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Eminent 310 Unique
Eminent 310 Unique The Eminent 310 Unique is a home electronic organ that was built and introduced in 1972 by the Dutch organ manufacturer Eminent Orgelbouw B.V.[1] in Lelystad, the Netherlands. 9. ARP String Ensemble ⓠThe sounds it incorporates are violin, viola, trumpet, horn, cello, and contrabass. The keyboard uses organ style divide-down technology to make it polyphonic, the built-in chorus effect gives the instrument its distinctive sound. Just a quick test to see if the VP-03 is up for some classic phased pads with an Electro Harmonix Small Stone phaser. I didn't push the mini-jack plug all the way into the socket on the VP-03, the chorus gets a bit more wobbly when the stereo channels are combined to mono. This video shows the Eminent 310 Unique in action. This is the organ heard on Oxygene! The Eminent 310U was the first organ featuring an electronic string OXYGENE Part 1 cover played on EMINENT 310 Unique ELECTRO HARMONIX SMALL STONE Jean-Michel JarreAnalogAudio1. 10 tahun yang lalu. OXYGENE variation - played with Eminent 310U Small Stone digital delay and Lexicon MPX500 reverb. Music by Jean Michel Jarre - a great musician. Sounds from Eminent 310Uelectone75. 4 tahun yang lalu. This site is fully dedicated to the eminent 310 Unique, a unique organ with a fascinating sound made by a dutch company at the Green Heart of the Netherlands, Bodegraven. The 310 has a huge popularity under Jean Michel Jarre fans -pioneer in the electronic music genre- who used this organ in 1976 for his well known composition Oxygen part IV. -
Herbie Hancock Sunlight Mp3, Flac, Wma
Herbie Hancock Sunlight mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Funk / Soul Album: Sunlight Country: US Released: 1978 Style: Fusion, Disco MP3 version RAR size: 1740 mb FLAC version RAR size: 1371 mb WMA version RAR size: 1380 mb Rating: 4.1 Votes: 104 Other Formats: MP1 XM RA DMF APE MP2 ADX Tracklist 1 I Thought It Was You + I Thought It Was You (Reprise) 2 Come Running To Me + No Means Yes (Part I) 3 No Means Yes (Conclusion) + Sunlight 4 Good Question + Good Question (Reprise) Credits Artwork [Cover Art] – Dario Campanile Bass – Byron Miller (tracks: 1), Jaco Pastorius (tracks: 4), Paul Jackson (tracks: 2 to 4) Congas – Raul Rekow (tracks: 1, 2, 4) Drums – Tony Williams* (tracks: 4), Harvey Mason (tracks: 4), James Levi (tracks: 2, 3), Leon Chancler* (tracks: 1) Engineer [Mastering] – Phil Brown Engineer [Recording] – David Rubinson, Fred Catero Guitar – Wah Wah Watson* (tracks: 1), Ray Parker Jr. (tracks: 1, 3) Percussion – Bill Summers (tracks: 2 to 4) Piano [Acoustic], Synthesizer [Arp Pro Soloist, Arp 2600, Arp Odyssey, Arp String Ensemble, E-mu Polyphonic Synthesizer, Oberheim Polyphonic Synthesizer + Obie I, Sequential Sircuits Prophet Synthesizer, Yamaha Cp-30, Yamaha Polyphonic Synthesizer], Clavinet [Hohner D6], Keyboards [Micro-moog, Mini-moog, Poly-moog], Electric Piano [Fender Rhodes], Vocoder [Sennheiser Vsm 201] – Herbie Hancock Producer – David Rubinson & Friends, Inc. Saxophone – Bennie Maupin (tracks: 3) Synthesizer [Additional] – Patrick Gleeson (tracks: 4) Tabla – Baba Duru (tracks: 2) Vocals – Herbie -
Muni 20081106
MUNI 20081106 JAZZ ROCK, FUSION… 01 Ballet (Mike Gibbs) 4:55 Gary Burton Quartet : Gary Burton-vibes; Larry Coryell-g; Steve Swallow-b; Roy Haynes-dr. New York, April 18, 1967. RCA LSP-3835. 02 It’s All Becoming So Clear Now (Mike Mainieri) 5:25 Mike Mainieri -vib; Jeremy Steig-fl; Joe Beck-elg; Sam Brown-elg,acg; Warren Bernhardt-p,org; Hal Gaylor-b; Chuck Rainey-elb; Donald MacDonald-dr. Published 1969. Solid State SS 18049. 03 Little Church (Miles Davis) 3:17 Miles Davis -tp; Steve Grossman-ss; Chick Corea, Herbie Hancock-elp; Keith Jarrett-org; John McLaughlin-g; Dave Holland-b,elb; Jack DeJohnette-dr; Airto Moreira-perc; Hermeto Pascoal-dr,whistling,voc,elp. New York, June 4, 1970. Columbia C2K 65135. 04 Medley: Gemini (Miles Davis) /Double Image (Joe Zawinul) 5:56 Miles Davis -tp; Wayne Shorter-ss; Joe Zawinul, Chick Corea-elp; John McLaughlin-g; Dave Holland-b; Khalil Balakrishna-sitar; Billy Cobham, Jack DeJohnette-dr; Airto Moreira-perc. New York, February 6, 1970. Columbia C2K 65135. 05 Milky Way (Wayne Shorter-Joe Zawinul) 2:33 06 Umbrellas (Miroslav Vitouš-W. Shorter-J. Zawinul) 3:26 Weather Report : Wayne Shorter -ss,ts; Miroslav Vitouš-b; Joe Zawinul -p,kb; Alphonse Mouzon-dr; Airto Moreira-perc. 1971. Columbia 468212 2. 07 Birds of Fire (John McLaughlin) 5:39 Mahavishnu Orchestra : John McLaughlin -g; Jerry Goodman-vio; Jan Hammer-kb,Moog syn; Rick Laird-b; Billy Cobham-dr. New York, 1973. Columbia KC 31996. 08 La Fiesta (Chick Corea) 7:49 Return to Forever : Joe Farrell-ss; Chick Corea -elp; Stanley Clarke-b; Airto Moreira-dr,perc; Flora Purim-perc. -
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S e p t W c t ^ '' - 1981 — S 2 . 5 / J \ f l \ % ELECTRONICPOLUPHOIMU MUSIC & HOME RECORDING ISSN : 0161- 4M4. ; 1 lasr *SkSi? 5 'jh 'SS O'J Psycho-Acoutic Experiments / Super Controller for SyntAe THE ULTIMATE KEYBOARD The Prophet-10 is the most complete keyboard instrument available today. The Prophet is a true polyphonic programmable synthesizer with 10 complete voices and 2 manuals. Each 5 voice keyboard has its own programmer allowing two completely different sounds to be played simultaneously. All ten voices can also be played from one keyboard program. Each voice has 2 voltage controlled oscillators, a mixer, a four pole low pass filter, two ADSR envelope generators, a final VCA and independent modula tion capabilities. The Prophet-10’s total capabilities are too The Prophet-10 has an optional polyphonic numerous to mention here, but some of the sequencer that can be installed when the Prophet features include: is ordered, or at a later date in the field. It fits * Assignable voice modes (normal, single, completely within the main unit and operates on double, alternate) the lower manual. Various features of the * Stereo and mono balanced and unbalanced sequencer are: outputs * Simplicity; just play normally & record ex * Pitch bend and modulation wheels actly what you play. * Polyphonic modulation section * 2500 note capability, and 6 memory banks. * Voice defeat system * Built-in micro-cassette deck for both se * Two assignable & programmable control quence and program storage. voltage pedals which can act on each man * Extensive editing & overdubbing facilities. ual independently * Exact timing can be programmed, and an * Three-band programmable equalization external clock can be used. -
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 -
Crow's Nest : 1975 : 11 : 06
University of South Florida Scholar Commons Crow's Nest University History: Campus Publications 11-6-1975 Crow's Nest : 1975 : 11 : 06 University of South Florida St. Petersburg. Follow this and additional works at: https://scholarcommons.usf.edu/crows_nest Recommended Citation University of South Florida St. Petersburg., "Crow's Nest : 1975 : 11 : 06" (1975). Crow's Nest. 108. https://scholarcommons.usf.edu/crows_nest/108 This News Article is brought to you for free and open access by the University History: Campus Publications at Scholar Commons. It has been accepted for inclusion in Crow's Nest by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. GROW'S NEST - uNIVERSITY OF SOUTH FLORIDA St. Petersburg CAmpus ---~ -----:~~""; -'7' "'.-:'•·:~:-= ..:::.-. ~· ~:~·~· 7-- ....~ ,-r;:r,?._ • 0' o,-~~~ .. • f ...~.~.;- -: ....... Vo l. -,, No. 5 0 • .o.~-.,.. ... ._••JIIS!.r.~ ........r..• ..: .:§•. ' ~4"•~-J\;. -- ..,.·~· ~· • ~~~ ., ' ..,#..;,;:...._• ~<-.'4\:a-_ November 6, 1975 BOOKSTORE The BOOKSTORE, located in the middle of Buildina A, is open: MONDAY to THURSDAY 9 - 1 PM 3 6:45 PM ''My big effort was to Ignore completely I FRIDAY 9 lPM the archeological vision of Rome. I tried USFSP Swimmit_'9 Pool It had been a long-standing project of to propose to the Imagination of the Felllnl's to adapt Petronius' SATYR/CON, audience a new vision of that time, CLOS£S NOVEMBER '7. a chronicle of what the author had because really what do we know about obseFVed at the court of Nero Defore he the Romans? fell out of the emperor's favor, written as From a psychological point of view, what evidence for future blackmail. -
Harpsichord 8' Delicate Harpsichord 8' Chorus Harpsichord 8' Spacey 2
iPiano Liste partielle des instruments, issue de http://www.ikmultimedia.com/products/igrandipad/ https://itunes.apple.com/fr/app/igrand-piano-for http://www.ikmultimedia.com/products/igrandipad/index.php?pp=igrand-piano-ipad-versions Piano Expansion Pack 1 1 Grand Piano 1 1 Baby Grand 2 Classical Piano 1 2 Bright Baby Grand 3 Jazz Piano 1 3 Classical Baby Grand 4 Rock Piano 1 4 Pop Baby Grand 5 Octave Piano 5 Grand Piano 2 6 Rich Upright 6 Mellow Grand 2 7 Rock Upright 7 Rock Piano 2 8 Soft Upright 8 Saloon Piano 9 Baby Grand 9 Grammophone Upright 10 Bright Baby Grand 11 Pop Baby Grand Piano Expansion Pack 2 12 Classical Baby Grand 1 Hollywood Piano 1 13 Grand Piano 2 2 Hollywood Piano 2 14 Mellow Grand 2 3 Hollywood Piano FX 15 Rock Piano 2 4 Piano and Strings 1 16 Saloon Piano 5 Piano and Strings 2 17 Grammophone Upright 6 Piano and Strings FX 18 Jazz Upright 7 7' Grand Piano 19 Hollywood Piano 1 8 7' Grand Piano CH 20 Hollywood Piano 2 9 7' Grand Piano FL 21 Hollywood Piano FX 10 7' Grand Piano PH 22 Piano and Strings 1 11 Alt Rock Upright 23 Piano and Strings 2 12 Deep Chorus Upright 24 Piano and Strings FX 13 Bright Pop Grand 25 7' Grand Piano 14 Chorused Pop Grand 26 7' Grand Piano CH 15 Real Tack Piano 27 7' Grand Piano FL 16 Saloon Tack Piano 28 7' Grand Piano PH 17 Harpsichord 8' 29 Alt Rock Upright 18 Harpsichord 8' Delicate 30 Deep Chorus Upright 19 Harpsichord 8' Chorus 31 Bright Pop Grand 20 Harpsichord 8' Spacey 32 Chorused Pop Grand 21 2-Octave Harpsichord 1 33 Real Tack Piano 22 2-Octave Harpsichord 2 34 Saloon Tack Piano -
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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. -
Dressin' to the Music
ual Junior Rafael is Au V d Velez’s narrative The Grady music scene io accompanies gathers Momentum C p h o t o s o f and the mystery of t h e G r a d y the Moog synthe- 6 Censorship sizer is investigated 6a r t s h o w 22this month. o at Youth Art Connection. m n ru t s o t R e Senior Erin Wert tells n how it was to grow up 1conservative in a liberal community. Social studies 18 teacher Lou Sartor weighs t in on the state of politics 8in this country and around the world. s rie ge a n e 10 Nexus10 explores M the War on Terror in Iraq and Afghanistan as told through the stories of Mr. Cramer discusses the math and construction of soldiers who fought the war. 2pipe organs. eBay has a MySpace deal and Beagle re 20 advertising. Also a calendar tu of April’s events. u o C 0 G r a c i e Cunningham discusses music’s influence on fashion through the years. Mr. 16 Martinez predicts the next trends for the year. C o v e r and content nexus art by Forrest Aguar Volume 2 Issue 3 March-April 2006 Contributing Writers From Lily Feinberg and Rebecca Gittelson- juniors Lily and Rebecca are officially the two coolest Jews at Grady, so it comes as no surprise that The they’re also best friends. Lily is known for her wicked mad skills at jazz piano and cutouts for The Southerner—even though she really hates Staff cutouts. -
Three-Fourths of Students Here Have Cheated 9 'If Cheaters Were Kicked Out
MADISON MEMORIAL LIBRARY Faculty suggest curb on weekday partying By TOM 1)1 LAN beer is not allowed in dor- The Faculty Senate voted mitories. Thursday to recommend to Several senators expressed the administration that all dissatisfaction with the incentives initiated by the current policy at Thursday's office of food services "to meeting, and the original increase alcohol consumption motion was negated by the one during weekdays be discon- the senate passed. tinued." The action was directed at The recommendation was Tuesday and Thursday night made in an effort to curb mid- activities in the Warren week partying. Campus Center. Popcorn was The original recom- free on Tuesday nights and mendation, proposed by the beer, though now sold at the Student Relations Committee, regular price, was once sold at called for the continuation of discount prices on Thursday the existing alcohol policy on nights. campus, but the motion was Although the discount is no tabled at a senate meeting longer offered, Thursday earlier this month. nights have remained the traditional weekly social According to the college event in the campus center. student handbook, the current One senator suggested college alcohol policy allows weekends "begin at noon consumption of beer in dorm Friday rather than Thursday rooms, but not in dormitory nights." hallways, lounges, or other WHY STAY IN a crowded dormitory when it's so nice out? Photo by Mark Thompson Another said that he didn't public places on campus. Keg (Continued on Page it) Vol. I.IV Tuesday. April 26, 1977 Madison College, Harrisonburg, Va. No. 50 Three-fourths of students here have cheated 9 'If cheaters were kicked out.. -
History of Recordl .« Dip Elton's Producer: Gus D B Reports Nevi/ Products Recat''e
JUNE /JULY 1976 VOL. 1 NO. 5 DON $1.50 RRII(G SERVING TODAY'S MUSIC/RECORDING-CONSCIOUS SOCIETY P.A71t1P History of RecordL .« dip Elton's Producer: Gus D b Reports Nevi/ Products Recat''E.-. www.americanradiohistory.com Think of them as your musical instruments. The audience can't see you. But they can sure isolated inputs and outputs, dual echo send hear you. busses, an input level attenuator that takes +4 dB They don't know it, but they're depending on just line level to -60 dB mike level in 11 steps, and 5- one person to get the music to them. And that guy frequency equalization. is you. Whether you choose the PM- 1000 -16, the It's not something an amateur can do. It's an art. PM- 1000 -24 or the PM- 1000 -32, Yamaha gives you And That's why Yamaha has designed 3 superb the flexibility you need to turn your job into an art. mixing consoles with the qualities and range of Ard because they're designed from the ground contrcls that the professional sound reinforcement up to perform on the road, more and more artist reeds. professional sound men around the United States For instance, our exclusive 4x4 matrix with level and the world are depending on Yamaha, night contrcls gives you more exacting mastery over after night, gig after gig. your sound than the conventional method of If you've never thought of your mixing console driving speaker amps directly from the bus as a musical instrument, we'd like to invite you to output. -
SYNTHI 100 MUSIC SYNTHESISER Nomination for Heritage Recognition Page 2
Engineers Australia Engineering Heritage Victoria Nomination Engineering Heritage Australia Heritage Recognition Program SYNTHI 100 MUSIC SYNTHESISER May 2016 Front Cover Photograph Caption Part of the control panel of the SYNTHI 100 analogue music synthesiser at the Melbourne Conservatorium of Music. Electronic Music Studios (London) Ltd built the synthesiser between 1971 and 1973. This machine is one of only three SYNTHI 100 synthesisers restored to original condition and operating in the world. Image: ABC News, Melbourne. SYNTHI 100 MUSIC SYNTHESISER Nomination for Heritage Recognition page 2 TABLE OF CONTENTS PAGE Table of Contents 3 1 Introduction 5 2 Heritage Nomination Letter 7 3 Heritage Assessment 8 3.1 Basic Data 8 3.2 Historical Notes 8 3.3 Heritage Listings 15 4 Assessment of Significance 16 4.1 Historical Significance 16 4.2 Historic Individuals or Association 23 4.3 Creative or Technical Achievement 24 4.4 Research Potential 33 4.5 Social 34 4.6 Rarity, Integrity and Intactness 35 4.7 Representativeness 37 4.8 Statement of Significance 37 4.9 Area of Significance 40 5 Interpretation Plan 41 5.1 General Approach 41 5.2 The Interpretation Panel 41 5.3 Possible Interpretation themes for Interpretation Panel 42 5.4 Preliminary Text Blocks for Interpretation Panel 42 6 References 44 7 Acknowledgments, Authorship and General Notes 46 SYNTHI 100 MUSIC SYNTHESISER Nomination for Heritage Recognition page 3 Appendix 1 EMS Synthi 100 Brochure 47 Appendix 2 Drawing of Interpretation Panel 56 Appendix 3 Associations and People Involved 57 A3.1 Peter Zinovieff 57 A3.2 David Cockerell 57 A3.3 Robert A Moog 57 Appendix 4 Recorded Demonstration of the Synthi 100 at the Conservatorium 59 Change Control 60 SYNTHI 100 MUSIC SYNTHESISER Nomination for Heritage Recognition page 4 1 Introduction There is only one key variable in music production as important, and as ubiquitous, as the natural human voice: the synthesiser.