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AMERICAN SQUARE DANCE Annual S9 MAY 1983 Single Copy Si \ O [Fsjiti, 111 N 4) Ro Is Filar 4'1
AMERICAN SQUARE DANCE Annual S9 MAY 1983 Single Copy Si \ O [fsJiti, 111 N 4) Ro Is filar 4'1 '1111'1.11(w .4( Pftid stiv k 'a.' 'jilt, ea) It --ps" mai 1101•1111B011••••••••• THE P-400 "BOSS" UNCHALLENGED AUTHORITY Sound any hall with clear distinct voice and music. Whether you are bringing dan- cing enjoyment to one or 100 squares, the P-400 system is all you will ever need. Write or call today! Say you saw it in ASD (Grad.' Burdick) CLINTON INSTRUMENT COMPANY, PO BOX 505, CLINTON CT 06413 Tel: 302-669-7548 •••••••••••••••••••1111 1141001141411101110 1 I 2 AMERICAN co SCILIRRE ORNCE VOLUME 38, No. 5 MAY 1983 THE NATIONAL MAGAZINE WITH THE SWINGING LINES ASD FEATURES FOR ALL LEADERSHIP TIPS 4 Co-editorial S/D and Grapefruit Pie 5 By-Line 7 Meanderings ROUNDS 13 January Jubilee 19 The Quickstep 15 Best Little Cloggers in Texas 67 Facing the L.O.D. 17 Aaa-choo 69 Flip Side/Rounds 25 Rhyme Time 78 R/D Pulse Poll 27 Encore 29 Hemline 31 Best Club Trick SQUARE DANCE SCENE 38 Dancing Tips 21 Coming Up Roses 59 Dandy Idea 35 Callerlab Convention 60 Knoxville Hall Opens 37 32nd National Convention 62 People 50 Challenge Chatter 68 Steal A Peek 64 International News 73 Puzzle Page 66 LEGACY 83 Plumb Line 77 Date-Line 87 Linear Cycle Round The Globe 89 Book Nook FOR CALLERS 90 Finish Line 35 Callerlab Convention 92 Laugh Line 39 Calling Tips 40 Easy Level 52 Creative Choreography OUR READERS SPEAK 56 PS/MS 6 Grand Zip 70 Flip Side/Squares 32 Straight Talk 79 S/D Pulse Poll 33 Feedback 80 Underlining The Note Services Workshop Editors Publishers and Editors Ed Fraidenburg Bob Howell Stan & Cathie Burdick Howie Shirley Feature Writers Member of NASRDS Harold & Lill Bausch Dave Fleck National Association of S&R/D Suppliers Mary Jenkins Russ & Nancy Nichols Gene & Thelma Trimmer Bev Warner AMERICAN SQUAREDANCE Magazine Editorial Assistants (ISSN 0091-3383) is published by Burdick Virginia Bridgman Enterprises. -
Patent Application Publication (10) Pub. No.: US 2017/0110097 A1 Sperr (43) Pub
US 201701 10097A1 (19) United States (12) Patent Application Publication (10) Pub. No.: US 2017/0110097 A1 Sperr (43) Pub. Date: Apr. 20, 2017 (54) GUITAR CONVERSION SYSTEMAND (57) ABSTRACT METHOD Aguitar conversion system for the assembly of a guitar in an easy quick manner, from conventional guitar designs to (71) Applicant: Eric Sperr, South Plainfield, NJ (US) hybrid guitars. The guitar conversion system includes at least one main body portion and at least one side body (72) Inventor: Eric Sperr, South Plainfield, NJ (US) portion. Preferably a pair of side body portions is provided. The main body portion includes a headstock, machine heads (or pegheads, or tuners), a neck, and pickups in communi (21) Appl. No.: 13/844,781 cation with electronic controls located on the side body portion. The main body portion includes left and right edge walls having attachment means for releasably attaching at (22) Filed: Mar. 15, 2013 least one other main body portion or at least one side body portion to the main body. The side body portion includes at least one electrical control integrated therein for electronic Publication Classification communication with the main body portion. The side body portion comprising a top side wall and at least one side (51) Int. Cl. attachment portion that is adapted to mate with the attach GIOD L/08 (2006.01) ment means of the main body portion. The guitar conversion GIOH 3/8 (2006.01) system provides the ability to interchange the body portion (52) U.S. Cl. and/or each of the side body portions to change any resultant CPC .............. -
Eastman Guitar Specifications
Series Name Parlor Orchestra Grand Auditorium Dreadnought Slope Shoulder Arch Top Originally designed to be played in small rooms, The Eastman Orchestra Model is most A popular guitar for vocal Acoustic Electric Flatpicking musicians, hard This guitar provides a Electric Description or “parlors”, the parlor guitar has a tight and popular size among fingerstyle guitarists. accompaniment, the Eastman Grand Versatile small-bodied, jumbo cutaway strummers and woodiness that's sweet A fine example of why Eastman focused sound. Eastman Parlor guitars are Large enough to be heard playing in a Auditorium models feature a very guiter perfect for fingerstyle, flatpicking, vocalist/guitarists often on the ears thanks to is a major force in the world of inspired by the great parlor guitars of the 30′s group. They are tight and focused, with balanced sound though the range. They and vocal backing. The solid Indian choose the Eastman the use of Adirondack archtop guitars. This beautiful and 40′s. Players and listeners alike are added volume. have volume sufficient for playing in a rosewood back and sides, an Alaskan Dreadnought guitars as spruce that's a popular guitar illustrates the harmonious surprised by the volume and tonally quality of group. Grand Auditoriums work well as Sitka spruce top, and an abalone rosette their “working” instrument. choice for flatpicking & relationship between premium Eastman Parlor guitars, despite their diminutive a hybrid guitar for fingerpicking and make these stunning instruments. Add in The tonal qualities make it a live vocal tonewoods and the time honored size. Most often used by fingerstyle and slide flatpicking. -
Blank1 Page Intentionally Left Blank EDITORIAL
Fellowship of European MAGAZINE Luthiers Published by the Fellowship of European Luthiers Magazine for luthiers, designers and lovers of stringed musical instruments Number 6 - 2014 / I blank1 Page intentionally left blank EDITORIAL Here we go again his adventure called SUSTAIN begins ades, and others just discovered this fascinat- its second year. Two things made it ing world. Many of you like working amidst T possible: the sawdust; others prefer the artistic side of 1) Our readers’ support. Your letters, com- lutherie. But all of you, dear lovers of all kinds ments, feedback and encouragement. of musical instruments, are the cause and the 2) Our authors’ contribution. Your articles are objective of this magazine. the heart and soul of the magazine. By shar- ing your experiences you have enriched us all. This past year we made new friends, we Some of you are professionals, some are am- learned things, and we welcomed a growing ateurs; some have been in the trade for dec- number of Fellows with the same interests. For all that, I thank you. And of course, here we go again, looking for- ward to another year talking about these won- derful chunks of wood we love to make music with. Leo Lospennato is luthier, author of books on lutherie and chief editor of SUSTAIN Magazine. He lives in Berlin, Germany. Visit www.lospennato.com 1 Imprint Letters Product news This issue’s cover Speed 2: The Making of a Winning Design By Leo Lospennato Research Laser Harps: Plucking Strings of Light By Cem Öcek Woodworking Measuring Moisture Content in Tonewood An interview with Flavia Santana Pohl Interview A Brief Guide to Copyright Law for Luthiers Advice from Dr. -
It Must Be Karma: the Story of Vicki Joy and Johnnymoon
University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses 5-14-2010 It Must be Karma: The Story of Vicki Joy and Johnnymoon Richard Bolner University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/td Recommended Citation Bolner, Richard, "It Must be Karma: The Story of Vicki Joy and Johnnymoon" (2010). University of New Orleans Theses and Dissertations. 1121. https://scholarworks.uno.edu/td/1121 This Thesis is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Thesis has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. It Must be Karma: The Story of Vicki Joy and Johnnymoon A Thesis Submitted to the Graduate Faculty of the University of New Orleans in partial fulfillment of the requirements for the degree Master of Fine Arts in Film, Theatre and Communication Arts Creative Writing by Rick Bolner B.S. University of New Orleans, 1982 May, 2010 Table of Contents Prologue ...............................................................................................................................1 -
Title Format Released Abyssinians, the Satta Dub CD 1998 Acklin
Title Format Released Abyssinians, The Satta Dub CD 1998 Acklin, Barbara The Brunswick Anthology (Disc 2) CD 2002 The Brunswick Anthology (Disc 1) CD 2002 Adams Johnny Johnny Adams Sings Doc Pomus: The Real Me CD 1991 Adams, Johnny I Won't Cry CD 1991 Walking On A Tightrope - The Songs Of Percy Mayfield CD 1989 Good Morning Heartache CD 1993 Ade & His African Beats, King Sunny Juju Music CD 1982 Ade, King Sunny Odu CD 1998 Alabama Feels So Right CD 1981 Alexander, Arthur Lonely Just Like Me CD 1993 Allison, DeAnn Tumbleweed CD 2000 Allman Brothers Band, The Beginnings CD 1971 American Song-poem Anthology, The Do You Know The Difference Between Big Wood And Brush CD 2003 Animals, The Animals - Greatest Hits CD 1983 The E.P. Collection CD 1964 Aorta Aorta CD 1968 Astronauts, The Down The Line/ Travelin' Man CD 1997 Competition Coupe/Astronauts Orbit Kampus CD 1997 Rarities CD 1991 Go Go Go /For You From Us CD 1997 Surfin' With The Astronauts/Everything Is A-OK! CD 1997 Austin Lounge Lizards Paint Me on Velvet CD 1993 Average White Band Face To Face - Live CD 1997 Page 1 of 45 Title Format Released Badalamenti, Angelo Blue Velvet CD 1986 Twin Peaks - Fire Walk With Me CD 1992 Badfinger Day After Day [Live] CD 1990 The Very Best Of Badfinger CD 2000 Baker, Lavern Sings Bessie Smith CD 1988 Ball, Angela Strehli & Lou Ann Barton, Marcia Dreams Come True CD 1990 Ballard, Hank Sexy Ways: The Best of Hank Ballard & The Midnighters CD 1993 Band, The The Night They Drove Old Dixie Down: The Best Of The Band [Live] CD 1992 Rock Of Ages [Disc 1] CD 1990 Music From Big Pink CD 1968 The Band CD 1969 The Last Waltz [Disc 2] CD 1978 The Last Waltz [Disc 1] CD 1978 Rock Of Ages [Disc 2] CD 1990 Barker, Danny Save The Bones CD 1988 Barton, Lou Ann Read My Lips CD 1989 Baugh, Phil 64/65 Live Wire! CD 1965 Beach Boys, The Today! / Summer Days (And Summer Nights!!) CD 1990 Concert/Live In London [Bonus Track] [Live] CD 1990 Pet Sounds [Bonus Tracks] CD 1990 Merry Christmas From The Beach Boys CD 2000 Beatles, The Past Masters, Vol. -
The Electric Guitar 2.0
The Electric Guitar 2.0 The Electric Guitar 2.0 redesign and finite element method analysis Content: Redesign & FEM analysis Student: Wilco Prinsen Course: s0066818 Evolutionary Product Development Teaching Staff: Date: Robert Wendrich Wednesday, April 23, 2008. Arthur Eger Summary 50 years ago, the electric guitar reached both the segmentation and individualization phase. Cur- rently, the next step should be the awareness phase. However, after closer study, it was concluded some “aware” products were not successful. Therefore, the electric guitar will remain in the segmentation and individualization phase in the near future. In the seg- mentation phase there are still lots of opportunities due to new technologies. Adding wireless technologies to the already existing digital (modeling) guitar is an opportunity. For the new concept it was concluded that the electric guitar should visualize its digital revolution with sophisti- cated product design to differentiate from the “fifties classic”-design of the electric guitar. 4 redesign & finite element method analysis Contents 1. Introduction 7 4.4.1 First styling directions 19 2. Product Phases 9 4.4.2 Styling Concept 1 20 2.1 Introduction 9 4.4.3 Styling Concept 2 21 2.2 Summary of the Product Phases 9 4.4.4 Styling Concept 3 22 2.3 The Awareness Phase 9 5. Concept Switch 23 2.3.1 The Bamboo Guitar 9 5.1 Introduction 23 2.3.2 The Live Earth Guitar 9 5.2 The Design 23 2.3.3 Cigar Box Guitar 10 5.3 Styling Direction 23 2.4 Everything is possible 10 5.4 Styling of the Concept 24 3 What is Now 11 5.5 The last changes 25 3.1 Introduction 11 5.6 The 3D Model 26 3.2 New Electric Guitars 11 6. -
OASYS Ver.1.3 PRODUCER Voice Name List
Voice Name List (PRODUCER.PCG) About the PRODUCER.PCG file PRODUCER.PCG contains a re-ordered version of the standard factory Programs. When shipped from the factory, the sounds are presented in a mixed order, so that incrementing through Programs might call up first a piano, then a pad, then a drum kit, and so on. This factory preset order is stored on the disk as the file PRELOAD.PCG. In the PRODUCER.PCG file, on the other hand, these same sounds are grouped by category. As you increment through the Programs, you'll find that all of the pianos are together, all of the pads are together, and so on. This lets you step through similar sounds by pressing INC and DEC, without using the Category window. The Combinations are still in the standard factory preset order, but have been edited so that they refer to the correct Programs. The arrangement of HD-1 and EXi banks is the same as in the standard factory order: HD-1 Programs are in banks INT-A through INT-E, and EXi programs are in banks INT-F, USER-C, USER-D, USER-E and USER-F. You can load the PRODUCER.PCG file from the CD named “Restore CD 1/4.” For a complete list of the Programs and their ordering, please see the file PRODUCER_VNL.PDF. All of the other sound data, such as Combinations, Drum Kits, and Wave Sequences, are the same as in the standard PRE- LOAD.PCG file. For more information about these sounds, please see the file VoiceNameList.pdf. -
A Stylistic Analysis of Recess Performed by Charlie Hunter from the DVD Right Now Live
Edith Cowan University Research Online Theses : Honours Theses 2015 A stylistic analysis of Recess performed by Charlie Hunter from the DVD Right Now Live Joshua De Silva Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses_hons Part of the Music Performance Commons, and the Music Practice Commons Recommended Citation De Silva, J. (2015). A stylistic analysis of Recess performed by Charlie Hunter from the DVD Right Now Live. https://ro.ecu.edu.au/theses_hons/1480 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses_hons/1480 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: • Copyright owners are entitled to take legal action against persons who infringe their copyright. • A reproduction of material that is protected by copyright may be a copyright infringement. • A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. A stylistic analysis of Recess performed by Charlie Hunter from the DVD Right Now Live Joshua De Silva Western Australian Academy of Performing Arts Edith Cowan University This dissertation is submitted for the degree of Bachelor of Music Honours 2015 i Use of Thesis Declaration I certify that this thesis does not, to the best of my knowledge and belief: (i) Incorporate without acknowledgement any material previously submitted for a degree or diploma in any institution of higher education; (ii) Contain any material previously published or written by another person, except where due reference is made in the text; or (iii) Contain any defamatory material. -
Trabajo De Grado: Monografía
UNIVERSIDAD DISTRITAL FRANCISCO JOSÉ DE CALDAS FACULTAD DE ARTES ASAB PROYECTO CURRICULAR DE ARTES MUSICALES SELECCIÓN, DESCRIPCIÓN Y CLASIFICACIÓN DE LICKS EXTRAIDOS DE CUATRO SOLOS DE GUITARRA ELÉCTRICA DE GUTHRIE GOVAN Y ALEX HUTCHINGS CARLOS HERNANDO CELIS RODRÍGUEZ (20142098048) FELIPE IANNINI GUZMÁN (20142098086) ÉNFASIS: GUITARRA ELÉCTRICA MODALIDAD DE TRABAJO DE GRADO: MONOGRAFÍA BOGOTA D.C. 21 DE OCTUBRE DE 2019 UNIVERSIDAD DISTRITAL FRANCISCO JOSÉ DE CALDAS FACULTAD DE ARTES ASAB PROYECTO CURRICULAR DE ARTES MUSICALES SELECCIÓN, DESCRIPCIÓN Y CLASIFICACIÓN DE LICKS EXTRAIDOS DE CUATRO SOLOS DE GUITARRA ELÉCTRICA DE GUTHRIE GOVAN Y ALEX HUTCHINGS CARLOS HERNANDO CELIS RODRÍGUEZ (20142098048) FELIPE IANNINI GUZMÁN (20142098086) ÉNFASIS: GUITARRA ELÉCTRICA MODALIDAD DE TRABAJO DE GRADO: MONOGRAFÍA DIRECTORA DE TRABAJO DE GRADO: MYRIAM ARROYAVE BOGOTA D.C. 21 DE OCTUBRE DE 2019 ii Agradezco enormemente a mis padres, María Cristina Guzmán y Santiago Iannini, por el empeño que han puesto en mí y por los valores que he adquirido de ellos, a la ASAB gracias por los retos que me impartió y que, pese a las dificultades, a día de hoy ya estoy a puertas de culminar esta etapa. Por último, quiero expresar mi admiración y gratitud a la maestra Myriam Arroyave, por su guía y sus consejos durante este proceso. Felipe Iannini Guzmán Esta tesis va dedicada a mi madre Olga Cristina y a mi padre Carlos Hernando, gracias a ustedes por todo el amor, por todo el apoyo y por toda su compañía en esta etapa que termina. Agradecimientos especiales a la maestra Myriam Arroyave por la entrega y dedicación puesta en pro de la realización de este documento. -
2017 DJ Music by Song
Artist Song 112 Cupid 112 Dance With Me Remix (Featuring Beanie Sigel) 112 Peaches & Cream 311 All Mixed Up 311 Amber 311 Beautiful Disaster 311 Borders 311 Brodels 311 Color 311 The Continuous Life 311 Creature Feature 311 Dont Let Me Down 311 Don't Stay Home 311 Down 311 Electricity 311 Galaxy 311 Guns (Are For Pussies) 311 Hive 311 Inner Light Spectrum 311 Jackolantern's Weather 311 Jupiter 311 Light Years 311 Loco 311 Love Song 311 Misdirected Hostility 311 No Control 311 Prisoner 311 Purpose 311 Random 311 Rub A Dub 311 Running 311 Starshines 311 Stealing Happy Hours 311 Strangers 311 Sweet 311 T&P Combo 311 Transistor 311 Tune In 311 Use Of Time 311 What Was I Thinking 702 Where My Girls At 702 Where My Girls At? 2002 Lady of the Moon 2002 Summer's End !!! AM/FM ? & The Mysterians 96 Tears .38 Special Hold On Loosely .38 Special Second Chance 'N Sync Bringin' Da Noise 'N Sync Bye Bye Bye 'N Sync Bye Bye Bye 'N Sync Crazy For You 'N Sync Digital Get Down 'N Sync Everything I Own 'N Sync For The Girl Who Has Everything 'N Sync Giddy Up 'N Sync Girlfriend 'N Sync God Must Have Spent A Little More Time On You 'N Sync Gone 'N Sync Here We Go 'N Sync Here We Go 'N Sync I Drive Myself Crazy 'N Sync I Just Wanna Be With You 'N Sync I Need Love 'N Sync I Thought She Knew 'N Sync I Want You Back 'N Sync I'll Be Good For You 'N Sync It Makes Me Ill 'N Sync It's Gonna Be Me 'N Sync It's Gonna Be Me 'N Sync Just Got Paid 'N Sync No Strings Attached 'N Sync Pop 'N Sync Sailing 'N Sync Tearin' Up My Heart 'N Sync That's When I'll Stop Loving You 'N Sync This I Promise You 'N Sync This I Promise You 'N Sync You Got It 'N Sync Feat. -
Rod Sinclair: Submittedin Fulfillment of the Degreeof
Title: Acoustic Guitar Practice and Acousticity: Establishing Modalities of Creative Practice. Volume 1: Thesis Rod Sinclair: submittedin fulfillment of the degreeof PhD. Newcastle University, December 2007 NEWCASTLE UNIVERSITY LIBRARY ---------------------------- 206 53423 0 ---------------------------- ABSTRACT The contemporaryacoustic guitar has developed from its origins in the 'Spanish' guitar to become a global instrument and the musical voice of a wide range of styles. The very 'acousticity' of the instrumentpositions it as a binary oppositeto the electricguitar ano as a signifier for the organicand the naturalworld, artistryand maturity,eclecticism and the esoteric.In this concept-rootedsubmission, the acousticand guitaristicnature of the instrumentis consideredin relationto a range of social, cultural and artistic concerns,and composition is used primarily to test a thesis, wherein a portfolio of original compositions, presentedas recordings and understoodas phonograms,comment upon and reflect uponmodes of performativity: instrument specific performance, introspection, virtuosity, mediation by technology and performance subjectivities. p.1 ACKNOWLEDGEMENTS I wish to acknowledgethe supportand inspirationoffered by Dr JamesBirkett, Dr Ian Biddle, Dr Will Edmondes,Tim Brookes,Mick Wright, MauriceSummerfield and particularly Maureen Scott and Gerry Richardson. I am indebtedto the following musiciansfor their musicalcontributions: Andy Champion: double bass,Freeze: vocals, Stuart Hardy: violin, Neil Harland: double bass,Dave Hignet: