An Arduino-Based MIDI Controller for Detecting Minimal Movements in Severely Disabled Children
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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. -
Korg Triton Extreme Manual
E 2 Thank you for purchasing the Korg TRITON Extreme music workstation/sampler. To ensure trouble-free enjoyment, please read this manual carefully and use the instrument as directed. About this manual Conventions in this manual References to the TRITON Extreme The TRITON Extreme is available in 88-key, 76-key and The owner’s manuals and how to use 61-key models, but all three models are referred to them without distinction in this manual as “the TRITON Extreme.” Illustrations of the front and rear panels in The TRITON Extreme come with the following this manual show the 61-key model, but the illustra- owner’s manuals. tions apply equally to the 88-key and 76-key models. • Quick Start • Operation Guide Abbreviations for the manuals QS, OG, PG, VNL, EM • Parameter Guide The names of the manuals are abbreviated as follows. • Voice Name List QS: Quick Start OG: Operation Guide Quick Start PG: Parameter Guide Read this manual first. This is an introductory guide VNL: Voice Name List that will get you started using the TRITON Extreme. It EM: EXB-MOSS Owner’s Manual (included with the explains how to play back the demo songs, select EXB-MOSS option) sounds, use convenient performance functions, and Keys and knobs [ ] perform simple editing. It also gives examples of using sampling and the sequencer. References to the keys, dials, and knobs on the TRI- TON Extreme’s panel are enclosed in square brackets Operation Guide [ ]. References to buttons or tabs indicate objects in This manual describes each part of the TRITON the LCD display screen. -
Portable Digital Musical Instruments 2009 — 2010
PORTABLE DIGITAL MUSICAL INSTRUMENTS 2009 — 2010 music.yamaha.com/homekeyboard For details please contact: This document is printed with soy ink. Printed in Japan How far do you want What kind of music What are your Got rhythm? to go with your music? do you want to play? creative inclinations? Recommended Recommended Recommended Recommended Tyros3 PSR-OR700 NP-30 PSR-E323 EZ-200 DD-65 PSR-S910 PSR-S550B YPG series PSR-E223 PSR-S710 PSR-E413 Pages 4-7 Pages 8-11 Pages 12-13 Page 14 The sky's the limit. Our Digital Workstations are jam-packed If the piano is your thing, Yamaha has a range of compact We've got Digital Keyboards of all types to help players of every If drums and percussion are your strong forte, our Digital with advanced features, exceptionally realistic sounds and piano-oriented instruments that have amazingly realistic stripe achieve their full potential. Whether you're just starting Percussion unit gives you exceptionally dynamic and expressive performance functions that give you the power sound and wonderfully expressive playability–just like having out or are an experienced expert, our instrument lineup realistic sounds, letting you pound out your own beats–in to create, arrange and perform in any style or situation. a real piano in your house, with a fraction of the space. provides just what you need to get your creative juices flowing. live performance, in rehearsal or in recording. 2 3 Yamaha’s Premier Music Workstation – Unsurpassed Quality, Features and Performance Ultimate Realism Limitless Creative Potential Interactive -
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. -
A Brief History of Electronic Music
A Brief History of Electronic Music 1: 1896-1945 The first twenty-five years of the life of the archetypal modern artist, Pablo Picasso - who was born in 1881 - witnessed the foundation of twentieth century technology for war and peace alike: the recoil operated machine gun (1882), the first synthetic fibre (1883), the Parsons steam turbine (1884), coated photographic paper (1885), the Tesla electric motor, the Kodak box camera and the Dunlop pneumatic tyre (1888), cordite (1889), the Diesel engine (1892), the Ford car (1893), the cinematograph and the gramophone disc (1894). In 1895, Roentgen discovered X-rays, Marconi invented radio telegraphy, the Lumiere brothers developed the movie camera, the Russian Konstantin Tsiolkovsky first enunciated the principle of rocket drive, and Freud published his fundamental studies on hysteria. And so it went: the discovery of radium, the magnetic recording of sound, the first voice radio transmissions, the Wright brothers first powered flight (1903), and the annus mirabilis of theoretical physics, 1905, in which Albert Einstein formulated the Special Theory of Relativity, the photon theory of light, and ushered in the nuclear age with the climactic formula of his law of mass-energy equivalence, E = mc2. One did not need to be a scientist to sense the magnitude of such changes. They amounted to the greatest alteration of man's view of the universe since Isaac Newton. - Robert Hughes (1981) In 1896 Thaddeus Cahill patented an electrically based sound generation system. It used the principle of additive tone synthesis, individual tones being built up from fundamentals and overtones generated by huge dynamos. -
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. -
Studio Music Production I Subject Area/Course Number: MUSIC-093
Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565 (925) 439-2181 Course Title: Studio Music Production I Subject Area/Course Number: MUSIC-093 New Course OR Existing Course Instructor(s)/Author(s): C. Chuah Subject Area/Course No.: MUSIC-093 Units: 2.0 Course Name/Title: Studio Music Production I Discipline(s): Music/Commercial Music Pre-Requisite(s): None Co-Requisite(s) None: Advisories: Prior or concurrent enrollment in Music-15 Catalog Description: This course is for students wanting to produce music using professional music studio equipment. With this lecture/demonstration and hands on class, students will be able to build a music studio and learn the basic operation of electronic musical equipment. The pieces of electronic musical equipment include MIDI synthesizer, music workstations, computer workstations, groove boxes, drum machines, soft-synthesizers, sequencers, and new products as the industry advances. This is an introductory course and it is intended to build a strong foundation in understanding studio music operation, whether the student is interested in composition, making beats and/or being a producer. Schedule Description: Do you want to learn how to produce music using professional music studio equipment? With this lecture/demonstration and hands on class, you will be able to build a music studio and learn the basic operation of electronic musical equipment. This is an introductory course and it is intended to build a strong foundation in understanding studio music operation, whether -
TR Operation Guide
Operation Guide E 2 To ensure long, trouble-free operation, THE FCC REGULATION WARNING (for U.S.A.) please read this manual carefully. 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 Precautions Rules. These limits are designed to provide reasonable protec- tion against harmful interference in a residential installation. This Location equipment generates, uses, and can radiate radio frequency Using the unit in the following locations can result energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communi- in a malfunction. cations. However, there is no guarantee that interference will not • In direct sunlight occur in a particular installation. If this equipment does cause • Locations of extreme temperature or humidity harmful interference to radio or television reception, which can • Excessively dusty or dirty locations be determined by turning the equipment off and on, the user is • Locations of excessive vibration encouraged to try to correct the interference by one or more of the following measures: Power supply • Reorient or relocate the receiving antenna. Please connect the designated AC/AC power sup- • Increase the separation between the equipment and receiver. ply to an AC outlet of the correct voltage. Do not • Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. connect it to an AC outlet of voltage other than that • Consult the dealer or an experienced radio/TV technician for for which your unit is intended. -
Let's Get Started…
Welcome to the OASYS Experience! This tour guide is your first stop on an amazing journey of discovery. Our goal here is to get you comfortable working with the user interface and control surface, and to give you a “sneak peek” at some of the many incredibly-musical things that you can do with OASYS! After you’ve finished this tour, you can learn more about this great instrument by working with the OASYS Operation and Parameter Guides. And you’ll find new OASYS tutorials, tips and tricks, and support materials by visiting www.korg.com/oasys and www.karma-labs.com/oasys on a regular basis! Let’s get started… Start by loading the factory data and listening to the demo songs: The factory demos allow you to experience OASYS in all of its glory - as a full production studio! In addition to hearing MIDI tracks which show off OASYS’ superb synth engines, several of the demo songs include HD audio tracks and sample data. 1. Press the DISK button > Select the FACTORY folder on the internal hard drive, and then press Open > Select the file PRELOAD.PCG, and then press Load > Check the boxes next to PRELOAD.SNG and PRELOAD.KSC, and then press OK. This will load the factory sounds, demo songs and samples. 2. Press the SEQ button, and then press the SEQ START/STOP button to play the first demo song, “Sinfonia Russe” > Press the SEQ START/STOP button again when finished listening to this song, and then press the pop-up arrow left of the song name, select and playback the other demo songs.