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11C Software 1034-1187
Section11c PHOTO - VIDEO - PRO AUDIO Computer Software Ableton.........................................1036-1038 Arturia ...................................................1039 Antares .........................................1040-1044 Arkaos ....................................................1045 Bias ...............................................1046-1051 Bitheadz .......................................1052-1059 Bomb Factory ..............................1060-1063 Celemony ..............................................1064 Chicken Systems...................................1065 Eastwest/Quantum Leap ............1066-1069 IK Multimedia .............................1070-1078 Mackie/UA ...................................1079-1081 McDSP ..........................................1082-1085 Metric Halo..................................1086-1088 Native Instruments .....................1089-1103 Propellerhead ..............................1104-1108 Prosoniq .......................................1109-1111 Serato............................................1112-1113 Sonic Foundry .............................1114-1127 Spectrasonics ...............................1128-1130 Syntrillium ............................................1131 Tascam..........................................1132-1147 TC Works .....................................1148-1157 Ultimate Soundbank ..................1158-1159 Universal Audio ..........................1160-1161 Wave Mechanics..........................1162-1165 Waves ...........................................1166-1185 -
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University of Huddersfield Repository Quinn, Martin The Development of the Role of the Keyboard in Progressive Rock from 1968 to 1980 Original Citation Quinn, Martin (2019) The Development of the Role of the Keyboard in Progressive Rock from 1968 to 1980. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/34986/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ 0. A Musicological Exploration of the Musicians and Their Use of Technology. 1 The Development of the Role of the Keyboard in Progressive Rock from 1968 to 1980. A Musicological Exploration of the Musicians and Their Use of Technology. MARTIN JAMES QUINN A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Master of Arts. -
GRP A8 – Analog Studio Synthesizer
GRP A8 – analog studio synthesizer „If you wanna start, start big!“ is what Groppioni Paolo (GrP) must have told me in 2008. We were sitting in front of a huge proxy of a synthesizer panel. In fact, the A8 – with 127 x 67 cm – is one of the largest synthesizers ever produced. It was built 22 times* and has been in studios in the USA, Switzerland, France, Belgium, Germany and Austria since 2010. [*After the production run ended, Paolo built a last GRP A8 for himself. So there are 23 instruments in total in existence.] Beside its monstruous size, it’s its concept that makes the GRP A8 awe-inspiring. More than that – I believe the GRP A8 has become a milestone in synthesizer history. While most modern analog synthesizers follow the concept of classic synthesizers, GRP has gone its own way. Fabulous sound is the basis, of course, but on top of this the GRP concept is tremendously flexible. There’s a fantastic intuitive user surface (with knobs instead of patches, so you’re faster), MIDI and (!) CV/gate, delightful performance features including the synchronization of all rhythm-based components (LFOs, S/H, auto-pan, sequencer …), and well … a wonderful – absolutely unique! – step-sequencer. | 1 GRP A8 – analog studio synthesizer GRP A8 – sequencer enabling section for VCOs, PWM and filter modulation Overview The GRP A8 is a dual section analog synthesizer capable of creating two entirely separate sounds. The instrument offers: 6x VCOs 6x sub-oscillators 1x noise (for audio and modulation) 2x ring modulator 2x 24dB lowpass filters 2x 12dB -
ADAM NEELY [INTERMEDIATE] WHO? Adam Neely Is One of the Biggest Names on Music Theory Youtube Right Now
FSU APC FREE SOFTWARE & SOUNDS/STUDENT DISCOUNTS/TUTORIAL MASTER LIST TUTORIALS AND THINGS FOR LEARNIN’S MICHAEL WHITE’S FUNDAMENTALS OF MIXING [BEGINNER – ADVANCED] WHAT’S ALL THIS ‘BOUT, THEN? Michael White’s Fundamentals of Mixing is a 62 part, almost 32-hour YouTube course on every part of mixing and mastering. The dude’s a professional mixer with 30 years of experience working with big names like Whitney Houston and 3 Doors Down (among others) and it shows. This is BY FAR the best tutorial series for mixing/mastering on YouTube. It covers everything from how to place your monitors to compression to re-amping guitars to panning to multitrack tape saturation. Primarily, he focuses on the practical application of effects and certain techniques and less on the technical aspects or the “what’s this knob do” part of mixing. Everything he discusses is applicable to every genre and DAW. Besides the Fundamentals of Mixing course, I’ve grabbed a few supplementary videos from his tips videos and linked them right below. If you’re wanting something specific that’s not listed here, I’d look through his channel (especially the 133 video tips playlist). You might find what you’re looking for. You can also watch his series on his website, which has a couple of bonus videos at the end of the series focused on mastering (it requires registration but is free). OTHER RECOMMENDED VIDEOS TO WATCH FROM HIS CHANNEL: Prioritizing Levels in a Mix – Around the Levels and Panning section (Lesson 15). Creating Dynamic Contrast in a Mix – Around the Filters and Subtractive EQ section (Lesson 16). -
Kenton Pro Solo II
PPRRORO SSOOOLLLOO MK II Single channel MIDI-CV converter Operating manual INTRODUCTION Congratulations on your purchase. The PRO SOLO mkII is much more than just a MIDI to CV converter, incorporating a built in LFO as well as portamento functions. Please take some time out to read through all the manual to avoid any operational difficulties. CONNECTIONS To the MIDI In of your other MIDI keyboard MIDI out Filter, Gate, CV MIDI Master keyboard/computer Analogue synth MIDI MIDI AUX, In Thru Gate, CV 9 volt external PRO SOLO power adapter MIDI In Plug your MIDI keyboard or sequencer`s MIDI Out into here. MIDI Thru Plug this into the MIDI In of another piece of your MIDI equipment should it be necessary. CV Plug this into your mono-synth`s input marked CV In, VCO In, KEY VOLT KYBD In, etc. This controls the pitch of your synth. GATE Plug this into your mono-synth`s input marked GATE, V-trig, Trig, S-Trig, etc. This turns the note on and off on your synth. AUX Plug this into your mono-synth`s input marked VCF, fcM, PWM, VCA, Filter, Volume, or any other external control voltage input. This enables you to control effects such as filter cut-off from MIDI controllers (Velocity, mod wheel, etc.). Note; not all mono-synths have additional control inputs. 9V DC Plug your power adapter into here. The converter will take an adapter with an output of 9 volts DC regulated or unregulated, centre +ve. We recommend a Kenton power supply which is made especially for the PRO-SOLO but any plug-top supply can be used as long as the output is 9 volts DC. -
Fett, Fett, Fett! Anschlüsse: Audio-Out (Mono), Audio-In, Kopf- Text: Dr
gy 052 keyboards test cd track 02 profil Konzept: Monofoner analoger Synthesizer Klangerzeugung: 2 Oszillatoren mit stufenlos variablen Basiswellenformen (Sägezahn, Drei- Moog Little Phatty – Analog-Synthesizer eck, Rechteck, Pulse; 16', 8', 4', 2'), OSC-Sync, 1 LFO (0,2 – 500 Hz), 2 × ADSR (Filter, Amp), resonanzfähiges Lowpass-Filter (20 Hz – 16 kHz) um- schaltbar (1–4-Pol) Fett, fett, fett! Anschlüsse: Audio-Out (mono), Audio-In, Kopf- text: Dr. Stefan Albus, foto: Dieter Stork hörer, Keyboard-Gate (+5V trigger), CV-In für Filter, Pitch, Volume (±5V) Maße (B × T × H) / Gewicht: 68 × 37,5 × 14,1 cm / 9,9 kg Hersteller / Vertrieb: Und der hat nun den Weg in mein kleines Stu- Moog Music Inc. / EMC Bob Moog, der Mann, der Synthesizer dio gefunden. Trotz der handlichen Ausmaße ist www.moogmusic.com / er knapp zehn Kilo schwer – Donnerwetter, da www. emc-de.com bühnenreif gemacht und ganze muss was drin sein. Und: Design by Axel Hart- UvP / Straßenpreis: Generationen mit dem typischen mann! Die Rückseite sieht aus wie ein Werk- € 1.449,– / ca. € 1.350,– zeugkoffer auf links, aber schick. Und erst der Moog-Sound beglückt hat, hat Namenszug „Bob Moog“, zusammen mit der noch vor seinem Tod vergangenes unscheinbaren Seriennummer „089 of 1.200“ – + exzellenter Sound Jahr ein ganz besonderes Baby nämlich der „Bob Moog Tribute Edition“ –, das + bühnenkompatible Struktur hat was. Überhaupt: So viel Spaß beim Aus- + selbsterklärende Handhabung auf den Weg gebracht: packen muss man bei einem Softsynth erst mal + gute Verarbeitung den Little Phatty. haben! + Design Zweiter Eindruck: Der kleine Dicke, der nicht in + analoge Potis mit Parameter-Tracking Korea, sondern in Asheville, North Carolina, zusammengesteckt wird, wirkt ultrasolide: Damit – kein Aftertouch kann man sicher auch wütende Braunbären – nur ein Modulationsbus stoppen. -
PRO SOLO Single Channel MIDI-CV Converter
PRO SOLO Single channel MIDI-CV converter Operating manual INTRODUCTION Congratulations on your purchase. The PRO SOLO is much more than just a MIDI to CV converter, incorporating a built in LFO as well as portamento functions. Please take some time out to read through all the manual to avoid any operational difficulties. CONNECTIONS To the MIDI In of your other MIDI keyboard MIDI out Filter, Gate, CV MIDI Master keyboard/computer Analogue synth MIDI MIDI AUX, In Thru Gate, CV 9-15V external PRO SOLO power adapter MIDI In Plug your MIDI keyboard or sequencer`s MIDI Out into here. MIDI Thru Plug this into the MIDI In of another piece of your MIDI equipment should it be necessary. CV Plug this into your mono-synth`s input marked CV In, VCO In, KEY VOLT KYBD In, etc. This controls the pitch of your synth. GATE Plug this into your mono-synth`s input marked GATE, V-trig, Trig, S-Trig, etc. This turns the note on and off on your synth. AUX Plug this into your mono-synth`s input marked VCF, fcM, PWM, VCA, Filter, Volume, or any other external control voltage input. This enables you to control effects such as filter cut- off from MIDI controllers (Velocity, mod wheel, etc.). Note; not all mono-synths have additional control inputs. 9-15V DC Plug your power adapter into here. The converter will take an adapter with a range of 9- 15V. The voltage supplied determines the maximum gate voltage that can be obtained. We recommend the Kenton power supply which is made especially for the PRO-SOLO but any plug-top supply can be used as long as the output is regulated and is in the range of 9-15 volts. -
Howard Scarr
PROGRAMMING ANALOGUE SYNTHS VIRUS TUTORIAL BY HOWARD SCARR PROGRAMMING ANALOGUE SYNTHS VIRUS TUTORIAL BY HOWARD SCARR © 2002 Access Music GmbH. Printed in Germany All rights reserved. This book is protected by the copyright and distributed under licenses restricting it’s use, copying, distribution, and decompilation. No parts of this book may be reproduced in any form by any means without prior written authorisation of Access Music GmbH and its licensors, if any. TRADEMARKS Access, the Access logo and Virus are trademarks or registered trademarks of Access Music GmbH in Germany and certain other countries. All other product names mentioned herin are the trademarks of their respective owner. CONTACT Access Music GmbH Am Stadion 10 45659 Recklinghausen Germany Email: [email protected] Web: http://www.access-music.de CREDITS Written by Howard Scarr Production supervision and layout: Marc Schlaile SPECIAL THANKS TO Alex Schmidt, Andreas Gammel, Anselm Roessler, Basil Brooks, Ben Crosland, Bernie Krause, Cosmic Dreamer, Drew Neumann, Geoff Farr, Ingo Gebhardt, Jeza, Maik Fliege, Manuel Schleis, Matt Picone, Matthew Stolley, Robert Margouleff, Terence M. Pender, Thilo Kramny, Zack Steinkamp. SYNTH PICTURES COURTESY OF MAGAZINE - WWW.KEYS.DE Table of Contents Introduction ............................................................................................................ 11 About This Tutorial.......................................................................................... 11 Setting Up...................................................................................................... -
Buy UNO, Get a TRIO Sale
Buy UNO, get a TRIO Sale Register UNO Synth or UNO Drum and get Syntronik* for free! This month, get more out of your UNO with our Buy UNO, get a TRIO Sale. From September 2nd - September 30th, register UNO Synth or UNO Drum and get 3 free Syntronik Singles of your choice. Register both UNO Synth and Drum, or complete your duo*, and get Syntronik full for free. *Customers who already own either UNO Drum or UNO Synth only need to register the other to get Syntronik full. How to qualify for the promotion: 1. Register your product online via the IK Multimedia website. 2. Go to your User Area and click on 'Promotions' to view the details. 3. If you’re registering your 1st UNO product, you’ll be able to choose 3 of the below Syntronik singles 4. If you’ve registered both UNO Synth and UNO Drum, Syntronik full will be added to “My Products” automatically. Offer valid September 2, 2019 – September 30, 2019 Eligible Singles are: Syntronik - T-03 The massive bass of the Roland TB-303 Syntronik - SAM The iconic sound of the Oberheim SEM synthesizer Syntronik - Polymorph Based on the Polymoog, Opus 3, Rogue, and Concertmate MG-1 Syntronik - 99 Our take on the Yamaha SY99 Syntronik - Blau Classic sounds of the PPG Wave 2.3 Syntronik - Bully The iconic bass of the Moog Taurus I, II, and 3 Syntronik - DCO-X Based on the Roland JX series classic synths Syntronik - Galaxy Our spin on the Alesis Andromeda Syntronik - Harpy 260 Iconic sounds of the ARP 2600 Syntronik - J-60 Based on the Juno 60, including chorus Syntronik - J-8 Iconic sounds of the Roland Jupiter series Syntronik - Minimod Our take on the Minimoog, Modular and Voyager synths Syntronik - Noir Based on the Moog Prodigy, Micromoog and the Multimoog Syntronik - OXa Based on the Oberheim OB-X and OB-Xa Syntronik - Pro-V Classic sounds of the Prophet-5 and Prophet-10 Syntronik - String Box Based on ARP, Elka, Hohner, and Roland string machines Syntronik - V-80 Classic sounds of the Yamaha CS-80, GX-1 and CS-01 . -
Stock List As at April 30Th 1995
Kenton Electronics Ltd. RETAIL PRICE LIST July 2018 KENTON PRICE LIST - July 2018 - issue 1 All prices are in Pounds Sterling (£) (GBP) Effective from 2nd July 2018 VAT at 20% MIDI / USB CONTROLLERS Retail Price Retail Retail ITEM Part Code ex VAT inc VAT Killamix Mini - USB controller (Blue LEDs) KMIXMINI £247.46 £296.95 MIDI CONVERTERS & ANCILLARIES Retail Price Retail Retail ITEM Part Code ex VAT inc VAT Modular-Solo - Eurorack MIDI to CV converter MSOL £184.00 £220.80 USB-Solo single channel USB MIDI to CV converter USBSOLO £160.00 £192.00 Pro-Solo mk2 single channel MIDI to CV converter PROSOLO £132.00 £158.40 Pro-2000 mk2 multi channel MIDI to CV converter PRO2000 £310.00 £372.00 Rack ears for use with Pro-2000 mk2 (blue) PRO2KEARS2 £26.00 £31.20 DCB port for Pro-2000 (inc 14 pin cable) PRO2K-DCB-14 £69.50 £83.40 Wasp / KADI port for Pro-2000 (inc KADI cable) PRO2K-KADI-K £57.75 £69.30 Wasp / KADI port for Pro-2000 (inc Wasp cable) PRO2K-KADI-W £57.75 £69.30 Pro-DCB mk3 MIDI to DCB converter (inc 14 pin cable) PRODCB-14 £158.50 £190.20 Pro-KADI mk2 versatile MIDI trigger unit + KADI cable PROKADI-K £132.00 £158.40 Pro-KADI mk2 versatile MIDI trigger unit + Wasp cable PROKADI-W £132.00 £158.40 Pro CV to MIDI - 1x CV to MIDI converter (plus 2x Aux) CVM1 £116.60 £139.92 OTHER MIDI PRODUCTS Retail Price Retail Retail ITEM KE Part Code ex VAT inc VAT MHST - MIDI USB Host for 'Class Compliant' devices MHST £74.00 £88.80 LNDR MIDI Line Driver - master and slave pair LNDR £98.00 £117.60 MERGE-4 - 4 in to 2 out merge box MERGE4 £72.00 £86.40 -
BELGIUM, ONE POINT Syntetisaattoreita, Ironiaa Ja Provokaatioita Eurovision Laulukilpailuissa Vuosina 1980 Ja 1983
33 • LÄHIKUVA • 1/2021 Pertti Grönholm Pertti Grönholm, dosentti, yleinen historia, Turun yliopisto BELGIUM, ONE POINT Syntetisaattoreita, ironiaa ja provokaatioita Eurovision laulukilpailuissa vuosina 1980 ja 1983 Tässä artikkelissa tarkastelen elektronisten soittimien esiinmarssia Eurovisi- 1 Telex: Neurovision (1993), on laululavoille vuosina 1980–1983. Keskityn kahteen kokoonpanoon, jotka CD-vihko, 3. molemmat edustivat Belgiaa. Analysoin yhtyeiden Telex ja Pas de deux esi- tyksiä audiovisuaalisen musiikkianalyysin keinoin sekä tulkitsen kappaleita, tekijöitä ja esityksiä historiallisissa konteksteissaan. Konteksteja ovat Belgian euroviisumenestys, 1970- ja 1980-lukujen taitteessa muotoutumassa olleet pop-tyylit sekä musiikkiteknologinen murros ja elektroniseen musiikkiin liitetyt käsitykset, uskomukset ja mielikuvat. Molemmat yhtyeet rakensivat esityksensä elektronisten äänten, soittimien ja kone-estetiikan varaan, mutta ironisoiden, hämmentäen ja provosoiden, pyrkien esittämään kriittisiä huomioita ja teke- mään irtiottoja kilpailun konventioista. Väitän, että elektroniset soundit ja rytmit eivät olleet modernin imagon rakentamista vaan pikemminkin yritys herätellä katsojia televisiospektaakkelin lumouksesta. ”It was a nightmare, but we don’t regret a single minute of the agony.”1 Belgialaisen Telex-yhtyeen esiintyminen vuoden 1980 Eurovision laulukilpai- lussa herätti huomiota paitsi kappaleellaan myös sillä, että yhtye toi estradille joukon syntetisaattoreita esittäen soittavansa niitä. Tämä tapahtui huvittavan liioitelluin elkein, -
Operating Manual INTRODUCTION
PRO SOLO MK II Single channel MIDI-CV converter Operating manual INTRODUCTION Congratulations on your purchase. The PRO SOLO mkII is much more than just a MIDI to CV converter, incorporating a built in LFO as well as portamento functions. Please take some time out to read through all the manual to avoid any operational difficulties. CONNECTIONS To the MIDI In of your other MIDI keyboard MIDI out Filter, Gate, CV MIDI Master keyboard/computer Analogue synth MIDI MIDI AUX, In Thru Gate, CV 9 volt external PRO SOLO power adapter MIDI In Plug your MIDI keyboard or sequencer`s MIDI Out into here. MIDI Thru Plug this into the MIDI In of another piece of your MIDI equipment should it be necessary. CV Plug this into your mono-synth`s input marked CV In, VCO In, KEY VOLT KYBD In, etc. This controls the pitch of your synth. GATE Plug this into your mono-synth`s input marked GATE, V-trig, Trig, S-Trig, etc. This turns the note on and off on your synth. AUX Plug this into your mono-synth`s input marked VCF, fcM, PWM, VCA, Filter, Volume, or any other external control voltage input. This enables you to control effects such as filter cut-off from MIDI controllers (Velocity, mod wheel, etc.). Note; not all mono-synths have additional control inputs. 9V DC Plug your power adapter into here. The converter will take an adapter with an output of 9 volts DC regulated or unregulated, centre +ve. We recommend a Kenton power supply which is made especially for the PRO-SOLO but any plug-top supply can be used as long as the output is 9 volts DC.