Here Is the Sound List for Sound Card 01

Total Page：16

File Type：pdf, Size：1020Kb

Here Is the Sound List for Sound Card 01

Digital Mellotron Sound List Here is the list of the sounds that will be included in the M4000D Digital Mellotron. It is a total of 100 Mellotron and Chamberlin sounds. Expansion cards with more sounds (leads and rythms) will be available soon. Doing this list it was hard to take away the sounds that wouldn’t fit on the card. All the MkI, MkII and Chamberlin Music Master 500 sounds are included, because they are the foundation of the sound libraries. Then there are ca half of the M300 lead sounds and almost all of the M400 sounds in here. A lot of the M series sounds that are not already in the Music Master 500 are also included. These are most of the well known M series sounds that are not Music Master 500 sounds. Mk I Lead sounds (15 sounds, remaining three same as MkII) MkI Clarinet MkI French Horn MkI Marimba MkI Trombone MkI Hammond Organ MkI Acoustic Nylon Guitar MkI Piano MkI Tenor Sax MkI Harpsichord/Trumpet+trombone split MkI Reverb Organ MkI Mandolin MkI Organ MkI Trumpet MkI Tibia Organ MkI Church Organ MkII Lead Sounds (18 sounds, complete leads side) MkII Flute MkII 3 Violins MkII Acoustic Steel Guitar MkII Trombone MkII Organ 1 MkII French Accordion MkII Rock Guitar MkII Brass MkII Piano MkII Muted Brass MkII Harpsichord MkII Accordion MkII Organ 2 MkII Tenor Sax MkII Vibraphone MkII Mandolin MkII Tibia Organ MkII Church Organ M300 Lead Sounds (6 sounds) M300 Strings A, high part of keyboard M300 Strings A, low part of keyboard M300 Strings B, high part of keyboard M300 Strings B, low part of keyboard M300 Slow Vibraphone M300 Clarinet M400 Lead Sounds (26 sounds) M400 B 3 Violins (EQ:d version of 3 violins) M400 B Cello (EQ:d version of the Cello) M400 Solo Cello M400 Solo Viola M400 Solo Violin M400 16 Violins M400 8Voice Choir M400 4Voice Female Choir M400 4Voice Male Choir M400 Mixed Custom Choir M400 Boys Choir M400 Pipe Organ M400 Bass Flute M400 Oboe M400 English Horn M400 Bassoon M400 Alto Sax M400 Clavichord M400 2Brass M400 2Saxes M400 Vibes w/o Vibrato M400 Vibraphone M400 Tubular Bells M400 ’66 Celeste M400 ’74 Celeste M400 Hammond C3 Chamberlin Music Master 500 (18 sounds, complete leads side) Flute Bass Clarinet Open Trumpet 3 Violins Sax (alto) Open Trombone Piano Vibraphone Acoustic Guitar Muted Trombone 4 Saxes Muted Trumpet Mandolin Marimba 4 Brass Accordion Male Voice Pizzicato Violins Chamberlin M series sounds not from Music Master 500 (17 sounds) Marimba Steel guitar Trumpet Mandolin Cello Tibia Organ Vibraphone Accordion Electric Harpsichord Organ Harpsichord Tenor Sax Harp Short Arpeggio Female Solo Voice Bassoon French Horn Oboe.

Copy Link

Recommended publications

Arxiv:1910.11997V1 [Cs.SD] 26 Oct 2019 Ited Access to Such Data
MELLOTRON: MULTISPEAKER EXPRESSIVE VOICE SYNTHESIS BY CONDITIONING ON RHYTHM, PITCH AND GLOBAL STYLE TOKENS Rafael Valle*, Jason Li*, Ryan Prenger, Bryan Catanzaro NVIDIA Corporation ABSTRACT easily extended to singing voice synthesis (SVS) [3, 4]. Un- fortunately, recent attempts [4] require a singing voice dataset Mellotron is a multispeaker voice synthesis model based on and heavily quantized pitch and rhythm data obtained from a Tacotron 2 GST that can make a voice emote and sing with- digital representation of a music score, for example MIDI [5] out emotive or singing training data. By explicitly condition- or musicXML [6]. Mellotron does not require any singing ing on rhythm and continuous pitch contours from an audio voice in the dataset nor manually aligned pitch and text in signal or music score, Mellotron is able to generate speech order to synthesize singing voice. in a variety of styles ranging from read speech to expressive Mellotron can make a voice emote and sing without emo- speech, from slow drawls to rap and from monotonous voice tion or singing data. Training Mellotron is very simple and to singing voice. Unlike other methods, we train Mellotron only requires read speech and transcriptions. During infer- using only read speech data without alignments between text ence, we can change the generated voice’s speaking style, and audio. We evaluate our models using the LJSpeech and make it emote or sing by extracting pitch and rhythm char- LibriTTS datasets. We provide F0 Frame Errors and synthe- acteristics from an audio ﬁle or a music score. As a bonus, sized samples that include style transfer from other speakers, with Mellotron we can explore latent characteristics from an singers and styles not seen during training, procedural manip- audio corpus by sampling a dictionary of learned latent char- ulation of rhythm and pitch and choir synthesis.
[Show full text]
The Cimbalo Cromatico and Other Italian Keyboard Instruments With
Performance Practice Review Volume 6 Article 2 Number 1 Spring The imbC alo Cromatico and Other Italian Keyboard Instruments with Ninteen or More Division to the Octave (Surviving Specimens and Documentary Evidence) Christopher Stembridge Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Stembridge, Christopher (1993) "The imbC alo Cromatico and Other Italian Keyboard Instruments with Ninteen or More Division to the Octave (Surviving Specimens and Documentary Evidence)," Performance Practice Review: Vol. 6: No. 1, Article 2. DOI: 10.5642/ perfpr.199306.01.02 Available at: http://scholarship.claremont.edu/ppr/vol6/iss1/2 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Early-Baroque Keyboard Instruments The Cimbalo cromatico and Other Italian Keyboard Instruments with Nineteen or More Divisions to the Octave (Surviving Specimens and Documentary Evidence) Christopher Stembridge In an earlier article1 it was demonstrated that the cimbalo cromatico was an instrument with nineteen divisions to the octave. Although no such instrument is known to have survived, one harpsichord and a keyboard from another instrument, while subsequently altered, show clear traces of having had 19 keys per octave in the middle range. The concept was further developed to produce instruments with 24, 28, 31, 3, and even 60 keys per octave. With the exception of Trasuntino's 1606 Clavemusicum Omni- tonum, none of these survives; documentary evidence, however, shows that they were related to the cimbalo cromatico, as this article attempts to demonstrate.
[Show full text]
Commuted Waveguide Synthesis of the Clavichord
Vesa Va¨lima¨ki,* Mikael Laurson,† Commuted Waveguide and Cumhur Erkut* *Laboratory of Acoustics and Audio Synthesis of the Signal Processing Helsinki University of Technology Clavichord P.O. Box 3000 FIN-02015 HUT Espoo, Finland {Vesa.Valimaki, Cumhur.Erkut}@hut.fi †Centre for Music and Technology Sibelius Academy P.O. Box 86 Helsinki, Finland Downloaded from http://direct.mit.edu/comj/article-pdf/27/1/71/1853827/01489260360613353.pdf by guest on 26 September 2021 laurson@siba.fi The clavichord is one of the oldest keyboard instru- instrument is an Anthony Sidey clavichord manu- ments, and it is still often used in performances factured by Heugel in Paris, France, in 1988. This and recordings of Renaissance and Baroque music. clavichord is an unfretted one, so any combination The sound of the instrument is pleasant and ex- of notes can be played. The range of a clavichord is pressive but quiet. Consequently, the instrument anywhere from three octaves to over five octaves. can only be used in intimate performances for Our clavichord has 51 keys ranging from C2 to D6. small audiences. This is the main reason why the The instrument was tuned about a whole tone clavichord was replaced by the harpsichord and fi- lower than the standard modern tuning Hz): the nominal frequency of A4 is 395 440 ס nally by the modern piano, both of which produce (A4 a considerably louder output. Attempts have been Hz. The Werkmeister tuning system was used. made to amplify the sound of the clavichord using For each key of the clavichord, a pair of strings is a piezoelectric pickup (Burhans 1973).
[Show full text]
Wednesday-Saturday •March 7-10, 2018
HHH from Washington, DC HHH The United States Army Band “Pershing’s- Own” AMERICAN TROM- BONE- WORKSHOPWEDNESDAY-SATURDAY • MARCH 7-10, 2018 2018 AMERICAN TROMBONE WORKSHOP WORKSHOP COMMITTEE WORKSHOP Chairman MSG Sam Woodhead Assistant Chairman SFC Chris Branagan Jazz Coordinator SFC Victor Barranco Solo Competition Coordinator SSG Omar Dejesus Quartet Competition Coordinator SFC C. Dale Moore Composition Competition Coordinator SFC James Kazik Welcome to the 2018 United States Army Band “Pershing’s Educational Coordinator Own” American Trombone Workshop. This marks the 25th MSG Craig Arnold year “Pershing’s Own” has organized and hosted the American Exhibits Coordinator Trombone Workshop. From its beginning in 1974 as the Eastern SSG Adam McColley Trombone Workshop, hosted by John Marcellus and John Archivist Mellick at Towson University, to today’s ATW, the workshop SFC Trent Stockton continues as an integral event for The U.S. Army Band “Pershing’s Own,” hosting leading soloists, clinicians, and educators, while Webmaster and Video Support also showcasing emerging young performers and trombone choirs SFC Thomas Bratten from all across the country. This year’s headlining artists include ARMY BAND SUPPORT BAND ARMY Boston Symphony Orchestra bass trombonist James Markey; Support Element Leader tenor trombonists Natalie Mannix, Joseph Rodriguez, Mark SGM Craig Lauinger Davidson, and Alex Iles; and the legendary Tom “Bones” Malone Marketing, Public Affairs, and Photography Support of the Blues Brothers and David Letterman’s Late Show Band, Ms. Jen Maly, SFC Chris Branagan, and who will all be performing with the outstanding ensembles of SSG Victoria Chamberlin “Pershing’s Own.” Music Library and Arranging SGM Laura Lineberger, MSG Michael Brown, Among the many ensemble concerts, solo performances, SFC James Kazik, SSG Rogelio Garza, and SSG Sara Corry and competitions, you will be able to see our featured artists Resource Management in masterclasses, lectures, and informative education panel MSG Winston J.
[Show full text]
2064 Congressional Record-Senate. February 12
2064 CONGRESSIONAL RECORD-SENATE. FEBRUARY 12, By Mr. CRUMPACKER: Petitions of 158 pastors of churches, SENATE. Sunday school officers and teachers, of Lafayette, Ind., and citi zens of Jasper County, Ind., to forbid the sale of intoxicating THURSDAY, February 12, 1903. liquors in all Government buildings-to the Committee on Alco Prayer by Rev. F. J. P.R.ETTYMAN, of the city of Washington. holic Liquor Traffic. T~e Secretary proceeded to read the Journal of yesterday s pro· By Mr. DRAPER: Petition of the American Blind People's ceedings, when, on request of Mr. BEVERIDGE, and by unanimous Higher Education and General Improvement Association favor consent, the further reading was dispensed with. ing the higher education of the blind-to the Committee ~n Edu The PRESIDENT pro tempore. The Journal will stand ap• cation. proved. By Mr. FITZGERALD: Resolutions of the American Chamber VETO MESSAGE-KATIE A.. NOLAN. of Commerce, of Paris, France, in favor of the adoption of the metric system in the United States-to the Committee on Coinage, The PRESIDE.NT pro tempore laid before the Senate the fol Weights, and Measures. ' lowing. message from the President of the United States; which By Mr. GOLDFOGLE: Resolutions of United Israel Lodge, was rea-d, and, with the accompanying bill, referred to the Com· No. 182, Order of B'rith Abraham, of New York City, N.Y., re mittee on Post-Offices and Post-Roads: . lating to methods of the Immigration Bureau at the port of New To the Senate: York~to the Con!m.ittee on Immigration and Naturalization.
[Show full text]
Tonal Quality of the Clavichord : the Effect of Sympathetic Strings Christophe D’Alessandro, Brian Katz
Tonal quality of the clavichord : the effect of sympathetic strings Christophe d’Alessandro, Brian Katz To cite this version: Christophe d’Alessandro, Brian Katz. Tonal quality of the clavichord : the effect of sympathetic strings. Intl Symp on Musical Acoustics (ISMA), 2004, Nara, Unknown Region. pp.21–24. hal- 01789802 HAL Id: hal-01789802 https://hal.archives-ouvertes.fr/hal-01789802 Submitted on 21 Dec 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Proceedings of the International Symposium on Musical Acoustics, March 31st to April 3rd 2004 (ISMA2004), Nara, Japan 1-P1-7 Tonal quality of the clavichord: the effect of sympathetic strings Christophe d'Alessandro & Brian F.G. Katz LIMSI-CNRS, BP133 F-91403 Orsay, France [email protected], [email protected] Abstract part of the strings the “played strings”. Only few works have included efforts specifically devoted to the In the clavichord, unlike the piano, the slanting strings acoustics of the clavichord [2][3][4]. Experiments with between the bridge and the hitch pins are not damped physical modeling synthesis of the clavichord are with felt. The effect of these “sympathetic strings” on described in [5].
[Show full text]
Latin American Nimes: Electronic Musical Instruments and Experimental Sound Devices in the Twentieth Century
Latin American NIMEs: Electronic Musical Instruments and Experimental Sound Devices in the Twentieth Century Martín Matus Lerner Desarrollos Tecnológicos Aplicados a las Artes EUdA, Universidad Nacional de Quilmes Buenos Aires, Argentina [email protected] ABSTRACT 2. EARLY EXPERIENCES During the twentieth century several Latin American nations 2.1 The singing arc in Argentina (such as Argentina, Brazil, Chile, Cuba and Mexico) have In 1900 William du Bois Duddell publishes an article in which originated relevant antecedents in the NIME field. Their describes his experiments with “the singing arc”, one of the first innovative authors have interrelated musical composition, electroacoustic musical instruments. Based on the carbon arc lutherie, electronics and computing. This paper provides a lamp (in common use until the appearance of the electric light panoramic view of their original electronic instruments and bulb), the singing or speaking arc produces a high volume buzz experimental sound practices, as well as a perspective of them which can be modulated by means of a variable resistor or a regarding other inventions around the World. microphone [35]. Its functioning principle is present in later technologies such as plasma loudspeakers and microphones. Author Keywords In 1909 German physicist Emil Bose assumes direction of the Latin America, music and technology history, synthesizer, drawn High School of Physics at the Universidad de La Plata. Within sound, luthería electrónica. two years Bose turns this institution into a first-rate Department of Physics (pioneer in South America). On March 29th 1911 CCS Concepts Bose presents the speaking arc at a science event motivated by the purchase of equipment and scientific instruments from the • Applied computing → Sound and music German company Max Kohl.
[Show full text]
De Smet Jesuit High School Fine Arts Department Spring 2021 End Of
De Smet Jesuit High School Fine Arts Department The Star Spangled Banner – Concert Band presents By Jonathan Stafford Smith Spring 2021 End of Semester Instrumental Music Concert Arr. John Phillip Sousa featuring Georgia on My Mind – Honors Jazz Combo By: Hoagie Carmichael and Stuart Gorrell Honors Instrumental Jazz Combo Featured soloists: Matt Licari (piano), Aidan Bartholet (guitar) Aidan Bartholet ’21 – Guitar Matt Licari ’21 – Piano Emmett Concannon ‘22 – Violin Charlie Llorico ’22 – Guitar Eye of the Tiger – Jazz Combo Justin Konieczny ’21 – Trombone Henry Reeder ’21 – Bass By: Frankie Sullivan and Jim Peterik Arr: Dave Wolpe Instrumental Jazz Combo Featured soloist: Liam Weishaar (trumpet) Clark Chamberlin ’24 – Piano Nick Montellano ’23 – Trumpet Andy Cross ’22 – Guitar Will Rasure ’22 – Drums Final Countdown – Concert Band Kalle Evjen ’23 – Alto Sax Rico Struckhoff ’24 – Tenor Sax By: Joey Tempest Drew Hahn ’23 – Bass Gabe Talken ’22 – Trumpet Arr: John Higgins Sebastian Helling ’24 – Adri Theerman-Rodriguez ’23 – Trumpet and Bari Sax Trombone Dominic Ilardi ’22 – Guitar Tyler Tucker ’23 – Bass Over the Rainbow – Honors Jazz Combo Aidan Madigan ’23 – Alto Sax Zach Veluz ’23 – Piano By: Harold Arlen Hudson Miller ’24 – Trumpet Liam Weishaar ’21 – Trumpet Arr: Jamey Aebersold Featured soloists: Aidan Bartholet (guitar), Justin Konieczny (trombone) Jazz Lab Charlie Erker ’24 – Drums Oliver Nichols ’24 – Guitar Dorian Journey – Jazz Lab Brady Govero ’23 – Guitar Nick Phillips ’24 – Guitar By: Doug Beach and George Shutack Tom Hale
[Show full text]
Builders of Dreams
THE MAGAZINE OF THE HAAS SCHOOL OF BUSINESS AT THE UNIVERSITY OF CALIFORNIA, BERKELEY University of California, Berkeley Nonprofit Organization Haas School of Business U.S. Postage 545 Student Services #1900 Paid Berkeley, CA 94720-1900 University of California, Berkeley BerkeleyHaasFall 2016 6 SUPERCHARGED 10 LESSONS FROM MT. EVEREST 16 A HEALTHY SUCCESS Quantifying the economic power of reliable Mountaineering illustrates the dangers of Albert Lee, MBA 04, helped make MyFitnessPal energy in developing nations groupthink for workplace teams the world’s leading fitness app · 2 · 1997 002 · 2 992 007 1 · 7 · 20 98 12 1 · · 2 2 0 8 1 9 6 1 · · E 7 M 7 9 April 28-30 B 1 A · 2 2 0 7 1 9 5 1 REUNIONREUNION WEEKENDWEEKEND Business Leaders of the Year 2017 BUILDERS Relive the best of your Berkeley-Haas experience! Catch up with classmates, listen to engaging lectures, make new connections, and bring your OF DREAMS family back to campus. Susan Chamberlin, MBA 87, and her husband, Steve, spent years planning new Everything you loved about business school—without the exams. structures and cityscapes. Now they’re redesigning the world of public education. haas.berkeley.edu/reunion #haasreunion #haasalumni Question the Status Quo Fall 2016 EXECUTIVE EDITOR FEATURES AND DEPARTMENTS The Beyond Yourself Issue Confidence Without Attitude Ute Frey UP FRONT MANAGING EDITOR Students Always Amy Marcott DESIGN Beyond Yourself Cuttriss & Hambleton, Berkeley STAFF WRITERS Berkeley-Haas alumni enjoy 15% off Laura Counts, Kim Girard, open-enrollment programs.
[Show full text]
A History of Sampling
Organised Sound http://journals.cambridge.org/OSO Additional services for Organised Sound: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here A history of sampling HUGH DAVIES Organised Sound / Volume 1 / Issue 01 / April 1996, pp 3 - 11 DOI: null, Published online: 08 September 2000 Link to this article: http://journals.cambridge.org/abstract_S135577189600012X How to cite this article: HUGH DAVIES (1996). A history of sampling. Organised Sound, 1, pp 3-11 Request Permissions : Click here Downloaded from http://journals.cambridge.org/OSO, IP address: 128.59.222.12 on 11 May 2014 TUTORIAL ARTICLE A history of sampling HUGH DAVIES 25 Albert Road, London N4 3RR Since the mid-1980s commercial digital samplers have At the end of the 1980s other digital methods of become widespread. The idea of musical instruments which solving some of the problems inherent in high quality have no sounds of their own is, however, much older, not PCM began to be explored. In ®gure 1(b) pulse-ampli- just in the form of analogue samplers like the Mellotron, tude is shown as a vertical measurement in which but in ancient myths and legends from China and elsewhere. information is encoded as the relative height of each This history of both digital and analogue samplers relates successive regular pulse. The remaining possibilities the latter to the early musique concreÁte of Pierre Schaeffer and others, and also describes a variety of one-off systems are horizontal, such as a string of coded numerical devised by composers and performers. values for PCM, and the relative widths (lengths) of otherwise identical pulses and their density (the spac- ing between them).
[Show full text]
Understanding Music Past and Present
Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N.
[Show full text]
Arturia V Collection 7 NIGEL JOPSON Re-Visits Past Glories… in the Box
Reviews Arturia V Collection 7 NIGEL JOPSON re-visits past glories… in the box one of the most adaptable replicas of Synthi V — silver machine the real instrument I’ve heard. The new Synthi V (EMS Synthi/VCS 3) The three other brand new instrument was what drew me to this instruments are emulations of two Arturia collection. Thanks to a meeting classics, the EMS Synthi (Synthi V), the with EMS-founder Peter Zinovieff I had Casio CZ (CZ V), and the legendary an early AKS (suitcase version) in my ‘dawn of man’ sampler, Mellotron V. The studio, and I once tried to persuade Mellotron was a massive electro- Roger Waters to ‘lend’ me his VCS3. I mechanical device which played a loved the device — and what engineer (3-track) tape strip for each note. The wouldn’t? There’s a patchbay on the strips were kept in ridiculously long front panel! In an effort to improve on plastic sleeves, and played by the Heath the ridiculous dangling cables of other Robinson means of pressing a tape modular synths of the era, Peter replay head (attached to each wooden mandated a pin-board matrix for key) on to a capstan which ran the length patching oscillators to filters and so on. of the instrument. The Beatles famously This was part of the charm of the he French software company are back with the latest used a MkII on Strawberry Fields, but it is original, as weird sounds were version of their epic synth emulation bundle, V the later 400 model depicted in the generated by crosstalk and interactions Collection 7, which comes with three new virtual Arturia virtual instrument.
[Show full text]