CANYON Multifunction Delay & Looper
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Gemini Chorus User's Guide
Gemini Chorus User’s Guide Welcome Thank you for purchasing the Gemini Chorus. This powerful stereo effects pedal features a collection of meticulously crafted chorus sounds ranging from classic dual-voice sounds to lush quad-voice ensembles. With a simple control set, the Gemini can work in a wide variety of musical settings, and the powerful MIDI and Neuro control options under the hood provide access to a vast array of additional tonal possibilities. The Gemini is housed in a durable, lightweight aluminum housing, packing rack mount power and flexibility into a compact, easy-to-use stompbox. SA242 Gemini Chorus User’s Guide 1 The USB and Neuro ports transform the Gemini from a simple chorus pedal into a powerful multi- effects unit. Using the free Neuro App (iOS and Android), a wide range of additional control parameters and effect types (phaser, flanger, resonator) are accessible. When used together with the Neuro Hub, the Gemini is fully MIDI-controllable and 128 multi-pedal presets, or “scenes,” can be saved for instant recall on the stage or in the studio. The Gemini can also connect directly to a passive expression pedal or the Hot Hand for expressive control of any parameter. The Quick Start guide will help you with the basics. For more in-depth information about the Gemini Chorus, move on to the following sections, starting with Connections. Enjoy! - The Source Audio Team Overview Diverse Chorus Sounds – Choose from traditional chorus tones such as Dual, Classic, and Quad, or delve deeper into unique sounds cooked up in the Source Audio lab. -
UC Riverside UC Riverside Electronic Theses and Dissertations
UC Riverside UC Riverside Electronic Theses and Dissertations Title Sonic Retro-Futures: Musical Nostalgia as Revolution in Post-1960s American Literature, Film and Technoculture Permalink https://escholarship.org/uc/item/65f2825x Author Young, Mark Thomas Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Sonic Retro-Futures: Musical Nostalgia as Revolution in Post-1960s American Literature, Film and Technoculture A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Mark Thomas Young June 2015 Dissertation Committee: Dr. Sherryl Vint, Chairperson Dr. Steven Gould Axelrod Dr. Tom Lutz Copyright by Mark Thomas Young 2015 The Dissertation of Mark Thomas Young is approved: Committee Chairperson University of California, Riverside ACKNOWLEDGEMENTS As there are many midwives to an “individual” success, I’d like to thank the various mentors, colleagues, organizations, friends, and family members who have supported me through the stages of conception, drafting, revision, and completion of this project. Perhaps the most important influences on my early thinking about this topic came from Paweł Frelik and Larry McCaffery, with whom I shared a rousing desert hike in the foothills of Borrego Springs. After an evening of food, drink, and lively exchange, I had the long-overdue epiphany to channel my training in musical performance more directly into my academic pursuits. The early support, friendship, and collegiality of these two had a tremendously positive effect on the arc of my scholarship; knowing they believed in the project helped me pencil its first sketchy contours—and ultimately see it through to the end. -
Frank Zappa and His Conception of Civilization Phaze Iii
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2018 FRANK ZAPPA AND HIS CONCEPTION OF CIVILIZATION PHAZE III Jeffrey Daniel Jones University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2018.031 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Jones, Jeffrey Daniel, "FRANK ZAPPA AND HIS CONCEPTION OF CIVILIZATION PHAZE III" (2018). Theses and Dissertations--Music. 108. https://uknowledge.uky.edu/music_etds/108 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. -
Metaflanger Table of Contents
MetaFlanger Table of Contents Chapter 1 Introduction 2 Chapter 2 Quick Start 3 Flanger effects 5 Chorus effects 5 Producing a phaser effect 5 Chapter 3 More About Flanging 7 Chapter 4 Controls & Displa ys 11 Section 1: Mix, Feedback and Filter controls 11 Section 2: Delay, Rate and Depth controls 14 Section 3: Waveform, Modulation Display and Stereo controls 16 Section 4: Output level 18 Chapter 5 Frequently Asked Questions 19 Chapter 6 Block Diagram 20 Chapter 7.........................................................Tempo Sync in V5.0.............22 MetaFlanger Manual 1 Chapter 1 - Introduction Thanks for buying Waves processors. MetaFlanger is an audio plug-in that can be used to produce a variety of classic tape flanging, vintage phas- er emulation, chorusing, and some unexpected effects. It can emulate traditional analog flangers,fill out a simple sound, create intricate harmonic textures and even generate small rough reverbs and effects. The following pages explain how to use MetaFlanger. MetaFlanger’s Graphic Interface 2 MetaFlanger Manual Chapter 2 - Quick Start For mixing, you can use MetaFlanger as a direct insert and control the amount of flanging with the Mix control. Some applications also offer sends and returns; either way works quite well. 1 When you insert MetaFlanger, it will open with the default settings (click on the Reset button to reload these!). These settings produce a basic classic flanging effect that’s easily tweaked. 2 Preview your audio signal by clicking the Preview button. If you are using a real-time system (such as TDM, VST, or MAS), press ‘play’. You’ll hear the flanged signal. -
Metaflanger User Manual
MetaFlanger Table of Contents Chapter 1 Introduction 2 Chapter 2 Quick Start 3 Flanger effects 5 Chorus effects 5 Producing a phaser effect 5 Chapter 3 More About Flanging 7 Chapter 4 Controls & Displa ys 11 Section 1: Mix, Feedback and Filter controls 11 Section 2: Delay, Rate and Depth controls 14 Section 3: Waveform, Modulation Display and Stereo controls 16 Section 4: Output level 18 Section 5: WaveSystem Toolbar 18 Chapter 5 Frequently Asked Questions 19 Chapter 6 Block Diagram 20 Chapter 7.........................................................Tempo Sync in V5.0.............22 MetaFlanger Manual 1 Chapter 1 - Introduction Thanks for buying Waves processors. Thank you for choosing Waves! In order to get the most out of your new Waves plugin, please take a moment to read this user guide. To install software and manage your licenses, you need to have a free Waves account. Sign up at www.waves.com. With a Waves account you can keep track of your products, renew your Waves Update Plan, participate in bonus programs, and keep up to date with important information. We suggest that you become familiar with the Waves Support pages: www.waves.com/support. There are technical articles about installation, troubleshooting, specifications, and more. Plus, you’ll find company contact information and Waves Support news. The following pages explain how to use MetaFlanger. MetaFlanger’s Graphic Interface 2 MetaFlanger Manual Chapter 2 - Quick Start For mixing, you can use MetaFlanger as a direct insert and control the amount of flanging with the Mix control. Some applications also offer sends and returns; either way works quite well. -
Neve 88RS User Manua
Contents CONTENTS INTRODUCTION System Information 1:1 POWER UP AND POWER DOWN SEQUENCE Power Up Procedure: 2:1 Power Down Procedure 2:3 CONSOLE CONFIGURATION Multitrack Recording 2:6 Mixdown 2:8 Overdubbing 2:10 Tape and Cues Post EQ 2:18 Broadcast 2:20 THE 88RS CONSOLE SURFACE The 88RS Channel Module 3:3 Channel Fader Module 3:11 SOLO & MASTER CUT SYSTEM 4:1 Solo System 4:1 Cut Grouping Facility 4:4 MONITOR & FACILITIES SECTION Oscillator and Signal level 5:1 Auxiliary Master Section 5:2 Cue Mix System 5:4 Rev Returns 5:6 Monitor Panel 5:7 5:14 2 Track Mixer 5:21 5:22 5:23 Monitor and Facilities Fader Section 5:23 Issue 3 i 88RS User Manual Contents METERING Multitrack Meters 6:1 Auxiliary Meters 6:3 Multitrack Meter Controls 6:4 Monitor 6T Output Meters 6:5 6:6 Monitor 8T Output Meters (optional) 6:6 Encore Screen 6:8 6:8 6:8 SURROUND: ROUTING & MONITORING Reassign Matrix Panel 7:1 Reassign Matrix Modes 7:5 Automated Panning 7:8 Optional Joystick Module 7:9 AUTOMATION & MACHINE CONTROL Global Master Automation 8:1 Events Master 8:2 Automation Panel 8:3 GLOSSARY Terms Used In This Manual 9:1 Issue 3 ii 88RS User Manual INTRODUCTION System Information INTRODUCTION System Information The 88RS is an ‘in-line’ monitor type console. Each channel strip contains all the facilities necessary for multitrack recording, overdubbing and mixdown. The console has the powerful feature of split operation - i.e. the console can be operationally divided into two halves (to the left and right of the master control panel) with independent status control and split mix busses. -
Command-Line Sound Editing Wednesday, December 7, 2016
21m.380 Music and Technology Recording Techniques & Audio Production Workshop: Command-line sound editing Wednesday, December 7, 2016 1 Student presentation (pa1) • 2 Subject evaluation 3 Group picture 4 Why edit sound on the command line? Figure 1. Graphical representation of sound • We are used to editing sound graphically. • But for many operations, we do not actually need to see the waveform! 4.1 Potential applications • • • • • • • • • • • • • • • • 1 of 11 21m.380 · Workshop: Command-line sound editing · Wed, 12/7/2016 4.2 Advantages • No visual belief system (what you hear is what you hear) • Faster (no need to load guis or waveforms) • Efficient batch-processing (applying editing sequence to multiple files) • Self-documenting (simply save an editing sequence to a script) • Imaginative (might give you different ideas of what’s possible) • Way cooler (let’s face it) © 4.3 Software packages On Debian-based gnu/Linux systems (e.g., Ubuntu), install any of the below packages via apt, e.g., sudo apt-get install mplayer. Program .deb package Function mplayer mplayer Play any media file Table 1. Command-line programs for sndfile-info sndfile-programs playing, converting, and editing me- Metadata retrieval dia files sndfile-convert sndfile-programs Bit depth conversion sndfile-resample samplerate-programs Resampling lame lame Mp3 encoder flac flac Flac encoder oggenc vorbis-tools Ogg Vorbis encoder ffmpeg ffmpeg Media conversion tool mencoder mencoder Media conversion tool sox sox Sound editor ecasound ecasound Sound editor 4.4 Real-world -
My Bloody Valentine's Loveless David R
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 My Bloody Valentine's Loveless David R. Fisher Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC MY BLOODY VALENTINE’S LOVELESS By David R. Fisher A thesis submitted to the College of Music In partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2006 The members of the Committee approve the thesis of David Fisher on March 29, 2006. ______________________________ Charles E. Brewer Professor Directing Thesis ______________________________ Frank Gunderson Committee Member ______________________________ Evan Jones Outside Committee M ember The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Tables......................................................................................................................iv Abstract................................................................................................................................v 1. THE ORIGINS OF THE SHOEGAZER.........................................................................1 2. A BIOGRAPHICAL ACCOUNT OF MY BLOODY VALENTINE.………..………17 3. AN ANALYSIS OF MY BLOODY VALENTINE’S LOVELESS...............................28 4. LOVELESS AND ITS LEGACY...................................................................................50 BIBLIOGRAPHY..............................................................................................................63 -
MUSIC- YEAR 9- REMIX– Term 2
MUSIC- YEAR 9- REMIX– Term 2 Music Year 9 - Remix (Builds on from Year 8, Units 1-3,4,6) Students will look to develop their knowledge of the remix. They will develop their understanding of the early historical and cultural context of the remix. Students will learn the main technological characteristics of a remix with a big focus on: Editing, FX and Dynamic processing and track automation. They will develop their skills used in the There will be a strong emphasis on Tempo, Structure and Texture. Students will attempt to create their own Remix using A Capellas of 3 current Dance tracks. The Elements of Music will be further developed within a Remix listening tasks. UNIT INTENT Lesson Intent Vocabulary – Activities/Assessment (to including the Homework/Li Daily metacognitive/learning verb teracy Map Retrieval/Teac h for memory Knowledge Goal WEEK 1 NEW Starter Activity Revise key A CAPELLA Rolling in the Deep Remix listening Recap: Elements of Feeds on from… REMIX vocabulary for music. Develop Students to revisit the Year 8 CONTEXT activity. quiz/listening understanding of what Dance music activity to re- Q&A task. RETRIEVE a remix is and it musical familiarise themselves with the Loops What is a Remix? context. Ostinato basics techniques taught in https://www.youtube.com/watch?v=p Year 8. Students to develop Riff 1. To be able to listen and Editing d0LJmryigY effectively appraise further understanding and Track Automation Reverb several REMIX tracks. implementation of ‘The Equalization (EQ) 2. To use the Elements of elements of Music’ from Years Main music in a listening Audio Software Students to open ‘Remix Ebook’ and context and to use them 7 and 8 in a practical and Instrument creatively. -
Extended Techniques and Electronic Enhancements: a Study of Works by Ian Clarke Christopher Leigh Davis University of Southern Mississippi
The University of Southern Mississippi The Aquila Digital Community Dissertations Fall 12-1-2012 Extended Techniques and Electronic Enhancements: A Study of Works by Ian Clarke Christopher Leigh Davis University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Recommended Citation Davis, Christopher Leigh, "Extended Techniques and Electronic Enhancements: A Study of Works by Ian Clarke" (2012). Dissertations. 634. https://aquila.usm.edu/dissertations/634 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi EXTENDED TECHNIQUES AND ELECTRONIC ENHANCEMENTS: A STUDY OF WORKS BY IAN CLARKE by Christopher Leigh Davis Abstract of a Dissertation Submitted to the Graduate School of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts December 2012 ABSTRACT EXTENDED TECHNIQUES AND ELECTRONIC ENHANCEMENTS: A STUDY OF WORKS BY IAN CLARKE by Christopher Leigh Davis December 2012 British flutist Ian Clarke is a leading performer and composer in the flute world. His works have been performed internationally and have been used in competitions given by the National Flute Association and the British Flute Society. Clarke’s compositions are also referenced in the Peters Edition of the Edexcel GCSE (General Certificate of Secondary Education) Anthology of Music as examples of extended techniques. The significance of Clarke’s works lies in his unique compositional style. His music features sounds and styles that one would not expect to hear from a flute and have elements that appeal to performers and broader audiences alike. -
2011 – Cincinnati, OH
Society for American Music Thirty-Seventh Annual Conference International Association for the Study of Popular Music, U.S. Branch Time Keeps On Slipping: Popular Music Histories Hosted by the College-Conservatory of Music University of Cincinnati Hilton Cincinnati Netherland Plaza 9–13 March 2011 Cincinnati, Ohio Mission of the Society for American Music he mission of the Society for American Music Tis to stimulate the appreciation, performance, creation, and study of American musics of all eras and in all their diversity, including the full range of activities and institutions associated with these musics throughout the world. ounded and first named in honor of Oscar Sonneck (1873–1928), early Chief of the Library of Congress Music Division and the F pioneer scholar of American music, the Society for American Music is a constituent member of the American Council of Learned Societies. It is designated as a tax-exempt organization, 501(c)(3), by the Internal Revenue Service. Conferences held each year in the early spring give members the opportunity to share information and ideas, to hear performances, and to enjoy the company of others with similar interests. The Society publishes three periodicals. The Journal of the Society for American Music, a quarterly journal, is published for the Society by Cambridge University Press. Contents are chosen through review by a distinguished editorial advisory board representing the many subjects and professions within the field of American music.The Society for American Music Bulletin is published three times yearly and provides a timely and informal means by which members communicate with each other. The annual Directory provides a list of members, their postal and email addresses, and telephone and fax numbers. -
Compositions-By-Frank-Zappa.Pdf
Compositions by Frank Zappa Heikki Poroila Honkakirja 2017 Publisher Honkakirja, Helsinki 2017 Layout Heikki Poroila Front cover painting © Eevariitta Poroila 2017 Other original drawings © Marko Nakari 2017 Text © Heikki Poroila 2017 Version number 1.0 (October 28, 2017) Non-commercial use, copying and linking of this publication for free is fine, if the author and source are mentioned. I do not own the facts, I just made the studying and organizing. Thanks to all the other Zappa enthusiasts around the globe, especially ROMÁN GARCÍA ALBERTOS and his Information Is Not Knowledge at globalia.net/donlope/fz Corrections are warmly welcomed ([email protected]). The Finnish Library Foundation has kindly supported economically the compiling of this free version. 01.4 Poroila, Heikki Compositions by Frank Zappa / Heikki Poroila ; Front cover painting Eevariitta Poroila ; Other original drawings Marko Nakari. – Helsinki : Honkakirja, 2017. – 315 p. : ill. – ISBN 978-952-68711-2-7 (PDF) ISBN 978-952-68711-2-7 Compositions by Frank Zappa 2 To Olli Virtaperko the best living interpreter of Frank Zappa’s music Compositions by Frank Zappa 3 contents Arf! Arf! Arf! 5 Frank Zappa and a composer’s work catalog 7 Instructions 13 Printed sources 14 Used audiovisual publications 17 Zappa’s manuscripts and music publishing companies 21 Fonts 23 Dates and places 23 Compositions by Frank Zappa A 25 B 37 C 54 D 68 E 83 F 89 G 100 H 107 I 116 J 129 K 134 L 137 M 151 N 167 O 174 P 182 Q 196 R 197 S 207 T 229 U 246 V 250 W 254 X 270 Y 270 Z 275 1-600 278 Covers & other involvements 282 No index! 313 One night at Alte Oper 314 Compositions by Frank Zappa 4 Arf! Arf! Arf! You are reading an enhanced (corrected, enlarged and more detailed) PDF edition in English of my printed book Frank Zappan sävellykset (Suomen musiikkikirjastoyhdistys 2015, in Finnish).