DOCSLIB.ORG

Chicken CD-ROM

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Chicken CD-ROM Other great 16-Plus, ASR-10/88, and TS Se- ries products from Rubber Chicken! 714 5th Street SE 4mb SIMMS! Willmar, MN 56201-4543 Upgrade the memory in your Ensoniq keyboard to the fullest! We guarantee 320-235-9798 the best price - do it cheep - do it Rubber Chicken! "The Human Company" Sounds and more Sounds! We've been doing sounds for at least twelve years - as long as samplers ahve existed! Checkout the Ultimate Organ Library, or the PIANO! Pak, or the new "XP meets Sampler" set. Get sounds on CD-ROM, floppy, or ZipDisk. The possibilities are endless! Chicken™ I Hard Drives and CD-ROM Drives! We sell all types of SCSI peripherals to work with your keyboard. Iomega ZipDrives, as well as our best-selling Chick- CD-ROM en CD-ROM Drives. Great Computer Pro- grams! We program the best utilities that are USEFUL for your needs - get better sounds from your sampler! Essentials of your trade - available at low low prices! Future Products! At Rubber Chicken, we're always developing new products! Check out our Web Site for the latest: www. Over 300 megabytes of samples for the For the... Ensoniq EPS 16-Plus, ASR-10/88, and TS-10/12 Copyright ©1996, Rubber Chicken Software Co. All Rights Reserved DIRECTORY STRUCTURE New Creations "SD meets ASR" - K. Thomas JD-800 Chicken Plus Pak Orchestral Morpheus Chicken "SD meets ASR" I Keyboards Introductory Pak "SD meets ASR" II Saxes MicroWave Chicken I "SD meets ASR" III Miscellany MicroWave Chicken II Plus Pak I D-50 Synth MicroWave Chicken III Plus Pak II M-1 More Intro Plus Pak III Original Chicken Ultimate Organ Plus Pak IV A+ Grade GET CD-ROM II Library Plus Pak V Chicken Series I Ultimate Organs I Ren/Med - PIANO! Chicken Series III Ultimate Organs II PAK - Country Nature CD-ROM has the latest things from Rubber Chicken! Here's a brief list: Ultimate Organs III Set Drums+Perc - French Collection Wooden Fish 46 First Generation Fantasy 136 O1/W Series Renaissance/Medieval I UA Series Tiktiri I 396 Analog 2 393 Percussiv 399 - MicroWave II - III O1/W I Renaissance/Medieval II Brass+Woodwinds - Guitar Pak TikTiri II 420 Authority 310 TalesDrkSide 360 O1/W II Renaissance/ Synthesizers - PIANO! Pak Chronos 1513 SquareWave 302 Vintage Keys & Medieval III Sound FX Quantum Acoustical Eclipse 286 Digital Singing 118 Research & Design Phantasm 683 Bass Pak Renaissance/ Basses BROS. RYAN Phase Syn 193 2 Poly 800's 417 Deep Cool 455 Vintage Keys I Medieval Seq's Voices+Choir Good Bad Ugl 586 Phase Syn 2 79 Dig Domain 199 TechnoBass 183 Dynomight 441 Phase Syn 3 71 Orch Five 291 Vintage Keys II PIANO! PAK D50+M1 Wehgal Inst 308 Digital Hall 379 Beatles End 133 Vintage Keys III Country Set Guitars/Keyboard Etheric Waves 655 Cymbal Salute 520 Harp Gliss 284 TechnoStrike 343 T.O.G. Bass Pak I Bell, Pad, String ZapVocal2 94 Revolution No. 91585 Childerness 326 Wawa Guitar 2357 Bass Pak II Drum/Perc Bunny Loop 1530 Shortwave 298 Atlantis 273 Scratch Kit 1606 Power Saw 13 Shortwave 2 000 Sequences Emulator III 390 Eastern I 1895 Old Car Inst 164 Crowds 2 843 Amen 225 Nirvana 247 Eastern II 1865 Eastern III 1674 CarsPassBy 379 Eastern IV 1660 One ScaryNite LiveWire Audio NEW CREATIONS 1114 Wailing Guitar 3157 Maestro Sounds Eastern V 1674 465 LW Belpno 2 580 These are the newest offerings from Rub- Babylon 520 Eastern VI 1923 Beside Sea 769 1115 New Fantasia 1437 LW CoolBell 106 ber Chicken Software (as of 6/94) Halloween 454 Hornoise 1891 Animals 2 1206 1116 Metallic Rhdes 1340 LW Glock 209 Bechstein Piano 1924 Guitar Rocks 1277 Dog Barking 350 1117 Stack Attack 1582 LW Tub-Bell 310 Akai XR-10 1579 Guitar Rocks I 1195 The Train 934 1118 Spun Glass 471 LW Celeste 203 JD-800 Chicken Alesis HR-16B 1410 Thrash Drums 765 Zenith Scan 415 LW Gong 621 Macro# Name Blocks 1119 Mother Afrika 444 Boss DR-550 1578 Rock Kit 1 1938 MethanyMist 366 LW Aro Gong 188 1101 Mr. Brass 381 1120 Stratomaster 1323 Rock Kit 2 1973 Wayfarer 825 1102 FunTime 471 1121 Phase-Voice 1576 Rhythm Factory LW KettlDrum 414 Rock Kit 3 1804 Forest 178 Demo FX 207 1103 1974 624 1122 Throaty Clav 645 Nachtmusik 670 Rock Kit 4 1996 Saturn Bell 604 1104 Sunday's Best 49 1123 Hybrid Strings 807 Sardonyx 291 Jack Tolin Rock Kit 5 1875 M-1 Pan Pipes 279 Voyager 292 1105 Massive Pad 1302 1124 Fusion Solo 227 Titanic 254 Rock Kit 6 1931 Woody Bass 112 M-1 EPiano 2 58 Snare Drums 1 369 Heaven Bright 384 1106 2-way Slide 40 1125 Bright Piano 3171 Twillite Vox 183 M-1 SynMallet 187 Valkyrie 255 1107 Face Bass 222 1126 Classic Sweep 3596 M-1 Bottle Bell 240 Rubber Chicken AutoIce 330 1108 Synthpipe 268 1127 Nice Keys 1846 Yuma Decay 377 Bill Sethares M-1 Epiano 2 91 Software 1128 Schnap 2914 M-1 Vibes 172 Dancer 2 352 1109 Doo Pipe 454 Banduria 765 Soprano Sax 1822 1129 Message JD M-1 Metal Hit 47 FM+ Hybrids 1 505 1110 Invocation 847 Zamponia 303 SD-1 Pad 860 M-1 SynthBass2 203 FM Horn Ens 270 1111 Rockin' Wire 539 Wood Flute 283 Fuzz Lead 2158 M-1 MonoSynth 39 FM UFO 368 1112 Perc-Vox Stack 329 Sheeps Toes 65 Dumbek+Japan 434 M-1 SynthBass1 64 Urth Life 559 1113 Scraping Bone 681 Gourd Rattle 108 Icer8in 210 Pizzago 197 9817 Superstring 2278 Watrump 189 9818 Orchstring 222 Direct Macros E Bass 109 9819 D-70 Strings 1352 Shakuhar 214 9820 Strings 1 525 DirectMacro's are are unique feature to CD-ROM's. Using this booklet, B Collar 375 9821 Solo Violin 263 yoiu can access any sound instantly. To invoke a Direct macro, press down Fat Lead 286 on LOAD, and then hit the appropriate number on the keypad. To load Filthy 342 Drums+Perc correctly, your CD-ROM Drive must be set to SCSI #4. Loading Banks, 9901 Alesis SR-16 1586 the same applies - set your SCSI number to #4. Guitars & Keyboards 9902 Bang Hit 326 9701 12 String 453 9903 Gunshot Snare 93 9702 Down Guitar 75 9904 Livesnare 173 Morpheus-Chicken Introductory Pak 9703 Guitar Riffs 1548 9905 New Thing Snare 74 1201 Yah Hiss 1011 1301 Symphony 881 9704 Koto Up-Down 618 9906 CD Drums 792 1202 Tight Rez Syn 500 1302 Super Analog 250 9705 Guitar+Strings 495 9907 Bruford Lick 418 1203 Ringfire 1052 1303 Bombarde 16' 230 9706 DSS-1 Guitar 253 9908 Korg Perc CD 1152 1204 Epic Moment 476 1304 Short Rec Lo 138 9707 DSS Dist Guitar 263 9909 Korg CD Drums 1126 1205 Thunder Guitar 880 1305 Piccolo 77 9708 El Guitar 189 9910 Pop Drums- 190 1206 In a Dream 1057 1306 Deepness 213 9709 E+F Guitars 349 9911 Reverse Gate 527 1207 AtmoMorphs 311 1307 Medieval harp 891 9710 Love Remains 620 9912 CD-Drums 2016 1208 Air Action 935 1308 Pipe Action 163 9711 Belpiano 153 9913 Nu Order Stuff 284 1209 Cookin' 678 1309 Dream Guitar 324 9712 Rhodstring 489 9914 D-Mode Snare 183 1210 Meaty Vibes 782 1310 Orbit 189 9713 DSS-1 EPiano 315 9915 Janet Drums 488 1211 Brass King 1270 1311 Fripp VS Room 1301 9714 Malletpad 235 9916 S50 Ind Perc 274 1212 Famous D-50 293 1312 Roamnce 277 9715 Pianopad 314 9917 Percus 2 704 1213 Vel-Rez Snare 510 1313 Double Dulcimer 273 9716 Airimba 81 1214 Strike Bells 464 1314 SizzleBrass 277 9717 Daves Mallet 100 UA Sequences 1215 Elec-Noises 218 1315 TightRez Synth 249 9718 PPG Piano 240 (Not available Direct Macro) 1216 Da Radio 403 1316 Nu-Bell 360 9719 S50 Glocken 200 Other Worlds 1217 Java Tea 278 1317 RunDf... 173 9720 Guitar Trans 44 Give It Up 1218 Radio Hit 171 1318 88 8000 000A 237 9721 B-Marimba 29 Quintessence 1219 Yeow 815 1319 Short Bouquin 314 9722 Small Harpsi 587 Brandenburg 1220 Metal Growl 146 1320 Tympani 195 9723 Guitar 5 469 Praetorious 1221 Sharp Strike 583 1321 Perc-Vox Stack 329 1222 Normal Synth 1370 1322 Violas 523 Bells, Pads, and Strings 1223 Kontrol 3144 1323 Bass Gtr Harmonic 384 9801 Cella Bells 170 1224 Orchsyn Rise 3067 1324 All's Fair 200 9802 Digbell 248 1225 Guitar Chorus 2084 1325 Fender Organ 1 89 9803 Belling 35 1226 Voice Vex 1164 1326 Typewriter 35 9804 Gamelan 372 1227 Harm Guitar 383 1327 Power Comp 782 9805 Jingle Bells 108 1228 Pop Brass 898 1328 Daft 99 9806 Vocal Pad 1 167 1229 SynthiBrass 673 1329 Kick Up bass 225 9807 Vocal Pad 2 308 1230 Midnight 2405 1330 O+A Ah Ah 274 9808 Warm Pad 12 1231 Morph-Space 2055 1331 Mono-Poly 177 9809 Mystery pad 519 1232 Syntaks 2052 1332 WaveMix 862 9810 String Voice 99 1233 Message Morph 1333 Music Box 112 9811 Strgs+Ensemble 453 1334 All Choir 401 9812 Stg+Woodwind 275 1335 Marimba 156 9813 Stgs+Flute 297 1336 00 8000 000 47 9814 Quartet 807 1337 Eternity 483 9815 String+Bell 318 1338 Spun Glass 471 9816 StereoString 1518 MicroWave Chicken 1512 Glass Tamba 358 9603 D-50 FlutBrs 43 M-1 A-Bass 209 1401 Heavens Gate 1031 1513 Guardian 989 9604 D-50 Strings 105 M-1 Lore 500 1402 Drms Essence 540 1514 KickUpBass 225 9605 Heaven Knows 78 M-1 Stratos 535 1403 Bowed Strings 471 1515 Gentle Winds 693 9606 OK Chorale 573 M-1 Ooh-Aah 372 1404 All Choir 408 1516 The Big Pad 878 9607 Cello D-50 455 M-1 Drums 1 1161 1405 Pipe Action 157 1517 Midnight Run 745 9608 D-50 12 201 M-1 Drums 2 1442 1406 Orch Blitz 223 1518 Alpine Bells 753 9609 D-50 1 68 M-1 Bottles 57 1407 Noise Timp 202 1519 Xnaos Split 990 9610 D-50 Sound Tr1 502 M-1 Strings 479 1408 Song Bells 1192 1520 Metropoliton 562 9611 D-50 Milky 475 M-1 Synmallet 18 1409 And God Said 354 1521 Entropy 781 9612 D-50 Future 292 M-1 Synthbass I 75 1410 Rock Steady 352 1522 Spectrumize 376 9613 D50 EP ML88 37 M-1 Flute 80 1411 Synth Swells 212 1523 Blow The Bottle 419 9614 D50 Breath 176 M-1 Guitar 1 433 1412 Rocker Keys 116 1524 Ballarina Bells 946 9615 D50 Cosmic 421 M-1 Voices 39 1413 VS Bass 155 1525 Rain Chiffs 632 9616 D50 Nebula 398 M-1 Brass 1 299 1414 Prophet Horn 263 1526 ZZLead 586 9617 M-1 Tubular 76 M-1 Waveforms 127 1415 Immensities 132 1527 Reswacker
Load more

Recommended publications
  • Brief History of Electronic and Computer Musical Instruments
    Brief History of Electronic and Computer Musical Instruments Roman Kogan April 15th, 2008 1 Theremin: the birth of electronic music It is impossible to speak of electronic music and not speak of Theremin (remember that high-pitch melody sound sound in Good Vibrations ?) Theremin was the instrument that has started it all. Invented remarkably early - around 1917 - in Russia by Leon Termen (or Theremin, spelling varies) it was the first practical (and portable) electronic music instrument, and also the one that brought the electronic sound to the masses (see [27]). It was preceded by Thelarmonium, a multi-ton monstrocity that never really get a lot of attention (although technically very innovative, see [25]), and some other instruments that fell into obscurity. On the other hand, Leon Theremin got popular well beyond the Soviet Union (where even Lenin got to play his instrument once!). He became a star in the US and taught a generation of Theremin players, Clara Rockmore being the most famous one. In fact, RCA even manufactured Theremins under Leon's design in 1929 ( [27])!. So what was this instrument ? It was a box with two antennas that produced continuous, high-pitch sounds. The performer would approach the instrument and wave hands around the antennas to play it. The distance to the right (vertical) antenna would change the pitch, while the distance to the left (horizontal) antenna would change the volume of the sound (see [2], [3] for more technical details). The Theremin is difficult to play, since, like on violin, the notes and the volume are not quantized (the change in pitch is continuous).
    [Show full text]
  • Sampling Synthesis
    10/6/11 Sampling Synthesis • some history • looping • pitch shifting • data reduction A Little History The Mellotron is an electromechanical polyphonic keyboard musical instrument originally developed and built in Birmingham, England in the early 1960s. The heart of the instrument is a bank of parallel linear (not looped) strips of magnetic tape, each with approximately eight seconds of playing time; playback heads underneath (but not directly underneath) each key enable performers to play the pre-recorded sound assigned to that key when pressed. Tape samplers had been explored in research studios the best example being Hugh LeCaine's 1955 keyboard-controlled "Special Purpose Tape Recorder", which he used when recording his classic "Dripsody". 1 10/6/11 Fairlight Instruments Fairlight Instruments was started in Sydney Australia in 1975 by Peter Vogel and Kim Ryrie and was originally established as a manufacturer and retailer of video special effects equipment. The Fairlight CMI or Computer Music Instrument, released in (1979), started life as the QASAR M8. The M8 was hand-wired and legend has it that it took 2 hours to boot up! The CMI was the first commercially available digital sampling instrument. The original Fairlight CMI sampled using a resolution of 8-bits at a rate of 10 kHz; it was equipped with two six octave keyboards, an alphanumeric keyboard, and an interactive video display unit (where soundwaves could be edited or even drawn from scratch using a light pen). Software allowed for editing, looping, and mixing of sounds which could then be played back via the keyboard or the software-based sequencer.
    [Show full text]
  • Vital Series, Mallets
    USER MANUAL Produced by Vir2 Instruments 00 Vir2 Instruments is an international team of sound designers, musicians, and programmers who specialize in creating the world’s most advanced virtual instrument libraries. Vir2 is producing the instruments that shape the sound of modern music. 29033 Avenue Sherman, Suite 201 Valencia, CA 91355 Phone:661.295.0761 Web:www.vir2.com 00 MALLETS/ TABLE OF CONTENTS CHAPTER 01: INTRODUCTION TO THE LIBRARY 01 INTRODUCTION TO THE LIBRARY TABLE OF CONTENTS TABLE CHAPTER 02: REQUIREMENTS AND INSTALLATION 02 SYSTEM REQUIREMENTS INSTALLING IN KONTAKT INSTALLING IN KOMPLETE KONTROL & MASCHINE AUTHORIZING UPDATING CHAPTER 03: USING KONTAKT 05 HOW TO ACCESS THE MALLETS LIBRARY FROM KONTAKT USING KONTAKT IN STANDALONE MODE USING KONTAKT WITH YOUR D.A.W. USING KONTAKT WITH ANOTHER HOST CHAPTER 04: GETTING STARTED WITH MALLETS 09 MALLETS OVERVIEW INSTRUMENT CONTROLS INSTRUMENTS TURNED ON VS INSTRUMENTS TURNED OFF GLOBAL FILTER TUNE ROLLS LFO CONTROLS EFFECTS TECHNICAL SUPPORT, ETC. 13 TECH SUPPORT FULL VERSION OF KONTAKT 5 LICENSE AGREEMENT CREDITS 14 CREDITS CHAPTER 01 01 02 MALLETS/ INTRODUCTION TO THE LIBRARY Thank you for purchasing Mallets. / INTRODUCTION TO THE LIBRARY / INTRODUCTION TO Vir2 Instruments is proud to present the first instrument in our Vital Series, Mallets. Mallets brings users a collection of highly detailed, mallet-based instruments, and places them all in an intuitive instrument for the Kontakt CHAPTER 01 Player. Offering multiple mallet types for the Marimba, Xylophone, Glockenspiel, Tubular Bells, Glass Marimba, Song Bells, Vibraphone, and Crotales, Mallets is extremely versatile. Furthermore, each of the aforementioned instruments are available within one single instance of the instrument, allowing for the layering of each instrument for the exploration of endless tonal color.
    [Show full text]
  • Selective Analysis of 20Th Century Contemporary Percussion Ensembles Designated for Three Or More Players
    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1968 Selective analysis of 20th century contemporary percussion ensembles designated for three or more players Raymond Francis Lindsey The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Lindsey, Raymond Francis, "Selective analysis of 20th century contemporary percussion ensembles designated for three or more players" (1968). Graduate Student Theses, Dissertations, & Professional Papers. 3513. https://scholarworks.umt.edu/etd/3513 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. A SELECTIVE ANALYSIS OF 2 0 ^ CENTURY CONTEMPORARY PERCUSSION ENSEMBLES DESIGNATED FOR THREE OR MORE PLAYERS by Raymond Francis Lindsey B.M* University of Montana 1965 Presented in partial fulfillment of the requirements for the degree of Master of Music University of Montana 1968 Approved by; L L u ' ! JP. 4 . Chairman, Board of Exami4/ers Deah/, Graduate School 1 :: iosa Date UMI Number: EP35093 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion.
    [Show full text]
  • Digital Developments 70'S
    Digital Developments 70’s - 80’s Hybrid Synthesis “GROOVE” • In 1967, Max Mathews and Richard Moore at Bell Labs began to develop Groove (Generated Realtime Operations on Voltage- Controlled Equipment) • In 1970, the Groove system was unveiled at a “Music and Technology” conference in Stockholm. • Groove was a hybrid system which used a Honeywell DDP224 computer to store manual actions (such as twisting knobs, playing a keyboard, etc.) These actions were stored and used to control analog synthesis components in realtime. • Composers Emmanuel Gent and Laurie Spiegel worked with GROOVE Details of GROOVE GROOVE System included: - 2 large disk storage units - a tape drive - an interface for the analog devices (12 8-bit and 2 12-bit converters) - A cathode ray display unit to show the composer a visual representation of the control instructions - Large array of analog components including 12 voltage-controlled oscillators, seven voltage-controlled amplifiers, and two voltage-controlled filters Programming language used: FORTRAN Benefits of the GROOVE System: - 1st digitally controlled realtime system - Musical parameters could be controlled over time (not note-oriented) - Was used to control images too: In 1974, Spiegel used the GROOVE system to implement the program VAMPIRE (Video and Music Program for Interactive, Realtime Exploration) • Laurie Spiegel at the GROOVE Console at Bell Labs (mid 70s) The 1st Digital Synthesizer “The Synclavier” • In 1972, composer Jon Appleton, the Founder and Director of the Bregman Electronic Music Studio at Dartmouth wanted to find a way to control a Moog synthesizer with a computer • He raised this idea to Sydney Alonso, a professor of Engineering at Dartmouth and Cameron Jones, a student in music and computer science at Dartmouth.
    [Show full text]
  • From Musique Concrète to the Fairlight
    The Lost Art Of Sampling: Part 1 By Steve Howell Most modern musicians use samples, even if only in S&S keyboards or virtual instruments. But sampling itself has become something of a lost art. In the first of a short series on rediscovering this skill, we look back at how the technique and the technology developed. Sampling technology has become so widespread that it is no longer considered remarkable. Indeed, in many ways, it has become 'invisible' — so widely accepted and taken for granted that no-one notices it any more. Everywhere you look, you'll see sampling in action: in the stored messages on modern ansaphones, in those muffled train and airport announcements you can never quite catch the gist of when you're in a hurry, and in those dreadful menu-driven customer service lines so beloved of companies claiming to offer "a better, more focused customer service experience". Wherever we turn, we have first-hand experience of 'sampling' in one form or another. It's the same in the modern music-making industry — sampling technology is at work in the vast majority of synth, keyboard and virtual-instrument products on the market. Whereas synths were once all powered by analogue oscillators which generated a limited range of electronic waveforms, these circuits have largely been replaced in modern hardware synths by chips containing samples of a colossal range of instruments, including analogue-synth-style sawtooth, square and triangle waveforms to complete the illusion. Even some of the 'modelled' analogue synths use carefully engineered multisamples of analogue (and other) waveforms as the basis of their synthesis methods.
    [Show full text]
  • O Du Mein Österreich: Patriotic Music and Multinational Identity in The
    O du mein Österreich: Patriotic Music and Multinational Identity in the Austro-Hungarian Empire by Jason Stephen Heilman Department of Music Duke University Date: _______________________ Approved: ______________________________ Bryan R. Gilliam, Supervisor ______________________________ Scott Lindroth ______________________________ James Rolleston ______________________________ Malachi Hacohen Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2009 ABSTRACT O du mein Österreich: Patriotic Music and Multinational Identity in the Austro-Hungarian Empire by Jason Stephen Heilman Department of Music Duke University Date: _______________________ Approved: ______________________________ Bryan R. Gilliam, Supervisor ______________________________ Scott Lindroth ______________________________ James Rolleston ______________________________ Malachi Hacohen An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2009 Copyright by Jason Stephen Heilman 2009 Abstract As a multinational state with a population that spoke eleven different languages, the Austro-Hungarian Empire was considered an anachronism during the age of heightened nationalism leading up to the First World War. This situation has made the search for a single Austro-Hungarian identity so difficult that many historians have declared it impossible. Yet the Dual Monarchy possessed one potentially unifying cultural aspect that has long been critically neglected: the extensive repertoire of marches and patriotic music performed by the military bands of the Imperial and Royal Austro- Hungarian Army. This Militärmusik actively blended idioms representing the various nationalist musics from around the empire in an attempt to reflect and even celebrate its multinational makeup.
    [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]
  • Minitaur Editor マニュアル
    MINITAUR ANALOG BASS SYNTHESIZER エディターユーザーズマニュアル MINITAUR エディターマニュアル オーバービュー & フィーチャー Minitaur Plugin と Standalone Editor を使用することにより、リアルタイムの編集、プリセットライブラリ管理やシェアリ ング、ホスト DAW との統合が可能となります。これにより Minitaur の強力な 諸機能を簡単に利用することができます。 Minitaur Editor は DAW 上で作動している VST や AU,RTAS あるいは AAX フォーマットにも対応しています。 Minitaur Editor には 3 つのスクリーンレイアウトがあります : PANEL UNDER THE HOOD EXTENDED このモードでは、 Minitaur のフロント このモードでは、このソフトウェア このモードでは一つの画面上で パネルの外観と感覚で操作を行うこと 自身もしくはハードウェアコントロ PANEL と UNDER THE HOOD のど が可能です。 ーラーのような MIDI コントロール ちらも利用することができます。また、 ソースからのみ操作可能な Minitaur エンベロープ・リリースを追加して個 が持つ様々な音作りの追加機能を手 別に利用することも可能です。 軽に利用することができます。 PRESET MANAGER と SETTINGS へアクセスするボタンもここに置かれています。 注意 : このソフトウェアは MIDI コントロール専用です。音声を作成・処理することは出来ません。 より詳細な機能の説明については、Minitaur Manual を参照してください: http://www.moogmusic.com/products/taurus/minitaur#downloads-tab 1 動作環境 Mac: OS X 10.6.8 以上 PC: Windows 7 以上、Intel もしくは AMD のプロセッサ搭載 • 使用可能な USB ポートもしくは DIN MIDI IN/OUT。 • VST, AU, RTAS, AAM プラットフォーム対応の DAW 。 • Minitaur のファームウェアは 2.1.0 以上を必要とします。 VST 互換性 : 2.4+ もしくは VST 3+ サポートについては DAW のソフトウェアメーカにお問い合わせください。 全ての仕様は予告なしに変更されることがあります。 設定 & 接続 USB ケーブルで Minitaur シンセサイザをコンピュータに接続してください。 注意 :ご自身の Mac/PC で MIDI I/O を設定してください。 コンピュータやオーディオデバイスへの接続についての詳細は Minitaur User’s Manual の 4-5 ページを参照して ください。 インストール : Mac ユーザー : .pkg ファイルをクリックし、インストールしたいエディタのバージョンを 選択したのち CONTINUE ボタンをクリックしてください。 Windows ユーザー : 手動で.dll ファイルをデフォルトの VST プラグインのディレクトリに保存して下さ い。 32 Bit: C:\Program Files(x86)\”Name of DAW manufacturer”\Vst Plugins\ 64 Bit : C:\Program Files\”Name of DAW manufacturer”\VST Plugins\ (for 64 bit) RTAS:
    [Show full text]
  • Beneath a Canvas of Green a Conductor's Analysis and Comprehensive Survey of Related Works for Percussion Ensemble and Winds B
    i BENEATH A CANVAS OF GREEN A CONDUCTOR’S ANALYSIS AND COMPREHENSIVE SURVEY OF RELATED WORKS FOR PERCUSSION ENSEMBLE AND WINDS BY TONYA PATRICE MITCHELL Submitted to the graduate degree program in the School of Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ____________________________________ Chairperson Paul W. Popiel ____________________________________ Matthew O. Smith ____________________________________ Sharon Toulouse ____________________________________ Forest Pierce ____________________________________ Martin Bergee Date Defended: April 18, 2018 ii The Lecture Recital Committee for TONYA P. MITCHELL certifies that this is the approved version of the following document: BENEATH A CANVAS OF GREEN A CONDUCTOR’S ANALYSIS AND COMPREHENSIVE SURVEY OF RELATED WORKS FOR PERCUSSION ENSEMBLE AND WINDS ____________________________________ Chairperson Paul W. Popiel Date Approved: April 18, 2018 iii ABSTRACT This document functions as an examination of Aaron Perrine’s (1979) Beneath a Canvas of Green (2018), a work for percussion ensemble and wind band. Included in this paper are sections outlining the composer’s background, the conception and commissioning process of the piece, a conductor’s analysis, rehearsal considerations, final thoughts regarding the necessity of new commissions and their impact on the development of band repertoire, as well as a historical overview of the percussion ensemble and list of similar works for this medium. iv ACKNOWLEDGEMENTS I would like to thank Aaron Perrine for collaborating with me on the production of this beautiful composition. I’d also like to thank Michael Compitello for assisting with the percussion design and set-up. I thank the members of the University of Kansas Wind Ensemble for enacting our vision.
    [Show full text]
  • 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
    [Show full text]
  • THE COMPLETE SYNTHESIZER: a Comprehensive Guide by David Crombie (1984)
    THE COMPLETE SYNTHESIZER: A Comprehensive Guide By David Crombie (1984) Digitized by Neuronick (2001) TABLE OF CONTENTS TABLE OF CONTENTS...........................................................................................................................................2 PREFACE.................................................................................................................................................................5 INTRODUCTION ......................................................................................................................................................5 "WHAT IS A SYNTHESIZER?".............................................................................................................................5 CHAPTER 1: UNDERSTANDING SOUND .............................................................................................................6 WHAT IS SOUND? ...............................................................................................................................................7 THE THREE ELEMENTS OF SOUND .................................................................................................................7 PITCH ...................................................................................................................................................................8 STANDARD TUNING............................................................................................................................................8 THE RESPONSE OF THE HUMAN
    [Show full text]