Akai Mpc Live Sample Packs
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Tap Tap Boom: a Multi-Touch floor Is Great for Creative Collaborative Music Production
Tap Tap Boom: A multi-touch floor is great for creative collaborative music production Jossekin Beilharz, Maximilian Schneider, Johan Uhle, David Wischner Hasso-Plattner Institute Prof.-Dr.-Helmert-Str. 2-3 14482 Potsdam, Germany fjossekin.beilharz, maximilian.schneider, johan.uhle, [email protected] ABSTRACT simultaneously. Therefore Tap Tap Boom offers a new per- Tap Tap Boom is a music production floor. It allows the user spective to music production. to create and edit music in an inspiring environment. Its si- ze encourages collaborative working. The user can use the input modes Step Sequencer, Groovebox and Pad to record music. One can arrange music in clips on a multi-track time- line. In addition to feet input we offer the usage of objects like bottles or saltshakers to interact with the system. Tap Tap Boom elevates creativity by providing a new approach to music production. Author Keywords music production, daw, multi-touch floor INTRODUCTION You can split electronic music production into three sequen- tial parts: In the beginning the musician composes. One ge- nerates and tests ideas. Inspiration and creativity play a key role at this stage. Afterwards the musician arranges the com- position and does the final recordings. The music is comple- Figure 1. On a large floor screen users can record and edit music colla- te. In the end the handcraft of mixing and mastering gives boratively using feet. the final touch to the sound and makes it ready for release. WALKTHROUGH There is a wide variety of tools which aid the process of Device electronic music production. -
Behind the Music
Q&A BEHIND THE MUSIC It’s crazy to think that this year marks the 20th Anniversary of Kurt Cobain’s passing – a true game-changer in our industry, and a man who, in many ways, revolutionised music, inadvertently spawning a whole new scene. Nevermind is a seminal record, and its success was the catalyst for record labels’ mission impossible, the search for ‘the next Nirvana’. Although he might not have known it at the time, those 16 days recording Nevermind would change Butch Vig’s career forever. It paved the way for a remarkable musical journey, the production of a string of hit records for supergroups such as The Smashing Pumpkins, The Foo Fighters, and many more... Not to mention Garbage, Vig’s own band, which has enjoyed more than 17 million record sales over the last two decades. This legend of the game reveals some of his trade secrets, and shares some fond, unforgettable memories... Your career speaks for itself, but first up, how did it all begin for you? Well, I played in bands in high school in a small town in Wisconsin, and then I went to University in Madison. I started getting into the local music scene, and joined a band, which was sort of a power pop, new wave band called Spooner; and Duke [Erikson] from Garbage was the guitarist and lead singer at the time. I also got a degree in film, and ended up doing a lot of music for film; a lot of synth, and abstract music, and that’s where I kind of got the recording bug. -
Remix Magazine, September 1St 2002 TIME BANDITS
Remix Magazine, September 1st 2002 TIME BANDITS Garry Cobain and Brian Dougans — aka Amorphous Androgynous and Future Sound of London — started making magic with sequencers and samplers long before Aphex Twin, The Orb and Orbital were just beginning to dabble in revolutionary sonic experiments. An ultraworld of quicksilver samples, sequenced atmospheres and lushly rolling beats, the duo's early masterpiece Lifeforms (Astralwerks, 1994) suggested, for the first time, an alternate sound world created with computer technology. But just as the world seemed ready for Future Sound of London and accepted their apocalyptic Dead Cities (Astralwerks, 1996) album with open arms, the devious duo disappeared, retreating to reclaim their souls as the media pervaded their psyches. Those were somewhat better times for the pair, before Cobain discovered a certain death that lurked inside his body. “I had developed an arrhythmic heart, massive food and environmental allergies, eczema and stiff joints,” says Cobain from FSOL's Kensal Road recording studio in London. “I realized that my immune system was shot to ribbons by my mercury fillings. Silver is the same thing as mercury. They use the word silver not to tell you that you have the second most toxic substance known to man in your gob. You are talking mass conspiracy shit here.” After having the fillings removed (Dougans followed suit), Cobain took up fasting, meditation and enema cleansing; slowly, year after year, his health returned. But even before Cobain's illness sidelined FSOL, Cobain and Dougans were already tiring of the scene, its influx of ambient compilations and growing corporate interference. -
Yamaha A3000
YAMAHA A3000 F R E Q U E N T L Y A S K E D Q U E S T I O N S www.a3kcentral.com/FAQ May 2000 revision by Aleix TC [email protected] YAMAHA A3000 FAQ About this FAQ 10 • FAQ details ......................................................................................................... 10 • First steps ............................................................................................................. 10 • What has changed here compared to the last FAQ V. 2.0? ..................................... 10 • Where can I get the latest online version of this FAQ? ............................................. 11 • Where can I get the FAQ as one file for download, offline reading and printing? .............................................................................................................. 12 • Can I make this FAQ available on my web site? ......................................................... 12 • How can I make a contribution to the FAQ, either a Question or an Answer? 12 • What is the Quick Guide? .................................................................................................... 13 About samplers in general 13 • Where can I find some more info about samplers in general? ................................ 13 • What is a sampler? ................................................................................................................. 13 • What is looping? ..................................................................................................................... 13 • What are 'multisamples'? -
Automatic Recognition of Samples in Musical Audio
Automatic Recognition of Samples in Musical Audio Jan Van Balen MASTER THESIS UPF / 2011 Master in Sound and Music Computing. Supervisors: PhD Joan Serr`a,MSc. Martin Haro Department of Information and Communication Technologies Universitat Pompeu Fabra, Barcelona Acknowledgement I wish to thank my supervisors Joan Serr`aand Martin Haro for their priceless guidance, time and expertise. I would also like to thank Perfecto Herrera for his very helpful feedback, my family and classmates for their support and insightful remarks, and the many friends who were there to provide me with an excessive collection of sampled music. Finally I would like to thank Xavier Serra and the Music Technology Group for making all this possible by accepting me to the master. Abstract Sampling can be described as the reuse of a fragment of another artist's recording in a new musical work. This project aims at developing an algorithm that, given a database of candidate recordings, can detect samples of these in a given query. The problem of sample identification as a music information retrieval task has not been addressed before, it is therefore first defined and situated in the broader context of sampling as a musical phenomenon. The most relevant research to date is brought together and critically reviewed in terms of the requirements that a sample recognition system must meet. The assembly of a ground truth database for evaluation was also part of the work and restricted to hip hop songs, the first and most famous genre to be built on samples. Techniques from audio fingerprinting, remix recognition and cover detection, amongst other research, were used to build a number of systems investigating different strategies for sample recognition. -
Controllers As Musical Instruments, Controllerism As Musical Practice
Controllers as Musical Instruments, Controllerism as Musical Practice – Practices of a new 21st Century musical culture – Guillermo de Llera Blanes Dissertação em Ciências Musicais na especialidade de EtnomusicoloGia , A , CAL CULTURE PRACTICES OF 2017 Guillermo de Llera Blanes CONTROLLERS AS MUSICAL 21ST CENTURY ,MUSI INSTRUMENTS, CONTROLLERISM AS MUSICAL PRACITCE, Setembro, 2017 1 Dissertação apresentada para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Ciências Musicais, especialidade de Etnomusicologia, realizada sob a orientação científica do Professor Doutor João Soeiro de Carvalho. 2 Dedicated to my promised one and to the little Controllerists at home. Acknowledgements It is with the utmost gratitude that I thank my brother, the anthropologist Ruy Blanes for his unwavering support, sympathetic guidance and most of all, his humor. His knowledge was a lifeline, for I could always count on his informed opinion, but his greatest aid was in letting me make my own mistakes, and then hinting at various ways to resolve them. It showed me that he was convinced that I was capable of finding my way out of the dead ends, and would overcome the trials and tribulations of writing a thesis. Thank you for believing in me, my brother. To my dear advisor, professor João Soeiro de Carvalho, I have nothing but words of gratitude. You showed unbridled gusto in my research and helped me trod along with unending patience, aware of my limitations in time, experience and knowledge. It was with great delight that I experienced our joint (ad)venture, and I am indebted to you for your kindness, your wisdom and your empathy. -
Rhythm Designer Rd-8
Product Information Document Electronic Drum Sets RHYTHM DESIGNER RD-8 Classic Analog Drum Machine with 16 Drum Sounds, 64 Step Sequencer, Wave Designer and Dual-Mode Filter ## Amazing drum machine with authentic analog sound engine to create the classic sound performance ## 16 original drum sounds with A Brief History of Drum Machines additional parameters and global From its humble beginnings as rhythmic support to organists, to later Accent capability setting dance floors ablaze with unrelenting and hypnotic beats, the drum ## Modern and versatile workflow provides enhanced playability, machine has been one of the most unappreciated of all musical inventions. enabling you to create captivating Uncompromising in its metronomic precision, the drum machine provides live performances a flawless rhythm section that never tires of playing the same four-bar ## Powerful 64-step drum sequencer loop. However, when put into the right hands and proper musical context, supports poly-meter, step-repeat, note-repeat, real-time triggering, they can be finessed to create awe-inspiring rhythmic artistry. track-mute and track-solo ## Integrated FX bus features Wave Designer and dual-mode Analog First Drum Machine – Filter with per voice assignment The Rhythmicon ## Live recording, editing and The ground-breaking Rhythmicon was created playback of Analog Filter cutoff by Russian inventor Léon Theremin in 1931. via automation The machine was a collaboration with American ## Storage of up to 16 songs and composer Henry Cowell and can produce 256 patterns, -
Akai S3000XL Stereo Digital Sampler and Thank You for Buying It!
INTRODUCTION ..........................................................................................................................1 FEATURES ....................................................................................................................2 ABOUT THIS MANUAL ..................................................................................................5 FRONT PANEL ..............................................................................................................6 TAKING CARE OF YOUR DISKS ...................................................................................8 REAR PANEL .................................................................................................................9 SETTING UP THE S3000XL ..........................................................................................11 CONNECTIONS ..............................................................................................................11 LOADING THE DEMO FLOPPY DISKS ..........................................................................12 MOUNTING THE S3000XL .............................................................................................13 GETTING AROUND THE S3000XL ................................................................................14 OPERATING MODES .......................................................................................14 SOFT KEYS .....................................................................................................14 SELECTING PARAMETERS AND -
A Study of Digital Samplers in Two Eras
On The Significance of Interface Design A Study of Digital Samplers In Two Eras A thesis submitted by Bjørnar Ersland Sandvik In partial fulfillment of the requirements for the Master’s degree in Musicology Department of Musicology Faculty of Humanities University of Oslo November, 2016 Adviser: Ragnhild Brøvig-Hanssen II Acknowledgments The process of completing this thesis would not have been possible without the help and support of a number of people. First of all, I wish to thank my supervisor, Ragnhild Brøvig- Hanssen, for taking a genuine interest in my work, and being so generous with her time, guidance, and support. Her contribution has been absolutely invaluable, and I have appreciated our conversations, her detailed and constructive comments on all of my drafts, and her general encouragement throughout the process. I was lucky enough to get the opportunity to present a draft of this thesis at the 10th Art of Record Production conference at Drexel University, Philadelphia in November 2015. I would like to thank the organizers of the conference, as well as the other participants for valuable feedback, inspiring paper presentations, and interesting conversations. A special thanks go to my co-student Emil Kraugerud, for being such a great travelling companion, and also to Associate Professor Hans T. Zeiner-Henriksen for joining us on a memorably day of sightseeing in New York. In addition, I want to thank the rest of my co-students for interesting conversations, important lunch breaks, and not least our short-lived but magnificent weekly ritual of celebrating “kakefredag” (cake Friday) at the university. -
Digital Sampling and Appropriation As Approaches to Electronic Music Composition and Production Gene Shill
Digital Sampling and Appropriation as Approaches to Electronic Music Composition and Production Author Shill, Gene Published 2016-12 Thesis Type Thesis (PhD Doctorate) School Queensland Conservatorium DOI https://doi.org/10.25904/1912/3631 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/370569 Griffith Research Online https://research-repository.griffith.edu.au Digital Sampling and Appropriation as Approaches to Electronic Music Composition and Production Gene Shill BA, MA (Distinction) Queensland Conservatorium Arts, Education & Law Griffith University Submitted in fulfilment of the requirements of the degree of Doctor of Philosophy December 2016 “The most beautiful experience we can have is the mysterious - the fundamental emotion which stands at the cradle of true art and true science.” Albert Einstein Abstract Through analysis, observation, critical listening, interviews and creative practice, this study explores how techniques of appropriation via digital music sampling are used for electronic musical composition and production. Included is an examination of literature and creative work focused on the Golden Age of Hip-Hop that explores early sampling processes and techniques. Through original compositions and an exegesis, the study provides unique and significant contributions to the field including the identification of four approaches to the design and construction of sample-based composition and associated techniques for achieving them using contemporary music technologies. The Golden Age of Hip-Hop is presented as a historical period of musical significance, not only for defining new genres and sub genres of music, but because of the influencing factors that emerging technologies had on new compositional processes and outcomes. -
Groovebasert Musikkproduksjon III
Groovebasert musikkproduksjon III Groove, rytmisk grunnmønster og forslagstoner Foreleser: Hans T. Zeiner-Henriksen e-mail: [email protected] Tlf.: Mob.: 48059723 Kontor: 22854857 Shazz: “Fallin’ In Love” (PT. G Remix) (2001) Bpm: 127 Underworld: “Dark & Long” (1993) Bpm: 135 Frankie Knuckles Frankie Knuckles feat. Satoshi Tomiie: “Tears” (1989) Satoshi Tomiie Medway: “Resurrection” (1993) Bpm: 135 Boogie Drama: “Hypnofunk” (2002) Bpm: 125 Daft Punk: “Revolution 909” (1996) Bpm: 126 Groovebasert musikkproduksjon III Chicago house og demokratiseringsprosesser innen musikkproduksjon Foreleser: Hans T. Zeiner-Henriksen e-mail: [email protected] Tlf.: Mob.: 48059723 Kontor: 22854857 Paradise Garage, New York Paradise Garage, Larry Levan Studio 54, New York Frankie Knuckles - The Warehouse (77-83) Frankie Knuckles Select Discography (Warehouse 1977-79) Ashford & Simpson, “It Seems to Hang On” Roy Ayers, “Running Away” Peter Brown, “Do You Wanna Get Funky with Me” Bumble Bee Unlimited, “Love Bug” Candido, “Thousand Finger Man” George Duke, “I Want You for Myself” Ecstasy, Passion & Pain featuring Barbara Roy, “Touch and Go” First Choice, “Let No Man Put Asunder” Taana Gardner, “Work That Body” Jimmy “Bo” Horne, “Spank” Inner Life featuring Jocelyn Brown, “I’m Caught Up (In a One Night Love Affair)” Kat Mandu, “The Break” Chaka Kahn, “I’m Every Woman” Patti LaBelle, “Music Is My Way of Life” Machine, “There but for the Grace of God Go I” Sergio Mendes, “I’ll Tell You MFSB, “Love is the Message” Moroder, “E=MC ”2 The Originals, “Down to Love Town” Positive Force, “We Got the Funk” Diana Ross, “The Boss” Skatt Bross., “Walk the Night” Gino Soccio, “Dancer” Two Man Sound, “Que Tal America” T. -
Akai Mpc Live Sample Packs
Akai Mpc Live Sample Packs Milch and produced Dana dapples convexedly and buttes his cockneys cheerly and suppositionally. Sometimes devouring Willard sickliedattitudinise Terry her dishearten lazarettos adjectivally Romeward, and but formuliseddative Horatio her Bennett.edified breast-high or machining hugeously. Lenny often zone cubically when Home solinco heaven strings, akai mpc live using patterns on to external or output connecting plugins out multiple choice is Read was about MPC Live and MPC X here. For some complete, continually updated guide that the MPC One, check make the MPC Bible. MPC One mind ready to work place alongside professional music production gear. Standalone Export WAV AKAI Professional proudly presents DISTANT PULSE, the newest expansion pack out your MPC. Should You waiting Or holding That done Hop Beat? MPC machines, is now it to attack its software. FREE Piano made exclusively for you resist for Money. One bug issue regarding MPC is the affiliate of tax cuts. Included keyboards, mallets, basses, string, to brass multi sampled and sweet sensitive instrumnets. Royalty free and exclusive Trap sample packs, Trap loops and Trap drums for producers of previous music. So how when I use and kit? Hip Hop Drum Loops, Acid Loops, WAV Samples. The MPC interconnects provided an impressive, and vehicle sound stage. List Of Drum Machines In content Pack. Fi, Oldskool Garage and more. Mpc Be to Delay. Dance, House, Trance, Electroni. Necessary cookies are absolutely essential what the website to function properly. Get more sales with a limited time sheet that resets for thin new visitor! Mpc live in sample packs with confidence to.