MIDI Controller
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Touchpoint: Dynamically Re-Routable Effects Processing As a Multi-Touch Tablet Instrument
Proceedings ICMC|SMC|2014 14-20 September 2014, Athens, Greece Touchpoint: Dynamically Re-Routable Effects Processing as a Multi-Touch Tablet Instrument Nicholas K. Suda Owen S. Vallis, Ph.D California Institute of the Arts California Institute of the Arts 24700 McBean Pkwy. 24700 McBean Pkwy. Valencia, California 91355 Valencia, California 91355 United States United States [email protected] [email protected] ABSTRACT Touchpoint is a multi-touch tablet instrument which pre- sents the chaining-together of non-linear effects processors as its core music synthesis technique. In doing so, it uti- lizes the on-the-fly re-combination of effects processors as the central mechanic of performance. Effects Processing as Synthesis is justified by the fact that that the order in which non-linear systems are arranged re- sults in a diverse range of different output signals. Be- cause the Effects Processor Instrument is a collection of software, the signal processing ecosystem is virtual. This means that processors can be re-defined, re-configured, cre- Figure 1. The sprawl of peripherals used to control IDM ated, and destroyed instantaneously, as a “note-level” mu- artist Tim Exile’s live performance. sical decision within a performance. The software of Touchpoint consists of three compo- nents. The signal processing component, which is address- In time stretching, pitch correcting, sample replacing, no- ed via Open Sound Control (OSC), runs in Reaktor Core. ise reducing, sound file convolving, and transient flagging The touchscreen component runs in the iOS version of Le- their recordings, studio engineers of every style are reg- mur, and the networking component uses ChucK. -
Resonant Spaces Notes
Andrew McPherson Resonant Spaces for cello and live electronics Performance Notes Overview This piece involves three components: the cello, live electronic processing, and "sequenced" sounds which are predetermined but which render in real time to stay synchronized to the per- former. Each component is notated on a separate staff (or pair of staves) in the score. The cellist needs a bridge contact pickup on his or her instrument. It can be either integrated into the bridge or adhesively attached. A microphone will not work as a substitute, because the live sound plays back over speakers very near to the cello and feedback will inevitably result. The live sound simulates the sound of a resonating string (and, near the end of the piece, ringing bells). This virtual string is driven using audio from the cello. Depending on the fundamental frequency of the string and the note played by the cello, different pitches are produced and played back by speakers placed near the cellist. The sequenced sounds are predetermined, but are synchronized to the cellist by means of a series of cue points in the score. At each cue point, the computer pauses and waits for the press of a footswitch to advance. In some cases, several measures go by without any cue points, and it is up to the cellist to stay synchronized to the sequenced sound. An in-ear monitor with a click track is available in these instances to aid in synchronization. The electronics are designed to be controlled in real-time by the cellist, so no other technician is required in performance. -
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. -
User Manual Mellotron V - WELCOME to the MELLOTRON the Company Was Called Mellotronics, and the First Product, the Mellotron Mark 1, Appeared in 1963
USER MANUAL Special Thanks DIRECTION Frédéric BRUN Kévin MOLCARD DEVELOPMENT Pierre-Lin LANEYRIE Benjamin RENARD Marie PAULI Samuel LIMIER Baptiste AUBRY Corentin COMTE Mathieu NOCENTI Simon CONAN Geoffrey GORMOND Florian MARIN Matthieu COUROUBLE Timothée BÉHÉTY Arnaud BARBIER Germain MARZIN Maxime AUDFRAY Yann BURRER Adrien BARDET Kevin ARCAS Pierre PFISTER Alexandre ADAM Loris DE MARCO Raynald DANTIGNY DESIGN Baptiste LE GOFF Morgan PERRIER Shaun ELLWOOD Jonas SELLAMI SOUND DESIGN Victor MORELLO Boele GERKES Ed Ten EYCK Paul SCHILLING SPECIAL THANKS Terry MARDSEN Ben EGGEHORN Jay JANSSEN Paolo NEGRI Andrew CAPON Boele GERKES Jeffrey CECIL Peter TOMLINSON Fernando Manuel Chuck CAPSIS Jose Gerardo RENDON Richard COURTEL RODRIGUES Hans HOLEMA SANTANA JK SWOPES Marco CORREIA Greg COLE Luca LEFÈVRE Dwight DAVIES Gustavo BRAVETTI Ken Flux PIERCE George WARE Tony Flying SQUIRREL Matt PIKE Marc GIJSMAN Mat JONES Ernesto ROMEO Adrien KANTER Jason CHENEVAS-PAULE Neil HESTER MANUAL Fernando M RODRIGUES Vincent LE HEN (editor) Jose RENDON (Author) Minoru KOIKE Holger STEINBRINK Stephan VANKOV Charlotte METAIS Jack VAN © ARTURIA SA – 2019 – All rights reserved. 11 Chemin de la Dhuy 38240 Meylan FRANCE www.arturia.com Information contained in this manual is subject to change without notice and does not represent a commitment on the part of Arturia. The software described in this manual is provided under the terms of a license agreement or non-disclosure agreement. The software license agreement specifies the terms and conditions for its lawful use. No part of this manual may be reproduced or transmitted in any form or by any purpose other than purchaser’s personal use, without the express written permission of ARTURIA S.A. -
USB MIDI CONTROLLER INTRODUCTION This Is an Ultra-Compact MIDI Controller Which Serves to Control Music Software
USB MIDI CONTROLLER INTRODUCTION This is an ultra-compact MIDI controller which serves to control music software. It is equipped with 25/49/61 velocity-sensitive keys as well as 1 fader and 4 rotary controls. The controller connects both PC and Mac(OTG convertor cable is required for connecting to Mobile phone and Pad). You can do without a bulky power adapter as power supply is via the USB bus. It’s also available to download the full user manual and other setting instructions from http://en.worlde.com.cn/. 2 STEPS FOR KS TO WORK 1) Connect your KS to the computer by USB cable. 2) Open your DAW in your computer and select KS as your hardware controller in your DAW. Now you are ready to go. CONNECTING A COMPUTER Use the included USB cable to connect the USB MIDI controller to a USB2.0 port on your computer. The power will turn on. Select the KS as MIDI controller within your music software and you are ready to go. DEVICE SETUP IN SOFTWARE To select KS as a controller for your digital audio workstation (DAW): 1. Connect KS to your computer using a standard USB cable. (If you are connecting KS to a USB hub, make sure it is a powered hub. If another device with USB3.0 is connected to USB hub at the same time, KS will not work properly at this time.) 2. Open your DAW. 3. Open your DAW's Preferences, Options, or Device Setup, select KS as your hardware controller, and then close t hat window. -
MIDI Keyboard Defined DJ Performance System
MIDI Keyboard Defined DJ Performance System Christopher Dewey Jonathan P. Wakefield Matthew Tindall University of Huddersfield University of Huddersfield University of Huddersfield Queensgate, Huddersfield Queensgate, Huddersfield Queensgate, Huddersfield West Yorkshire, United Kingdom West Yorkshire, United Kingdom West Yorkshire, United Kingdom [email protected] [email protected] [email protected] ABSTRACT 2. MOTIVATION This paper explores the use of the ubiquitous MIDI keyboard to The motivation to use only the piano keys of a two octave MIDI control a DJ performance system. The prototype system uses a two controller as a virtual DJ system interface was: octave keyboard with each octave controlling one audio track. Each 1) Democratisation - MIDI controller keyboards are more audio track has four two-bar loops which play in synchronisation widely available and affordable than hardware interfaces in switchable by its respective octave’s first four black keys. The top commercial virtual DJ systems. Knobs, pads and faders key of the keyboard toggles between frequency filter mode and time which vary between controllers were excluded. slicer mode. In frequency filter mode the white keys provide seven 2) Playability - Inspired by Atlantic Records engineer Tom bands of latched frequency filtering. In time slicer mode the white Dowd who enabled mix engineers to “play the faders like you keys plus black B flat key provide latched on/off control of eight time could play a piano” by replacing the mixing console’s large slices of the loop. The system was informally evaluated by nine rotary knobs with slide-wire faders [2] providing an subjects. -
USB MIDI CONTROLLER INTRODUCTION This Is an Ultra-Compact and Light-Weight MIDI Controller Which Serves to Control Music Software
USB MIDI CONTROLLER INTRODUCTION This is an ultra-compact and light-weight MIDI controller which serves to control music software. It is equipped with 25 velocity-sensitive keys, and 8 velocity-sensitive drum pads as well as 4 faders and 4 rotary controls. The controller connects both PC and Mac(OTG convertor cable is required for connecting to Mobile phone and Pad). You can do without a bulky power adapter as power supply is via the USB bus. The unit is supplied with a software editor which you can download from WORLDE website. The software editor will let you customize this USB MIDI controller to your own requirements. It’s also available to download the full user manual and other setting instructions from http://en.worlde.com.cn/. 3 STEPS FOR PANDAMINI TO WORK 1) Connect your PANDAMINI to the computer by USB cable. 2) Download the software editor from the download page of WORLDE website and customize all editable controllers, and create, save and load presets. 3) Open your DAW in your computer and select PANDAMINI as your hardware controller in your DAW. Now you are ready to go. CONNECTING A COMPUTER Use the included USB cable to connect the USB MIDI controller to a USB2.0 port on your computer. The power will turn on and the scene LED will light up. Select the PANDAMINI as MIDI controller within your music software and you are ready to go. FIRST STEPS WITH THE EDITOR The editor will let you customize all editable controllers, and create, save and load presets. -
An Arduino-Based MIDI Controller for Detecting Minimal Movements in Severely Disabled Children
IT 16054 Examensarbete 15 hp Juni 2016 An Arduino-based MIDI Controller for Detecting Minimal Movements in Severely Disabled Children Mattias Linder Institutionen för informationsteknologi Department of Information Technology Abstract An Arduino-based MIDI Controller for Detecting Minimal Movements in Severely Disabled Children Mattias Linder Teknisk- naturvetenskaplig fakultet UTH-enheten In therapy, music has played an important role for children with physical and cognitive impairments. Due to the nature of different impairments, many traditional Besöksadress: instruments can be very hard to play. This thesis describes the development of a Ångströmlaboratoriet Lägerhyddsvägen 1 product in which electrical sensors can be used as a way of creating sound. These Hus 4, Plan 0 sensors can be used to create specially crafted controllers and thus making it possible for children with different impairments to create music or sound. This Postadress: thesis examines if it is possible to create such a device with the help of an Arduino Box 536 751 21 Uppsala micro controller, a smart phone and a computer. The end result is a product that can use several sensors simultaneously to either generate notes, change the Telefon: volume of a note or controlling the pitch of a note. There are three inputs for 018 – 471 30 03 specially crafted sensors and three static potentiometers which can also be used as Telefax: specially crafted sensors. The sensor inputs for the device are mini tele (2.5mm) 018 – 471 30 00 and any sensor can be used as long as it can be equipped with this connector. The product is used together with a smartphone application to upload different settings Hemsida: and a computer with a music work station which interprets the device as a MIDI http://www.teknat.uu.se/student synthesizer. -
To Obtain the PDF Manual PDF Manual (Download from the Web) 1
Owner’s Manual Owner’s Manual (this document) Read this first. This explains basic operation. To obtain the PDF manual PDF Manual (download from the Web) 1. Enter the following URL in your computer. A-88MKII Control Manual (English) 5 http://www.roland.com/manuals/ This explains A-88MKII Control. I 2. Choose “A-88MKII.” Before using this unit, carefully read “USING THE UNIT SAFELY” (p. 15) and “IMPORTANT NOTES” (p. 16). After reading, keep the document(s) where it will be available for immediate reference. © 2019 Roland Corporation Introduction Placing the A-88MKII on a Stand If you want to place the A-88MKII on a stand, use the Roland KS-10Z or KS-12. Place the A-88MKII on the stand as follows. Be sure to follow the instructions in the Owner’s Manual carefully when placing this unit on a stand. If it is not set up properly, you risk creating an unstable situation which could lead to the unit falling or the stand toppling, and may result in injury. * Be careful not to pinch your fingers when setting up the stand. KS-10Z Adjust the width of the stand so Adjust so that the height does that the rubber feet of the A-88MKII not exceed 1 meter. straddle the stand. Align the front of the A-88MKII with the front of the stand. Top view KS-12 Adjust the width of the stand so that the rubber feet on the keyboard side of the bottom of the keyboard fit into the holes provided for the rubber. -
What Is Virtual Bassist ROWDY? 12 Virtual Bassist Vs
User Guide Version 2.1 The information in this document is subject to change without notice and does not represent a commitment on the part of NXTGN Music Technology GmbH. The software described herein is subject to a License Agreement and may not be copied to any other media except as specifically allowed in the License Agreement. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by NXTGN Music Technology GmbH. © 2020 NXTGN Music Technology GmbH. All specifications subject to change without notice. All commercial symbols are protected trademarks and trade names of their respective holders. All rights reserved. Virtual Bassist ROWDY Table of Contents User Guide 1 Table of Contents 2 Welcome to Virtual Bassist MELLOW 2 6 What is new in Version 2? 6 MIDI Drag’n’Drop 6 Building songs 7 New Styles and Presets 7 Finisher Section 7 UI Facelift 8 PreSonus Chord Track and Key Track Integration 8 DAW Sync 8 Parallel Key Selection 9 Loading Indicator 9 About the Virtual Bassist series 9 You and us 9 Looking for quick help? 9 Quick Reference 10 What is Virtual Bassist ROWDY? 12 Virtual Bassist vs. A Real Bass Player 13 How Does Virtual Bassist Make You Sound Real? 13 What is Virtual Bassist ROWDY about? 14 Why so few controls? 14 Trial and Authorization 14 Trying, Buying, Authorizing 15 Where to put the Content 15 Installing to a different drive on OS X 16 - 2 - Virtual Bassist ROWDY Installing to a different drive on Windows -
User's Manual
USER’S MANUAL PROGRAMMING: Thomas Diligent Robert Bocquier Adrien Courdavault Mathieu Nocenti SOUND DESIGN: Luca Torre (Multis) Michael Hosker (All) Ted James (Jupiter8V) Matthew Sevant (ProphetV) Knowlton Walsh (MiniV) Matt Sterling (Arp 2600V) Ted James (CS80V) MANUAL: Randy Lee Pierce Warnecke Tomoya Fukushi Noritaka Ubukata Antoine Back Thomas Diligent DESIGN: Shaun Ellwood Morgan Perrier © ARTURIA SA – 1999-2014 – All rights reserved. 30, Chemin du Vieux Chene 38240 Meylan FRANCE http://www.arturia.com Information contained in this manual is subject to change without notice and does not represent a commitment on the part of Arturia. The software described in this manual is provided under the terms of a license agreement or non-disclosure agreement. The software license agreement specifies the terms and conditions for its lawful use. No part of this manual may be produced or transmitted in any form or by any purpose other than purchaser’s personal use, without the express written permission of ARTURIA S.A. All other products, logos or company names quoted in this manual are trademarks or registered trademarks of their respective owners. October 2014 edition 2 ARTURIA – Analog Lab – USER’S MANUAL Thank you for purchasing Arturia’s Analog Lab! This manual covers the features and operation of Arturia’s Analog Lab, a software synthesizer that allows you to play and modify over 5,000 sounds. After the purchase of this software you will receive its serial number and an unlock code by e-mail. This information enables you to register the software online. Once you have registered your software you will receive an activation code by e-mail that will allow you to authorize the software for use on your computer. -
Virtual Musical Instruments: Print This Technological Aspects Article and Interactive Performance Issues
428 l Virtual Musical Instruments: Print this Technological Aspects article and Interactive Performance Issues Suguru Goto [email protected] Abstract I have been creating various Gestural Interfaces1 for use in my compositions for Virtual Musical Instruments2. These Virtual Musical Instruments do not merely refer to the physical instruments, but also involve Sound Synthesis3, programming and Interactive Video4. Using the Virtual Musical Instruments, I experimented with numerous compositions and performances. This paper is intended to report my experiences, as well as their development; and concludes with a discussion of some issues as well as the problem of the very notion of interactivity. 1. An interface which translates body movement to analog signals. This contains a controller which is created with sensors and video scanning system. This is usually created by an artist himself or with a collaborator. This does not include a commercially produced MIDI controller. 2. This refers to a whole system which contains Gesture, Gestural Interface, Mapping Interface, algorithm, Sound Syn- thesis, and Interactive Video. According to programming and artistic concept, it may extensively vary. 3. This is a domain of programming to generate sound with a computer. In this article, the way of this programming emphasis the relationship between gesture and sound production. 4. A video image which is altered in real time. In Virtual Musical Instruments, the image is changed by gesture. This image is usually projected on a screen in a live performance. 429 Introduction The problem confronting artists who work with interactive media is the use of commercially-produced computers. Very few of them build their machines from scratch.