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Christina Perri 3
MUSIC PRODUCTION GUIDE OFFICIAL NEWS GUIDE FROM YAMAHA & EASY SOUNDS FOR YAMAHA MUSIC PRODUCTION INSTRUMENTS 03|2015 Contents Interview Christina Perri 3 MOTIF Soundset „Air“ by DCP Productions 6 Yamaha Synth Book reloaded 8 VP1 Soundset for MOTIF XF / MOXF 11 MOTIF XS/XF/MOXF Exploring Sound: „Vintage Keyboards“ 15 MOTIF XF / MOXF Performance Soundset „Hybrid Performer“ Part 3 19 Yamaha DTX M12 Touch App 22 The new e-drum kit Yamaha DTX582k 24 CHRISTINA Yamaha KP100 Kick Pad 26 Sounds & Goodies 29 PERRI Imprint 43 DREAMS COME TRUE MUSIC PRODUCTION GUIDE 03|2015 CHRISTINA PERRI - DREAMS COME TRUE “Every time I dream something up, it’s so “I don’t take it lightly,” she says. “I tell everyone, ‘That’s small compared to what actually happens,” the moment my life changed.’ It was incredibly special.” says singer/songwriter Christina Perri. But even as her own life was changing, Perri was changing “Because what actually happens is just other people’s lives through her music. Just a year later, amazing.” her multi-platinum song, “A Thousand Years,” was As an unsigned artist, Christina once dreamed of making released as the second single from the soundtrack album a career out of performing and recording her deeply to The Twilight Saga: Breaking Dawn – Part 1. It achieved personal yet pop-friendly songs. Then one day four years multi-platinum status, with a video that inspired romantic ago, one of her recordings was featured on the hit TV visions among countless Twilight fans. show So You Think You Can Dance, and suddenly she “I had dreamed of having a song on the Twilight stopped dreaming the dream—and began living it. -
“What Happened to the Post-War Dream?”: Nostalgia, Trauma, and Affect in British Rock of the 1960S and 1970S by Kathryn B. C
“What Happened to the Post-War Dream?”: Nostalgia, Trauma, and Affect in British Rock of the 1960s and 1970s by Kathryn B. Cox A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music Musicology: History) in the University of Michigan 2018 Doctoral Committee: Professor Charles Hiroshi Garrett, Chair Professor James M. Borders Professor Walter T. Everett Professor Jane Fair Fulcher Associate Professor Kali A. K. Israel Kathryn B. Cox [email protected] ORCID iD: 0000-0002-6359-1835 © Kathryn B. Cox 2018 DEDICATION For Charles and Bené S. Cox, whose unwavering faith in me has always shone through, even in the hardest times. The world is a better place because you both are in it. And for Laura Ingram Ellis: as much as I wanted this dissertation to spring forth from my head fully formed, like Athena from Zeus’s forehead, it did not happen that way. It happened one sentence at a time, some more excruciatingly wrought than others, and you were there for every single sentence. So these sentences I have written especially for you, Laura, with my deepest and most profound gratitude. ii ACKNOWLEDGMENTS Although it sometimes felt like a solitary process, I wrote this dissertation with the help and support of several different people, all of whom I deeply appreciate. First and foremost on this list is Prof. Charles Hiroshi Garrett, whom I learned so much from and whose patience and wisdom helped shape this project. I am very grateful to committee members Prof. James Borders, Prof. Walter Everett, Prof. -
Is %11V ECLECTIC ENGINEERING
$4.00 August 1985 NEE Volume 16 - Numb W LIKPERFORMANCE VIDEO BROADCAST a li ..;;.wz,z/PW477/757/7/ilionnumoHHIIHftmff-7---WZ., r..t ,Z;fiara7j161"! 17. '"41"1.4t' 1:1161TALA: 0 0 nnnnnnnn MI a' 0 10010.00 o Do SO OM 0 0 1110.13 on on ma." :No OOOOO On OOOOOOOO nfl OOOOOOOOOOOOOO OOOO e_o eam. ' ileCi AN NAlxu 9 is %11v A0631410d 9100 6666 2215i0 t1211 1336 ECLECTIC ENGINEERING - page 30 FROM OSTRHAIRPINAIN W THE SPEED_ OF BEEN For years, sloppy tape transportation and handling have made the audio engineer's day much harder than it had to be. This tormenting state has come to an end with the introduction of Sony's APR-5000 2 -track analog re- corder, available in a center-track time code version. 1 The APR- 5000's precise handling and numerous advanced features make the audio engineer's day run much smoother. For example, the APR- 5000's 16 -bit microprocessor manages audio alignment with a pre- cision that's humanly impossible. And the additional 8 -bit microprocessor opens the way for extremely sophisticated serial communications. In tandem, they reach a truly unique level of intelligence. Not only does the APR -5000 do its job well; it does it consistently. The die-cast deck plate and Sony's long- standing commitment to quality control maintain that the APR-5000 will hardly need time off. All of which results In a consistent sonic perform- ance that'll stand even the most critical audio profes- sionals on their ears. For a demonstration of the re- corder that transports analog audio to a new fidelity high, contact your nearest Sony office: Eastern Region (201) 368 -5000; 40. -
Historia De La Tecnología Musical - Sintetizadores
Historia de la tecnología musical - Sintetizadores Se presentan en este artículo breves reseñas de los instrumentos musicales electrónicos previos al desarrollo de los instrumentos digitales (que alcanzaron su plenitud a partir de 1980 con los sintetizadores digitales, el sampler y las computadoras). También se hace referencia a algunas de las tendencias estéticas y corrientes musicales (hasta 1950) más ligadas al desarrollo tecnológico o más influidas por este. -1891 Dynamophon o Telharmonium de Taddeus Cahill: Considerado el primer instrumento musical electrónico plenamente desarrollado, era una especie de órgano eléctrico con generadores por ruedas dentadas (dinamos que movilizaban engranajes) que producían tensiones sinusoidales a distintas frecuencias cuyas amplitudes (volumen) podían ser atenuadas mediante resistencias determinando las características de cada registro. Pesaba cerca de 200 toneladas y, ante la inexistencia de los altavoces o parlantes, el instrumento solo podía escucharse por medio de una red telefónica. En 1906 se lo consideraba un "invento eléctrico para producir música científicamente perfecta”. -1919 Eterófono, Termenvox o Theremin de León Theremin (Lev Termen): Instrumento que utiliza generadores de ondas heterodinas y dos antenas: interfiriendo con la mano las antenas el ejecutante puede controlar la altura del sonido y su amplitud, sin tener contacto físico con el instrumento. Dado el timbre casi puro producido por el theremin, el rango musicalmente aprovechable no superaba las 4 octavas. El instrumento fue muy bien recibido en la primera época de la Revolución Rusa y Theremin realizo giras por Alemania, Francia y EE.UU. antes del ascenso definitivo de Josef Stalin en la U.R.S.S. Para la presentación en Francia fue la primera vez que se vendieron entradas de pie en la Opera de París. -
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 -
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 -
Tangible Virtual Patch Cords
University of Wollongong Research Online University of Wollongong in Dubai - Papers University of Wollongong in Dubai 2018 Tangible Virtual Patch Cords Stefano Fasciani University of Wollongong, [email protected] Habibur Rahman University of Wollongong Follow this and additional works at: https://ro.uow.edu.au/dubaipapers Recommended Citation Fasciani, Stefano and Rahman, Habibur: Tangible Virtual Patch Cords 2018, 316-321. https://ro.uow.edu.au/dubaipapers/1009 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Tangible Virtual Patch Cords Stefano Fasciani Habibur Rahman Faculty of Engineering and Information Sciences Faculty of Engineering and Information Sciences University of Wollongong in Dubai University of Wollongong in Dubai [email protected] [email protected] ABSTRACT and multimedia works. Max and Pd are visual program- ming languages that include a large set of basic operators This paper presents a system to tangibly manipulate the as well as complex modules from the community. Their virtual patching cords in graphical programming envi- programming paradigm resembles modular systems. In- ronments, such as Max and Pure Data. The system in- deed, interactive or algorithmically controlled synthesis cludes a physical interface, a communication protocol, can be programmed by routing control or audio signals and a software library, providing physical extension of across modules and operators. Virtual patching cords in the graphical programming paradigm. The interface in- Pd and Max are abstractions akin to patch cables in mod- cludes a patch bay with connectors representing signal ular synthesizers. In both domains, the physical and the inlet and outlets from the programming environment. -
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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 -
Kenton Pro Solo II
PPRRORO SSOOOLLLOO MK II Single channel MIDI-CV converter Operating manual INTRODUCTION Congratulations on your purchase. The PRO SOLO mkII is much more than just a MIDI to CV converter, incorporating a built in LFO as well as portamento functions. Please take some time out to read through all the manual to avoid any operational difficulties. CONNECTIONS To the MIDI In of your other MIDI keyboard MIDI out Filter, Gate, CV MIDI Master keyboard/computer Analogue synth MIDI MIDI AUX, In Thru Gate, CV 9 volt external PRO SOLO power adapter MIDI In Plug your MIDI keyboard or sequencer`s MIDI Out into here. MIDI Thru Plug this into the MIDI In of another piece of your MIDI equipment should it be necessary. CV Plug this into your mono-synth`s input marked CV In, VCO In, KEY VOLT KYBD In, etc. This controls the pitch of your synth. GATE Plug this into your mono-synth`s input marked GATE, V-trig, Trig, S-Trig, etc. This turns the note on and off on your synth. AUX Plug this into your mono-synth`s input marked VCF, fcM, PWM, VCA, Filter, Volume, or any other external control voltage input. This enables you to control effects such as filter cut-off from MIDI controllers (Velocity, mod wheel, etc.). Note; not all mono-synths have additional control inputs. 9V DC Plug your power adapter into here. The converter will take an adapter with an output of 9 volts DC regulated or unregulated, centre +ve. We recommend a Kenton power supply which is made especially for the PRO-SOLO but any plug-top supply can be used as long as the output is 9 volts DC. -
Magazin DER Unabhängigen BERLINER Lichtspielhäuser D 40 D SEPTEMBER 2017 Indiekinoberlin
D TANGERINE DREAM – CONNY PLANK – SLEAFORD MODS Experimenteller Pop. Drei Dokus D EINE FANTASTISCHE FRAU Merkwürdig allein D MR. LONG Reise ins Totenreich D ON THE MILKY ROAD Erotik, Tragik, Leichtigkeit D ALL THESE SLEEPLESS NIGHTS Schlaflos in WarschauD RADIANCE Aggregatzustände D SCHLOSS AUS GLAS Kindheit on the road D ABLUKA – JEDER MISSTRAUR JEDEM Eskalierende Paranoia D KÖRPER UND SEELE Zarte Liebesgeschichte D MAGICAL MYSTERY Gutgelaunte Nummernrevue D LOGAN LUCKY Geschmeidige Gaunerkomödie D VON SÄNGERN UND MÖRDERN Den Schmerz singen D BARFUSS IN PARIS Pantomime goes Film D MEIN LEBEN – EIN TANZ Königin des Flamenco MAGAZin DER UNABHÄNGIGen BERLINER LICHTSPielHÄUSER D 40 D SEPTEMBER 2017 indiekinoBERLIN VICTORIA & ABDUL – START AM 28.9. 2017 RICHARD LIOR HANK STEVE CHARLOTTE MICHAEL DAN JOSH GERE ASHKENAZI AZARIA BUSCEMI GAINSBOURG SHEEN STEVENS CHARLES NORMAN Der bescheidene Aufstieg und tragische Fall eines New Yorker Geschäftsmanns AB 21. SEPTEMBER IM KINO www.NormanFilm.de #NormanFilm A US-ISRAELI CO-PRODUCTION © 2016 OPPENHEIMER STRATEGIES LLC NOR_Anzeige_INDIEKINO BERLIN 190 x 269_RZ_korr.indd 1 21.08.17 14:04 DIE INDIEKINOS D ACUD KINO D B-WARE!LADENKINO D BALI KINO D D D Offi cial Selection Wettbewerb BROTFABRIK KINO BUNDESPLATZ KINO CITY KINO WEDDING INTERNATIONAL FILM FILMFESTIVAL MAX FESTIVAL ROTTERDAM OPHÜLS PREIS D EISZEIT KINO D EVA-LICHTSPIELE D FILMKUNST66 D FILMRAUSCH- 2017 2017 PALAST D FSK-KINO AM ORANIENPLATZ D HACKESCHE HÖFE KINO D IL KINO D INTIMES D KROKODIL D KLICK KINO D SPUTNIK KINO AM SÜDSTERN D TILSITER LICHTSPIELE D UNION FILMTHEATER D XENON KINO D WOLF KINO D Z-INEMA D ZUKUNFT D B-WARE! OPEN AIR D FLB WEISSENSEE D FLK FRIEDRICHSHAGEN D FLK HASENHEIDE D FLK INSEL D FLK POMPEJI D FLK „UMSONST & DRAUSSEN“ IM FILMRAUSCHPALAST Tagebuch einer Begegnung EDITORIAL EIN FILM VON JAKOB PREUSS Der September ist reich an Metaphern.