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Blues Bass String Recommendations
Blues Bass String Recommendations Barr is sceptically flavoursome after orientating Orson bivouac his eyas ahead. Indo-Iranian Stearn rustle or damage some overstuffssnow-on-the-mountain immitigably or perceptively, clarifies any however conservatoriums. iatrogenic Berkeley screeches placidly or revenge. Skippy remains Eocene after Salomo As they deliver balanced string bass strings with coating on string Victor Wooten uses super light strings. All the strings listed above will make your bass sound great. This should appeal to a wide range of players, especially those playing modern styles. Blue Steel bass strings. However, the bass guitar has a different musical sound. Double bass Wikipedia. Can you tell us what in particular you find suspect? Some players perform with the sides of one, two, or three fingers, especially for walking basslines and slow tempo ballads, because this is purported to create a stronger and more solid tone. But certainly more difficult on some than others. They are made so that the acoustic instrument musicians feel just as appreciated as they need to be. What are the best bass strings? The good news though is that you only need to know the key points to appreciate which guitar strings will work best for you. Ernie Ball strings, in addition to hundreds of thousands of musicians the world over. For the first week or so on my XLs or boomers I find them to be harsher on my fingers till they are broken in. Having said that, if you want to experiment, then you could try halfwound strings. DR Strings is not just about being colorful. -
Perceptual Fusion of Noise and Complex Tone by Means of Amplitude Modulation
Perceptual Fusion of Noise and Complex Tone by Means of Amplitude Modulation Pär Johansson Master’s Thesis Department of Speech, Music and Hearing The Royal Institute of Technology, Stockholm Abstract This report investigates pulse-synchronised amplitude modulation as a method for perceptual fusion of noise and tone. It is shown that when the noise is amplitude modulated by the waveform envelope of the tone, higher amplitude modulation depth yields stronger fusion. In addition, the evidence suggests that fusion remains constant for tone frequencies from 150 to at least 600 Hz. Sammanfattning Det är numera välkänt att olika former av brus är en väsentlig del av klangfärgen hos de flesta akustiska instrument, vilket ofta förbises vid konstruktionen av elektroniska och digitala musik- instrument. Forskning inom detta område har visat att bruset tillför en ökad realism till syntetiserade instrument, men också att det inte är tillräckligt att bara mixa en ton med vitt brus för att vi skall uppfatta de båda komponenterna som en sammansatt klang – en lyckad sammansmältning eller perceptuell fusion kräver att bruset och tonen är korrelerade. Ett sätt att åstadkomma detta är att amplitudmodulera bruset med tonens frekvens. Detta är ett fenomen som uppstår naturligt i bl a röst, blås- och stråkinstrument. Denna uppsats behandlar dels hur modulationsdjupet påverkar fusionen, dels hur fusionen varierar med tonens frekvens. En enkel modell av ett instrument med en bruskälla skapades, där tonens frekvens och ljudnivå, brusets ljudnivå och modulationsdjupet kunde variera. För att pröva hypoteserna 1) fusionen ökar med modulationsdjupet och 2) fusionen minskar med frekvensen, gjordes lyssnartest vid frekvenserna 150, 300 och 600 Hz. -
The Secret Life of Otto and Hilda
THE SECRET LIFE OF OTTO AND HILDA Jody Hobbs Hesler Otto Augsburg knew exactly what he wanted when he walked into the Jiffy-J on Avon Street: Utz sour cream and onion potato chips, his favorite American junk food. Actually, the chips were the only American junk food Otto ate, and the Jiffy-J was the only store in town that carried them. He knew because he’d dispatched one of his underlings to search for them once when a craving hit him especially hard. Today he selected the single serving size, the bag no longer than the fin- gers of his own hand but enough to slake his craving. He would have bought the chips and gone on his way if one more thing, standing at the checkout counter, hadn’t caught his attention and set off an entirely new craving. The bright red human-height plastic M & M, with black plastic arms and legs, white mitts for hands, white boots for feet, wearing a Christmas hat and a smirk. Otto wanted that, too. 123 124 VALPARAISO FICTION REVIEW Unlike some of his colleagues, who bought Jaguars for their children’s six- teenth birthdays or vacation homes in Jamaica, Otto preferred more modest indulgences. Especially ones that tickled his sense of humor. Here—this thing was ridiculous: If one wished for candy, why would one be likelier to buy it at the hands of a giant, anthropomorphic morsel of it? Plus, the Santa Claus hat, four full months after the holiday had passed, added spice to the silliness. He would buy it and give it to his daughter, now in her third year at UVA. -
3. Intercultural Tension in Music by Chaya Czernowin and Isabel Mundry: Variations on Identity and Musical Meaning
V. New Music and Beyond: Music-Historical and Cultural Entanglements 385 3. Intercultural Tension in Music by Chaya Czernowin and Isabel Mundry: Variations on Identity and Musical Meaning A phenomenon crucial for the perception of new music, and which is featured prominently in Helmut Lachenmann’s sound typology, is the transition between structure and texture: the more information is conveyed at once in a musical context, the more it is perceived in terms of “global” characteristics – that is, structure (conceived as an interaction of individual sound elements or “families”) morphs into texture (in which one global characteristic dominates) – and the reverse process is, of course, equally relevant. Although this principle was particularly well- known and much explored in “sound composition” during the 1960s, it plays a certain role in listening to almost any polyphonic or multi-layered music. Complex and dazzling musical strat- ification was derived by many composers in the twentieth century from the legacy of Romantic orchestral magic (→ VI.1). Such a “dialogue” between layers can give rise to a morphological viv- idness that communicates itself directly, even without the framework of tonal harmony. In the music that emerged from the fault lines of cultural globalization from the end of the nineteenth century, it was, as we have seen, a much-used procedure to conceptualize the differ- ences between cultural idioms in the form of such a layered structure: groups of instruments and/or musical timbres were often arranged “culturally” (and usually differing composition- al techniques applied to such groups mirrored this cultural segregation). In Tan Dun’s Ghost Opera (1994), the string quartet was culturally “identified” by the C# minor prelude from volume 1 of Bach’s Well-Tempered Clavier, the Chinese pipa by the Chinese folk song Xiao bai cai. -
1977 Catalog Martin Archery Inc
1977 CATALOG MARTIN ARCHERY INC. ROUTE 5. BOX 127, WALLA WALLA WASHINGTON 99362 U.S.A. AREA 509 529-2554 INDEX Accessory Case .......... ... ..... 70 Game Bag ........ .... ........ 74 Armguards ........ .... ....... 15 Glove Powder ...... .. ... ... ..... 36 Arromcter ................... .. 31 Gloves ........................ 14 Arrows .................... 7,8, 9 Ground Quivers ..... ... ... .... .. 16 Arrow Boxes .......... ... .. 71 Arrow Case ............ .. ... 70 Insect Repellent ... .... .... .. .. 57 Arrow Clips .................. 67 Arrow Holders ....... .. .... ... 49 Kisser Buttons .... ............ .. 41 Arrow Numbers .. .... ...... ... 58 Knives ...... ... .. .... .... ... 74 Arrow Rests ............ ...... 35 Kwik Knurl ................. .. 13 Arrow Straightener ......... .... 46 Lacquer .... .. ........ ...... 58, 76 Backpacks ............. ... ... .. 75 Lure .............. .. .. ... .... 50 Belt ............... ... ..... 18 Berger Button ........ ... ........ 35 Matts, Easel ......... ..... ... .. 63 Blun ts .............. ......... 13 Books ............... ..... 68 69 Nocks ......... .. .... .... ... 66 Bows ................... .... 19-30 Nocking Points ... ............. .. 48 Bow Cases ......... ...... 70, 71 Bow Covers ................. 53 Points: Field, Target, Blunts ......... 13 Bow Levels .................. .40 Pouch ............... ... .... 34 Bow Saddles .................. 34 Powder Pouch ............ ....... 34 Bowslings .......... .... .. ... 34 Bow Squares........ ...... .... 46 Buwstri ngs ................. -
Line 6 POD Go Owner's Manual
® 16C Two–Plus Decades ACTION 1 VIEW Heir Stereo FX Cali Q Apparent Loop Graphic Twin Transistor Particle WAH EXP 1 PAGE PAGE Harmony Tape Verb VOL EXP 2 Time Feedback Wow/Fluttr Scale Spread C D MODE EDIT / EXIT TAP A B TUNER 1.10 OWNER'S MANUAL 40-00-0568 Rev B (For use with POD Go Firmware 1.10) ©2020 Yamaha Guitar Group, Inc. All rights reserved. 0•1 Contents Welcome to POD Go 3 The Blocks 13 Global EQ 31 Common Terminology 3 Input and Output 13 Resetting Global EQ 31 Updating POD Go to the Latest Firmware 3 Amp/Preamp 13 Global Settings 32 Top Panel 4 Cab/IR 15 Rear Panel 6 Effects 17 Restoring All Global Settings 32 Global Settings > Ins/Outs 32 Quick Start 7 Looper 22 Preset EQ 23 Global Settings > Preferences 33 Hooking It All Up 7 Wah/Volume 24 Global Settings > Switches/Pedals 33 Play View 8 FX Loop 24 Global Settings > MIDI/Tempo 34 Edit View 9 U.S. Registered Trademarks 25 USB Audio/MIDI 35 Selecting Blocks/Adjusting Parameters 9 Choosing a Block's Model 10 Snapshots 26 Hardware Monitoring vs. DAW Software Monitoring 35 Moving Blocks 10 Using Snapshots 26 DI Recording and Re-amping 35 Copying/Pasting a Block 10 Saving Snapshots 27 Core Audio Driver Settings (macOS only) 37 Preset List 11 Tips for Creative Snapshot Use 27 ASIO Driver Settings (Windows only) 37 Setlist and Preset Recall via MIDI 38 Saving/Naming a Preset 11 Bypass/Control 28 TAP Tempo 12 Snapshot Recall via MIDI 38 The Tuner 12 Quick Bypass Assign 28 MIDI CC 39 Quick Controller Assign 28 Additional Resources 40 Manual Bypass/Control Assignment 29 Clearing a Block's Assignments 29 Clearing All Assignments 30 Swapping Stomp Footswitches 30 ©2020 Yamaha Guitar Group, Inc. -
2001-2002 Fretted Instrument Strings
The Player’s Choice™ Fretted Instrument Strings 2001-2002 Introduction With the tremendous variety of strings available, choosing the right set for your playing style and taste can be quite a confusing task, but it can also be a rewarding one. D’Addario’s 2001 catalog has been designed to provide you with all the technical information you need to make selecting your favorite strings as easy as possible. It also includes some string tips to help you get the most out of the strings you choose. We’re sure you’ll find it useful. 4 ”Live television is one of the most demanding gigs for any musician. Knowing that I can always count on D’Addario strings to perform makes all the difference in the world.” - Kevin Eubanks - guitarist, The Tonight Show ”I love the fat, crunchy sound I get from D’Addario strings. They never let me down, and they allow me to put all my energy into making music.” - Poncho Sampedro - guitarist, Neil Young & Crazy Horse ”It is best to play music from the heart. To do that, you need a string that has a true pitch and beautiful sound. These are among the many fine qualities I find in D’Addario strings.” - Ben Verdery - classical guitarist ”I have used D’Addario strings since 1989. After all these years of playing them exclusively, I can tell you that D’Addario Composite Strings are the most consistent strings I have ever used. They are more in tune than any other brands, they never break, and they last very long in the studio and on the road.” - Ottmar Liebert - flamenco guitarist 5 Table of Contents Electric Guitar Strings -
GALAXY PIANOS Quickstart Guide
GALAXY PIANOS Quickstart Guide 1 1. WELCOME .......................................................................... 2 2. INSTALLATION AND LIBRARY TAB ................................... 3 3. USER INTERFACE ............................................................. 4 4. GLOBAL PRESETS ............................................................ 6 5. VELOCITY EDITOR ............................................................ 7 6. PAD MACHINE ................................................................... 8 1. WELCOME Thank you for buying a virtual piano from the Galaxy Piano line. This quickstart guide will lead you through the installation process and will show you the basics of the Galaxy Piano user interface. For more information, use the info field in the Kontakt 4 library tab or go to www.galaxypianos.com . 1. Galaxy Piano Models Currently Galaxy Pianos presents four pianos, the first three being part of the GALAXY II Grand Piano Collection. All pianos are also available as a Download Edition: GALAXY STEINWAY A handpicked STEINWAY D concert grand, recorded at Galaxy Studios, both in stereo and 5.1 Surround VIENNA GRAND A huge and powerful BÖSENDORFER 290 1920 GERMAN BABY GRAND A 75 year old VINTAGE BLÜTHNER with a beautiful, intimate tone GALAXY VINTAGE D Bauer Studios‘ Vintage STEINWAY D from 1920, used in dozens of legendary Jazz Recordings 2. Features • Every piano contains more than 2000 samples in 24 Bit • Mapped in up to 13 modeled velocity zones for a wide and smooth dynamic range • Real sustain resonance and release -
Immaterial Dan Grace
The Future Fire 2016.39 “I wrote from when I was twelve. That was therapeutic for me in those days. I wrote things to get them out of feeling them, and onto paper. So writing in a way saved me, kept me company. I did the traditional thing with falling in love with words, reading books and underlining lines I liked and words I didn’t know.” — Carrie Fisher Contents Editorial .......................................................................... 3 ‘The Cryptographer’s Body,’ (flash-fiction) Evelyn Deshane ..... 5 ‘Immaterial,’ Dan Grace ................................................. 8 ‘Songbird,’ J.L. Chan ................................................... 23 ‘Hard Rains,’ S.J. Sabri ................................................ 38 ‘We Are All Wasteland on the Inside,’ Benjanun Sriduangkaew ............................................................... 55 ‘Over The New Horizon,’ (novelette) T.D. Walker ..... 74 ‘Athena on Motherhood,’ (poem) Kari Castor ........... 109 Guidelines for submissions ........................................ 111 The Future Fire (http://futurefire.net/) is edited by Djibril al- Ayad, with associate editors Kathryn Allan and Regina de Búrca; assistant editors Serge Keller, Cécile Matthey, Valeria Vitale and Trace Yulie; occasional guest editors Fabio Fernandes and Lori Selke. This PDF copy-edited by Hûw Steer. ISSN: 1746-1839 Contact: [email protected] All work copyright © 2016 by the authors and artists 1 Editorial Djibril al-Ayad We don’t actively collect stories into themed issues here at The Future Fire, but often a handful of stories and poems will cluster together in ways that feel meaningful, and timely, and even purposeful, and we can’t help but run with that serendipity (we should probably pretend that we planned it all this way, and take credit as editors for the work of the inscrutable universe). -
ENDER's GAME by Orson Scott Card Chapter 1 -- Third
ENDER'S GAME by Orson Scott Card Chapter 1 -- Third "I've watched through his eyes, I've listened through his ears, and tell you he's the one. Or at least as close as we're going to get." "That's what you said about the brother." "The brother tested out impossible. For other reasons. Nothing to do with his ability." "Same with the sister. And there are doubts about him. He's too malleable. Too willing to submerge himself in someone else's will." "Not if the other person is his enemy." "So what do we do? Surround him with enemies all the time?" "If we have to." "I thought you said you liked this kid." "If the buggers get him, they'll make me look like his favorite uncle." "All right. We're saving the world, after all. Take him." *** The monitor lady smiled very nicely and tousled his hair and said, "Andrew, I suppose by now you're just absolutely sick of having that horrid monitor. Well, I have good news for you. That monitor is going to come out today. We're going to just take it right out, and it won't hurt a bit." Ender nodded. It was a lie, of course, that it wouldn't hurt a bit. But since adults always said it when it was going to hurt, he could count on that statement as an accurate prediction of the future. Sometimes lies were more dependable than the truth. "So if you'll just come over here, Andrew, just sit right up here on the examining table. -
Hiphop Aus Österreich
Frederik Dörfler-Trummer HipHop aus Österreich Studien zur Popularmusik Frederik Dörfler-Trummer (Dr. phil.), geb. 1984, ist freier Musikwissenschaftler und forscht zu HipHop-Musik und artverwandten Popularmusikstilen. Er promovierte an der Universität für Musik und darstellende Kunst Wien. Seine Forschungen wurden durch zwei Stipendien der Österreichischen Akademie der Wissenschaften (ÖAW) so- wie durch den österreichischen Wissenschaftsfonds (FWF) gefördert. Neben seiner wissenschaftlichen Arbeit gibt er HipHop-Workshops an Schulen und ist als DJ und Produzent tätig. Frederik Dörfler-Trummer HipHop aus Österreich Lokale Aspekte einer globalen Kultur Gefördert im Rahmen des DOC- und des Post-DocTrack-Programms der ÖAW. Veröffentlicht mit Unterstützung des Austrian Science Fund (FWF): PUB 693-G Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Na- tionalbibliografie; detaillierte bibliografische Daten sind im Internet über http:// dnb.d-nb.de abrufbar. Dieses Werk ist lizenziert unter der Creative Commons Attribution 4.0 Lizenz (BY). Diese Li- zenz erlaubt unter Voraussetzung der Namensnennung des Urhebers die Bearbeitung, Verviel- fältigung und Verbreitung des Materials in jedem Format oder Medium für beliebige Zwecke, auch kommerziell. (Lizenztext: https://creativecommons.org/licenses/by/4.0/deed.de) Die Bedingungen der Creative-Commons-Lizenz gelten nur für Originalmaterial. Die Wieder- verwendung von Material aus anderen Quellen (gekennzeichnet -
Chugens, Chubgraphs, Chugins: 3 Tiers for Extending Chuck
CHUGENS, CHUBGRAPHS, CHUGINS: 3 TIERS FOR EXTENDING CHUCK Spencer Salazar Ge Wang Center for Computer Research in Music and Acoustics Stanford University {spencer, ge}@ccrma.stanford.edu ABSTRACT native compiled code, which is precisely the intent of ChuGins. The ChucK programming language lacks straightforward mechanisms for extension beyond its 2. RELATED WORK built-in programming and processing facilities. Chugens address this issue by allowing programmers to live-code Extensibility is a primary concern of music software of new unit generators in ChucK in real-time. Chubgraphs all varieties. The popular audio programming also allow new unit generators to be built in ChucK, by environments Max/MSP [15], Pure Data [10], defining specific arrangements of existing unit SuperCollider [8], and Csound [4] all provide generators. ChuGins allow a wide array of high- mechanisms for developing C/C++-based compiled performance unit generators and general functionality to sound processing functions. Max also allows control-rate be exposed in ChucK by providing a dynamic binding functionality to be encapsulated in-situ in the form of between ChucK and native C/C++-based compiled Javascript code snippets. Max’s Gen facility dynamically code. Performance and code analysis shows that the compiles audio-rate processors, implemented as either most suitable approach for extending ChucK is data-flows or textual code, to native machine code. situation-dependent. Csound allows the execution of Tcl, Lua, and Python code for control-rate and/or audio-rate manipulation and 1. INTRODUCTION synthesis. The Impromptu environment supports live- coding of audio-rate processors in a Scheme-like Since its introduction, the ChucK programming language [3], and LuaAV does the same for Lua [13].