbalada: a Multiagent Rhythm Factory
    CinBalada: A Multiagent Rhythm Factory Pablo Azevedo Sampaio1,2, Geber Ramalho1 and Patrícia Tedesco1 1Centro de Informática Universidade Federal de Pernambuco (UFPE) Cidade Universitária Phone: +55 (81) 2126.8430 CEP 50732-970 - Recife - PE - BRAZIL {pas—glr—pcart }@cin.ufpe.br 2Departamento de Estatística e Informática Universidade Católica de Pernambuco (UNICAP) Rua do Príncipe, 526 – Boa Vista Phone: +55 (81) 2119.4175 CEP 50050-900 - Recife - PE - BRAZIL {pablo }@dei.unicap.br Received 23 February 2008; accepted 08 July 2008 Abstract expression found nowadays in many traditional musical cultures around the world: the ensemble taiko CinBalada is a system for automatic creation drumming, in Japan; the Pungmul, in Korea; samba of polyphonic rhythmic performances by mixing batucadas and maracatu, in Brazil; and the music elements from different musical styles. This system is produced in many tribes of Africa. In each of these based on agents that act as musicians playing musical cultures, percussion instruments are combined percussion instruments in a drum circle. Each agent together in different ways, according to culture- has to choose from a database the rhythm pattern of specific rules, producing a polyrhythmic performance its instrument that satisfies the “rhythmic role” that carries the identity of that culture. assigned to him in order to produce a collectively- In a more contemporary form of expression, consistent rhythmic performance. A rhythmic role is a percussionists of different musical cultures engage in concept that we proposed here with the objective of , where percussive music emerges in a representing culture-specific rules for creation of collective improvised way. As described by percussionist polyphonic performances.
    [Show full text]
  • 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
    [Show full text]
  • Relationship with Percussion Instruments
    Multimedia Figure X. Building a Relationship with Percussion Instruments Bill Matney, Kalani Das, & Michael Marcionetti Materials used with permission by Sarsen Publishing and Kalani Das, 2017 Building a relationship with percussion instruments Going somewhere new can be exciting; it might also be a little intimidating or cause some anxiety. If I go to a party where I don’t know anybody except the person who invited me, how do I get to know anyone else? My host will probably be gracious enough to introduce me to others at the party. I will get to know their name, where they are from, and what they commonly do for work and play. In turn, they will get to know the same about me. We may decide to continue our relationship by learning more about each other and doing things together. As music therapy students, we develop relationships with music instruments. We begin by learning instrument names, and by getting to know a little about the instrument. We continue our relationship by learning technique and by playing music with them! Through our experiences and growth, we will be able to help clients develop their own relationships with instruments and music, and therefore be able to 1 strengthen the therapeutic process. Building a relationship with percussion instruments Recognize the Know what the instrument is Know where the Learn about what the instrument by made out of (materials), and instrument instrument is or was common name. its shape. originated traditionally used for. We begin by learning instrument names, and by getting to know a little about the instrument.
    [Show full text]