MUSIC PRODUCTION GUIDE Official News Guide from Yamaha & Easy Sounds for Yamaha Music Production Instruments

Total Page:16

File Type:pdf, Size:1020Kb

MUSIC PRODUCTION GUIDE Official News Guide from Yamaha & Easy Sounds for Yamaha Music Production Instruments MUSIC PRODUCTION GUIDE OFFICIAL NEWS GUIDE FROM YAMAHA & EASY SOUNDS FOR YAMAHA MUSIC PRODUCTION INSTRUMENTS 04|2014 SPECIAL EDITION Contents 40th Anniversary Yamaha Synthesizers 3 40 years Yamaha Synthesizers The history 4 40 years Yamaha Synthesizers Timeline 5 40th Anniversary Special Edition MOTIF XF White 23 40th Anniversary Box MOTIF XF 28 40th Anniversary discount coupons 30 40th Anniversary MX promotion plan 31 40TH 40th Anniversary app sales plan 32 ANNIVERSARY Sounds & Goodies 36 YAMAHA Imprint 41 SYNTHESIZERS 40 YEARS OF INSPIRATION YAMAHA CELEBRATES 40 YEARS IN SYNTHESIZER-DESIGN WITH BRANDNEW MOTIF XF IN A STUNNIG WHITE FINISH SARY PRE ER M V IU I M N N B A O X H T 0 4 G N I D U L C N I • FL1024M FLASH MEMORY Since 1974 Yamaha has set new benchmarks in the design of excellent synthesizers and has developed • USB FLASH MEMORY (4GB) innovative tools of creativity. The unique sounds of the legendary SY1, VL1 and DX7 have influenced a INCL. SOUND LIBRARIES: whole variety of musical styles. Yamaha‘s know-how, inspiring technique and the distinctive sounds of a - CHICK’S MARK V - CS-80 40-years-experience are featured in the new MOTIF XF series that is now available in a very stylish - ULTIMATE PIANO COLLECTION white finish. - VINTAGE SYNTHESIZER COLLECTION YAMAHASYNTHSEU YAMAHA.SYNTHESIZERS.EU YAMAHASYNTHESIZEREU EUROPE.YAMAHA.COM MUSIC PRODUCTION GUIDE 04|2014 40TH ANNIVERSARY YAMAHA SYNTHESIZERS In 1974 Yamaha produced its first portable Yamaha synthesizers and workstations were and still are analog synthesizer with the SY-1. The the first choice for professionals and amateurs in the multi- faceted music business. acceptance of synthesizers in the main- stream rock/pop genre just began to grow In 2014 Yamaha takes this successful history as an at this time. Over the past 40 years to date, occasion to celebrate. On the subject of Yamaha synthesizers, there will be a year of new products, bundles, there have been numerous new develop- promotional items, as well as plenty of interesting ments in many variants that revolutionised information. We are very pleased to announce the first the synthesizer market with milestones highlights in the Music Production Guide. So have fun such as the CS80, DX7, SY77, and the VL1 reading this special edition for the 40th anniversary of up to the MOTIF series. Yamaha synthesizers. YAMAHA.COM 3 MUSIC PRODUCTION GUIDE 04|2014 40TH ANNIVERSARY YAMAHA SYNTHESIZERS THE HISTORY The Yamaha headquarters in Japan has Another four parts will appear in the second half of 2014 taken all efforts to create a detailed over- and are divided into the following sections: view of the history of Yamaha synthesizers • Chapter 2 (1981-1989, History of FM Synthesizers) and prepare extensive information and • Chapter 3 (1989-2000, History of PCM, DSP Synthesizers) vol.1 images from the depths of the archives. • Chapter 4 (1989-2000, History of PCM, Coinciding with this issue and the start of the Summer DSP Synthesizers) vol.2 NAMM 2014 the first of a chronology series is to be • Chapter 5 (2001-2014, History of MOTIF) released, in which the 40 years of Yamaha synthesizer The series will be released in Japanese and English. We development and the resulting products are shown. The will inform you in the news section of the Yamaha website first part covers the analog synthesizers from the years via the respective publication dates. It is worthwhile to 1974-1983. occasionally stop by there. YAMAHA.COM 4 MUSIC PRODUCTION GUIDE 04|2014 40 YEARS YAMAHA SYNTHESIZERS TIMELINE 1974 SY-1 Monophonic analog synthesizer http://youtu.be/0j7s6kevwpU http://www.vintagesynth.com/yamaha/sy1.php 1975 SY-2 Monophonic analog synthesizer http://youtu.be/MwM1FAzdRys http://www.vintagesynth.com/yamaha/sy1.php 1977 CS-10 Monophonic analog synthesizer http://youtu.be/1qjhrAjnhcM http://www.vintagesynth.com/yamaha/cs10.php CS-30 Monophonic analog synthesizer http://youtu.be/eivWsSveh2A http://www.vintagesynth.com/yamaha/cs30.php CS-30L Monophonic analog synthesizer http://youtu.be/-hPkFfUGz-k http://www.vintagesynth.com/yamaha/cs30.php CS-50 Polyphonic analog synthesizer http://youtu.be/d2u1QrIYvnw http://www.vintagesynth.com/yamaha/cs50.php CS-60 Polyphonic analog synthesizer http://youtu.be/dpdQjMwtlgQ http://www.vintagesynth.com/yamaha/cs60.php YAMAHA.COM 5 MUSIC PRODUCTION GUIDE 04|2014 CS-80 Polyphonic analog synthesizer http://youtu.be/Yv4EADAHwOA http://www.vintagesynth.com/yamaha/cs80.php SS30 Polyphonic string synth http://youtu.be/omSjGJEsLRk http://www.vintagesynth.com/yamaha/ss30.php 1978 CS-5 Monophonic analog synthesizer http://youtu.be/XDvnNeCDDi8 http://www.vintagesynth.com/yamaha/cs5.php CS-15 Monophonic analog synthesizer http://youtu.be/3uDJrHOmqe4 http://www.vintagesynth.com/yamaha/cs15.php 1979 CS-15D Monophonic analog synthesizer http://youtu.be/1cIyKD9UbEE http://www.vintagesynth.com/yamaha/cs15d.php CS-20M Monophonic analog synthesizer http://youtu.be/pdk2jZrcZJc http://www.vintagesynth.com/yamaha/cs20m.php CS-40M Duophonic analog synthesizer http://youtu.be/Q7Y97Jfmbdo http://www.vintagesynth.com/yamaha/cs40m.php SK10 String / Brass Synth http://youtu.be/1SyMt7_4RXA http://www.vintagesynth.com/yamaha/sk20.php YAMAHA.COM 6 MUSIC PRODUCTION GUIDE 04|2014 1980 SK20 Polyphonic analog synthesizer plus String Synth http://youtu.be/1XoggegxmZg http://www.vintagesynth.com/yamaha/sk20.php SK30 Polyphonic analog synthesizer plus String Synth http://youtu.be/xoeXm-ijc74 http://www.vintagesynth.com/yamaha/sk20.php SK50D Polyphonic analog synthesizer plus String Synth http://youtu.be/N6YtwL3LFUM http://www.vintagesynth.com/yamaha/sk20.php 1981 CS-70M Polyphonic analog synthesizer http://youtu.be/vuv2JCmogf0 http://www.vintagesynth.com/yamaha/cs70m.php SK15 Polyphonic analog synthesizer plus String Synth http://youtu.be/QTuZPrkunHE http://www.synthark.org/Yamaha/SK_Family.html GS1 FM preset synthesizer http://youtu.be/yxUWy9hCiuM http://www.synthtopia.com/content/2010/03/05/yamaha-gs-1/ GS2 FM preset synthesizer http://youtu.be/s7uzlH-Y-qg http://www.synthark.org/Yamaha/GS-2.html YAMAHA.COM 7 MUSIC PRODUCTION GUIDE 04|2014 1982 CS01 Monophonic analog synthesizer http://youtu.be/cjtKDTvCjco http://www.vintagesynth.com/yamaha/cs1.php SY20 Monophonic analog synthesizer http://youtu.be/RbnS7-zbd2Q http://www.vintagesynth.com/yamaha/sy20.php CE20 FM preset synthesizer http://youtu.be/9ARdizdebvc http://www.synthark.org/Yamaha/CE-20.html CE25 FM preset synthesizer http://youtu.be/iUDS4PaL19E http://www.synthark.org/Yamaha/CE-25.html 1983 DX1 FM synthesizer http://youtu.be/bLhLpcXKOgI http://www.vintagesynth.com/yamaha/dx1.php DX7 FM synthesizer http://youtu.be/F3rrjQtQe5A http://www.vintagesynth.com/yamaha/dx7.php DX9 FM synthesizer http://youtu.be/jQMSGBWuoiQ http://www.vintagesynth.com/yamaha/dx9.php CS01II Monophonic analog synthesizer http://youtu.be/0Srbqn8oDV4 http://www.vintagesynth.com/yamaha/cs1.php YAMAHA.COM 8 MUSIC PRODUCTION GUIDE 04|2014 1984 TX816 MIDI Rack Frame 8 TF1 FM synthesizer modules http://youtu.be/Ww5IWNIIIiI http://www.vintagesynth.com/yamaha/tx816.php TF1 FM synthesizer module http://youtu.be/Ww5IWNIIIiI http://www.vintagesynth.com/yamaha/tx816.php TX116 MIDI Rack Frame 1 TF1 FM synthesizer module http://youtu.be/Ww5IWNIIIiI http://www.vintagesynth.com/yamaha/tx816.php RX11 Drum Computer http://youtu.be/udwhk_pWybs http://usa.yamaha.com/product_archive/music-production/rx11 RX15 Drum Computer http://youtu.be/Zv5LnzuVYbY http://usa.yamaha.com/product_archive/music-production/rx15/ QX1 Sequencer http://youtu.be/6RUdXDr7Zos 1985 DX100 FM synthesizer http://youtu.be/EDrZfmZuebs http://www.vintagesynth.com/yamaha/dx100.php DX21 FM synthesizer http://youtu.be/-yx5urTbJcM http://www.vintagesynth.com/yamaha/dx21.php YAMAHA.COM 9 MUSIC PRODUCTION GUIDE 04|2014 DX5 FM synthesizer http://youtu.be/LQ3qFy7gBHA http://www.vintagesynth.com/yamaha/dx5.php DX27 FM synthesizer http://youtu.be/3xH13bC4FaE http://www.vintagesynth.com/yamaha/dx27.php TX7 FM synthesizer module http://youtu.be/niFGy1ecwig http://www.vintagesynth.com/yamaha/tx7.php QX7 Sequencer http://youtu.be/vRIs_36mUvg QX21 Sequencer http://youtu.be/-BWMkx4o7ms RX21 Drum Computer http://youtu.be/3vGt56yH8Kk http://usa.yamaha.com/product_archive/music-production/rx21 RX21L Drum Computer http://youtu.be/3vGt56yH8Kk http://usa.yamaha.com/product_archive/music-production/rx21 YAMAHA.COM 10 MUSIC PRODUCTION GUIDE 04|2014 1986 DX27S FM synthesizer http://youtu.be/3xH13bC4FaE http://www.vintagesynth.com/yamaha/dx27.php DX7IID FM synthesizer http://youtu.be/gfMmYrI6N6g http://usa.yamaha.com/product_archive/music-production/dx7ii-d DX7IIFD FM synthesizer http://youtu.be/xIn-n2ebENo http://www.vintagesynth.com/yamaha/dx7ii.php TX81Z FM synthesizer module http://youtu.be/bj-BPvcf5sw http://www.vintagesynth.com/yamaha/tx81z.php FB01 FM synthesizer module http://youtu.be/oqIOTwUjlks http://www.vintagesynth.com/yamaha/fb01.php QX5 Sequencer http://youtu.be/mmUNuiiqefk http://www.vintagesynth.com/misc/sequencers.php RX5 Drum Computer http://youtu.be/MDcZyqZpzLA http://www.vintagesynth.com/yamaha/rx5.php YAMAHA.COM 11 MUSIC PRODUCTION GUIDE 04|2014 1987 DX7S FM synthesizer http://youtu.be/wtfvaW-nzK4 http://www.vintagesynth.com/yamaha/dx7ii.php TX802 FM synthesizer module http://www.youtube.com/watch?v=OgiedgOY_u0 http://www.vintagesynth.com/yamaha/tx802.php QX3 Sequencer http://www.youtube.com/watch?v=P_83MofZoDc http://www.vintagesynth.com/misc/sequencers.php RX7 Drum Computer http://youtu.be/YQf_1MVwYNE http://usa.yamaha.com/product_archive/music-production/rx7 RX17
Recommended publications
  • PD1: Sequencer
    21M.380 Music and Technology Sound Design Pd assignment 1 (pd1) Sequencer Due: Monday, February 22, 2016, 9:30am Submit to: MIT Learning Modules Assignments 5% of total grade 1 Instructions Build a music sequencer in Pure Data. If you do not know what a sequencer is, the Online Sequencer1 will give you a practical under- 1 http://onlinesequencer.net/ standing very quickly. 2 Restrictions • Only Pd objects from Pd vanilla are allowed. Submissions that rely on objects from Pd extended will not be accepted! • Messages, number boxes, GUI elements, symbols, arrays, tables, and comments of all kinds are allowed. • Your patch should not rely on any external hardware besides keyboard and mouse. This rules out any MIDI controllers. 3 Guidelines 3.1 Programming guidelines It might help to think of your sequencer as an engineering problem in three parts and address them in the following order: Sound design Start by trying to build some interesting sounds that can be tested in isolation. Use the three simple sounds from figure 1 as a starting point and create additional sounds by adjusting the parameters in that patch as instructed. Try to introduce variety and come up with something that sounds interesting! 2 Time base Consult our main textbook for inspiration on how 2 Farnell 2010. to provide a time base that organizes the playback of your 1 of 4 21M.380, pd1 assignment HOW TO RUN THIS PATCH: ; 1 Turn on DSP by clicking this in run mode: pd dsp 1 2 In run mode, click either of the two [bang( messages or the square toggle box below 3 Adjust the numbers as instructed to create different sounds.
    [Show full text]
  • Christina Perri 3
    MUSIC PRODUCTION GUIDE OFFICIAL NEWS GUIDE FROM YAMAHA & EASY SOUNDS FOR YAMAHA MUSIC PRODUCTION INSTRUMENTS 03|2015 Contents Interview Christina Perri 3 MOTIF Soundset „Air“ by DCP Productions 6 Yamaha Synth Book reloaded 8 VP1 Soundset for MOTIF XF / MOXF 11 MOTIF XS/XF/MOXF Exploring Sound: „Vintage Keyboards“ 15 MOTIF XF / MOXF Performance Soundset „Hybrid Performer“ Part 3 19 Yamaha DTX M12 Touch App 22 The new e-drum kit Yamaha DTX582k 24 CHRISTINA Yamaha KP100 Kick Pad 26 Sounds & Goodies 29 PERRI Imprint 43 DREAMS COME TRUE MUSIC PRODUCTION GUIDE 03|2015 CHRISTINA PERRI - DREAMS COME TRUE “Every time I dream something up, it’s so “I don’t take it lightly,” she says. “I tell everyone, ‘That’s small compared to what actually happens,” the moment my life changed.’ It was incredibly special.” says singer/songwriter Christina Perri. But even as her own life was changing, Perri was changing “Because what actually happens is just other people’s lives through her music. Just a year later, amazing.” her multi-platinum song, “A Thousand Years,” was As an unsigned artist, Christina once dreamed of making released as the second single from the soundtrack album a career out of performing and recording her deeply to The Twilight Saga: Breaking Dawn – Part 1. It achieved personal yet pop-friendly songs. Then one day four years multi-platinum status, with a video that inspired romantic ago, one of her recordings was featured on the hit TV visions among countless Twilight fans. show So You Think You Can Dance, and suddenly she “I had dreamed of having a song on the Twilight stopped dreaming the dream—and began living it.
    [Show full text]
  • Exploring Polyrhythms, Polymeters, and Polytempi with the Universal Grid Sequencer Framework
    Exploring Polyrhythms, Polymeters, and Polytempi with the Universal Grid Sequencer framework SAMUEL J. HUNT, Creative Technologies Laboratory Fig. 1. Large format grid controller, made from 4 smaller grid controllers Polyrhythms, Polymeters, and Polytempo are compositional techniques that describe pulses which are desynchronous between two or more sequences of music. Digital systems permit the sequencing of notes to a near-infinite degree of resolution, permitting an exponential number of complex rhythmic attributes in the music. Exploring such techniques within existing popular music sequencing software and notations can be challenging to generally work with and notate effectively. Step sequencers provide a simple and effective interface for exploring any arbitrary division of time into an even number of steps, with such interfaces easily expressible on grid based music controllers. The paper therefore has two differing but related outputs. Firstly, to demonstrate a framework for working with multiple physical grid controllers forming a larger unified grid, and provide a consolidated set of tools for programming music instruments forit. Secondly, to demonstrate how such a system provides a low-entry threshold for exploring Polyrhytms, Polymeters and Polytempo relationships using desynchronised step sequencers. CCS Concepts: • Human-centered computing → User interface programming; • Applied computing → Sound and music computing. Author’s address: Samuel J. Hunt, Creative Technologies Laboratory, UWE Bristol, [email protected]. 2020. Manuscript submitted to ACM Manuscript submitted to ACM 1 2 Samuel Hunt Additional Key Words and Phrases: Polyrhythm, Polymeter, Polytempo, Grid Controllers ACM Reference Format: Samuel J. Hunt. 2020. Exploring Polyrhythms, Polymeters, and Polytempi with the Universal Grid Sequencer framework. 1, 1 (November 2020), 11 pages.
    [Show full text]
  • Music and Tone Sequencer
    Music and Tone Sequencer Annie Zhang Boris Chan Cindy Wang Ryan Kim Cornell University Cornell University Cornell University Cornell University Ithaca, NY, USA Ithaca, NY, USA Ithaca, NY, USA Ithaca, NY, USA [email protected] [email protected] [email protected] [email protected] INTRODUCTION grid are set up such that the lower five rows represent The goal of this project is to design a music one full octave while the three remaining higher rows sequencer device that can be used to generate musical represent half an octave. By pressing any of the patterns and rhythms of varying tones and sounds. buttons of their choice, users can effectively create The device will be able to generate a musical patterns of buttons that correlated to rhythms of notes sequence whose notes and rhythm are determined by within a pentatonic scale. a pattern of buttons activated by the user; users can choose which notes to activate by interacting with a Our ultimate design goals consisted of developing an button pad present on the top of the device. The intuitive device that would allow individuals purpose of this project to twofold: firstly it is meant unfamiliar with music theory to still create music. We to help individuals experience music creation without aimed to develop a neat, fully functional prototype needing a background in music, and secondly it can that can correctly process button input, emit sounds, cultivate interaction and social bonding between and accept volume control. individuals by having them work together to generate music without much effort. For example, the device can be used to teach young children about the RELATED WORK fundamentals of chords and rhythm by having them The inspiration of our project stemmed from an see how buttons activate different sounds, which online pentatonic step sequencer [8].
    [Show full text]
  • Traditional Funk: an Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio
    University of Dayton eCommons Honors Theses University Honors Program 4-26-2020 Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Caleb G. Vanden Eynden University of Dayton Follow this and additional works at: https://ecommons.udayton.edu/uhp_theses eCommons Citation Vanden Eynden, Caleb G., "Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio" (2020). Honors Theses. 289. https://ecommons.udayton.edu/uhp_theses/289 This Honors Thesis is brought to you for free and open access by the University Honors Program at eCommons. It has been accepted for inclusion in Honors Theses by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Honors Thesis Caleb G. Vanden Eynden Department: Music Advisor: Samuel N. Dorf, Ph.D. April 2020 Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Honors Thesis Caleb G. Vanden Eynden Department: Music Advisor: Samuel N. Dorf, Ph.D. April 2020 Abstract Recognized nationally as the funk capital of the world, Dayton, Ohio takes credit for birthing important funk groups (i.e. Ohio Players, Zapp, Heatwave, and Lakeside) during the 1970s and 80s. Through a combination of ethnographic and archival research, this paper offers a pedagogical approach to Dayton funk, rooted in the styles and works of the city’s funk legacy. Drawing from fieldwork with Dayton funk musicians completed over the summer of 2019 and pedagogical theories of including black music in the school curriculum, this paper presents a pedagogical model for funk instruction that introduces the ingredients of funk (instrumentation, form, groove, and vocals) in order to enable secondary school music programs to create their own funk rooted in local history.
    [Show full text]
  • Beatles, Pink Floyd Engineer, Alan Parsons Rips Audiophiles
    Beatles, Pink Floyd Engineer, Alan Parsons Rips Audiophiles Alan Parsons, producer, musician and sound engineer of Pink Floyd's Dark Side of the Moon, says audiophiles overpay for equipment while ignoring room acoustics. In an exclusive interview with CE Pro, Alan Parsons, renowned sound engineer for Pink Floyd's Dark Side of the Moon and for the Beatles, says hi-fi pros focus too much on equipment and brand names, when they should put more energy into room acoustics. He also says some surround- sound systems “really aren’t that bad.” All this from the audio wizard behind Dark Side of the Moon, and the name sake of the Alan Parson’s Project. Parsons broke into the music industry in the late 1960s when he was hired by Abbey Road Studios to work as an assistant engineer. As an assistant engineer, Parsons’ career started at a point where most music lovers only dream of reaching - working on the last two Beatles’ albums. As a full-fledged engineer, Parsons worked on projects with Paul McCartney and the Hollies, but it was his efforts on the benchmark album Dark Side of the Moon that launched his career. Throughout the rest of the 1970s and 1980s, Parsons released several albums under the name of Alan Parsons Project (APP). The 1990s marked a shift in direction for Parsons that was highlighted by his dropping of “Project” from his band name. As he entered the 2000s, Parsons continued to release new music, which includes his first foray into the electronica genre when he released 2004’s A Valid Path.
    [Show full text]
  • Pro Audio for Print Layout 1 9/14/11 12:04 AM Page 356
    356-443 Pro Audio for Print_Layout 1 9/14/11 12:04 AM Page 356 PRO AUDIO 356 Large Diaphragm Microphones www.BandH.com C414 XLS C214 C414 XLII Accurate, beautifully detailed pickup of any acoustic Cost-effective alternative to the dual-diaphragm Unrivaled up-front sound is well-known for classic instrument. Nine pickup patterns. Controls can be C414, delivers the pristine sound reproduction of music recording or drum ambience miking. Nine disabled for trouble-free use in live-sound applications the classic condenser mic, in a single-pattern pickup patterns enable the perfect setting for every and permanent installations. Three switchable cardioid design. Features low-cut filter switch, application. Three switchable bass cut filters and different bass cut filters and three pre-attenuation 20dB pad switch and dynamic range of 152 dB. three pre-attenuation levels. All controls can be levels. Peak Hold LED displays even shortest overload Includes case, pop filter, windscreen, and easily disabled, Dynamic range of 152 dB. Includes peaks. Dynamic range of 152 dB. Includes case, pop shockmount. case, pop filter, windscreen, and shockmount. filter, windscreen, and shockmount. #AKC214 ..................................................399.00 #AKC414XLII .............................................999.00 #AKC414XLS..................................................949.99 #AKC214MP (Matched Stereo Pair)...............899.00 #AKC414XLIIST (Matched Stereo Pair).........2099.00 Perception Series C2000B AT2020 High quality recording mic with elegantly styled True condenser mics, they deliver clear sound with Effectively isolates source signals while providing die-cast metal housing and silver-gray finish, the accurate sonic detail. Switchable 20dB and switchable a fast transient response and high 144dB SPL C2000B has an almost ruler-flat response that bass cut filter.
    [Show full text]
  • MOTIF XF Owner's Manual
    MUSIC PRODUCTION SYNTHESIZER Owner’s Manual EN SPECIAL MESSAGE SECTION PRODUCT SAFETY MARKINGS: Yamaha electronic ENVIRONMENTAL ISSUES: Yamaha strives to produce products may have either labels similar to the graphics products that are both user safe and environmentally shown below or molded/stamped facsimiles of these graph- friendly. We sincerely believe that our products and the pro- ics on the enclosure. The explanation of these graphics duction methods used to produce them, meet these goals. In appears on this page. Please observe all cautions indicated keeping with both the letter and the spirit of the law, we on this page and those indicated in the safety instruction sec- want you to be aware of the following: tion. Battery Notice: This product MAY contain a small non- rechargeable battery which (if applicable) is soldered in place. The average life span of this type of battery is approx- CAUTION imately five years. When replacement becomes necessary, RISK OF ELECTRIC SHOCK contact a qualified service representative to perform the DO NOT OPEN replacement. Warning: Do not attempt to recharge, disassemble, or CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK. DO NOT REMOVE COVER (OR BACK). incinerate this type of battery. Keep all batteries away from NO USER-SERVICEABLE PARTS INSIDE. children. Dispose of used batteries promptly and as regu- REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. lated by applicable laws. Note: In some areas, the servicer is required by law to return the defective parts. However, you do have the option of having the servicer dispose of these parts for you. The exclamation point within the equi- Disposal Notice: Should this product become damaged lateral triangle is intended to alert the beyond repair, or for some reason its useful life is consid- user to the presence of important operat- ered to be at an end, please observe all local, state, and fed- ing and maintenance (servicing) instruc- eral regulations that relate to the disposal of products that tions in the literature accompanying the contain lead, batteries, plastics, etc.
    [Show full text]
  • “The Dark Side of the Moon”—Pink Floyd (1973) Added to the National Registry: 2012 Essay By: Daniel Levitin (Guest Post)*
    “The Dark Side of the Moon”—Pink Floyd (1973) Added to the National Registry: 2012 Essay by: Daniel Levitin (guest post)* Dark Side of the Moon Angst. Greed. Alienation. Questioning one's own sanity. Weird time signatures. Experimental sounds. In 1973, Pink Floyd was a somewhat known progressive rock band, but it was this, their ninth album, that catapulted them into world class rock-star status. “The Dark Side of the Moon” spent an astonishing 14 years on the “Billboard” album charts, and sold an estimated 45 million copies. It is a work of outstanding artistry, skill, and craftsmanship that is popular in its reach and experimental in its grasp. An engineering masterpiece, the album received a Grammy nomination for best engineered non-classical recording, based on beautifully captured instrumental tones and a warm, lush soundscape. Engineer Alan Parsons and Mixing Supervisor Chris Thomas, who had worked extensively with The Beatles (the LP was mastered by engineer Wally Traugott), introduced a level of sonic beauty and clarity to the album that propelled the music off of any sound system to become an all- encompassing, immersive experience. In his 1973 review, Lloyd Grossman wrote in “Rolling Stone” magazine that Pink Floyd’s members comprised “preeminent techno-rockers: four musicians with a command of electronic instruments who wield an arsenal of sound effects with authority and finesse.” The used their command to create a work that introduced several generations of listeners to art-rock and to elements of 1950s cool jazz. Some reharmonization of chords (as on “Breathe”) was inspired by Miles Davis, explained keyboardist Rick Wright.
    [Show full text]
  • Projects SHOWCASE DAVE GRIFFITHS Dave Griffiths Is a Game Designer, MIDI Data Is Slowed Down Programmer, and Live-Coding Algoraver
    Projects SHOWCASE DAVE GRIFFITHS Dave Griffiths is a game designer, MIDI data is slowed down programmer, and live-coding algoraver. by this buffer so the synth He performs internationally with Slub, can pick it up an algorithmic rave group. fo.am/midimutant RICHARD JAMES Richard’s best-known alias is Aphex Twin, under which he has recorded six acclaimed electronic music albums. aphextwin.warp.net The custom MIDI interface A cheap USB audio is used to send synth data card is used to connect to the TX7 the microphone APHEX TWIN MIDIMUTANT Somewhere in Cornwall, there’s a synthesizer that boinks endless Quick strange sounds as they slowly evolve towards a new synth patch. Facts Sean McManus investigates > Making a good patch manually f you’re a fan of ’80s pop, electronic music as Aphex Twin. essential because you can make can take days I you’ll have heard the “The first proper synth I got was a stable setup that isn’t going to > Midimutant Yamaha DX7. It’s one of a DX100 and I’ve always thought start updating itself and reboot.” can make the best-selling synthesizers, and there’s got to be a more interesting The idea came from a lost thousands its built-in sounds can transport way to program the damn things feature on the Kyma synth, of patches per day… you to the era of big hair and neon than laboriously going through based on the work of Andrew leggings. One reason it is evocative all the hundreds of parameters. Horner, which enables sounds to > …But only about half of them is that so many artists used those Even though I quite like doing that evolve.
    [Show full text]
  • Computer Mediated Music Production: a Study of Abstraction and Activity
    Computer mediated music production: A study of abstraction and activity by Matthew Duignan A thesis for the degree of Doctor of Philosophy in Computer Science. Victoria University of Wellington 2008 Abstract Human Computer Interaction research has a unique challenge in under- standing the activity systems of creative professionals, and designing the user-interfaces to support their work. In these activities, the user is involved in the process of building and editing complex digital artefacts through a process of continued refinement, as is seen in computer aided architecture, design, animation, movie-making, 3D modelling, interactive media (such as shockwave-flash), as well as audio and music production. This thesis exam- ines the ways in which abstraction mechanisms present in music production systems interplay with producers’ activity through a collective case study of seventeen professional producers. From the basis of detailed observations and interviews we examine common abstractions provided by the ubiqui- tous multitrack-mixing metaphor and present design implications for future systems. ii Acknowledgements I would like to thank my supervisors Robert Biddle and James Noble for their endless hours of guidance and feedback during this process, and most of all for allowing me to choose such a fun project. Michael Norris and Lissa Meridan from the Victoria University music department were also invaluable for their comments and expertise. I would also like to thank Alan Blackwell for taking the time to discuss my work and provide valuable advice. I am indebted to all of my participants for the great deal of time they selflessly offered, and the deep insights they shared into their professional world.
    [Show full text]
  • Music Production Guide
    MUSIC PRODUCTION GUIDE OFFICIAL NEWS GUIDE FROM YAMAHA & EASY SOUNDS FOR YAMAHA MUSIC PRODUCTION INSTRUMENTS 01|2016 Contents MONTAGE Music In Motion 2 reface YC 19 DTX-News from NAMM 2016 24 Sounds & Goodies 27 MUSIC IN MOTION Imprint 44 MUSIC PRODUCTION GUIDE 01|2016 MUSIC IN MOTION The time has come. Yamaha's new The name MONTAGE represents a completely new synthesizer flagship is here: MONTAGE. generation of Yamaha Music Synthesizers, that we want to bring you closer with this document. Welcome to the new era in synthesizers from the company that brought you the It starts with a list of features that is made up of official industry-changing DX and the hugely marketing texts and our supplements. popular MOTIF. This is followed by detailed chapters about the major new Building on the legacy of these two iconic features of MONTAGE. keyboards, the Yamaha Montage sets the next milestone for synthesizers with SOPHISTICATED DYNAMIC sophisticated dynamic control, massive CONTROL sound creation and streamlined workflow Music is expression. MONTAGE adds a new level of all combined in a powerful keyboard expression with the Motion Control Synthesis Engine. designed to inspire your creativity. This engine allows a variety of methods to interact with If you liked the DX and MOTIF, get ready to and channel your creativity into finding your own unique love MONTAGE. sound. YAMAHA.COM 2 MUSIC PRODUCTION GUIDE 01|2016 MOTION CONTROL SYNTHESIS ENGINE The Motion Control Synthesis Engine unifies and controls two iconic Sound Engines: AWM2 (high-quality waveform and synthesis) and FM-X (modern, pure Frequency Modulation synthesis.) These two engines can be freely zoned or layered across eight Parts in a single MONTAGE Performance.
    [Show full text]