Product Catalog 2013
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PRODUCT CATALOG WINTER 2014 the Original Red Keyboards the Nord Factory Is Located in the Creative Area of Stockholm Also Known As Sofo, in the District of Södermalm
Nord Keyboards Product Catalog Winter Catalog Product Keyboards Nord SYNTHESIZERS • STAGE PIANOS • COMBO ORGAN Handmade in Sweden by Clavia DMI AB 2014 PRODUCT CATALOG WINTER 2014 The Original Red Keyboards The Nord factory is located in the creative area of Stockholm also known as SoFo, in the district of Södermalm. With everything located in the same building, communication between development and production is only a matter of walking a few meters. We are proud to say all our Nord products are assembled by hand and they all go through a series of tough tests to ensure they’ll be ready for a long and happy life ‘on the road’. CONTENTS SYNTHESIZERS NORD LEAD A1 6 NEW NORD LEAD 4 14 NORD DRUM 2 22 STAGE PIANOS NORD ELECTRO 4 26 NORD PIANO 2 34 NORD STAGE 2 40 COMBO ORGAN NORD C2D 48 SOUND LIBRARIES 56 Manufacturer: Clavia DMI AB, Box 4214, SE-102 65 Stockholm, Sweden Phone: +46 8 442 73 60 | Fax: +46 8 644 26 50 | Email: [email protected] | www.nordkeyboards.com 3 IT ALL STARTED BACK IN 1983... In 1983 founder Hans Nordelius created the Digital In 2001 the first Nord Electro was released, In 2008 we released the Nord Electro 3 and the Percussion Plate 1 – the first drum pad allowing for introducing stunning emulations of classic vintage exclusively licensed sounds from the Mellotron and dynamic playing using sampled sounds. The DPP1 electro-mechanical instruments with a level of Chamberlin. The Electro 3 became one of the most was an instant success and soon thereafter the portability generally not associated with the original successful products we’ve ever made. -
The Vox Continental
Review: The Vox Continental ANDY BURTON · FEB 12, 2018 Reimagining a Sixties Icon The original Vox Continental, rst introduced by British manufacturer Jennings Musical Industries in 1962, is a classic “combo organ”. This sleek, transistor-based portable electric organ is deeply rooted in pop-music history, used by many of the biggest rock bands of the ’60’s and beyond. Two of the most prominent artists of the era to use a Continental as a main feature of their sound were the Doors (for example, on their classic 1967 breakthrough hit “Light My Fire”) and the Animals (“House Of The Rising Sun”). John Lennon famously played one live with the Beatles at the biggest-ever rock show to date, at New York’s Shea Stadium in 1965. The Continental was bright orange-red with reverse-color keys, which made it stand out visually, especially on television (which had recently transitioned from black-and-white to color). The sleek design, as much as the sound, made it the most popular combo organ of its time, rivaled only by the Farsa Compact series. The sound, generated by 12 transistor-based oscillators with octave-divider circuits, was thin and bright - piercing even. And decidedly low-delity and egalitarian. The classier, more lush-sounding and expensive Hammond B-3 / Leslie speaker combination eectively required a road crew to move around, ensuring that only acts with a big touring budget could aord to carry one. By contrast, the Continental and its combo- organ rivals were something any keyboard player in any band, famous or not, could use onstage. -
Arxiv:1910.11997V1 [Cs.SD] 26 Oct 2019 Ited Access to Such Data
MELLOTRON: MULTISPEAKER EXPRESSIVE VOICE SYNTHESIS BY CONDITIONING ON RHYTHM, PITCH AND GLOBAL STYLE TOKENS Rafael Valle*, Jason Li*, Ryan Prenger, Bryan Catanzaro NVIDIA Corporation ABSTRACT easily extended to singing voice synthesis (SVS) [3, 4]. Un- fortunately, recent attempts [4] require a singing voice dataset Mellotron is a multispeaker voice synthesis model based on and heavily quantized pitch and rhythm data obtained from a Tacotron 2 GST that can make a voice emote and sing with- digital representation of a music score, for example MIDI [5] out emotive or singing training data. By explicitly condition- or musicXML [6]. Mellotron does not require any singing ing on rhythm and continuous pitch contours from an audio voice in the dataset nor manually aligned pitch and text in signal or music score, Mellotron is able to generate speech order to synthesize singing voice. in a variety of styles ranging from read speech to expressive Mellotron can make a voice emote and sing without emo- speech, from slow drawls to rap and from monotonous voice tion or singing data. Training Mellotron is very simple and to singing voice. Unlike other methods, we train Mellotron only requires read speech and transcriptions. During infer- using only read speech data without alignments between text ence, we can change the generated voice’s speaking style, and audio. We evaluate our models using the LJSpeech and make it emote or sing by extracting pitch and rhythm char- LibriTTS datasets. We provide F0 Frame Errors and synthe- acteristics from an audio file or a music score. As a bonus, sized samples that include style transfer from other speakers, with Mellotron we can explore latent characteristics from an singers and styles not seen during training, procedural manip- audio corpus by sampling a dictionary of learned latent char- ulation of rhythm and pitch and choir synthesis. -
Read Razorcake Issue #27 As A
t’s never been easy. On average, I put sixty to seventy hours a Yesterday, some of us had helped our friend Chris move, and before we week into Razorcake. Basically, our crew does something that’s moved his stereo, we played the Rhythm Chicken’s new 7”. In the paus- IInot supposed to happen. Our budget is tiny. We operate out of a es between furious Chicken overtures, a guy yelled, “Hooray!” We had small apartment with half of the front room and a bedroom converted adopted our battle call. into a full-time office. We all work our asses off. In the past ten years, That evening, a couple bottles of whiskey later, after great sets by I’ve learned how to fix computers, how to set up networks, how to trou- Giant Haystacks and the Abi Yoyos, after one of our crew projectile bleshoot software. Not because I want to, but because we don’t have the vomited with deft precision and another crewmember suffered a poten- money to hire anybody to do it for us. The stinky underbelly of DIY is tially broken collarbone, This Is My Fist! took to the six-inch stage at finding out that you’ve got to master mundane and difficult things when The Poison Apple in L.A. We yelled and danced so much that stiff peo- you least want to. ple with sourpusses on their faces slunk to the back. We incited under- Co-founder Sean Carswell and I went on a weeklong tour with our aged hipster dancing. -
Arturia Farfisa V User Manual
USER MANUAL ARTURIA – Farfisa V – USER MANUAL 1 Direction Frédéric Brun Kevin Molcard Development Samuel Limier (project manager) Pierre-Lin Laneyrie Theo Niessink (lead) Valentin Lepetit Stefano D'Angelo Germain Marzin Baptiste Aubry Mathieu Nocenti Corentin Comte Pierre Pfister Baptiste Le Goff Benjamin Renard Design Glen Darcey Gregory Vezon Shaun Ellwood Morgan Perrier Sebastien Rochard Sound Design Jean-Baptiste Arthus Jean-Michel Blanchet Boele Gerkes Stephane Schott Theo Niessink Manual Hollin Jones Special Thanks Alejandro Cajica Joop van der Linden Chuck Capsis Sergio Martinez Denis Efendic Shaba Martinez Ben Eggehorn Miguel Moreno David Farmer Ken Flux Pierce Ruary Galbraith Daniel Saban Jeff Haler Carlos Tejeda Dennis Hurwitz Scot Todd-Coates Clif Johnston Chad Wagner Koshdukai © ARTURIA S.A. – 1999-2016 – All rights reserved. 11, Chemin de la Dhuy 38240 Meylan FRANCE http://www.arturia.com ARTURIA – Farfisa V – USER MANUAL 2 Table of contents 1 INTRODUCTION .................................................................... 5 1.1 What is Farfisa V? ................................................................................................. 5 1.2 History of the original instrument ........................................................................ 5 1.3 Appearances in popular music ......................................................................... 6 1.3.1 Famous Farfisa users and songs:..................................................................... 7 1.4 What does Farfisa V add to the original? ......................................................... -
Wednesday-Saturday •March 7-10, 2018
HHH from Washington, DC HHH The United States Army Band “Pershing’s- Own” AMERICAN TROM- BONE- WORKSHOPWEDNESDAY-SATURDAY • MARCH 7-10, 2018 2018 AMERICAN TROMBONE WORKSHOP WORKSHOP COMMITTEE WORKSHOP Chairman MSG Sam Woodhead Assistant Chairman SFC Chris Branagan Jazz Coordinator SFC Victor Barranco Solo Competition Coordinator SSG Omar Dejesus Quartet Competition Coordinator SFC C. Dale Moore Composition Competition Coordinator SFC James Kazik Welcome to the 2018 United States Army Band “Pershing’s Educational Coordinator Own” American Trombone Workshop. This marks the 25th MSG Craig Arnold year “Pershing’s Own” has organized and hosted the American Exhibits Coordinator Trombone Workshop. From its beginning in 1974 as the Eastern SSG Adam McColley Trombone Workshop, hosted by John Marcellus and John Archivist Mellick at Towson University, to today’s ATW, the workshop SFC Trent Stockton continues as an integral event for The U.S. Army Band “Pershing’s Own,” hosting leading soloists, clinicians, and educators, while Webmaster and Video Support also showcasing emerging young performers and trombone choirs SFC Thomas Bratten from all across the country. This year’s headlining artists include ARMY BAND SUPPORT BAND ARMY Boston Symphony Orchestra bass trombonist James Markey; Support Element Leader tenor trombonists Natalie Mannix, Joseph Rodriguez, Mark SGM Craig Lauinger Davidson, and Alex Iles; and the legendary Tom “Bones” Malone Marketing, Public Affairs, and Photography Support of the Blues Brothers and David Letterman’s Late Show Band, Ms. Jen Maly, SFC Chris Branagan, and who will all be performing with the outstanding ensembles of SSG Victoria Chamberlin “Pershing’s Own.” Music Library and Arranging SGM Laura Lineberger, MSG Michael Brown, Among the many ensemble concerts, solo performances, SFC James Kazik, SSG Rogelio Garza, and SSG Sara Corry and competitions, you will be able to see our featured artists Resource Management in masterclasses, lectures, and informative education panel MSG Winston J. -
2064 Congressional Record-Senate. February 12
2064 CONGRESSIONAL RECORD-SENATE. FEBRUARY 12, By Mr. CRUMPACKER: Petitions of 158 pastors of churches, SENATE. Sunday school officers and teachers, of Lafayette, Ind., and citi zens of Jasper County, Ind., to forbid the sale of intoxicating THURSDAY, February 12, 1903. liquors in all Government buildings-to the Committee on Alco Prayer by Rev. F. J. P.R.ETTYMAN, of the city of Washington. holic Liquor Traffic. T~e Secretary proceeded to read the Journal of yesterday s pro· By Mr. DRAPER: Petition of the American Blind People's ceedings, when, on request of Mr. BEVERIDGE, and by unanimous Higher Education and General Improvement Association favor consent, the further reading was dispensed with. ing the higher education of the blind-to the Committee ~n Edu The PRESIDENT pro tempore. The Journal will stand ap• cation. proved. By Mr. FITZGERALD: Resolutions of the American Chamber VETO MESSAGE-KATIE A.. NOLAN. of Commerce, of Paris, France, in favor of the adoption of the metric system in the United States-to the Committee on Coinage, The PRESIDE.NT pro tempore laid before the Senate the fol Weights, and Measures. ' lowing. message from the President of the United States; which By Mr. GOLDFOGLE: Resolutions of United Israel Lodge, was rea-d, and, with the accompanying bill, referred to the Com· No. 182, Order of B'rith Abraham, of New York City, N.Y., re mittee on Post-Offices and Post-Roads: . lating to methods of the Immigration Bureau at the port of New To the Senate: York~to the Con!m.ittee on Immigration and Naturalization. -
Latin American Nimes: Electronic Musical Instruments and Experimental Sound Devices in the Twentieth Century
Latin American NIMEs: Electronic Musical Instruments and Experimental Sound Devices in the Twentieth Century Martín Matus Lerner Desarrollos Tecnológicos Aplicados a las Artes EUdA, Universidad Nacional de Quilmes Buenos Aires, Argentina [email protected] ABSTRACT 2. EARLY EXPERIENCES During the twentieth century several Latin American nations 2.1 The singing arc in Argentina (such as Argentina, Brazil, Chile, Cuba and Mexico) have In 1900 William du Bois Duddell publishes an article in which originated relevant antecedents in the NIME field. Their describes his experiments with “the singing arc”, one of the first innovative authors have interrelated musical composition, electroacoustic musical instruments. Based on the carbon arc lutherie, electronics and computing. This paper provides a lamp (in common use until the appearance of the electric light panoramic view of their original electronic instruments and bulb), the singing or speaking arc produces a high volume buzz experimental sound practices, as well as a perspective of them which can be modulated by means of a variable resistor or a regarding other inventions around the World. microphone [35]. Its functioning principle is present in later technologies such as plasma loudspeakers and microphones. Author Keywords In 1909 German physicist Emil Bose assumes direction of the Latin America, music and technology history, synthesizer, drawn High School of Physics at the Universidad de La Plata. Within sound, luthería electrónica. two years Bose turns this institution into a first-rate Department of Physics (pioneer in South America). On March 29th 1911 CCS Concepts Bose presents the speaking arc at a science event motivated by the purchase of equipment and scientific instruments from the • Applied computing → Sound and music German company Max Kohl. -
Product Catalog 2017
Nord Keyboards Product Catalog 2017 Catalog Product Keyboards Nord STAGE PIANOS • SYNTHESIZERS • COMBO ORGAN Handmade in Sweden by Clavia DMI AB PRODUCT CATALOG 2017 The Original Red Keyboards The Nord factory is located in the creative area of Stockholm also known as SoFo, in the district of Södermalm. With everything located in the same building, communication between development and production is only a matter of walk- ing a few meters. We are proud to say all our Nord products are assembled by hand and they all go through a series of tough tests to ensure they’ll be ready for a long and happy life ‘on the road’. CONTENTS STAGE PIANOS NORD STAGE 3 6 NEW NORD PIANO 3 16 NORD ELECTRO 5 22 SYNTHESIZERS NORD LEAD A1 30 NORD LEAD 4 38 NORD DRUM 3P 46 COMBO ORGAN NORD C2D 50 SOUND LIBRARIES 58 Manufacturer: Clavia DMI AB, Box 4214, SE-102 65 Stockholm, Sweden Phone: +46 8 442 73 60 | Fax: +46 8 644 26 50 | Email: [email protected] | www.nordkeyboards.com 3 COMPANY HISTORY COMPANY IT ALL STARTED BACK IN 1983... In 1983 founder Hans Nordelius created the Digital introducing stunning emulations of classic vintage Chamberlin. The Electro 3 became one of the most In 2013 we celebrated our 30th anniversary as a musical Percussion Plate 1 – the first drum pad allowing for electro-mechanical instruments with a level of successful products we’ve ever made. instrument company by releasing the Nord Lead 4, Nord dynamic playing using sampled sounds. The DPP1 portability generally not associated with the original In 2010 the streamlined Nord Piano was introduced, Drum 2, Nord Pad and the Nord Piano 2 HP! At NAMM was an instant success and soon thereafter the instruments… a lightweight stage piano that featured advanced 2014 we announced the Nord Lead A1 – our award- brand name ddrum was introduced. -
De Smet Jesuit High School Fine Arts Department Spring 2021 End Of
De Smet Jesuit High School Fine Arts Department The Star Spangled Banner – Concert Band presents By Jonathan Stafford Smith Spring 2021 End of Semester Instrumental Music Concert Arr. John Phillip Sousa featuring Georgia on My Mind – Honors Jazz Combo By: Hoagie Carmichael and Stuart Gorrell Honors Instrumental Jazz Combo Featured soloists: Matt Licari (piano), Aidan Bartholet (guitar) Aidan Bartholet ’21 – Guitar Matt Licari ’21 – Piano Emmett Concannon ‘22 – Violin Charlie Llorico ’22 – Guitar Eye of the Tiger – Jazz Combo Justin Konieczny ’21 – Trombone Henry Reeder ’21 – Bass By: Frankie Sullivan and Jim Peterik Arr: Dave Wolpe Instrumental Jazz Combo Featured soloist: Liam Weishaar (trumpet) Clark Chamberlin ’24 – Piano Nick Montellano ’23 – Trumpet Andy Cross ’22 – Guitar Will Rasure ’22 – Drums Final Countdown – Concert Band Kalle Evjen ’23 – Alto Sax Rico Struckhoff ’24 – Tenor Sax By: Joey Tempest Drew Hahn ’23 – Bass Gabe Talken ’22 – Trumpet Arr: John Higgins Sebastian Helling ’24 – Adri Theerman-Rodriguez ’23 – Trumpet and Bari Sax Trombone Dominic Ilardi ’22 – Guitar Tyler Tucker ’23 – Bass Over the Rainbow – Honors Jazz Combo Aidan Madigan ’23 – Alto Sax Zach Veluz ’23 – Piano By: Harold Arlen Hudson Miller ’24 – Trumpet Liam Weishaar ’21 – Trumpet Arr: Jamey Aebersold Featured soloists: Aidan Bartholet (guitar), Justin Konieczny (trombone) Jazz Lab Charlie Erker ’24 – Drums Oliver Nichols ’24 – Guitar Dorian Journey – Jazz Lab Brady Govero ’23 – Guitar Nick Phillips ’24 – Guitar By: Doug Beach and George Shutack Tom Hale -
Builders of Dreams
THE MAGAZINE OF THE HAAS SCHOOL OF BUSINESS AT THE UNIVERSITY OF CALIFORNIA, BERKELEY University of California, Berkeley Nonprofit Organization Haas School of Business U.S. Postage 545 Student Services #1900 Paid Berkeley, CA 94720-1900 University of California, Berkeley BerkeleyHaasFall 2016 6 SUPERCHARGED 10 LESSONS FROM MT. EVEREST 16 A HEALTHY SUCCESS Quantifying the economic power of reliable Mountaineering illustrates the dangers of Albert Lee, MBA 04, helped make MyFitnessPal energy in developing nations groupthink for workplace teams the world’s leading fitness app · 2 · 1997 002 · 2 992 007 1 · 7 · 20 98 12 1 · · 2 2 0 8 1 9 6 1 · · E 7 M 7 9 April 28-30 B 1 A · 2 2 0 7 1 9 5 1 REUNIONREUNION WEEKENDWEEKEND Business Leaders of the Year 2017 BUILDERS Relive the best of your Berkeley-Haas experience! Catch up with classmates, listen to engaging lectures, make new connections, and bring your OF DREAMS family back to campus. Susan Chamberlin, MBA 87, and her husband, Steve, spent years planning new Everything you loved about business school—without the exams. structures and cityscapes. Now they’re redesigning the world of public education. haas.berkeley.edu/reunion #haasreunion #haasalumni Question the Status Quo Fall 2016 EXECUTIVE EDITOR FEATURES AND DEPARTMENTS The Beyond Yourself Issue Confidence Without Attitude Ute Frey UP FRONT MANAGING EDITOR Students Always Amy Marcott DESIGN Beyond Yourself Cuttriss & Hambleton, Berkeley STAFF WRITERS Berkeley-Haas alumni enjoy 15% off Laura Counts, Kim Girard, open-enrollment programs. -
A Brief, Comprehensive History of the Cordovox and Other Electronic Accordions” by Fabio G
“A Brief, Comprehensive History of the Cordovox and other electronic accordions” By Fabio G. Giotta Many technical and musical geniuses poured their hearts and souls in to the design and production of these amazing instruments whose electronic technology originated in the late 1950’s, 60’s and 70’s; the Ages of Technology, Space and Jet Travel. The acoustic accordion technology (typically 15,000 parts in a full size instrument) spans from roughly 1900 through the age of its electronic counterparts. This article endeavors to correct some of the rampant inaccuracies and invalid opinions about the Cordovox and other electronic accordions found on the World Wide Web, including some of the statements posted at Google Answers, and errant statements by some Ebay sellers and non-accordion oriented retailers, including musical instrument shops. Herein, I opine and make a combination of declarations, observations, and well-educated guesses based on my own personal experience with these instruments, continuing interaction with accordion industry experts such as: Gordon Piatanesi (Colombo & Sons Accordions-San Francisco, CA), Joe Petosa (Petosa Accordions-Seattle, WA), The curators of the Museo Internazionale Della Fisarmonica-Castelfidardo, Italia (International Museum of the Accordion), including Paolo Brandoni (Brandoni & Sons Accordions-General Accordion Co.), Fabio Petromilli (Comune of Castelfidardo), Beniamino Bugiolacchi-Museum President, and their colleagues Maestro Gervasio Marcosignori, concert accordionist, arranger, recording artist, and former Director of Instrument Development for Farfisa S.p.A. Organ electronics experts such as *Dave Matthews, *David Trouse, *David Tonelli and *Peter Miller, and study of written, official documents such as books, brochures, advertisements, owner’s guides, service manuals, and historical accounts, inlcluding the following: The Golden Age of the Accordion--Flynn/Davison/Chavez, Super VI Scandalli…Una Fisarmonica Nella Storia--Jercog, and Per Una Storia Della Farfisa-- Strologo.