Modular Synthesis to Digital Artifacts, Current Practices in Computer Music
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Minimoog Model D Manual
3 IMPORTANT SAFETY INSTRUCTIONS WARNING - WHEN USING ELECTRIC PRODUCTS, THESE BASIC PRECAUTIONS SHOULD ALWAYS BE FOLLOWED. 1. Read all the instructions before using the product. 2. Do not use this product near water - for example, near a bathtub, washbowl, kitchen sink, in a wet basement, or near a swimming pool or the like. 3. This product, in combination with an amplifier and headphones or speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level or at a level that is uncomfortable. 4. The product should be located so that its location does not interfere with its proper ventilation. 5. The product should be located away from heat sources such as radiators, heat registers, or other products that produce heat. No naked flame sources (such as candles, lighters, etc.) should be placed near this product. Do not operate in direct sunlight. 6. The product should be connected to a power supply only of the type described in the operating instructions or as marked on the product. 7. The power supply cord of the product should be unplugged from the outlet when left unused for a long period of time or during lightning storms. 8. Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings. There are no user serviceable parts inside. Refer all servicing to qualified personnel only. NOTE: This equipment has been tested and found to comply with the limits for a class B digital device, pursuant to part 15 of the FCC rules. -
Modular Synthesizers
Modular Synthesizers A Brief History and Functional Description of the Modular Music Synthesizer • James Husted Synthwerks, LLC Sunday, March 24, 13 Mod•u•lar - adjective French modulaire or directly from Modern Latin modularis, from Latin modulus "a small measure" 1 : of, relating to, or based on a module or a modulus 2 : constructed with standardized units or dimensions for flexibility and variety in use, as in modular furniture 3 : composed of interchangeable units (!rst recorded 1936) Sunday, March 24, 13 Syn•the•sis - noun Etymology: Greek, from syntithenai to put together 1 : the composition or combination of parts or elements so as to form a whole 2 : the combining of often diverse conceptions into a coherent whole; also : the complex so formed Sunday, March 24, 13 Who’s on first? • 1837 - C.G. Page (Salem. Mass) - !rst to produce electronically generated sound (not necessarily associated with a musical instrument). • 1885 - Person and Ernst Lorenz -'Elektrisches Musikinstrument' - the !rst musical instrument designed to produce electrically generated sound. • 1897 - Taddaeus Cahills - Telharmonium - electromechanical instrument. • 1936 - Oskar Sala - Mixturtrautonium - !rst synth using Subharmonic synthesis • 1939 - Homer Dudley invents the Parallel Bandpass Vocoder (VODER) - A key operated speech synthesizer • 1940 - Homer Dudley invents the The Voder speech synthesizer as a way to transmit speech over telephone lines • 1948 - Hugh LeCaine - Electronic Sackbut - First voltage-controlled synthesizer • 1948 - Dr. Raymond Scott - Wall of Sound - First polyphonic Sequencing Workstation (electromechanical) and the Electronum - !rst sequencer. • 1950 - CSIR - Mk 1 - The !rst known use of a digital computer for the purpose playing music • 1956 - Louie and Bebe Barron - Produced the !rst all-electronic musical score for a major motion picture - MGM's 'Forbidden Planet' • 1957 - Max V. -
Cue Point Aesthetics: the Performing Disc Jockey In
CUE POINT AESTHETICS: THE PERFORMING DISC JOCKEY IN POSTMODERN DJ CULTURE By Benjamin De Ocampo Andres A Thesis Presented to The Faculty of Humboldt State University In Partial Fulfillment of the Requirements for the Degree Master of Arts in Sociology Committee Membership Dr. Jennifer Eichstedt, Committee Chair Dr. Renee Byrd, Committee Member Dr. Meredith Williams, Committee Member Dr. Meredith Williams, Graduate Coordinator May 2016 ABSTRACT CUE POINT AESTHETICS: THE PERFORMING DISC JOCKEY IN POSTMODERN DJ CULTURE Benjamin De Ocampo Andres This qualitative research explores how social relations and intersections of popular culture, technology, and gender present in performance DJing. The methods used were interviews with performing disc jockeys, observations at various bars, and live music venues. Interviews include both women and men from varying ages and racial/ethnic groups. Cultural studies/popular culture approaches are utilized as the theoretical framework, with the aid of concepts including resistance, hegemony, power, and subcultures. Results show difference of DJ preference between analog and digital formats. Gender differences are evident in performing DJ's experiences on and off the field due to patriarchy in the DJ scene. ii ACKNOWLEDGEMENTS First and Foremost, I would like to thank my parents and immediate family for their unconditional support and love. You guys have always come through in a jam and given up a lot for me, big up. To "the fams" in Humboldt, you know who you are, thank you so much for holding me down when the time came to move to Arcata, and for being brothers from other mothers. A shout out to Burke Zen for all the jokes cracked, and cigarettes smoked, at "Chinatown." You help get me through this and I would have lost it along time ago. -
The Synthi VCS3(Mk2) Matrix Interface Module
The Synthi VCS3(mk2) Matrix Interface Module Same as AKS unit but in Custom built Polished Afrormosia hardwood case to match the VCS3 styling. Connect to any VCS3 jack socket for common ground Output signals from Matrix to external IMPORTANT! DO NOT FORGET TO CONNECT modular synthesizer effects unit etc. Signals from THIS OTHERWISE UNIT external modular WILL NOT WORK! synthesizer or effects unit into the Matrix inputs SYNTHI PRESTO CONNECTOR Connects to VCS3(mk2)via presto socket Nn Using the VCS3(mk2)Matrix Interface Module This unit is functionally identical to a similar unit I designed for interfacing to the Synthi AKS. This one however is built into a cool looking polished afrormosia hardwood case. This is exactly the same wood as used on the VCS3 (mk1 or mk2). The front panel is cnc engraved satin anodised silver that complements that of the silver panelled VCS3 mk2’s. Its a complete interface unit for the VCS3(mk2) Matrix...or in other words a 'breakout' box whereby the row/column signals of the Matrix are taken out to 3.5mm jack sockets. This allows powerful interfacing options of the VCS3 with an external modular synthesizer like eg Doepfer-Eurorack and/or external effects racks etc. Note that VCS3 mk1’s don’t have a presto connector unless it has been added as a mod. Therefore this unit is designed only for use with the VCS3(mk2) with a prestopatch connector (some mk2’s from the ‘Datanomics’ period didnt come with them fitted). The panel layout also reflects the mk2 matrix layout which was different from that on the mk1. -
The Spherical Glitch Studies
The Spherical Glitch Studies Timothy Schmele Multimedia Technologies Unit Eurecat. Centre technòlogic de Catalonia Barcelona, Spain Institut für Musikwissenschaft and Musikinformation (IMWI) Hochschule für Musik Karlsruhe, Germany Contents • Spherical Glitch Study I (2016) & II (2018) • Spatial sound synthesis techniques • Spatial Synthesizer “Spatial composition” • Primary focus on external physical space • Compositions that incorporate related aspects of sound into the compositions process: direction, location, extent, envelopment, room acoustics, etc… • Varèse’s Poeme électronique • Stockhausen’s Gesang der Jünglinge • Nono’s Prometeo Spherical • Full listening sphere around the listener • Ambisonics & VBAP Glitch • Taken from “popular music” culture • Kim Cascone: post-digital, focus on failure and looking behind a technology: “The medium is no longer the message in glitch music: the tool has become the message.” • Feedback loops to amplify a system’s specific characteristics Study • Most famously used in Stockhausen’s Studie I & II • A title that suggests that the piece was done with the purpose of practice and investigation of a particular technique or approach Spherical Glitch Studies • Intended to investigate space as a compositional parameter and the technologies associated with it • Basic starting sound material: sine tone, noise,… • Sound design through spatial manipulation • Space (sensation) creation through feedback • Performative or installation pieces (drone aspects) Background • Hemispherical Glitch Study (2013) • Indirect -
Product Catalog 2017
Nord Keyboards Product Catalog 2017 Catalog Product Keyboards Nord STAGE PIANOS • SYNTHESIZERS • COMBO ORGAN Handmade in Sweden by Clavia DMI AB PRODUCT CATALOG 2017 The Original Red Keyboards The Nord factory is located in the creative area of Stockholm also known as SoFo, in the district of Södermalm. With everything located in the same building, communication between development and production is only a matter of walk- ing a few meters. We are proud to say all our Nord products are assembled by hand and they all go through a series of tough tests to ensure they’ll be ready for a long and happy life ‘on the road’. CONTENTS STAGE PIANOS NORD STAGE 3 6 NEW NORD PIANO 3 16 NORD ELECTRO 5 22 SYNTHESIZERS NORD LEAD A1 30 NORD LEAD 4 38 NORD DRUM 3P 46 COMBO ORGAN NORD C2D 50 SOUND LIBRARIES 58 Manufacturer: Clavia DMI AB, Box 4214, SE-102 65 Stockholm, Sweden Phone: +46 8 442 73 60 | Fax: +46 8 644 26 50 | Email: [email protected] | www.nordkeyboards.com 3 COMPANY HISTORY COMPANY IT ALL STARTED BACK IN 1983... In 1983 founder Hans Nordelius created the Digital introducing stunning emulations of classic vintage Chamberlin. The Electro 3 became one of the most In 2013 we celebrated our 30th anniversary as a musical Percussion Plate 1 – the first drum pad allowing for electro-mechanical instruments with a level of successful products we’ve ever made. instrument company by releasing the Nord Lead 4, Nord dynamic playing using sampled sounds. The DPP1 portability generally not associated with the original In 2010 the streamlined Nord Piano was introduced, Drum 2, Nord Pad and the Nord Piano 2 HP! At NAMM was an instant success and soon thereafter the instruments… a lightweight stage piano that featured advanced 2014 we announced the Nord Lead A1 – our award- brand name ddrum was introduced. -
University of Birmingham from Microsound to Vaporwave
University of Birmingham From Microsound to Vaporwave Born, Georgina; Haworth, Christopher DOI: 10.1093/ml/gcx095 Document Version Peer reviewed version Citation for published version (Harvard): Born, G & Haworth, C 2018, 'From Microsound to Vaporwave: internet-mediated musics, online methods, and genre', Music and Letters, vol. 98, no. 4, pp. 601–647. https://doi.org/10.1093/ml/gcx095 Link to publication on Research at Birmingham portal Publisher Rights Statement: Checked for eligibility: 30/03/2017 This is a pre-copyedited, author-produced version of an article accepted for publication in Music and Letters following peer review. The version of record Georgina Born, Christopher Haworth; From Microsound to Vaporwave: Internet-Mediated Musics, Online Methods, and Genre, Music and Letters, Volume 98, Issue 4, 1 November 2017, Pages 601–647 is available online at: https://doi.org/10.1093/ml/gcx095 General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. -
Modular Synthesizer
Modular Synthesizer Tejasvi Vishwanadha Andrew Muth Michael Miller Summary A modular synthesizer is a musical instrument that produces sounds by routing independent modules together. Modules such as oscillators, filters, delays, and sequencers allow for myriad sonic possibilities. Traditional modular synthesizers, most famously produced by Moog, date back to the mid-1960s. These synthesizers worked entirely in the analog domain. Our modular synthesizer will internally function in the digital domain, mimicking the components of the original synthesizers and adding some that would not have been possible. Modules for formant shifting and pitch correction will add more to an already vast arsenal of tools to create diverse soundscapes. Modules will be patched together using wires from and to the user data buses. As well, knobs and an intuitive GUI will allow for precision control over the modules and their parameters. Modules Audio Modules Oscillator The oscillator is one of the basic building blocks of the modular synthesizer. It produces a variety of simple waveforms given a frequency input. The ‘type’ input selects between pulse, triangle, saw, ramp, and sine waves. Using the ‘sync’ line, two oscillators can be hooked together so that they produce synchronized waveforms to prevent beating or create strange effects. The ‘width’ input allows for precise control of the pulse widths when using the pulse waveform type. Filter The filter is another basic module in the synthesizer. It provides a one-band parametric equalizer filter with four different modes of operation: high pass, low pass, band pass, and notch. The ‘q’ input controls the Q (“quality factor”) of the filter, and ‘level’ determines how much the signal is boosted or cut at the specified ‘cutoff’ frequency. -
A Networkable Plug-In Host for Dynamic Creation of Real-Time
UNIVERSITY OF CALIFORNIA Santa Barbara Adapt: A Networkable Plug-in Host for Dynamic Creation of Real-Time Adaptive Digital Audio Effects A Project submitted in partial satisfaction of the requirements for the degree of Master of Science in Media Arts and Technologies by Matthew E. Stabile Committee in charge: Curtis Roads, Chair Stephen Travis Pope Matthew Turk JoAnn Kuchera-Morin March 2010 Adapt: A Networkable Plug-in Host for Dynamic Creation of Real-Time Adaptive Digital Audio Effects Copyright © 2010 by Matthew E. Stabile 2 ABSTRACT Adapt: A Networkable Plug-in Host for Dynamic Creation of Real-Time Adaptive Digital Audio Effects by Matthew E. Stabile Adapt is an audio effects plug-in host that allows for dynamic creation and exploration of Adaptive Digital Audio Effects (A-DAFx). An adaptive effect is created when extracted features from an audio signal are used to modulate any parameter of an audio effect algorithm. Well-known examples include a compressor or the pitch-controlled “auto- tune” effect. These are classified as auto-adaptive effects because the adaptive control signal is generated based on analysis of the same audio signal that feeds the effects algorithm; if the analysis is instead performed on a secondary audio signal, the effect is defined as external-adaptive [1]. Adapt allows for dynamic creation of auto-adaptive and external-adaptive effects by providing a performance interface which includes two separate sound sources, a bank of real-time spectral and time-domain audio analysis modules, a bank of user-defined effects plug-ins and a bank of mapping modules for creating continuous mappings between analysis control signals and effects parameters. -
On Audio Culture
W&M ScholarWorks Articles 9-2006 Review: On Audio Culture Christopher DeLaurenti College of William and Mary, [email protected] Follow this and additional works at: https://scholarworks.wm.edu/articles Part of the Audio Arts and Acoustics Commons, and the Music Commons Recommended Citation DeLaurenti, C.A. (2006). “On Audio Culture: Readings in Modern Music.” eContact!. 8(4) This Article is brought to you for free and open access by W&M ScholarWorks. It has been accepted for inclusion in Articles by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. On Audio Culture: Readings in Modern Music By Christopher DeLaurenti Published in eContact, the electronic journal of electroacoustics, vol. 8, issue 4. September 2006 “Beethoven and Wagner have stirred our hearts and nerves for many years,” wrote Luigi Russolo in his 1913 manifesto, The Art of Noises. “Now we have had enough of them…” Indeed, music in the 20th century effloresced and then exploded with new ideas and techniques as well as into countless subgenres through new social, technological, and political relations. Audio Culture: Readings in Modern Music (Continuum) attempts to corral the major and minor trends in adventurous music—and generally succeeds. This cannily collected anthology of seminal music writing includes the obligatory pioneers and almost-pop icons: Luigi Russolo’s The Art of Noises: Futurist Manifesto and John Cage’s The Future of Music: Credo, along with probing pieces by Karlheinz Stockhausen, media theorist Marshall McLuhan, musique concrète inventor Pierre Schaeffer, Brian Eno, Glenn Gould, William S. Burroughs, and others. -
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. -
Read Book Microsound
MICROSOUND PDF, EPUB, EBOOK Curtis Roads | 424 pages | 17 Sep 2004 | MIT Press Ltd | 9780262681544 | English | Cambridge, Mass., United States Microsound PDF Book Phantoms Canoply Games listeners. I have no skin in the game either way and think you should just use what you want to use…Just make music any way you see fit. Miller Puckette Professor, Department of Music, University of California San Diego Microsound offers an enticing series of slice 'n' dice audio recipes from one of the pioneering researchers into the amazingly rich world of granular synthesis. In a single row of hp we find the Mimeophon offering stereo repeats and travelling halos. Browse our collection here. Make Noise modules have an uncanny knack of fitting well together. Electronic Sounds Live. Search Search. Connect to Spotify. Electronic and electroacoustic music. Taylor Deupree. He has also done some scoring for TV and movies, and sound design for video games. Search Search. Join the growing network of Microsound Certified Installers today. Taylor Deupree 71, listeners. Microsound grew up with most of us. El hombre de la Caverna, Disco 1. Everything you need to know about Microsound Products. Sounds coalesce, evaporate, and mutate into other sounds. Connect your Spotify account to your Last. Microsound Accreditation Carry the Certified Microsound Installer reputation with you wherever you go. The Morphagene acts as a recorder of sound and layerer of ideas while the Mimeophon mimics and throws out echoes of what has come before. Help Learn to edit Community portal Recent changes Upload file. More Love this track Set track as current obsession Get track Loading.