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The Snare Drum Roll
ACADEMY OF MUSIC AND DRAMA The Snare Drum Roll Lúcia Viana da Silva Independent Project (Degree Project), 30 HEC, Master of Fine Arts in Symphonic Orchestra Performance Spring Semester, 2017 Independent Project (Degree Project), 30 higher education credits Master of Fine Arts in Symphonic Orchestra Performance Academy of Music and Drama, University of Gothenburg Spring semester, 2017 Author: Lúcia Viana da Silva Title: The Snare Drum Roll Supervisor: PhD Maria Bania Examiner: PhD. Tilman Skowroneck ABSTRACT Key words: orchestral percussion, snare drum, technique, roll. Like most other percussion instruments, the snare drum was introduced relatively late in the symphonic orchestra, and major changes and improvements concerning its playing techniques are still taking place. One of the most distinctive aspects of the snare drum is the roll, which consists of a challenge that most percussionists face eventually during their career. This project reflects my research on the snare drum roll during the last two years, gives a short background of snare drum playing and its technical development, and provides observations and reflections of different techniques to play a roll. As a percussionist myself, I analyzed and practiced on the execution of rolls as part of the research. This project includes notes on my interpretation of four orchestral excerpts, showing how technical development and control over the roll open musical possibilities to the orchestral percussionist. 2 ACKNOWLEDGEMTS I would first like to thank my supervisor, PhD Maria Bania, who was always available and responsive to my questions and supportive of my ideas. Her enthusiasm and constant demand gave me the drive and encouragement for writing this thesis. -
Relating Stave Pitches to DAW Piano & Drum Rolls for Inputting Notes Relating Notation Durations to MIDI Sequencer Note Leng
Relating Notation durations to MIDI sequencer note lengths Note Name Duration Piano roll Snap/Quantise Semibreve 4 1/1 1-DAW (Digital Audio Workstation): a digital system designed for recording and editing digital audio. It may refer to audio hardware, audio software, or both. 2-MIDI (Musical Instrument Digital Interface): the interchange Dotted 3 - of musical information between musical instruments, synthesizers and computers. Minim 3-MIDI controller: any hardware or software that generates and transmits MIDI data to electronic or digital MIDI-enabled devices, typically to trigger sounds Minim 2 1/2 and control parameters of an electronic music performance. 4-Sequencer: a software application or a digital electronic device that can record, save, play and edit audio files. Dotted 1 ½ - 5-Arrange Window: the main window of Logic Pro. It incorporates other Logic Pro Crotchet editors and it's where you do most of your work. 6-Drum Machine: An electronic device containing a sequencer that can be Crotchet 1 1/4 programmed to arrange and alter digitally stored drum sounds. 7-Tempo: the pace or speed at which a section of music is played. 8-Quantise/Quantisation: the rhythmic correction of audio or MIDI regions to a Dotted ¾ - specific time grid. Quaver 9- Fader: a device for gradually increasing or decreasing the level of an audio signal. Basic Functions of a DAW Quaver ½ 1/8 Audio Recording: The basic function of any DAW is record audio. DAWs can handle dozens to hundreds of audio tracks without causing too much strain on most systems. Audio Editing: Audio clips can be cut, copied and pasted. -
Look What You Can Do with the TM-2
English Deutsch Français Italiano Español Português Nederlands Look what you can do with the TM-2 By using the TM-2 in conjunction with separately sold pads or acoustic drum triggers, you can easily play the internal sounds or your own audio files. • Use with acoustic drums to play electronic sounds or percussion • Enhance an acoustic kick, or layer claps onto a snare • Play songs or loops • Connect the TM-2 via MIDI with your V-Drums, and play your favorite drum sounds (WAV files) Owner’s Manual (this document) To obtain the PDF manual Read this first. It explains the basic things you need to know in order to use the TM-2. 1. Enter the following URL in your computer. http://www.roland.com/manuals/ PDF Manual (download from the Web) 2. Choose “TM-2” as the product name. • Sound List This lists the TM-2’s internal sounds and the effect parameters. Contents Main Features ...................................2 Others Quick Start ......................................3 Restoring the Factory Settings ..................14 Preparations Saving a Backup to the SD Card. 15 Installing Batteries ..............................4 Adjusting the Connected Pads. .16 Using the Mounting Plate .......................4 Formatting an SD Card .........................17 Panel Descriptions ..............................5 Troubleshooting ...............................18 Connecting Your Equipment .....................6 Error Messages .................................18 Turning the Power On/Off .......................6 Main Specifications ............................19 Connecting Pads ................................7 USING THE UNIT SAFELY ........................20 Basics IMPORTANT NOTES .............................20 Selecting a Kit ...................................8 Playing Sounds (Instruments). .9 Before using this unit, carefully read the sections entitled “USING THE UNIT SAFELY” and “IMPORTANT NOTES” (leaflet “USING THE Playing Audio Files .............................10 UNIT SAFELY” and Owner’s Manual p. -
Áskell Másson's Solos for Snare Drum: Maximizing Musical Expression Through Varying Compositional Techniques and Experimenta
ÁSKELL MÁSSON’S SOLOS FOR SNARE DRUM: MAXIMIZING MUSICAL EXPRESSION THROUGH VARYING COMPOSITIONAL TECHNIQUES AND EXPERIMENTATION IN TIMBRE John Michael O’Neal, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS December 2015 Christopher Deane, Major Professor Eugene Corporon, Related Field Professor Mark Ford, Committee Member Benjamin Brand, Director of Graduate Studies, College of Music James Scott, Dean of the College of Music Costas Tsatsoulis, Dean of the Toulouse Graduate School O’Neal, John Micheal. Áskell Másson’s Solos for Snare Drum: Maximizing Musical Expression through Varying Compositional Techniques and Experimentation in Timbre. Doctor of Musical Arts (Performance), December 2015, 38 pp., 7 figures, 29 musical examples, references, 27 titles. This dissertation and accompanying lecture recital explores the musical elements present in Áskell Másson’s three solos for snare drum, PRÍM (1984), KÍM (2001) and B2B: Back to Basics (2010). Two of the primary challenges for the performer when playing solo literature on a non-pitch oriented instrument are identifying thematic structures and understanding how to interpret all innovative sound production techniques employed within the music. A thematic and compositional analysis, as well as an investigation into the experimentation of timbre found in Másson’s three pieces for solo snare drum will help to clarify the musical complexities that are present throughout. Copyright 2015 by John Michael O’Neal ii ACKNOWLEDGEMENTS My sincere thanks and gratitude to my committee members and mentors Christopher Deane, Mark Ford and Eugene Corporon for their assistance with this project and their influence in shaping me as a teacher and performer. -
Product Guide 2020
Product Guide 2020 ZILDJIAN 2020 PRODUCT GUIDE CYMBAL FAMILIES 3 K FAMILY 5 A FAMILY 13 FX FAMILY 17 S FAMILY 19 I FAMILY 21 PLANET Z 23 L80 LOW VOLUME 25 CYMBAL PACKS 27 GEN16 29 BAND & ORCHESTRAL CYMBALS 31 GEAR & ACCESSORIES 57 DRUMSTICKS 41 PRODUCT LISTINGS 59 1 Product Guide 2 THE CYMBAL FAMILY 3 Product Guide 4 THE FAMILY K ZILDJIAN CYMBALS K Zildjian cymbals are known for their dark, warm sounds that harkens back to the original K cymbals developed by Zildjian in 19th Century Turkey. Instantly recognizable by their ˝vented K˝ logo, K cymbals capture the aura of original Ks but with far greater consistency, making them the choice of drummers from genres as diverse as Jazz, Country and Rock. RIDES SIZES CRASHES SIZES HIHATS SIZES EFFECTS SIZES Crash Ride 18˝ 20˝ 21˝ Splash 8˝ 10˝ 12˝ HiHats 13˝ 14˝ Mini China 14˝ Ride 20˝ 22˝ Dark Crash Thin 15˝ 16˝ 17˝ 18˝ 19˝ 20˝ K/Z Special HiHats 13˝ 14˝ EFX 16˝ 18˝ Heavy Ride 20˝ Dark Crash Medium Thin 16˝ 17˝ 18˝ Mastersound HiHats 14˝ China 17˝ 19˝ Light Ride 22˝ 24˝ Cluster Crash 16˝ 18˝ 20˝ Light HiHats 14˝ 15˝ 16˝ Dark Medium Ride 22˝ Sweet Crash 16˝ 17˝ 18˝ 19˝ 20˝ Sweet HiHats 14˝ 15˝ 16˝ Light Flat Ride 20˝ Sweet Ride 21˝ 23˝ DETAILS: Exclusive K Zildjian random hammering, traditional wide groove lathing, all Traditional except 21” Crash Ride 6 SPECIAL DRY K CUSTOM CYMBALS K Custom cymbals are based on the darker, dryer sounds of the legendary K line but have been customized with unique finishes, K CUSTOM SPECIAL DRY CYMBALS tonal modifications, and manufacturing techniques. -
Drum Trigger Module Setup Manual for DT50S/DT50K
Drum Trigger Module Setup Manual for DT50S/DT50K EN This manual describes how to correctly connect drum triggers (DT50S/DT50K) to your drum trig- ger module and set parameters on your module to use the triggers. Refer to the Owner’s Manual that came with your DT50S/DT50K for details on how to use drum triggers and mount them on acoustic drums. Select your drum trigger module. DTX502 Page 2 DTX700 Page 12 DTX900M/DTX900/DTXTREME III Page 17 DTX-MULTI 12 Page 24 1 DTX502 Checking the Firmware Version Depending on the version of the firmware, you may need to update it. Before you connect the module to your DT50S/DT50K triggers, be sure to check the version of your module’s firmware. 1. While holding down the [SHIFT] button, turn on the drum trigger module. 2. Confirm the version displayed on-screen. Selecting a Setup Method After you confirm the version, select the appropriate setup method. Quick Setup (recommended) If Version 1.30 or later Advanced Setup Update before Using (recommended) If Version less than 1.30 Use without Updating 2 Quick Setup (recommended) DTX502 Quick Setup (recommended) This section describes the basic setup for connecting your DT50S/DT50K triggers to your module, and how to automatically set parameters by using Trigger Setup. With this method, you do not need to select voices individually. You can play snare, tom, or kick drum sounds simply by selecting a Pre- set kit. 1. Connecting to the Drum Trigger Module Connect your drum triggers to the jacks on your DTX502 indicated below by using the stereo audio cables that came with the triggers. -
A Nickel for Music in the Early 1900'S
A Nickel for Music in the Early 1900’s © 2015 Rick Crandall Evolution of the American Orchestrion Leading to the Coinola SO “Super Orchestrion” The Genesis of Mechanical Music The idea of automatic musical devices can be traced back many centuries. The use of pinned barrels to operate organ pipes and percussion mechanisms (such as striking bells in a clock) was perfected long before the invention of the piano. These devices were later extended to operate music boxes, using a set of tuned metal teeth plucked by a rotating pinned cylinder or a perforated metal disc. Then pneumatically- controlled machines programmed from a punched paper roll became a new technology platform that enabled a much broader range of instrumentation and expression. During the period 1910 to 1925 the sophistication of automatic music instruments ramped up dramatically proving the great scalability of pneumatic actions and the responsiveness of air pressure and vacuum. Usually the piano was at the core but on larger machines a dozen or more additional instruments were added and controlled from increasingly complicated music rolls. An early example is the organ. The power for the notes is provided by air from a bellows, and the player device only has to operate a valve to control the available air. Internal view of the Coinola SO “orchestrion,” the For motive most instrumented of all American-made machines. power the Photo from The Golden Age of Automatic Instruments early ©2001 Arthur A. Reblitz, used with permission. instruments were hand -cranked and the music “program” was usually a pinned barrel. The 'player' device became viable in the 1870s. -
Jay Weinberg Drum Specifications
JAY WEINBERG ACOUSTIC DRUMSET SPECIFICATIONS SJC CUSTOM DRUMS “M5” Maple Shells 14” x 22” 7-ply kick drum 14” x 22” 7-ply kick drum 6.5” x 14” 48-ply snare drum 8” x 10” 5-ply rack tom 8” x 12” 5-ply rack tom 9” x 13” 5-ply rack tom 16” x 16” 5-ply floor tom 18” x 18” 5-ply floor tom Custom wrap artwork by Thomas Hooper Chrome hardware with rust accents DW brackets Suspended mounts Diecast hoops Distressed kick hoops with black oyster inlays Vintage kick spurs and legs Kick drum T-rods SJC shield lugs ZILDJIAN CYMBALS 10” K Custom Hybrid Splash 14” A Custom Hi-Hats 18” Ultra Hammered China 20” A Custom Crash 8” K Custom Hybrid Splash 10” Oriental China 8” EFX Bell 20” A Custom Crash 18” Ultra Hammered China 21” S Rock Ride 13” A Custom Hi-Hats 22” Crash of Doom DRUM WORKSHOP PEDALS AND HARDWARE Rack System (5) DWCPRKTLEG Leg Assemblies (7) DWCPRKB36S 36” Straight Bars (2) DWCPRKB42C 42” Curved Bars DWSMRKTTCA 1.5” - .75” Tube Top Cymbal Adapters (13) DWSM934S - SM912S 9” x 1/2” Boom Cymbal Arms (9) DWSMRKC15T 1.5” - 1.5” Leg Clamps (5) DWSMTA12 1” - 1/2” Tom Arms with SM780, 1” Memory Lock (27) DWSMRKML15 1.5” Hinged Memory Locks DWSM9212 1/2” x 18” Boom Arm with Incrementally Adjustable Hi-Hat Clutch DWSM2141X Hi-Hat Stabilizing Clamp System DWSM776 7” Overall with Double Angle V-Clamps / SMMGM Memory Locks DWCPRKSBL Floating Snare Basket (8) GoPro Camera Mounts (2) DWCP9000 Single Pedals DW9500TB Hi-Hat stand (no legs) DWCP9300AL Snare Stand VATER DRUMSTICKS “Jay Weinberg” Universal Model VSHM Stick Holder VSHS Stick Holder (2) VDH Drink -
AYITI CHERIE, MY DARLING HAITI by Nimi Finnigan, B.S, M.F.A A
AYITI CHERIE, MY DARLING HAITI by Nimi Finnigan, B.S, M.F.A A Dissertation In ENGLISH Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Dennis Covington Chair of Committee Michael Borshuk Jackie Kolosov-Wenthe Peggy Gordon Miller Dean of the Graduate School May 2012 Copyright 2012, Nimi Finnigan Texas Tech University, Nimi Finnigan, May 2012 ACKNOWLEDGEMENTS I owe a debt of gratitude to a number of people without whom Ayiti Cherie, My Darling Haiti would never have been completed: Dennis Covington, who not only served as my supervisor but also introduced me to literary nonfiction, as well as Jackie Kolosov and Michael Borshuk for generously giving of their time and advice and for putting up with me. And as always, I still have not found the right words to thank and honor Mousson and Sean, who edited the manuscript for the facts, but more importantly who remind me to just be Nimi Finnigan through everything that I do because that’s enough. ii Texas Tech University, Nimi Finnigan, May 2012 TABLE OF CONTENTS ACKNOWLEDGEMENTS ......................................................................................... II ABSTRACT ................................................................................................................. IV 1. INTRODUCTION .................................................................................................... 1 Creative Nonfiction Overview: It’s All about the Latticework ................................ -
V-Pro™ Series TD-20S-BK
V-Pro™ Series TD-20S-BK With the V-Pro™ Series TD-20S-BK, Roland improves upon the industry-standard V-Drums by starting from A New Chapter In V-Drums History. the ground up. At the heart of this flagship set is the TD-20 module with new sounds and functions, superb expressiveness and in-depth V-Editing. The patented mesh pads now feature great dynamic range and natural rim shot triggering, along with a new look and stunning black finish. The V-Pro Series TD-20S-BK also features Roland’s amazing new V-Hi-Hat and a new drum stand designed to hide the cabling. With this powerful new combination of pads and hardware, the V-Pro Series TD-20S-BK lets drummers express themselves more naturally and with more realism than ever before! TD-20 Percussion Sound Module .......................................................................... An Entirely New V-Drums Experience .......................................................................... Without a doubt, the new TD-20 is Roland’s best percussion sound module ever, offering the ultimate sonic quality, over 500 new sounds, plus superb expressiveness and dynamic range when used with the new PD-125BK/105BK V-Pads and VH-12 V-Hi-Hat. With the superior sensitivity, drummers can play more naturally and without having to adjust their playing technique. The TD-20 includes the ability to vary the rim shot and bass drum sounds depending on how you play, plus new interval control for better snare drum rolls and more realistic cymbal swells. Close your eyes. Listen to every articulation and sound being faithfully re-created until the moment your cymbal fades away, and you’ll swear this is a real acoustic set. -
2019 PRODUCT CATALOG 1 2 Table of Contents Acoustic Drums Dios 4 - 5 M.A.X 6 Hybrid 7 Journeyman 8 - 9 SE Flyer 10 D Series 11 - 15
2019 PRODUCT CATALOG 1 2 Table of Contents Acoustic Drums Dios 4 - 5 M.A.X 6 Hybrid 7 Journeyman 8 - 9 SE Flyer 10 D Series 11 - 15 Snare Drums 16 - 17 Hardware 18 - 22 Deccabons 23 Electronic Drums 24 - 25 Electronics 26 - 27 Triggers 28 - 29 Bags & Merch 30 - 31 3 SKU: DS MP 320 DS MP 324 DS MP 522 snare Finishes: shell: maple plies: 8 shell thickness: 8mm Satin Gold Red Cherry Emerald Green hoop: 2.3mm triple flanged Sparkle Sparkle bearing edge: 30/45 degree hardware: chrome tone: warm to bright: excellent projection Satin Black toms shell: maple plies: 6 Add ons: shell thickness: 5.6mm hoop: 2.3mm triple flanged bearing edge: 30/45 degree hardware: chrome tone: warm to bright: excellent projection Snare Drums: Rack Toms: 7x13, 6.5x14 7x8, 7x10, 8x12, 9x13 bass drum shell: maple plies: 6 shell thickness: 6mm hoop: maple bearing edge: 30/45 degree hardware: chrome Floor Toms: Bass Drums: 14x14, 14x16, 16x18 20x20, 20x22, 20x24 tone: warm to bright: excellent projection Configuration #1: Configuration #2: Configuration #3: Rack: 7x10, 8x12 Floor: 14x14,14x16 Rack: 8x12 Floor: 14x14 Rack: 9x13 Floor: 14x16 Bass: 20x22 Bass: 20x20 Bass: 20x24 *Includes intergrated Tom Arm/Clamp & Floor Tom Legs 4 * Hardware and Cymbals sold seperatly for more information visit www.ddrum.com SKU: DS MPZ 522 NEW for 2019 LIMITED snare Finishes: shell: maple, zebra wood exotic veneer plies: 8 shell thickness: 8mm Zebra Wood hoop: die-cast bearing edge: 30/45 degree hardware: black chrome tone: warm to bright: excellent projection toms shell: maple, zebra -
“Wrap It in Rhythm”- Celebrating the Heartbeat of A+ with Music
Beverly Botsford- Cross-Cultural Percussionist Performing and Teaching Artist, A+ Fellow [email protected] www.beverlybotsford.com (919) 824-3821 “Wrap it in Rhythm”- Celebrating the Heartbeat of A+ With Music A Workshop for Teachers Using Drumming, Percussion, Movement, and Word to Build Community, Honor Accomplishments and Inspire Innovative Classroom Action Focus Questions: How can we use rhythm and music to enhance curriculum and engage diverse learners? How is music a tool for building community, celebrating accomplishments and inspiring innovation? How are language and music connected? Goals: Have fun and build community through music. 2) Share, honor, inspire and empower personal and group accomplishments in arts in education and innovative teaching practice. 3) Learn strategies for using rhythm for classroom management, building fluency, enhancing core curriculum and engaging diverse learners. 4) Share ideas for simple, home-made percussion instruments that can be used in the classroom. 6) Collaborate, create and connect with our A+ Community. 7) Generate excitement and a renewed sense of community and support in the work that we do. Session Content and Agenda: Wrap it in Rhythm-build a beat, weave a word, celebrate, let your voices be heard! In this music workshop, Beverly guides teachers in an ensemble, teambuilding, percussion experience that celebrates the importance of arts in education and shares strategies that use rhythm as a tool in the arts integrated classroom. 1) Create a Rhythm Orchestra- Using words from inspirational quotes that speak to the heart of A+, we will “Wrap it in Rhythm” as Beverly guides teachers in a music experience creating a multi-layered, rhythm orchestration that honors culture and celebrates our common connections as well as our diversity.