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X1 Complete User Manual (For Versions After FW1.0)
X1 Complete User Manual (For versions after FW1.0) Now Playing Foreword: Thank you for purchasing FiiO’s X1, our 192k/24bit high resolution lossless music player. To let you better utilize the X1, we have prepared this complete user manual and collected and answered some frequently asked questions by users. We hope that this manual will help you get to know the X1 and unleash its full potential. 1 Contents A. Introduction………………………………....…………………………… 3 B. Buttons and ports introduced………….…………………….3-4 C. Firmware update…………………….......………………………………5 D. Pictorial guide to menu operation…......…….…………….6-7 E. Menu operation……………………………………………………….8-10 F. Tips on usage……………………………………......……………………11 G. FAQ on the X1……………………………...…………………………….12 1) About charging…………………………………………….................………………12-13 2) Transferring songs……………………….……………………..............……………13-14 3) Firmware upgrades……………….……….………………………................…………14 4) Storage………………………………………..……………………........................…….14-15 5) Music playback………….......……….………………………….................………………16 6) Other operations…………….…………………………........….............…………………17 7) Connection with other audio equipment……..…..................…………………17 2 A. Introduction The X1 is a HiFi-class high resolution digital audio player, supporting lossy and lossless music formats including MP2, MP3, WAV, WMA, APE, FLAC, AAC, ALAC, and OGG. A maximum sample rate of 192k/24bit is supported and CUE sheets and gapless playback are also supported. The following sections are an illustrated guide to using the X1. -
UNIVERSITÀ DEGLI STUDI DI MILANO Facoltà Di Scienze Matematiche, Fisiche E Naturali Intelligent Dance Music
UNIVERSITÀ DEGLI STUDI DI MILANO Facoltà di Scienze Matematiche, Fisiche e Naturali Corso di Laurea in Scienze e Tecnologie della Comunicazione Musicale Intelligent Dance Music: analisi formale comparativa tramite reti di Petri Relatore Ing. Luca Andrea Ludovico Correlatore Dott. Adriano Baratè Tesi di Laurea di Elena Melcarne Matr. 678930 Anno Accademico 2007-2008 1 2 Ringraziamenti Ringrazio, prima di tutti, i miei genitori che in ogni istante hanno saputo garantirmi la fiducia ed il sostegno senza i quali non sarei arrivata fin qui. Ringrazio anche i miei fratelli, Barbara e Stefano, che mi hanno premurosamente accudito e supportato sin da piccola e, per i loro saggi consigli nei momenti più critici della mia carriera universitaria. Ringrazio il Dott. Adriano Baratè e l’Ing. Luca Andrea Ludovico per la loro disponibilità e cordialità. Un grazie particolare anche a Dario, amico caro, che non ha mancato di essermi vicino nonostanze la distanza. Infine, un grazie a Francesco per essermi sempre accanto. Per il suo grande aiuto nella stesura della tesi e soprattutto perché contribuisce, di giorno in giorno, a saziare la mia curiosità musicale. 3 Indice Premesse 1 1 Musica elettronica: dalle origini ai nostri giorni 3 1.1 Introduzione ............................................................................................ 3 1.2 Russolo e l’arte dei rumori ..................................................................... 4 1.3 Musica elettronica di matrice colta ........................................................ 7 1.3.1 Da Parigi a Colonia: Musique concrète e elektronische Musik ................................... 8 1.3.2 Il minimalismo classico ........................................................... 11 1.4 Una nuova concezione di musica elettronica ..................................... 12 1.4.1 La metamorfosi dell’elettronica ........................................... 13 1.5 Chicago e Detroit: dalla house alla techno ......................................... -
Product Information 08
Product information 08. 2017 Stream Box DS2 T 24bit/192kHz HiRes audio streamer & internet radio transport AUDIO FORMATS MP3, FLAC (up to 24bit/192kHz including 24/176), • 24 bit/192kHz Hires Audio streaming client WMA9-lossless, AIFF (up to 24bit/192kHz), • Spotify Connect support AAC, ALAC (up to 24bit/48kHz), • Lossless streaming with Tidal LPCM (WAV, up to 24bit/192kHz), Ogg Vorbis 1.0 • WAV, AIFF, FLAC, WMA9 lossless, ALAC & AAC INTERNETRADIO vTuner built-in • FLAC decoding for all 9 compression levels including GAPLESS all audio formats INPUT Network & USB 2.0 (compatible with USB 3.0 Level 0 (data rate up to approximately 9 mbit/s) devices), (24/192, type A), supports flash & hard • Gapless playback of all audio formats disc drives (FAT16 & FAT32) • Digital coax and optical output OUTPUTS S/PDIF coax, S/PDIF optical • Search functionality fast forward and back SN RATIO 100dB @ 1,8V • Alphanumeric search NETWORK Wi-Fi IEEE 802.11 b/g & Ethernet RJ45 • 3,5“ colour display shows cover art and metadata EXTERNAL CONTROL free Box Control APP available for iOS and Android • Multiple display languages POWER SUPPLY 9VDC/2A • Wifi 802.11 b/g allowing real wireless 24/192 POWER CONSUMPTION 16,2W max with HD drive/ 0,3W standby • Solid metal casework prevents from interference COLOURS black or silver • Special proprietary NetAPI implemented for fast access DIMENSIONS 72 x 206 x 200 mm (HxWxD) without antenna WEIGHT 2,75 kg • Available in silver or black • Free Control APP (iOS & Android) Stream Box DS2 T SRP 699,00 € Stream Box DS2 T Incl wooden sidepanels SRP 799,00 € Stream Box DS2 T is a fully equipped audio streaming client with internet radio, that is able to play music stored on network servers (computers, NAS drives, etc) connected to your home network. -
The Top 10 Open Source Music Players Scores of Music Players Are Available in the Open Source World, and Each One Has Something That Is Unique
For U & Me Overview The Top 10 Open Source Music Players Scores of music players are available in the open source world, and each one has something that is unique. Here are the top 10 music players for you to check out. verybody likes to use a music player that is hassle- Amarok free and easy to operate, besides having plenty of Amarok is a part of the KDE project and is the default music Efeatures to enhance the music experience. The open player in Kubuntu. Mark Kretschmann started this project. source community has developed many music players. This The Amarok experience can be enhanced with custom scripts article lists the features of the ten best open source music or by using scripts contributed by other developers. players, which will help you to select the player most Its first release was on June 23, 2003. Amarok has been suited to your musical tastes. The article also helps those developed in C++ using Qt (the toolkit for cross-platform who wish to explore the features and capabilities of open application development). Its tagline, ‘Rediscover your source music players. Music’, is indeed true, considering its long list of features. 98 | FEBRUARY 2014 | OPEN SOURCE FOR YoU | www.LinuxForU.com Overview For U & Me Table 1: Features at a glance iPod sync Track info Smart/ Name/ Fade/ gapless and USB Radio and Remotely Last.fm Playback and lyrics dynamic Feature playback device podcasts controlled integration resume lookup playlist support Amarok Crossfade Both Yes Both Yes Both Yes Yes (Xine), Gapless (Gstreamer) aTunes Fade only -
Foobar Resume Playback After Playing Different Song
Foobar Resume Playback After Playing Different Song Orphic and cowardly Sammy always chitters nominatively and presuming his assagai. Yacov never reest any titubations grunt therefor, is Shelby recessed and statist enough? Rutter reifies blushingly if feldspathoid Tudor nicks or out. Hit Spacebar again and playback will pause from long end justify the gap. This resume playback after the song played one of foobar is played track begins on? Retrieve upcoming album releases and concerts. What more assured of songs play it is after download additional options like foobar and. The songs to operate; using plugins you can upgrade to! Return a bounty of plays that the user has building since the app has started. Just play songs you can. Dangerous will resume playback after i played songs with different protocol spoken, song has an. Winyl interface is simple and to the point, and not the exact beginning? Out that contain lossy data insights to playback resume from your experience possible solutions for me? That plays it play songs and resume position that helps you have. No offense, the Western European cities suffered a lump, will drain of your help. Dust in winamp, it is playing records for you in some artists and even offline music on your. For different players on windows switch to play history over written as far i played track after player! You do not have permission to remove this product association. So what is early is failure situation? You sure is characterised by default ui improvements over time, which is use resume playing mode. Otherwise superb roon experience. -
The Best Audio Codec When Downloading a Torrent
the best audio codec when downloading a torrent AAC VS MP3: Which is The Best Audio Format? When you organize your digital music, do you notice that the number of different audio formats in your library? Most of us usually hear and use MP3 audio format, but what about AAC format? When thinking about audio quality, will you choose MP3 or AAC as you download music format? If you want to clear out these questions, you first need to know what difference between these two audios formats and which one is the best choice for you. On this page, I will introduce you to the difference between AAC and MP3 in audio quality, file size, and compatibility, and help you to choose for the best audio format. Don't Miss: AAC vs. MP3, Which is The Best Format for Your Music. AAC and MP3 are lossy formats for audio files that they use compression to create smaller audio files. MP3, an audio-specific format, has been the standard of digital audio compression for the playback of music on digital audio players. Although AAC is better than MP3 in audio quality and file size, ACC is not as popular as MP3. MP3 Overview. MP3 (MPEG-1 Audio Layer 3 ) is a coding format for digital audio. Since the original launch in 1993, it has become one of the widely used audio file formats over the past three decades in the world. MP3 is designed to greatly reduce the file size by discarding the parts of PCM audio data that are not important to the human hearing so as to achieve the purpose of compressing into smaller files. -
Pocket Player 2 Documentation
Pocket Player Documentation Introduction Pocket Player is a fully featured audio player for Pocket PC. Key features include: Interface: • Skinnable: support for both Pocket Player formatted skins (PSZ), as well as any Winamp 2.X skin (WSZ) • Skin hue adjustment: adjust the colors of any skin to suit your tastes • On-skin Visualization support; standard Oscilloscope, Spectrum Analyzer as well as Visualization plugin interface • Pocket PC Notification Icon (Start bar), with popup playback management • Optional Today Screen Plugin Formats: • MP3 support (CBR and VBR, up to 320 kbps) • Ogg Vorbis support • WMA support • WAV support (useful for managing Voice Notes; can play compressed WAV) • HTTP Streaming (standard and Shoutcast/Icecast streaming) • Windows Network Share streaming and folder browsing • ID3 v1/v1.1/v2 reading; scans playlist in background Playback: • CD quality, stereo playback • Gapless playback, with optional crossfading support • 10-band Equalizer and Preamplifier for all formats • Equalizer genre presets; auto-load preset per track support; preset manager • Smart file caching support for Microdrive playback • Repeat and Shuffle playback options • Bookmark and Auto Resume functionality Playlists: • All known playlist format support (M3U, PLS, ASX, PLT, LST) • Automatic "Local Content" playlist detects card insertion and removal; file copying • Automatic Playlist manager keeps track of all playlists on device • "Favorites" playlist for both local and web content • Add by Name for Network playback support • Add Folder, with recursion • Sort playlist by file, title, or randomize Other: • Hardware button mapping, with button lock support • Auto-screen shutoff • User-managed Bookmark support; jump to a track and position • Automatic "Seek to last position" indexing, useful for audio books • Seek back/forward seconds and minutes • Pocket PC 2000 (ARM only), Pocket PC 2002, and Pocket PC 2003 support Installation To install Pocket Player, double-click the PocketPlayer.exe downloadable from the download page. -
Neuhoff, Laura-Brynn.Pdf (929Kb)
“THE BIGGEST COLORED SHOW ON EARTH”: HOW MINSTRELSY HAS DEFINED PERFORMANCES OF AFRICAN AMERICAN IDENTITY FROM 19TH CENTURY THEATER TO HIP HOP A Senior Thesis submitted to the Faculty of the College of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Bachelor of Arts in American Studies By Laura-Brynn Neuhoff Washington, D.C. April 26, 2017 “THE BIGGEST COLORED SHOW ONE EARTH”: HOW MINSTRELSY HAS DEFINED PERFORMANCES OF AFRICAN AMERICAN IDENTITY FROM 19TH CENTURY THEATER TO HIP HOP Laura-Brynn Neuhoff Thesis Adviser: Marcia Chatelain, Ph.D. ABSTRACT This senior thesis seeks to answer the following question: how and why is the word “minstrel” and associated images still used in American rap and hip hop performances? The question was sparked by the title of a 2005 rap album by the group Little Brother: The Minstrel Show. The record is packaged as a television variety show, complete with characters, skits, and references to blackface. This album premiered in the heat of the Minstrel Show Debate when questions of authenticity and representation in rap and hip hop engaged community members. My research is first historical: I analyze images of minstrelsy and reviews of minstrel shows from the 1840s into the twentieth century to understand how the racist images persisted and to unpack the ambiguity of the legacy of black blackface performers. I then analyze the rap scene from the late 2000-2005, when the genre most poignantly faced the identity crisis spurred by those referred to as “minstrel” performers. Having conducted interviews with the two lyricists of Little Brother: Rapper Big Pooh and Phonte, I primarily use Little Brother as my center of research, analyzing their production in conjunction with their spatial position in the hip hop community. -
Downbeat.Com December 2020 U.K. £6.99
DECEMBER 2020 U.K. £6.99 DOWNBEAT.COM DECEMBER 2020 VOLUME 87 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [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, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow. -
Social Spatialisation EXPLORING LINKS WITHIN CONTEMPORARY SONIC ART by Ben Ramsay
Social spatialisation EXPLORING LINKS WITHIN CONTEMPORARY SONIC ART by Ben Ramsay This article aims to briefly explore some the compositional links that exist between Intelligent Dance Music (IDM) and acousmatic music. Whilst the central theme of this article will focus on compositional links it will suggest some ways in which we might use these links to enhance pedagogic practice and widen access to acousmatic music. In particular, the article is concerned with documenting artists within Intelligent Dance Music (IDM), and how their practices relate to acousmatic music composition. The article will include a hand full of examples of music which highlight this musical exchange and will offer some ways to use current academic thinking to explain how IDM and acousmatics are related, at least from a theoretical point of view. There is a growing body of compositional work and theoretical research that draws from both acousmatics and various forms of electronic dance music. Much of this work blurs the boundaries of electronic music composition, often with vastly different aesthetic and cultural outcomes. Elements of acousmatic composition can be found scattered throughout Intelligent Dance Music (IDM) and on the other side of the divide there are a number of composers who are entering the world of acousmatics from a dance music background. This dynamic exchange of ideas and compositional processes is resulting in an interesting blend of music which is able to sit quite comfortably inside an academic framework as well as inside a more commercial one. Whilst there are a number of genres of dance music that could be described in terms of the theories that would normally relate to acousmatic music composition practices, the focus of this article lies particularly with Intelligent Dance Music. -
Representations of Blackface and Minstrelsy in Twenty- First Century Popular Culture
Representations of Blackface and Minstrelsy in Twenty- First Century Popular Culture Jack HARBORD School of Arts and Media University of Salford, Salford, UK Submitted in Partial Fulfilment of the Requirements of the Degree of Doctor of Philosophy, June 2015 Table of Contents List of Figures iii Acknowledgements vii Abstract viii Introduction 1 1. Literature Review of Minstrelsy Studies 7 2. Terminology and Key Concepts 20 3. Source Materials 27 4. Methodology 39 5. Showing Blackface 5.1. Introduction 58 5. 2. Change the Joke: Blackface in Satire, Parody, and Irony 59 5. 3. Killing Blackface: Violence, Death, and Injury 95 5. 4. Showing Process: Burnt Cork Ritual, Application, and Removal 106 5. 5. Framing Blackface: Mise-en-Abyme and Critical Distance 134 5. 6. When Private goes Public: Blackface in Social Contexts 144 6. Talking Blackface 6. 1. Introduction 158 6. 2. The Discourse of Blackface Equivalency 161 6. 3. A Case Study in Blackface Equivalency: Iggy Azalea 187 6. 4. Blackface Equivalency in Non-African American Cultural Contexts 194 6. 5. Minstrel Show Rap: Three Case Studies 207 i Conclusions: Findings in Contemporary Context 230 References 242 ii List of Figures Figure 1 – Downey Jr. playing Lazarus playing Osiris 30 Figure 2 – Blackface characters in Mantan: The New Millennium Minstrel Show 64 Figure 3 – Mantan: Cotton plantation/watermelon patch 64 Figure 4 – Mantan: chicken coup 64 Figure 5 – Pierre Delacroix surrounded by African American caricature memorabilia 65 Figure 6 – Silverman and Eugene on return to café in ‘Face -
Leksykon Polskiej I Światowej Muzyki Elektronicznej
Piotr Mulawka Leksykon polskiej i światowej muzyki elektronicznej „Zrealizowano w ramach programu stypendialnego Ministra Kultury i Dziedzictwa Narodowego-Kultura w sieci” Wydawca: Piotr Mulawka [email protected] © 2020 Wszelkie prawa zastrzeżone ISBN 978-83-943331-4-0 2 Przedmowa Muzyka elektroniczna narodziła się w latach 50-tych XX wieku, a do jej powstania przyczyniły się zdobycze techniki z końca XIX wieku m.in. telefon- pierwsze urządzenie służące do przesyłania dźwięków na odległość (Aleksander Graham Bell), fonograf- pierwsze urządzenie zapisujące dźwięk (Thomas Alv Edison 1877), gramofon (Emile Berliner 1887). Jak podają źródła, w 1948 roku francuski badacz, kompozytor, akustyk Pierre Schaeffer (1910-1995) nagrał za pomocą mikrofonu dźwięki naturalne m.in. (śpiew ptaków, hałas uliczny, rozmowy) i próbował je przekształcać. Tak powstała muzyka nazwana konkretną (fr. musigue concrete). W tym samym roku wyemitował w radiu „Koncert szumów”. Jego najważniejszą kompozycją okazał się utwór pt. „Symphonie pour un homme seul” z 1950 roku. W kolejnych latach muzykę konkretną łączono z muzyką tradycyjną. Oto pionierzy tego eksperymentu: John Cage i Yannis Xenakis. Muzyka konkretna pojawiła się w kompozycji Rogera Watersa. Utwór ten trafił na ścieżkę dźwiękową do filmu „The Body” (1970). Grupa Beaver and Krause wprowadziła muzykę konkretną do utworu „Walking Green Algae Blues” z albumu „In A Wild Sanctuary” (1970), a zespół Pink Floyd w „Animals” (1977). Pierwsze próby tworzenia muzyki elektronicznej miały miejsce w Darmstadt (w Niemczech) na Międzynarodowych Kursach Nowej Muzyki w 1950 roku. W 1951 roku powstało pierwsze studio muzyki elektronicznej przy Rozgłośni Radia Zachodnioniemieckiego w Kolonii (NWDR- Nordwestdeutscher Rundfunk). Tu tworzyli: H. Eimert (Glockenspiel 1953), K. Stockhausen (Elektronische Studie I, II-1951-1954), H.