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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 -
What Is an Instrument?
What is an instrument? • Anything with which we can make music…? • Rhythm, melody, chords, • Pitched or un-pitched sounds… • Narrow definitions vs. Extremely broad definitions Tone Colour or Timbre (pronounced TAM-ber) • Refers to the sound of a note or pitch – Not the highness or lowness of the pitch itself • Different instruments have different timbres – We use words like smooth, rough, sweet, dark – Ineffable? Range • Instruments and voices have a range of notes they can play or sing – Demo guitar and voice • Lowest to highest sounds • Ways to push beyond the standard range Five Categories of Musical Instruments Classification system devised in India in the 3rd or 4th century B.C. 1. Aerophones • Wind instruments, anything using air 2. Chordophones • Stringed instruments 3. Membranophones • Drums with heads 4. Idiophones • Non-drum percussion 5. Electrophones • Electronic sounds 1. Aerophones • Wind instruments, anything using air • Aerophones are generally either: • Woodwind (Doesn’t have to be wood i.e. flute) • Reed (Small piece of wood i.e. saxophone) • Brass (Lip vibration i.e. trumpet) Flute • Woodwind family • At least 30,000 years old (bone) Ex: Claude Debussy – “Syrinx” (1913) https://www.youtube.com/watch?v=C_yf7FIyu1Y Ex: Jurassic 5 – “Flute Loop” (2000) Ex: Van Morrison – “Moondance” (1970) (chorus) Ex: Gil Scott-Heron – “The Bottle” (1974) Ex: Anchorman “Jazz Flute”(0:55) https://www.youtube.com/watch?v=Dh95taIdCo0 Bass Flute • One octave lower than a regular flute Ex: Overture from The Jungle Bookhttps://www.youtube.com/watch?v=UUH42ciR5SA • Other related instruments: • Piccolo (one octave higher than a flute) • Pan flutes • Bone or wooden flutes Accordion • Modern accordion: early 19th C. -
Harpsichord and Its Discourses
Popular Music and Instrument Technology in an Electronic Age, 1960-1969 Farley Miller Schulich School of Music McGill University, Montréal April 2018 A thesis submitted to McGill University in partial fulfilment of the requirements of the degree of Ph.D. in Musicology © Farley Miller 2018 Table of Contents Abstract ................................................................................................................... iv Résumé ..................................................................................................................... v Acknowledgements ................................................................................................ vi Introduction | Popular Music and Instrument Technology in an Electronic Age ............................................................................................................................ 1 0.1: Project Overview .................................................................................................................. 1 0.1.1: Going Electric ................................................................................................................ 6 0.1.2: Encountering and Categorizing Technology .................................................................. 9 0.2: Literature Review and Theoretical Concerns ..................................................................... 16 0.2.1: Writing About Music and Technology ........................................................................ 16 0.2.2: The Theory of Affordances ......................................................................................... -
Ravi Coltrane Steps out of His Parents' Shadows And
001_COVER.qxd 7/18/08 3:49 PM Page 1 DOWNBEAT RAVI COLTRANE COURTNEY PINE KENNY WERNER CRAIG TABORN COLTRANE RAVI DownBeat.com $4.99 SEPTEMBER 2008 09 0 09281 01493 5 SEPTEMBER 2008 U.K. £3.50 002-005_MAST.qxd 7/18/08 3:54 PM Page 2 002-005_MAST.qxd 7/18/08 3:55 PM Page 3 002-005_MAST.qxd 7/18/08 3:55 PM Page 4 September 2008 VOLUME 75 – NUMBER 9 President Kevin Maher Publisher Frank Alkyer Editor Jason Koransky Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Kelly Grosser Intern Mary Wilcop ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 www.downbeat.com [email protected] CUSTOMER SERVICE 800-554-7470 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Austin: Michael Point; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Kansas: Kevin Whitehead; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, Willard Jenkins, David Kunian; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. -
Downbeat.Com July 2010 U.K. £3.50
.K. £3.50 .K. u downbeat.com July 2010 2010 July DownBeat Victor Wooten // clauDio RoDiti // Frank Vignola // Duke RoBillarD // John Pizzarelli // henry ThreaDgill July 2010 JULY 2010 Volume 77 – Number 7 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Kelly Grosser AdVertisiNg Sales Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] offices 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 http://downbeat.com [email protected] customer serVice 877-904-5299 [email protected] coNtributors Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Austin: Michael Point; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Marga- sak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Nor- man Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Go- logursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Jennifer Odell, Dan Ouellette, -
PERFORMER ROLE CODES Role Code
PERFORMER ROLE CODES To help calculate the share of revenues that individual performers should receive from use of a sound recording, a performer is assigned a contributor category and role code. Role codes are split into a number of types – not all of which are eligible for payment. Each type is further sorted into different instrumental, vocal or studio personnel performances, so that it is easy to identify what each performer contributed to a sound recording. Payable roles are generally ones which provide an audible contribution to the final sound recording. Non-payable roles are generally studio activities which add no audible contribution to the final sound recording. PAYABLE ROLES There are a number of payable roles. These are broken down into groups depending on the activity or instrument being played. See below all of the roles within each group. BRASS Role Code Alphorn ALP Alto Horn ALH Alto Trombone ATR Alto Valve Trombone AVT Bankia BKA Bass Trombone BTR Bass Trumpet BTP Bass Tuba BTB Brass Bass BRB Bugle BUE Cornet CTO Corno Da Caccia CDC Dung-Chen DUN Euphonium EUP FanfareTrumpet FFT Flugelhorn FLH French Horn FRH Horn HRN Horn HOR Hunting Horn (Valved) HHN Piccolo Trumpet PCT Sackbut SCK Slide Trumpet STP Sousaphone SOU Tenor Horn TNH Trombone TRM Trompeta TOA Trumpet TRU Trumpet (Eflat) TEF Tuba TUB ValveTrombone VTR ELECTRONICS Role Code Barrel Organ BRO Barrel Piano BPN Beat Box BBX DJ D_J DJ (Scratcher) SCT Emulator EMU Fairground Organ FGO Hurdy Gurdy HUR Musical Box BOX Ondioline OND Optigan OPG Polyphon PPN Programmer -
Rubber Souls: Rock and Roll and the Racial Imagination
Rubber Souls: Rock and Roll and the Racial Imagination The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Hamilton, John C. 2013. Rubber Souls: Rock and Roll and the Racial Imagination. Doctoral dissertation, Harvard University. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:11125122 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Rubber Souls: Rock and Roll and the Racial Imagination A dissertation presented by Jack Hamilton to The Committee on Higher Degrees in American Studies in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of American Studies Harvard University Cambridge, Massachusetts April 2013 © 2013 Jack Hamilton All rights reserved. Professor Werner Sollors Jack Hamilton Professor Carol J. Oja Rubber Souls: Rock and Roll and the Racial Imagination Abstract This dissertation explores the interplay of popular music and racial thought in the 1960s, and asks how, when, and why rock and roll music “became white.” By Jimi Hendrix’s death in 1970 the idea of a black man playing electric lead guitar was considered literally remarkable in ways it had not been for Chuck Berry only ten years earlier: employing an interdisciplinary combination of archival research, musical analysis, and critical race theory, this project explains how this happened, and in doing so tells two stories simultaneously. -
Signature Sounds Available
Guitar Pro 7: Signature Sounds available STEEL GUITAR America A Horse with no Name America Apologies All Apologies Nirvana Babe Babe I'm Gonna Leave You Led Zeppelin Blue Eyes Behind Blue Eyes Limp Bizkit Bron Bron Yr Aur Led Zeppelin California California Joni Mitchell Cat Father and Son Cat Stevens Clap The Clap Yes Cross Road Cross Road Blues Robert Johnson Drake Road Road Nick Drake Dreamin California Dreamin' The Mamas and the Papas Drive Drive Incubus Dylan Bob Dylan Extreme More Than Words Extreme Fade Fade to Black Metallica Fans Fans Kings of Leon Frizz Moon River Bill Frisell Gently While My Guitar Gently Weeps The Beatles Goodbye Last Goodbye Jeff Buckley Greensleeves Greensleeves Jeff Beck Harper Sexuel Healing Ben Harper Jessica Jessica The Allman Bothers Band Joni A Case of You Joni Mitchell Life 18 and Life Skid Row Long Train Long Train Running The Doobie Brothers Mainstreet Mainstreet Breakdown Chet Atkins My Mind Where Is My Mind The Pixies 1 No Rain No Rain Blind Melon November November Rain Guns 'N Roses Old Man Old Man Neil Young Overnight Overnight Bag Rory Gallagher Pinball Pinball Wizard The Who Presence Dear God Avenged Sevenfold Redemption Redemption Song Bob Marley Revolution Talkin 'Bout a Revolution Tracy Chapman Road Road Nick Drake September Ends Wake Me Up When September Ends Green Day Sixteen Tons Sixteen Tons Merle Travis Sky Eye Eye in the Sky Alan Pasons Project Sleep The Sleep Pantera Stairway Stairway to Heaven Led Zeppelin Stomp Bron-Y-Aur Stomp Led Zeppelin Summer All Summer Long Kid Rock Theater -
Electric Sitar
Presents Electric Sitar for NI Kontakt 4+ Go to Index: 2 1 Index Index 2 About the Electric Sitar 3 General Stuff 6 About the Presets 7 The Instrument Panel 8 The Articulation Page 8 About the String Selection 9 About the Auto Fret Selection 10 The Pickup/Mic. Page 12 The Settings Page 14 The P.B./Vibrato Page 16 The Key Switch Page 18 The Effects Panel 19 The Compressor Page 20 The EQ Page 20 The Chorus Page 21 The Delay Page 22 The Reverb Page 23 The Cabinet Page 23 The Space Page 24 License Agreement 25 Go to Index: 2 2 This is a sample library project I've been wanting to complete for some time and I believe we have something really special here for you! This instrument has a distinct and unique voice. Now that it is available as a virtual instrument I have no doubt that it's musical effectiveness can be greatly expanded beyond of solely creating a groovy 60s vibe. Electric Sitar Background The New Jersey-based Danelectro company produced an electric sitar and gave John Lennon and George Harrison the first two made. The instrument was designed by New York session musician Vinnie Bell. The Danelectro company was originally an amp manufacturer and later expanded into guitar production. Their goal was to make a guitar that sounded like a sitar made famous by on Beatles recordings, but in an easily playable form. Below is an excerpt from a terrific book called Beatles Gear by Andy Babiuk: Commenting on his guitar collection for a magazine feature in the 1980s, George Harrison pointed to an instrument and said: “ There's the electric sitar they gave me because of the Ravi Shankar thing. -
'The Role of Hawaiian Guitar in the Present Context of Hindustani
KARNATAK UNIVERSITY DHARWAD ‘The Role of Hawaiian Guitar in the Present Context of Hindustani Classical Music – A Practical Analysis’ A thesis submitted to the Karnatak University, Dharwad for the award of the degree of ‘Doctor of Philosophy’ in performing arts Research Student PRAKASH SONTAKKE Research Guide Dr. Smt. MEERA SHIVSHANKAR GUNDI Associate Professor (Retd.) MA Sangeetha & Phd P G Department of Music and Fine Arts Karnatak University, Dharwad January 2015 Sculpture depicting Lord Ganesha playing the ancient Indian slide veena CONTENTS Acknowledgments ................................................................................................................................ vi Certificate ............................................................................................................................................ ix Declaration ........................................................................................................................................... x Introduction .......................................................................................................................................... 1 1. The Hawaiian Guitar .................................................................................................................. 11 1.1. The History of the Hawaiian Guitar .................................................................................. 11 1.2. The Development of the Hawaiian Guitar as a Main Instrument ..................................... 15 1.2.1. Arrival of the Electric -
Quantum Leap Colossus
QUANTUM LEAP COLOSSUS COLOSSUS is the first, super high quality, complete sound set ever created. COLOSSUS is a massive 32 gigabyte (not megabyte) virtual instrument that covers all of the basic musical genres, the way a keyboard workstation attempts to, except COLOSSUS offers much higher quality than any keyboard available today. COLOSSUS is an indispensable tool that you will reach for time and time again when nothing else works, it will become your Swiss army knife of composing, and it’s GENERAL MIDI compatible! You can expect the usual QUANTUM LEAP quality in COLOSSUS. Even if you own some of these instruments, you will love this. A good example is the Fender Rhodes. Despite the fact the Rhodes has been successfully sampled many times, COLOSSUS includes a unique vintage sounding Rhodes you won’t find anywhere else. COLOSSUS includes 15 Gigs of new sounds recorded at Ocean Way Studio B (24-bit), a new 2 Gig piano recorded in Europe, and 15 Gigs from the award-winning range of QUANTUM LEAP and EASTWEST titles, all newly programmed with superior sound quality due to the features and improved audio quality of the included Native Instruments KOMPAKT player. Programming is kept very simple, and programs that utilize the mod-wheel are labeled appropriately. All programs have CC11 as an additional volume control. Many programs utilize auto sample alternation for added realism. For touring musicians, this is the ultimate instrument to have on the road or in a club, in fact, we are also releasing a hardware rack-mount version of COLOSSUS called COLOSSUS LIVE. -
Bubblegun Reviews ASSORTED REVIEWS on BUBBLEGUN by the MERRYMAKERS BAM California's Music Magazine ESSENTIALLY a TWO-MAN CORE
Bubblegun reviews ASSORTED REVIEWS ON BUBBLEGUN BY THE MERRYMAKERS BAM California's Music Magazine ESSENTIALLY A TWO-MAN CORE OF Swedes - Anders Hellgren and David Myhr - aided and abetted by various pals, the Merrymakers specialize in making pop of the purest form: Guitars jangle, vocal harmonies soar, love conquers all and the melodies stick in your head for days. Traces of Cheap Trick, ELO and (of course) the Beatles abound, but the Merrymakers' sound is a remarkably consistent one; Hellgren and Myhr are less interested in aping their idols than in building something new with the tools they've left behind. Though the songs are occasionally sweet to the point of becoming cloying, Bubblegun succeeds on the strength of cuts like "Superstar", "Ms Demeanor" and "April's Fool" (the latter co-written with former Jellyfish dude Andy Sturmer, who also produced four of the album's tracks), all of which make writing witty lyrics and twist-and-turn hooks sound like the easiest thing in the world. As an added enticement, the packgage also includes a bonus disc, which features five fine songs from the band's 1995 debut. - DAN EPSTEIN The onion The next great torchbearers of American power-pop may well be from Sweden. On The Merrymakers’ sophomore album (released elsewhere in 1997 and already a big hit in Japan), the group captures the style nearly perfectly, from swelling choruses to sentiments perfectly suited for sing-along pop songs and nowhere else. Best example of both: the chorus to ”Superstar,” which repeats, ”Don’t let go superstar / Let it show who you are / Don’t let go superstar / That’s what you are.” It’s pop at its (superficially) simplest and catchiest, but there’s a smartness and sophistication beneath the surface that never lets the music seem dispensable.