DOCSLIB.ORG

Uhf Synthesized Wireless Microphone System Uwp Series

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Uhf Synthesized Wireless Microphone System Uwp Series CHANGING UWP SERIES - LIBERTY UHF SYNTHESIZED WIRELESS MICROPHONE SYSTEM As the use of wireless microphone systems has increased dramatically for diverse applications, low-cost systems have become more popular, but transmission stability and noise problems have often been overlooked. Sony presents the ideal solution for THE WAY budget-conscious users seeking rock-steady wireless operations — the UWP Series UHF Synthesized Wireless Microphone System. BUSINESS The UWP Series consists of five core elements developed for top-of-the-line Sony wireless — a lavalier/bodypack transmitter, a wireless microphone systems, have been incorporated, handheld microphone, a portable tuner, a half- including the UHF PLL-synthesized system, rack-size tuner, and a tuner module. These are space-diversity reception and a tone squelch available in six turnkey packages, each function. These capabilities are typically found comprising a microphone, transmitter and only on high-end wireless systems. tuner, for a ready-to-go system straight out of Whether you use it with low-cost ENG the box. Each package has been carefully (Electronic News Gathering), EFP (Electronic compiled to address specific operational Field Production) or PA (Power Amplifier) needs, meaning the UWP Series can adapt to systems, the UWP Series delivers virtually any application. the convenience of noncompromised The UWP Series excels in transmission wireless microphone operation at a very stability. Sophisticated wireless technologies, affordable price. COMMUNICATES www.sonybiz.net UWP Series Common Features Stable Transmission and reception system, it achieves Pre-Programmed Operating Reception stable reception by using dual- Frequencies The UWP Series Wireless antenna inputs/reception circuits The transmitters and tuners Microphone System uses three that receive signals over two included in the UWP Series core technologies to provide different paths and automatically incorporate preprogrammed stable transmission and reception: selecting the stronger RF signal for frequencies that meet the wireless- output. The space diversity communication regulations of reception system is adopted in all each country. The UWP Series PLL Synthesized System UWP tuners – the portable tuner, operates within the following Key to achieving stable half rack-size tuner and tuner frequency ranges: transmission and reception is the module alike. What’s more, the use of a stable carrier signal to antennas of the portable and half- avoid interference with other rack-size tuners each allow for • U models: 758 MHz to 782 MHz frequency channels and to allow angle adjustments, which helps to or 782 MHz to 806 MHz the selection of a preferred further eliminate signal dropout. (188 selectable frequencies) channel from multiple frequencies. • CE models: 798 MHz to 822 MHz The UWP Series achieves this by Tone Squelch Circuitry or 838 MHz to 862 MHz (189 using a UHF PLL (Phase Locked selectable frequencies) Loop) frequency synthesized When operating a wireless system, which provides the use of microphone system, it is essential • AU models: 792 MHz to 806 MHz accurate carrier signal frequencies. that the tuner does not pick up (102 selectable frequencies) This system is used in both the carrier signals transmitted from transmitters and tuners, so that a other systems. In order to Simultaneous Multi-Channel stable carrier is generated at the avoid this, the UWP Series Operation transmitter and accurately tuned in handheld microphone and at the tuner. This PLL-controlled portable transmitter transmit a The UWP Series allows system provides highly stable, 32-kHz pilot-tone signal along with simultaneous operation of up to user-selectable frequencies in the audio signal. The squelch 16 wireless microphones. increments of 125 kHz. circuit of the UWP Series tuners Optimum combinations of recognizes this tone signal, and practically tested, interference-free will output the audio signal only frequencies are stored in Space Diversity Reception when this tone signal is received. the UWP tuners. By using System This function virtually prevents the the pre-programmed frequency In general, wireless microphone output of unwanted signals groups, users can easily choose transmission systems can be or noise from other signal interference-free frequenciesfor subject to reception interruptions transmissions in the air, as well as the transmitters and tuners, (signal dropout), but the UWP the RF noise and popping noise simplifying the task of Series reduces this to a minimum. that occur when the transmitter is system setup. By utilizing a space diversity powered on or off. FEATURES Lavalier Microphone and Bodypack Transmitter Bodypack Transmitter: • Approximately six hours of continuous operation with two AA-size alkaline • Compact and lightweight design (LR6) batteries • Attenuator function allows adjustment of • An LCD screen provides extensive the microphone-input level to suit each information, including the operating user’s voice channel number and its frequency in • Selectable RF-output level: 5 mW output MHz, attenuator level, RF-output level is suitable for simultaneous multi-channel setting (High/Low), audio-input status, operation, while 30 mW output is intended RF-output status, transmitter-battery for long-distance transmission status and accumulated operating time • A 3.5-mm dia., 3-pole mini-jack input Lavalier Microphones: connector with lock mechanism • Omni-directional type for the accepts the output of any lavalier UWP-C1 package microphones equipped with a 3.5 mm dia. mini plug, as well as the output of • Uni-directional type for the UWP-S1 and the supplied lavalier microphone UWP-X1 packages • Supplied with a belt clip • 1.2 m (3.9 feet) microphone cable • Supplied with a microphone windscreen and microphone-holder clip Handheld Microphone • Uni-directional, dynamic microphone • An internal LCD screen provides capsule extensive information, including the operating channel number and its • Internal antenna design frequency in MHz, attenuator level, • Attenuator function allows adjustment of RF-output level setting (High/Low), the audio-input level to suit each user’s audio-input status, RF-output status, voice transmitter-battery status and accumulated operating time • Selectable RF-output level: 5 mW output is suitable for simultaneous multichannel • Supplied with a microphone holder operation, while 30 mW output is and a screw adaptor intended for long-distance transmission • Approximately six hours of continuous operation with two AA-size alkaline (LR6) batteries Tuner Module • Compact, plug-in diversity tuner module: • RF squelch function virtually eliminates up to two tuner modules can be installed ambient noise and unwanted signals into a Sony all-in-one type presentation from other wireless microphone mixer/amplifier (SRP-X700P or systems SRP-X351P), while a maximum of six • An LCD screen displays the operating modules can be installed in the Sony channel number and its frequency in MB-806A tuner base unit MHz, plus the audio-output status and • Space diversity reception system for RF-input level stable RF reception • A green LED indicator illuminates when RF-input signals are appropriately received Photo shows tuner module installed in the MB-806A. Portable Tuner • Space diversity reception system for • A green LED indicator illuminates when stable RF reception RF-input signals are appropriately received • Angle-adjustable antennas to help eliminate signal dropout. This feature • Approximately six hours of continuous also allows mounting position flexibility operation with two AA-size alkaline when the portable tuner is mounted on (LR6) batteries a camcorder • Stereo mini jack with monitor-volume • RF squelch function virtually eliminates control ambient noise and unwanted signals from • Supplied shoe-mount adaptor enables other wireless microphone systems easy mounting on Sony camcorders. • An LCD screen provides extensive A microphone-stand adaptor, screw information, including the operating adaptor, microphone cable and belt clip channel number and its frequency in are also provided MHz, audio-output status, RF-input level, tuner-battery status and accumulated operating time Photo shows portable tuner mounted Photo shows portable tuner mounted on a microphone stand. on a DSR-PD150P. Half 19-Inch Rack-Size Tuner • Space diversity reception system for stable RF reception • Angle-adjustable antennas to help eliminate signal dropout • RF squelch function virtually eliminates ambient noise and unwanted signals from other wireless microphone systems • Equipped with both XLR (balanced) and 1/4-inch phone (unbalanced) type output connectors. The output level on the XLR-type connector can be switched between MIC and LINE levels • An LCD screen displays the operating channel number and its frequency in MHz, plus the audio-output status and Rear Panel RF-input level • A green LED indicator illuminates when RF-input signals are appropriately received • Stereo headphone jack with monitor volume-control on the front panel • Supplied with an AC/DC adaptor Six turnkey packages of: UWP-C1 UWP-C2 • Consists of an omni-directional lavalier microphone, • Consists of a handheld microphone and bodypack transmitter and portable tuner portable tuner • Suitable for a wide range of applications, from • Suitable for news gathering and for use in news gathering and interviews to talk shows PA systems and conferences • The handheld microphone is supplied with a • The lavalier microphone is supplied with a microphone holder
Load more

Recommended publications
  • Tools for Digital Audio Recording in Qualitative Research
    Sociology at Surrey University of Surrey social researchUPDATE • The technology needed to make digital recordings of interviews and meetings for the purpose of qualitative research is described. • The advantages of using digital audio technology are outlined. • The technical background needed to make an informed choice of technology is summarised. • The Update concludes with brief evaluations of the types of audio recorder currently available. Tools for Digital Audio Recording in Qualitative Research Alan Stockdale In a recent book Michael Patton writes, “As a naïveté, can heighten the sense of “being Dr. Stockdaleʼs training is in good hammer is essential to fine carpentry, there”. For discussion of the naturalization cultural anthropology. He is a a good tape recorder is indispensable to of audio recordings in qualitative research, senior research associate at fine fieldwork” (Patton 2002: 380). He see Ashmore and Reed (2000). Education Development Center goes on to cite an example of transcribers in Boston, Massachusetts, at one university who estimated that 20% Why digital? of the tapes given to them “were so badly where he currently serves Audio Quality as an investigator on several recorded as to be impossible to transcribe The recording process used to make genetics education research accurately – or at all.” Surprisingly there analogue recordings using cassette tape is remarkably little discussion of tools and introduces noise, particularly tape hiss. projects funded by the U.S. techniques for recording interviews in the Noise can drown out softly spoken words National Institutes of Health. qualitative research literature (but see, for and makes transcription of normal speech example, Modaff and Modaff 2000).
    [Show full text]
  • How to Tape-Record Primate Vocalisations Version June 2001
    How To Tape-Record Primate Vocalisations Version June 2001 Thomas Geissmann Institute of Zoology, Tierärztliche Hochschule Hannover, D-30559 Hannover, Germany E-mail: [email protected] Key Words: Sound, vocalisation, song, call, tape-recorder, microphone Clarence R. Carpenter at Doi Dao (north of Chiengmai, Thailand) in 1937, with the parabolic reflector which was used for making the first sound- recordings of wild gibbons (from Carpenter, 1940, p. 26). Introduction Ornithologists have been exploring the possibilities and the methodology of tape- recording and archiving animal sounds for many decades. Primatologists, however, have only recently become aware that tape-recordings of primate sound may be just as valuable as traditional scientific specimens such as skins or skeletons, and should be preserved for posterity. Audio recordings should be fully documented, archived and curated to ensure proper care and accessibility. As natural populations disappear, sound archives will become increasingly important. This is an introductory text on how to tape-record primate vocalisations. It provides some information on the advantages and disadvantages of various types of equipment, and gives some tips for better recordings of primate vocalizations, both in the field and in the zoo. Ornithologists studying bird sound have to deal with very similar problems, and their introductory texts are recommended for further study (e.g. Budney & Grotke 1997; © Thomas Geissmann Geissmann: How to Tape-Record Primate Vocalisations 2 Kroodsman et al. 1996). For further information see also the websites listed at the end of this article. As a rule, prices for sound equipment go up over the years. Prices for equipment discussed below are in US$ and should only be used as very rough estimates.
    [Show full text]
  • USB Recording Microphone
    FEATURES USING YOUR MICROPHONE Adjusting your microphone’s angle Front Position yourself 1.5 ft. (0.46 m) in front of the microphone with the Insignia Loosen the adjustment knobs to move the microphone to the position you Microphone: want, then retighten the knobs to secure. Captures audio. logo and mute button facing you. Mute button/Status LED: QUICK SETUP GUIDE Lights blue when connected to power. Lights red when muted. Adjustment knob USB Recording 1.5 ft. (0.46 m) Micro USB port: Tilt adjustment knobs: Attaching to a microphone stand Microphone Connect your USB cable (included) Adjust your microphone’s tilt angle. Your microphone’s cardioid recording pattern captures audio primarily from the 1 Unscrew the desk stand’s adjustment knob to remove the microphone. from this port to your computer. front of the microphone. This is ideal for recording podcasts, livestreams, NS-CBM19 Desk stand: voiceovers, or a single instrument or voice. Desk stand Holds your microphone. adjustment knob PACKAGE CONTENTS Side • Microphone • Desk stand Microphone 2 Screw the microphone onto a stand that has a 1/4" threaded adapter. • USB cable • Quick Setup Guide Desk stand adjustment knob Mounting hole: SYSTEM REQUIREMENTS Attaches the microphone Remove the desktop stand to screw Cardioid Windows 10®, Windows 8®, Windows 7®, or Mac OS X 10.4.11 or later to the stand. onto any ¼" threaded stand. recording pattern Mounting hole Before using your new product, please read these instructions to prevent any damage. SETTING UP YOUR MICROPHONE SETTING THE VOLUME The microphone is picking up background noise determined by turning the equipment off and on, the user is encouraged to try to correct the interference by Connecting to your computer Use your computer’s system settings or recording software to adjust the • This cardioid microphone picks up audio from the front and minimizes noise one or more of the following measures: Connect the USB cable (included) from your microphone to your computer.
    [Show full text]
  • ACCESS for Ells 2.0 Headset Specifications
    ACCESS for ELLs 2.0 Headset Specifications The table below outlines features for headsets and recording devices and WIDA’s rationale in recommending those features. Please note that WIDA does not endorse specific brands or devices. Recommended Reason for Recommendation Alternatives not Features Recommended Device: Allows for recording and playback using Separate headphones and Headset the same device. microphone increase the need to ensure proper connection and setup on the computer and thus complicate the testing site set-up. Headset Design: Comfortable when worn for a longer In ear headphones (ear buds) that Over Ear period of time by students of different are placed directly in the ear canal Headphones ages. Weight and size of headphones are more difficult to clean between can be selected based on students’ age. uses by different students. They are Portable headphones are smaller and also not suitable for younger lighter and hence may be suitable for students. Many ear buds come with younger students. Deluxe headphones the microphone attached to the are larger and heavier but have the cord, making capturing the advantage of canceling out more noise. students’ voice more of a challenge. Play Back Mode: The sound files of the assessment are Stereo recorded and played back in stereo. Noise Cancellation Noise cancellation often does not Many headsets with a noise Feature: cancel out the sound of human voices. cancellation feature require a power source (e.g. batteries or USB None connection) and hence complicate the testing site set-up. Type of Connector Some computers have two ports for Many USB-connected headsets Plug: connecting audio-out and audio-in require driver installation, but • Single 3.5 mm separately, while others have one port perform adequately for audio plug (TRRS) for both.
    [Show full text]
  • USING MICROPHONE ARRAYS to RECONSTRUCT MOVING SOUND SOURCES for AURALIZATION 1 Introduction
    USING MICROPHONE ARRAYS TO RECONSTRUCT MOVING SOUND SOURCES FOR AURALIZATION Fanyu Meng, Michael Vorlaender Institute of Technical Acoustics, RWTH Aachen University, Germany {[email protected]) Abstract Microphone arrays are widely used for sound source characterization as well as for moving sound sources. Beamforming is one of the post processing methods to localize sound sources based on microphone array in order to create a color map (the so-called “acoustic camera”). The beamformer response lies on the array pattern, which is influenced by the array shape. Irregular arrays are able to avoid the spatial aliasing which causes grating lobes and degrades array performance to find the spatial positions of sources. With precise characteristics from the beamformer output, the sources can be reconstructed regarding not only spatial distribution but also spectra. Therefore, spectral modeling methods, e.g. spectral modeling synthesis (SMS) can be combined to the previous results to obtain source signals for auralization. In this paper, we design a spiral microphone array to obtain a specific frequency range and resolution. Besides, an unequal-spacing rectangular array is developed as well to compare the performance with the spiral array. Since the second array is separable, Kronecker Array Transform (KAT) can be used to accelerate the beamforming calculation. The beamforming output can be optimized by using deconvolution approach to remove the array response function which is convolved with source signals. With the reconstructed source spectrum generated from the deconvolved beamforming output, the source signal is synthesized separately from tonal and broadband components. Keywords: auralization, synthesizer, microphone arrays, beamforming, SMS PACS no.
    [Show full text]
  • Application Notes
    Measurement of Loudspeaker and Microphone Performance using Dual Channel FFT-Analysis by Henrik Biering M.Sc, Briiel&Kjcer Introduction In general, the components of an audio system have well-defined — mostly electrical — inputs and out­ puts. This is a great advantage when it comes to objective measurements of the performance of such devices. Loudspeakers and microphones, how­ ever, being electro-acoustic transduc­ ers, are the major exceptions to the rule and present us with two impor­ tant problems to be considered before meaningful evaluation of these devices is possible. Firstly, since measuring instru­ ments are based on the processing of electrical signals, any measurement of acoustical performance involves the Fig. 1. General set-up for loudspeaker measurements. The Digital Cassette Recorder Type use of both a transmitter and a receiv- 7400 is used for storage of the measurement set-ups in addition to storage of the If we intend to measure the re- measured data. Graphics Recorder Type 2313 is used for reformatting data and for ., „ J, ,, „ plotting results sponse of one of these, the response ol the other must have a "flat" frequency response, or at least one that is known in advance. Secondly, neither the output of a loudspeaker nor the input to a micro­ phone are well-defined under practical circumstances where the interaction between the transducer and the room cannot be neglected if meaningful re­ sults — i.e. results correlating with subjective evaluations — are to be ob­ tained. See Fig. 2. For this reason a single specific measurement type for the character­ ization of a transducer cannot be de- r.- n T ,-,,-,■ -.
    [Show full text]
  • 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.
    [Show full text]
  • How to Effectively Listen and Enjoy a Classical Music Concert
    HOW TO EFFECTIVELY LISTEN AND ENJOY A CLASSICAL MUSIC CONCERT 1. INTRODUCTION Hearing live music is one of the most pleasurable experiences available to human beings. The music sounds great, it feels great, and you get to watch the musicians as they create it. No matter what kind of music you love, try listening to it live. This guide focuses on classical music, a tradition that originated before recordings, radio, and the Internet, back when all music was live music. In those days live human beings performed for other live human beings, with everybody together in the same room. When heard in this way, classical music can have a special excitement. Hearing classical music in a concert can leave you feeling refreshed and energized. It can be fun. It can be romantic. It can be spiritual. It can also scare you to death. Classical music concerts can seem like snobby affairs full of foreign terminology and peculiar behavior. It can be hard to understand what’s going on. It can be hard to know how to act. Not to worry. Concerts are no weirder than any other pastime, and the rules of behavior are much simpler and easier to understand than, say, the stock market, football, or system software upgrades. If you haven’t been to a live concert before, or if you’ve been baffled by concerts, this guide will explain the rigmarole so you can relax and enjoy the music. 2. THE LISTENER'S JOB DESCRIPTION Classical music concerts can seem intimidating. It seems like you have to know a lot.
    [Show full text]
  • S5.3 Series - 12 Channel Wireless System
    The Worlds Finest Wireles Systems Wireless Catalog S5.3 Series - 12 Channel Wireless System The S5.3 Series is widely used by semi professional and professionals in theater, concerts and broadcasting thanks to it’s easy to use and reliable performance. Enabling up to 12 simultaneous channels to run at once, the S5.3 Series boasts an exceptional performance/cost ratio for venues of any size. 12 Channels Up to 12 channels can run simultaneously UHF Dual Conversion Receiver Fully synthesized UHF dual conversion receiver Long Battery Life A single AA battery gives up to 10 hours of quality performance with a range of up to 100 meters S5.3 Series 12 Channel Wireless System S5.3-RX Receiver True diversity operation Power Consumption 300 mA (13V DC) Space Diversity (true diversity) Up to 640 selectable frequencies Diversity System Audio Output Line: -22dB / Mic: 62dB USB based computer monitoring Antenna Phantom 9V DC, 30 mA (max) Frequency scan function Power Integral tone grip/noise and signal Receiving Sensitivity 0 bD V or less(12dB SINAD) strength mute circuit for protection Squelch Sensitivity 6-36dB μV variable against external interference S/N Ratio Over 110dB (A-weighted) Simple programming of transmitter with Harmonic Distortion Under 1% (typical) built-in Infra-red data link Frequency Response 50Hz-20kHz, +3dB Dimensions 210(W) x 46(H) x 210(D) mm (8.3” x 1.8” x Clear and intuitive LCD displays 8.3”) excluding antenna Professional metal enclosure Weight 1.3kg (2.87lbs) S5.3 Series Kits Dynamic Handheld Mic Set Lavaliere Microphone Set S5.3-HD=S5.3-RX+S5.3-HDX S5.3-L=S5.3-RX+S5.3-BTX+Lavaliere Mic Condenser Handheld Mic Set S5.3-HC=S5.3-RX+S5.3-HCX S5.3 Series S5.3-HDX (Dynamic) 12 Channel Wireless System S5.3-HCX (Condenser) Handheld Transmitter Simple programming of transmitter with built-in infra-red data link Frequency and Power lock facility Single AA transmitter battery life of approx 10 hours.
    [Show full text]
  • Digital Mixing System D-2000 Series
    Digital Mixing System D-2000 Series Integrating high-performance mixing, matrixing and processing functions to meet a wide scope of sound reinforcement applications Expandable all-in-one designs ideal offering easy operation, advanced functions and system control capabilities Expandable to a massive 128 input/output configuration, the D-2000 Series includes various modules and peripherals that can be combined to create the best possible sound in small to medium-size venues of all types, including hotel banquet and function rooms, indoor sports facilities, multipurpose halls and places of worship and many others. Creating the ideal sound environment » Auto-mixing advantages » Highly effective feedback suppression NOM (Number of Open Microphones) - automatically adjusts The D-2000 Series provides feedback elimination for up output level based on the total number of open microphones. to 4 channels. In addition, each channel can control 12 Ducker function (Auto-Mute function) - automatically works to problem frequencies. This makes it convenient for feedback attenuate outputs of channels with low priority. suppression in different areas of the same hall. 2 versatile suppression modes Either presettable Auto Mode or realtime Dynamic Mode can be selected to suit the situation and eliminate feedback. » Essential audio processing Delay, High-, Low-Pass and Notch Filters, Parametric Equalizers, Compressor/Auto Leveller, Gate, Crossovers and Crosspoint Gain. User-friendly design facilitates operation by any user » 32 preset memories for user convenience. Up to 32 different routing and parameter configurations can be stored in memory and called up to handle venues such as multi-purpose halls and conference rooms that require frequent changes in staging, seating and speaker arrangements.
    [Show full text]
  • Microkorg Owner's Manual
    E 2 ii Precautions Data handling Location THE FCC REGULATION WARNING (for U.S.A.) Unexpected malfunctions can result in the loss of memory Using the unit in the following locations can result in a This equipment has been tested and found to comply with the contents. Please be sure to save important data on an external malfunction. limits for a Class B digital device, pursuant to Part 15 of the data filer (storage device). Korg cannot accept any responsibility • In direct sunlight FCC Rules. These limits are designed to provide reasonable for any loss or damage which you may incur as a result of data • Locations of extreme temperature or humidity protection against harmful interference in a residential loss. • Excessively dusty or dirty locations installation. This equipment generates, uses, and can radiate • Locations of excessive vibration radio frequency energy and, if not installed and used in • Close to magnetic fields accordance with the instructions, may cause harmful interference to radio communications. However, there is no Printing conventions in this manual Power supply guarantee that interference will not occur in a particular Please connect the designated AC adapter to an AC outlet of installation. If this equipment does cause harmful interference Knobs and keys printed in BOLD TYPE. the correct voltage. Do not connect it to an AC outlet of to radio or television reception, which can be determined by Knobs and keys on the panel of the microKORG are printed in voltage other than that for which your unit is intended. turning the equipment off and on, the user is encouraged to BOLD TYPE.
    [Show full text]
  • Optical Turntable As an Interface for Musical Performance
    Optical Turntable as an Interface for Musical Performance Nikita Pashenkov A.B. Architecture & Urban Planning Princeton University, June 1998 Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning, in partial fulfillment of the requirements for the degree of Master of Science in Media Arts and Sciences at the Massachusetts Institute of Technology June 2002 @ Massachusetts Institute of Technology All rights reserved MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUN 2 7 2002 LIBRARIES ROTCH I|I Author: Nikita Pashenkov Program in Media Arts and Sciences May 24, 2002 Certified by: John Maeda Associate Professor of Design and Computation Thesis Supervisor Accepted by: Dr. Andew B. Lippman Chair, Departmental Committee on Graduate Studies Program | w | in Media Arts and Sciences Optical Turntable as an Interface for Musical Performance Nikita Pashenkov Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning, on May 24, 2002, in partial fulfillment of the requirements for the degree of Master of Science in Media Arts and Sciences Abstract This thesis proposes a model of creative activity on the computer incorporating the elements of programming, graphics, sound generation, and physical interaction. An interface for manipulating these elements is suggested, based on the concept of a disk-jockey turntable as a performance instrument. A system is developed around this idea, enabling optical pickup of visual informa- tion from physical media as input to processes on the computer. Software architecture(s) are discussed and examples are implemented, illustrating the potential uses of the interface for the purpose of creative expression in the virtual domain.
    [Show full text]