To Design and Development of a Cost Effective Electronic Drum Kit
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized. -
Musebox™ Virtual Instrument and Effects Module
MuseBox™ Virtual Instrument and Effects Module Operating Manual www.peavey.com ENGLISH Intended to alert the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. Intended to alert the user of the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product. CAUTION: Risk of electrical shock — DO NOT OPEN! CAUTION: To reduce the risk of electric shock, do not remove cover. No user serviceable parts inside. Refer servicing to qualified service personnel. WARNING: To prevent electrical shock or fire hazard, this apparatus should not be exposed to rain or moisture‚ and objects filled with liquids‚ such as vases‚ should not be placed on this apparatus. Before using this apparatus‚ read the operating guide for further warnings. SPANISH Este símbolo tiene el propósito, de alertar al usuario de la presencia de “(voltaje) peligroso” sin aislamiento dentro de la caja del producto y que puede tener una magnitud suficiente como para constituir riesgo de descarga eléctrica. Este símbolo tiene el propósito de alertar al usario de la presencia de instruccones importantes sobre la operación y mantenimiento en la información que viene con el producto. PRECAUCION: Riesgo de descarga eléctrica ¡NO ABRIR! PRECAUCION: Para disminuír el riesgo de descarga eléctrica, no abra la cubierta. No hay piezas útiles dentro. Deje todo mantenimiento en manos del personal técnico cualificado. ADVERTENCIA: Para prevenir choque electrico o riesgo de incendios, este aparato no se debe exponer a la lluvia o a la humedad. -
Design and Evaluation of a Digitally Active Drum
Personal and Ubiquitous Computing https://doi.org/10.1007/s00779-020-01391-6 ORIGINAL ARTICLE Design and evaluation of a digitally active drum Peter Williams1 · Daniel Overholt1 Received: 21 November 2019 / Accepted: 5 March 2020 © The Author(s) 2020 Abstract Despite the ever growing variety and popularity of commercially available electronic percussion (EP) instruments, there are still a significant number of active musicians who prefer to use acoustic drums. Digitally active drum (DAD) is an enhanced snare drum that provides sonic capabilities associated with digital musical instruments in the form of a traditional acoustic drum allowing full use of acoustic drumming gesture vocabulary. By using an in-built loud speaker and tactile sound transducers system, a Bela Cape and Beagle Bone Black, near field photoelectric sensors and a synthesis and effects patch built in Pure Data (PD), a prototype of a hybrid acoustic - electronic instrument has been made. This prototype has been evaluated by five expert drummers and two co-performers in both group and solo settings in order to determine its effectiveness and potential role in professional music making. Keywords Augmented drums · Electronic percussion · Music technology · Digital musical instruments · New interfaces for musical expression · Sound & music computing · Active acoustics · Hybrid instruments · Musical instrument evaluation 1 Introduction this despite the advantages of portability and variety of sound characteristics that they exhibit. Research was carried Many musicians embrace the products of newly developed out as to why this might be the case by reviewing drumming technology because of the new dimensions for personal forums and magazines, in addition to five unstructured expression they provide. -
Electronic Drum Kit
ELECTRONIC DRUM KIT INSTRUCTION MANUAL Models: PTEDRL12, PTEDRL14 Dear Customer Thank you sincerely for buying our hand roll drum kit. We are specialized in devel- oped and manufactured hand roll drum kit and piano for over 15years. This hand roll drum kit is a handy size product which is very easy to carry, in order to have a bast experience affect, please pay attention to the operation, wish you enjoy it, thanks again for your cooperation! I. Specification: 1. 7 drum pad: (Include crash cymbal, ride cymbal, open/close hi-hat, snare,high tom, low tom-tom, oor tom-tom) 9 drum pad: (include 2 crash cymbal, ride cymbal, open/close hi-hat, snare, base drum, high tom-tom, low tom-tom, oor tom-tom) 2 drum pedals: (include 1 hi-hat, 1 base drum) 2. 12demo songs, 7drum sounds, accompaniment 3. Volume Control: lever 9 4. Speed Control :lever 15 5. Could record and play 6. Audio input,match your cell phone, tablet, PC and other device which could support music. 7. With speaker, using as stereo II. Features: 1. The world's rst Multinational, portable, and professional drum 2. Fit for family entertainment/friends gathering and drum practice 3. Multi-sounds, simulated the really drum kits 4. The standard drum conguration and the extension for foot pedal could bring you real-life drum experience 5. Include accompaniment/ demo songs,control the playing speed free, this Is the best choice for drum learning 6. Include recording function,get all your inspiration in record easily 7. With two high-quality stereo speakers 8. -
Nitro Drum Module User Guide
User Guide English ( 3 – 9 ) Guía del usuario Español ( 10 – 16 ) Guide d’utilisation Français ( 17 – 23 ) Guida per l’uso Italiano ( 24 – 30 ) Benutzerhandbuch Deutsch ( 31 – 37 ) Appendix English ( 38 ) 2 User Guide (English) Introduction Support For the latest information about this product (system requirements, compatibility information, etc.) and product registration, visit alesis.com. For additional product support, visit alesis.com/support. Quick Start / Connection Diagram Setup and Playing * sold separately Tom 4 Drum Pad* Crash 2 Cymbal Pad* Computer* Power Smartphon e, MP3 player, etc.* Headphone s* MIDI OUTPUT USB TOM 4 CRASH 2 R L / MONO AUX IN OUT IN External Monitors* sound module* MIDI keyboard* Use the cable snake to connect the drum module to the drum/cymbal pads of your electronic drum kit. 1. Connect your electronic drum kit's pads to the cable snake, then connect the cable snake to the Cable Snake Input on the module's rear panel. 2. Optional: If you have any additional pads (e.g., an extra tom, an extra crash cymbal), connect them to the module's Tom 4 Input or Crash 2 Input. 3. Connect speakers (sold separately) to the Outputs and/or connect 1/8" stereo headphones (sold separately) to the Phones output. Turn the Volume knob all the way down (counterclockwise). 4. Connect the module to a power source, using the included power adapter (9 VDC, 500 mA, center positive). 5. Press the Power Switch to turn the module on. 6. Adjust the Volume knob to an appropriate level and play some drums! Selecting a Drum Kit: After powering on the module, or after pressing the Kit button, you will see the Kit indicator and NUM in the display. -
Westfield, N.J
Happy St. Patrick’s Day! (908) 232-4407 USPS 680020 Thursday, March 14, 2002 Published Every Thursday Since 1890 OUR 112th YEAR – ISSUE NO. 27-112 Periodical – Postage Paid at Westfield, N.J. www.goleader.com [email protected] FIFTY CENTS WESTFIELD COUNCIL SIGNS OFF ON SETTLEMENT TUESDAY Ward Commission Approves Reinstatement of Old Map By LAUREN S. PASS voted against reinstatement of the borhood had felt disenfranchised and old map, while Republicans John wanted to be a part of the Third Ward Specially Written for The Westfield Leader DeSimone of Clark and Mary Ellen again. Now, she said, she would like The Ward Commission met on Harris of Kenilworth voted in favor “to see the whole system (of redis- Tuesday afternoon to adopt a settle- of it. Town Clerk Bernard Heeney tricting) changed to non-political.” ment in the lawsuit of Withers et al cast the tie-breaking vote in favor of The vote cast on October 18, 2001 versus the Ward Commission et al. returning to the old map. was also a 2-2 split, with Mr. Heeney The commission voted to throw The Ward Commission, which is casting the deciding vote in favor of out the map it adopted on October appointed after each census is com- moving the Cacciola Place neigh- 18, 2001, which had put the entire pleted, consists of two Democrats, borhood from the Third to the Sec- Cacciola Place neighborhood into two Republicans and the town clerk. ond ward. The map took effect on January 1 of this year. According to federal stat- utes, each neighborhood should be “compact contigu- ous,” while not showing a difference of more than 10 percent in population devia- tion between the smallest and largest wards. -
I Wasn't on Some Campaign to Change the World, I Was a Drummer in A
Contents Masthead The Off 07 Loic maurin Apesanteur [ZERO GRAVITY] 17 The Sum Of The Parts John Maher 28 Dropping Names Don Lombardi 35 Maximum Break Richard Colburn 44 Retirement Bill Bruford 49 Out On A Limb CONTENTS A conversation with Eddie Prevost Issue One, December 2012 57 Rhythm As A Medium Ben Martin 62 Tatsuya Amano クロスフェイス [CROSSFAITH] Subscriptions/Newsletter Editor: Tom Hoare [email protected] Art Director: Luke Douglas [email protected] Web Editor: Andrew Jones Contributors: Ben Martin, Iain Bellamy, Kate Darracott, Flora Hodson, Elspeth Leadbetter, John Maher, Julia Kaye, Jim Bevington Thanks: Tim Wilson, Rew Kubayashi, Ryan Richards, BGM Rhythms, John Williamson, James Walker, Greg & Julia, Alex Sayles, Crystalline Connolley, Papillon Zamprioli, Needham Avenue, Glen Thomson Contact: Editorial: [email protected] Advertising: [email protected] Cover: A preoccupation with time. Reading note: We’ve made this magazine to be readable online, without the need to zoom and MASTHEAD scroll. It looks best when viewed in full screen. Issue One, December 2012 www Copyright © The Drummer’s Journal 2012 The proprietors and contributors to The Drummer’s Journal have asserted their right under the Copyright Designs and Patens Act 1988 to be identified as the owners and authors of this work. THE OFF www welve months ago, the brief conversation which sowed the seeds for The Drummer’s Journal occurred. It was between a good friend and myself. Having dredged out an assorted collection of drum magazines from under my bed, he selected a copy and Tread it cover to cover. He then picked up another and did the same. -
Stewart Speer: a Drummer Who Won't Let the Odds Beat
STEWART SPEER: A DRUMMER WHO WON’T LET THE ODDS BEAT HIM by Eric Myers ___________________________________________________ [This article appeared in the Sydney Morning Herald on September 15, 1981.] his week the legendary 53-year-old drummer Stewart Speer embarks on a 10- week tour of Australia with Max Merritt, the former Australian rock star now T based in England. This period of employment breaks a long drought for an important figure in Australian jazz history. Apart front a similar tour with Merritt last year, Speer has worked only occasionally since returning two years ago from England, where he spent most of the 1970s. Max Merritt & the Meteors, L-R, Speer, Lance Dixon, Merritt, Martin (Fuzz) Deniz, John Gourd… 1 Speer, with cigarette dangling… “I would like to be playing more, but I’m not sure about how to go about it,” said Speer recently. “I wouldn’t mind a regular gig, maybe with some electric players. I like a bit of noise.” “Of course I have been sick since I came back from England,” he says, ticking off an impressive series of afflictions — leg ulcers, cellulitis, gout and arthritis are just some of them. Physically, he is an awesome man — some 22 stone, although he is down from last year’s 25 stone — with a flowing white beard and long grey hair which seems to grow out of the sides of his ever-present peak cap. In performance, he establishes a formidable presence behind the array of cymbals and tom-toms which make up the modern drum-kit. Always there is a huge cloud of smoke pouring upwards from the cigarette which dangles nonchalantly from his lips. -
Issue #102, "Corps of Was Voted to Increase the Cover Price of the Ancient 1OK More Words While Ntuntatning a SJZC of the Same -IO Yesterday"
s Your drum head is one of the most powerful influences on your overall performance. \\'e carry a wide selection of synthetic and natural skin heads chosen expressly for rope tension lield drums, providing you with the most extensive range of choices for sound, response, and durabilit_}. We recommend BAffER HEADS these brands and Remo® Fiberskyn 3 (C11.,tM1 Rii11,,) styles ofdrum Remo® Renaissance (Cu.,1<1111 Rim.,) heads. Other Remo~ heads Swiss Kevlar are available Traditional Calfskin upon request as New Professional Calfskin well. - ti1 ,,tack Summer 2{}01 SNARE HEADS Remo® Emperor translucent (Ca.t1,1m Rim.,) Swiss Synthetic Traditional Calfskin New Professional Calfskin - tiz ,,tock Summer 2001 Cooperman File & Drum BASS HEADS Company Remo® Fiberskyn 3 Essex lnduslnal Park, P0. Box 276, 1 1 New Bear ' Kevlar Centerblook, CT 06409-0276 USA Tel: 860-767-1779 - tiz ,,tock tiz 2-1" and 26" diameter,, Fax: 860-767-7017 Traditional Calfskin Email: [email protected] -----~-=--=-=On~llle:::Wro=:~Wil;wcooperman.com Ancienffimes 2 From the 1 No. 1112-No,ombct,:?()II() Tht Corps of Yutmlay Publisher/Editor Publahcd:,; The Company of 14 Fifers cffDrummers w we come to talk ofthe fifes and drums Hanciford's Vol11nturs F&DC ofyesterday. The bcgmmngs of this Editor: Bob l>T.cl· Ctltbratts 25 ¥tars illusmous music are somewhat elusive and Senior Editor: Robin N1mu12 perhaps lost forever in antiqmty. But we Associat• Editon: can n:Oect on the history we have at hand Grrg BJcon, MUll, Editor 15 Nwithin the museum archives. J fascinanng record of fife Jc-1.~ Hili-mon. -
NEW! We Have the Largest Selection of Hard to Find Items. Call
410 DRUM & PERCUSSION PRODUCTS NEW! ALESIS DM7 USB 5-PIECE ALESIS PERFORMANCE PAD PRO MULTI- ELECTRONIC DRUMSET A 5-drum PAD This 8-pad multi-percussion instrument fea- and 3-cymbal drum kit featuring the tures over 500 sounds and has a 3-part sequencer DM7 USB-enabled drum module so you can play live, create loops and sequences, with more than 400 stereo sounds in or accompany yourself. It includes studio effects, 80 kits. The module features a flex- velocity-sensitive drum pads, large LCD display, a lightweight and durable enclosure, ible metronome and learning exer- 24-bit audio outputs, traditional 5-pin MIDI output jack, and a mix input for external cises, record feature, 1/4" line in/out, tracks, loops, and instruments. headphones out, USB connectivity, ITEM DESCRIPTION PRICE 30 custom drum kits with customi- KICK PEDAL PERFORMANCEPAD-PRO.......8-pad percussion instrument .......................................... 299.00 zable individual drum and cymbal NOT INCLUDED sounds with volume, pan, tuning, and reverb settings. It has 8 studio EQ settings to ALESIS PERCPAD COMPACT 4-PAD PERCUSSION create the perfect room, club, or stadium sound. It offers (1) large, triple-zone snare INSTRUMENT Has 4 velocity-sensitive pads, a kick pad, (3) single-zone 8" tom pads, (1) 8" Hi-hat and control pedal, (1) kick pad with input and high-quality internal sounds –in a compact stand, (1) 12" Crash with choke, and (1) 12" Ride. It has a pre-assembled, 4-post rack size. Mounts to standard snare stand, tabletop surface, for quick set up and stable support and includes rack clamps and mini-boom cymbal or use the optional Module Mount. -
Carlton Barrett
! 2/,!.$ 4$ + 6 02/3%2)%3 f $25-+)4 7 6!,5%$!4 x]Ó -* Ê " /",½-Ê--1 t 4HE7ORLDS$RUM-AGAZINE !UGUST , -Ê Ê," -/ 9 ,""6 - "*Ê/ Ê /-]Ê /Ê/ Ê-"1 -] Ê , Ê "1/Ê/ Ê - "Ê Ê ,1 i>ÌÕÀ} " Ê, 9½-#!2,4/."!22%44 / Ê-// -½,,/9$+.)"" 7 Ê /-½'),3(!2/.% - " ½-Ê0(),,)0h&)3(v&)3(%2 "Ê "1 /½-!$2)!.9/5.' *ÕÃ -ODERN$RUMMERCOM -9Ê 1 , - /Ê 6- 9Ê `ÊÕV ÊÀit Volume 36, Number 8 • Cover photo by Adrian Boot © Fifty-Six Hope Road Music, Ltd CONTENTS 30 CARLTON BARRETT 54 WILLIE STEWART The songs of Bob Marley and the Wailers spoke a passionate mes- He spent decades turning global audiences on to the sage of political and social justice in a world of grinding inequality. magic of Third World’s reggae rhythms. These days his But it took a powerful engine to deliver the message, to help peo- focus is decidedly more grassroots. But his passion is as ple to believe and find hope. That engine was the beat of the infectious as ever. drummer known to his many admirers as “Field Marshal.” 56 STEVE NISBETT 36 JAMAICAN DRUMMING He barely knew what to do with a reggae groove when he THE EVOLUTION OF A STYLE started his climb to the top of the pops with Steel Pulse. He must have been a fast learner, though, because it wouldn’t Jamaican drumming expert and 2012 MD Pro Panelist Gil be long before the man known as Grizzly would become one Sharone schools us on the history and techniques of the of British reggae’s most identifiable figures. -
Reason Drum Kits Operation Manual
REASON DRUM KITS OPERATION MANUAL The information in this document is subject to change without notice and does not represent a commitment on the part of Propellerhead Software AB. 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 Propellerhead Software AB. ©2019 Propellerhead Software and its licensors. All specifications subject to change without notice. Reason, Reason Intro, Reason Lite and Rack Extension are trademarks of Propellerhead Software. All other commercial symbols are protected trademarks and trade names of their respective holders. All rights reserved. Reason Drum Kits Introduction The Reason Drum Kits instrument is a Rack Extension version of the mighty popular Reason Drum Kits ReFill. Anyone with experience in professional studio work will tell you that recording drums is the most difficult and demanding part of any project. Hands down. Drum recording is a craft which takes decades to learn, yet never gets any easier. It's exhausting. It's expensive. It can make or break an entire production. Due to these challenging demands, the means for capturing the ultimate drum sound have always been out of reach for everyone except those who never get cold sweats from the tick tock of the studio clock. Until now. We took care of the hard part, and the result is Reason Drum Kits - a powerful and versatile drum tool that tears down the last barrier between the virtual studio workspace and the real drum recording studio, and closes the quality gap between “merely” professional and world class! Be the drummer - and the engineer! Traditionally, the structure of computer based drum tools has been dictated by the anatomy of the drum kit.