Touchpoint: Dynamically Re-Routable Effects Processing As a Multi-Touch Tablet Instrument
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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. -
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. -
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. -
Izotope Stutter Edit Mac
1 / 2 Izotope Stutter Edit Mac Download iZotope Stutter Edit 1 05c Stutter Edit is a MIDI controlled plug-in that lets you create a beat-repeating effect, or “Stutter”, automatically synced to your DAW tempo.. 13 2 Master rhythm with iZotope’s Stutter Edit, a real-time audio manipulation plug-in for electronic performance and sound design—designed by BT.. Year of manufacture : 2017Version : 1 0 5Developer : iZotopeDeveloper’s site : iZotopePlatform : iNTELFormat : VST, VST3, RTAS, AUBit depth : 32bit, 64bitLanguage : EnglishTablet : Files for copyingSystem requirements : Mac: OS X 10.. He cuts sound material into small pieces and rebuilds them into clear rhythmic effects, allowing him to reproduce a technique that would take many hours in the studio.. Izotope Stutter Edit Free DownloadIzotope Stutter FreeStutter Edit is the first collaboration between iZotope and composer and electronic musician Brian Transeau (BT).. With just the press of a key, switch between an extensive bank of over 800 individual. Izotope Stutter Edit Free DownloadDescription : Stutter Edit was created by iZotope in collaboration with composer and musician Brian Transeau (BT).. Slicing and dicing audio into microscopic fragments and then processing and filtering the slices in real time is what Stutter Edit is all about.. 6 8-10 13 (Intel only) Please be aware: We are currently investigating a known issue with Apple Logic Pro X on MacOS High Sierra 10.. Mac: OS X 10 8 5 Mountain Lion–macOS 10 15 Catalina 5, Digital Performer 9, FL Studio 12, Logic Pro X, Nuendo 8, Pro Tools 10–12, Reaper 5, Reason 10, Studio One 3–4 Stutter Edit works. -
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. -
2011 – Cincinnati, OH
Society for American Music Thirty-Seventh Annual Conference International Association for the Study of Popular Music, U.S. Branch Time Keeps On Slipping: Popular Music Histories Hosted by the College-Conservatory of Music University of Cincinnati Hilton Cincinnati Netherland Plaza 9–13 March 2011 Cincinnati, Ohio Mission of the Society for American Music he mission of the Society for American Music Tis to stimulate the appreciation, performance, creation, and study of American musics of all eras and in all their diversity, including the full range of activities and institutions associated with these musics throughout the world. ounded and first named in honor of Oscar Sonneck (1873–1928), early Chief of the Library of Congress Music Division and the F pioneer scholar of American music, the Society for American Music is a constituent member of the American Council of Learned Societies. It is designated as a tax-exempt organization, 501(c)(3), by the Internal Revenue Service. Conferences held each year in the early spring give members the opportunity to share information and ideas, to hear performances, and to enjoy the company of others with similar interests. The Society publishes three periodicals. The Journal of the Society for American Music, a quarterly journal, is published for the Society by Cambridge University Press. Contents are chosen through review by a distinguished editorial advisory board representing the many subjects and professions within the field of American music.The Society for American Music Bulletin is published three times yearly and provides a timely and informal means by which members communicate with each other. The annual Directory provides a list of members, their postal and email addresses, and telephone and fax numbers. -
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. -
Drum Loop Dj Software
282 DRUM LOOP DJ SOFTWARE AVID TORQ® FXPANSION GEIST DJ PERFORMANCE SOFTWARE SAMPLING DRUM MACHINE •DJ performance and real-time production •Sample, slice, sequence, mix, software from the makers of Pro Tools arrange, effect, & resample •4 full-featured decks for loading and •Dirac3™ time-stretch/pitch-shift playing files, each with EQ, level control, •Powerful full-featured slicing headphone cueing, and crossfade and detection/classification SUPPORTS: •Cue, beat-match, and mix digital audio files •30 effect types including DCAM (including MP3, AIFF, WAV, WMA, AAC and CD audio) circuit-modeled filters/dynamics/drive & •Traq Morph™ for crossfading and transitions Overloud Breverb algorithms •13 built-in effects, sampler, and advanced looping functionality •Pattern sequencing, scene switching •Organize digital audio files (including iTunes libraries) •Integrated song mode, real-time record & retro capture into an updated, easily searchable database •Step-automation for parameters, Intuitive & powerful browser SUPPORTS: •Standalone operation for functionality w/o dedicated hardware •Full MIDI and audio export NATIVE INSTRUMENTS •Integrate Torq 2.0 with turntables, CD decks, •Runs as a plug-in (VST/RTAS/AU) and standalone TRAKTOR PRO 2 and a variety of popular DJ controllers •Exclusive sounds and presets from •ReWire support for Pro Tools and other DAWs many popular electronic music artists •Professional DJ software, integrating industry-stan- dard workflows into an intuitive and stylish interface TORQ-2.0................. DJ Perfomance Software, -
Frank Zappa, Captain Beefheart and the Secret History of Maximalism
Frank Zappa, Captain Beefheart and the Secret History of Maximalism Michel Delville is a writer and musician living in Liège, Belgium. He is the author of several books including J.G. Ballard and The American Prose Poem, which won the 1998 SAMLA Studies Book Award. He teaches English and American literatures, as well as comparative literatures, at the University of Liège, where he directs the Interdisciplinary Center for Applied Poetics. He has been playing and composing music since the mid-eighties. His most recently formed rock-jazz band, the Wrong Object, plays the music of Frank Zappa and a few tunes of their own (http://www.wrongobject.be.tf). Andrew Norris is a writer and musician resident in Brussels. He has worked with a number of groups as vocalist and guitarist and has a special weakness for the interface between avant garde poetry and the blues. He teaches English and translation studies in Brussels and is currently writing a book on post-epiphanic style in James Joyce. Frank Zappa, Captain Beefheart and the Secret History of Maximalism Michel Delville and Andrew Norris Cambridge published by salt publishing PO Box 937, Great Wilbraham PDO, Cambridge cb1 5jx United Kingdom All rights reserved © Michel Delville and Andrew Norris, 2005 The right of Michel Delville and Andrew Norris to be identified as the authors of this work has been asserted by them in accordance with Section 77 of the Copyright, Designs and Patents Act 1988. This book is in copyright. Subject to statutory exception and to provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Salt Publishing. -
Basics Working with Audio Working with MIDI Features
 Welcome to the Cantabile guides! Here you'll find everything you need to understand Cantabile. Prefer a downloadable PDF file? Also, don't forget the training videos and if you've got questions the community forum is a great place to ask. Basics Installation Getting Started Working with Plugins Ports and Routes Routing Diagrams Main Window Controls Tool Tips and Help Panels Upgrading from Version 2 Derek Cook's Cantabile Guide Working with Audio Configuring Audio Ports Mapping Channels between Audio Ports Working with MIDI MIDI Route Settings MIDI Filters MIDI Monitoring Global Transpose Features Preset Models Managing Plugins Audio Engine Options Racks Metronome Media Players Recording Bindings Quick Controller Monitor Panel Controller Bar MIDI Clock Synchronization Onscreen Keyboard Loopback Ports Song and Rack Options Morph and Randomize Tools Network Server Performance Management Song and Rack States Set Lists Ticker Bar Show Notes Live Mode Set List Verification and Printing Preventing Prompts to Save Customizing Cantabile Customizing Shortcut Keys Multiple Configurations Resource Folder Gain Control Curves Expression Reference Custom Themes Language Translations Command Line Options Variables SysEx Macros Controller Defaults Diagnostics Tuning for Reliable Glitch Free Performance Performance Profiler Diagnostic Options Settings Folder Prevent Memory Paging Options No Sound Technology Introduction to Computer Based Music Understanding 64-bit Understanding Multi-Core Understanding Cantabile's Performance Metrics jBridge Support Support for High-Resolution Displays Licensing Understanding Cantabile's Licensing System Installation on Multiple Machines My Serial Number Doesn't Work Installing Cantabile 3 To install Cantabile simply run the installer. There are no options, simply follow the steps. -
MTO 20.1: Willey, Editing and Arrangement
Volume 20, Number 1, March 2014 Copyright © 2014 Society for Music Theory The Editing and Arrangement of Conlon Nancarrow’s Studies for Disklavier and Synthesizers Robert Willey NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.14.20.1/mto.14.20.1.willey.php KEYWORDS: Conlon Nancarrow, MIDI, synthesis, Disklavier ABSTRACT: Over the last three decades a number of approaches have been used to hear Conlon Nancarrow’s Studies for Player Piano in new settings. The musical information necessary to do this can be obtained from his published scores, the punching scores that reveal the planning behind the compositions, copies of the rolls, or the punched rolls themselves. The most direct method of extending the Studies is to convert them to digital format, because of the similarities between the way notes are represented on a player piano roll and in MIDI. The process of editing and arranging Nancarrow’s Studies in the MIDI environment is explained, including how piano roll dynamics are converted into MIDI velocities, and other decisions that must be made in order to perform them in a particular environment: the Yamaha Disklavier with its accompanying GM sound module. While Nancarrow approved of multi-timbral synthesis, separating the voices of his Studies and assigning them unique timbres changes the listener’s experience of the “resultant,” Tenney’s term for the fusion of multiple voices into a single polyphonic texture. Received January 2014 1. Introduction [1.1] Conlon Nancarrow’s compositional output from 1948 until his death in 1997 was primarily for the two player pianos in his studio in Mexico City.