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Viscount Chorum
viscount Chorum Tremolo Tremolo Tremolo User Manual - English Ver. USA - 1.1 Viscount Chorum User Manual TABLE OF CONTENTS 1. Important notes ............................................................................................................................... 2 1.1 Looking after the product ............................................................................................................................. 2 1.2 Notes about the manual ................................................................................................................................ 2 2. General description ......................................................................................................................... 4 3. Switching on and main video page .............................................................................................. 12 3.1 The Main Menu ............................................................................................................................................ 13 4. Volume settings (Volumes function) ............................................................................................ 14 5. Instrument general settings (Settings menu) ............................................................................... 15 5.1 Selecting reverb type (Reverb parameter) ................................................................................................. 16 5.2 Adjust equalizers (Equalizers functions) .................................................................................................. -
Universal Tuning Editor
Universal Tuning Editor Ηπ INSTRUMENTS Aaron Andrew Hunt Ηπ INSTRUMENTS hpi.zentral.zone · Universal Tuning Editor · documentation v11 1.May.2021 Changes from Previous Documentation 5 Current Version, v11 — 1. May 2021 ....................................................................5 Previous Versions ............................................................................................5 Introduction 9 Features List .................................................................................................9 User Interface Basics ......................................................................................11 Maximising the Detail View ..............................................................................12 Maximising the Tuning List ..............................................................................13 Toolbar .......................................................................................................13 Bug Reporting & Feedback ...............................................................................14 Feature Requests ..........................................................................................14 File Handling 15 Preferences ..................................................................................................15 Auto store unsaved projects internally ...............................................................15 Restore external projects at next session ...........................................................15 Prompt to handle each open project -
Digital Piano
Address KORG ITALY Spa Via Cagiata, 85 I-60027 Osimo (An) Italy Web servers www.korgpa.com www.korg.co.jp www.korg.com www.korg.co.uk www.korgcanada.com www.korgfr.net www.korg.de www.korg.it www.letusa.es DIGITAL PIANO ENGLISH MAN0010006 © KORG Italy 2006. All rights reserved PART NUMBER: MAN0010006 E 2 User’s Manual User’s C720_English.fm Page 1 Tuesday, October 10, 2006 4:14 PM IMPORTANT SAFETY INSTRUCTIONS The lightning flash with arrowhead symbol within an equilateral triangle, is intended to alert the user to the presence of uninsulated • Read these instructions. “dangerous voltage” within the product’s enclosure that may be of sufficient magni- • Keep these instructions. tude to constitute a risk of electric shock to • Heed all warnings. persons. • Follow all instructions. • Do not use this apparatus near water. The exclamation point within an equilateral • Mains powered apparatus shall not be exposed to dripping or triangle is intended to alert the user to the splashing and that no objects filled with liquids, such as vases, presence of important operating and mainte- shall be placed on the apparatus. nance (servicing) instructions in the literature accompanying the product. • Clean only with dry cloth. • Do not block any ventilation openings, install in accordance with the manufacturer’s instructions. • Do not install near any heat sources such as radiators, heat reg- THE FCC REGULATION WARNING (FOR U.S.A.) isters, stoves, or other apparatus (including amplifiers) that pro- duce heat. 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 Rules. -
Generic Artistic Strategies and Ambivalent Affect
I GENERIC ARTISTIC STRATEGIES AND AMBIVALENT AFFECT THOMAS SMITH A thesis in fulfillment of the requirements for the degree of Doctor of Philosophy Faculty of Art & Design 2019 THOMAS SMITH II Surname/Family Name : Smith Given Name/s : Thomas William Abbreviation for degree as give in the University calendar : 1292 – PhD Art, Design and Media Faculty : Faculty of Art & Design School : School of Art & Design Generic Artistic Strategies and Ambivalent Thesis Title : Affect This practice-based thesis investigates how contemporary artists are using generic artistic strategies and ambivalent affect to inhabit post-digital conditions. It proposes that artists reproducing and re-performing generic post-digital aesthetics both engender and are enveloped by ambivalent affect, and that these strategies are immanently political rather than overtly critical. I argue that ambivalent artworks secede from requirements for newness and innovation, and the exploitation of creative labour that are a feature of post-digital environments. Drawing on Sianne Ngai’s affect theory and Paolo Virno’s post-Fordist thinking, I summarise contemporary conditions for creativity as a ‘general intellect of the post-digital’; proposing that artists’ and workers’ relations with this mode of production are necessarily ambivalent. Throughout this research I produced several performance and video works that exemplify this ambivalence. These works reproduce standardised electronic music, stock imagery and PowerPoint presentations, alongside re-performances of digital labour such as online shopping, image searches, and paying rent online. Through these examples I develop concepts for discussing generic aesthetics, framing them as vital to understanding post-digital conditions. I address works by other artists including Amalia Ulman’s Excellences and Perfections (2014), which I argue is neither critical nor complicit with generic post-digital routines, but rather signals affective ambivalence and a desire to secede from social media performance. -
Harmonic Analysis for Music Transcription and Characterization
UNIVERSITA` DEGLI STUDI DI BRESCIA FACOLTA` DI INGEGNERIA Dipartimento di Ingegneria dell'Informazione DOTTORATO DI RICERCA IN INGEGNERIA DELLE TELECOMUNICAZIONI XXVII CICLO SSD: ING-INF/03 Harmonic Analysis for Music Transcription and Characterization Ph.D. Candidate: Ing. Alessio Degani .............................................. Ph.D. Supervisor: Prof. Pierangelo Migliorati .............................................. Ph.D. Coordinator: Prof. Riccardo Leonardi .............................................. ANNO ACCADEMICO 2013/2014 to my family Sommario L'oggetto di questa tesi `elo studio dei vari metodi per la stima dell'informazione tonale in un brano musicale digitale. Il lavoro si colloca nel settore scientifico de- nomitato Music Information Retrieval, il quale studia le innumerevoli tematiche che riguardano l'estrazione di informazioni di alto livello attraverso l'analisi del segnale audio. Nello specifico, in questa dissertazione andremo ad analizzare quelle procedure atte ad estrarre l'informazione tonale e armonica a diversi lev- elli di astrazione. Come prima cosa verr`apresentato un metodo per stimare la presenza e la precisa localizzazione frequenziale delle componenti sinusoidali stazionarie a breve termine, ovvero le componenti fondamentali che indentificano note e accordi, quindi l'informazione tonale/armonica. Successivamente verr`aesposta un'analisi esaustiva dei metodi di stima della frequenza di riferimento (usata per accordare gli strumenti musicali) basati sui picchi spettrali. Di solito la frequenza di riferimento `econsiderata standard e associata al valore di 440 Hz, ma non sempre `ecos`ı. Vedremo quindi che per migliorare le prestazioni dei vari metodi che si affidano ad una stima del contenuto armonico e melodico per determinati scopi, `efondamentale avere una stima coerente e robusta della freqeunza di riferimento. In seguito, verr`apresentato un sistema innovativo per per misurare la rile- vanza di una data componente frequenziale sinusoidale in un ambiente polifonico. -
UVI Synthlegacy | Software User Manual
Software User Manual Software Version 1.0 EN 160307 End User License Agreement (EULA) Do not use this product until the following license agreement is understood and accepted. By using this product, or allowing anyone else to do so, you are accepting this agreement. Synth Legacy (henceforth ‘the Product’) is licensed to you 3. Ownership as the end user. Please read this Agreement carefully. As between you and UVI, ownership of, and title to, the You cannot transfer ownership of these Sounds and Software enclosed digitally recorded sounds (including any copies) they contain. You cannot re-sell or copy the Product. are held by UVI. Copies are provided to you only to enable you to exercise your rights under the license. LICENSE AND PROTECTION 4. Term This agreement is effective from the date you open this package, and will remain in full force until termination. This agreement 1. License Grant will terminate if you break any of the terms or conditions of this UVI grants to you, subject to the following terms and agreement. Upon termination you agree to destroy and return to conditions, a non-exclusive, non-transferable right UVI all copies of this product and accompanying documentation. to use each authorized copy of the Product. 5. Restrictions The product is the property of UVI and is licensed to you only Except as expressly authorized in this agreement, you may not rent, for use as part of a musical performance, live or recorded. This sell, lease, sub-license, distribute, transfer, copy, reproduce, display, license expressly forbids resale or other distribution of the modify or time share the enclosed product or documentation. -
A Microtonal Wind Controller Building on Yamaha’S Technology to Facilitate the Performance of Music Based on the “19-EDO” Scale
Bailey, N., South, A., Evans, B. and Hair, G. (2016) A microtonal wind controller building on Yamaha’s technology to facilitate the performance of music based on the “19-EDO” scale. Scottish Music Review, 4(1), This is the author’s final accepted version. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/150676/ Deposited on: 27 October 2017 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk w e i v e r A Microtonal Wind Controller c i Building on Yamaha’s Technology to Facilitate the s u Performance of Music based on the “19-EDO” scale. m h Nicholas J Bailey Alex South Bill Evans Graham Hair s i t t o c Abstract s We describe a project in which several collaborators adapted an existing instrument to make it capable of playing expressively in music based on the microtonal scale characterised by equal divsion of the octave into 19 tones (“19-EDO”). Our objective was not just to build this in- strument, however, but also to produce a well-formed piece of music which would exploit it idiomatically, in a performance which would provide listeners with a pleasurable and satisfying musical experience. Hence, consideration of the extent and limits of the playing-techniques of the resulting instrument (a “Wind-Controller”) and of appropriate approaches to the composi- tion of music for it were an integral part of the project from the start. -
Order of the Shadow Wolf Cyberzine
SoCiEtIeS ArCh NeMeSiS CyBeRpUnK E-ZiNe Issue #2 December 2014 welcome to the order of the... o o . o . o o o o o . o . ________ ___ ___ ________ ________ ________ ___ o __ |\ ____\|\ \|\ \|\ __ \|\ ___ \|\ __ \|\ \ |\ \ o \ \ \___|\ \ \\\ \ \ \|\ \ \ \_|\ \ \ \|\ \ \ \ \ \ \ \ \_____ \ \ __ \ \ __ \ \ \ \\ \ \ \\\ \ \ \ __\ \ \ . \|____|\ \ \ \ \ \ \ \ \ \ \ \_\\ \ \ \\\ \ \ \|\__\_\ \ ____\_\ \ \__\ \__\ \__\ \__\ \_______\ \_______\ \____________\ |\_________\|__|\|__|\|__|\|__|\|_______|\|_______|\|____________| . o \|_________| | | | . | . | | O . o | . o | O | /\ o /\ ___ O __ ________ ___ ________ . | \-------/ | . |\ \ |\ \|\ __ \|\ \ |\ _____\ / \ \ \ \ \ \ \ \ \|\ \ \ \ \ \ \__/ . | __ __ | . \ \ \ __\ \ \ \ \\\ \ \ \ \ \ __\ / \ \ \ \|\__\_\ \ \ \\\ \ \ \____\ \ \_| / \ . \ \____________\ \_______\ \_______\ \__\ / \ . \|____________|\|_______|\|_______|\|__| . / \ O | | . | / \ O . O . | . / \ /\ THE LAUNDRoMAT OF YOUR MIND /\ O O / \ /\ /\ EXTRA BIG DECEMBER ISSUE!!! / \ . / \/ \/ \ . /..\ < . / \ . / \ \ \ _\' /_ / . / \ . / \ \ \ . / . \ . / \ /________\___\___\ | . | /____ ___\ || || || \ . / || /\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\ ============================================================================== The Order OF THE SHADOW WOLF IS NOW IN COLOR!!!!! your online cyber-zine for: Occult home experiments - Synthesizers - Sorcery & Magick - DIY projects - Movies - Music - Counter Culture - UFOlogy - Poetry - Obsolete computers - Artificial Intelligence - Rastafarian Language -
Tuning Presets in the MOTM
Tuning Presets in the Sequential Prophet X Compiled by Robert Rich, September 2018 Comments for tunings 17-65 derived from the Scala library. Many thanks to Max Magic Microtuner for conversion assistance. R. Rich Notes: All of the presets except for #1 (12 Tone Equal Temperament) can be over-written by sending a tuning in the MTS format (Midi Tuning Standard.) The presets #2-17 match the Prophet 12, P6 and OB6, and began as a selection I made for the Synthesis Technology MOTM 650 Midi-CV module. Actual program numbers within the MTS messages start at #0 for the built-in 12ET, #1-64 for the user tunings. The display shows these as #2-65, with 12ET as #1. I intend these tunings only as an introduction, and I did not research their historical accuracy. For convenience, I used the software’s default 1/1 of C4 (Midi note 60), although this is not the original 1/1 for some of the tunings shown. Some of these tunings come very close to standard 12ET, and some of them are downright wacky, sometimes specific to a particular composer or piece of music. The tunings from 18 to 65 are organized only by alphabet, culled from the Scala library, not in any logical order. 1. 12 Tone Equal Temperament (non-erasable) The default Western tuning, based on the twelfth root of two. Good fourths and fifths, horrible thirds and sixths. 2. Harmonic Series MIDI notes 36-95 reflect harmonics 2 through 60 based on the fundamental of A = 27.5 Hz. -
Conference Paper
the next level. The theremin, as an infinitely variable Electronic Music Interaction: instrument, that requires years of practice as well as a near perfect pitch ear to master, is an ideal candidate for our modern and alternative intermediary device, a pitch-to-MIDI converter. This device can take any analog instrument and allow pitch- interactions with music devices mapping, and arpeggiated control, as well as direct Anthony A. Adu, Kenzo A. Mendoza, Thomas feedback for practice. This complements our theme of ease-in-interaction in proficient playing, as well as gives C. Spalding, Florence T. Trinh any analog instrument social and adaptable input to our Dept. of Electrical Engineering and Computer performance device hub. Science, University of Central Florida, Orlando, Florida, 32816-2450 II. ELECTONIC MUSIC INTERACTON COMPONENTS The Electronic Music Interaction (E.M.I.) device set Abstract — This project explores the theme of creating a consists of three major devices: uWave Theremin, virtuosic experience through high customizability, SenseBox and Expandome. The block diagram in Fig. 1 modularity, and simplicity. This theme was developed by below demonstrates how each device communicates with pairing the fluidly-noted analog theremin, one of the first each other. electronic musical instruments, to a highly adaptable set of MIDI-capable devices. These themes are further enhanced by the immediate usability of the devices to users on a different level. A primary motivation of this project was to engender a direct-feedback environment that facilitates the learning experience for a device that is considered to be a very difficult instrument to master. Thusly, these goals are accomplished by developing a pitch-to-MIDI converter, and a set of expandable easy-grid MIDI controller devices to accompany the theremin. -
Skoogmusic User Guide Version 1.6 2 Contents
Skoogmusic User Guide Version 1.6 2 Contents Chapter 1 Introducing the Skoog ................................1 Chapter 3 Support .......................................................... 25 1.1 Setting up your Skoog ����������������������������������������������������������������������� 2 3.1 Keeping your Skoog happy ����������������������������������������������������������26 1.2 Getting to know the Skoogmusic software �������������������������� 3 3.2 Troubleshooting ���������������������������������������������������������������������������������27 1.3 Handling your Skoog ������������������������������������������������������������������������� 4 3.3 Warranty & Usage Guidelines ���������������������������������������������������29 1.4 Playing considerations ����������������������������������������������������������������������� 5 3.4 Customer Support ��������������������������������������������������������������������������29 Chapter 2 Software Guide ���������������������������������������������7 Glossary ................................................................................ 30 2.1 Skoogmusic Window ����������������������������������������������������������������������� 8 2.2 Skoog Window ������������������������������������������������������������������������������������� 9 2.3 Skoog Panel ������������������������������������������������������������������������������������������10 2.4 Notes Panel �����������������������������������������������������������������������������������������11 2.5 Skores Panel �����������������������������������������������������������������������������������������13 -
A New Approach to Onset Detection: Towards an Empirical Grounding of Theoretical and Speculative Ideologies of Musical Performance
Milligan, K., Bailey, N. and Hair, G. (2016) A new approach to onset detection: towards an empirical grounding of theoretical and speculative ideologies of musical performance. Scottish Music Review, 4(1), This is the author’s final accepted version. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/150678/ Deposited on: 27 October 2017 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk w e i v e r A New Approach to Onset Detection: Towards an Empirical c i Grounding of Theoretical and Speculative Ideologies of s u Musical Performance m h Keziah Milligan Nick Bailey Graham Hair s i t t o c s 1: A summary of the current empirical study This article assesses aspects of the current state of a project which aims, with the help of computers and computer software, to segment soundfiles of vocal melodies into their component notes, identi- fying precisely when the onset of each note occurs, and then tracking the pitch trajectory of each note, especially in melodies employing a variety of non-standard temperaments, in which musical intervals smaller than 100 cents are ubiquitous. From there, we may proceed further, to describe many other “micro-features” of each of the notes, but for now our focus is on the onset times and pitch trajectories. Stated in such bald terms, such a description makes the current project sound like a quite small and modest one, but in fact, the very first hurdle, automated onset detection, presents a quite difficult challenge, and attempts to solve it have thus far met with only patchy success.