DOCSLIB.ORG

Eastman Guitar Specifications

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Eastman Guitar Specifications Series Name Parlor Orchestra Grand Auditorium Dreadnought Slope Shoulder Arch Top Originally designed to be played in small rooms, The Eastman Orchestra Model is most A popular guitar for vocal Acoustic Electric Flatpicking musicians, hard This guitar provides a Electric Description or “parlors”, the parlor guitar has a tight and popular size among fingerstyle guitarists. accompaniment, the Eastman Grand Versatile small-bodied, jumbo cutaway strummers and woodiness that's sweet A fine example of why Eastman focused sound. Eastman Parlor guitars are Large enough to be heard playing in a Auditorium models feature a very guiter perfect for fingerstyle, flatpicking, vocalist/guitarists often on the ears thanks to is a major force in the world of inspired by the great parlor guitars of the 30′s group. They are tight and focused, with balanced sound though the range. They and vocal backing. The solid Indian choose the Eastman the use of Adirondack archtop guitars. This beautiful and 40′s. Players and listeners alike are added volume. have volume sufficient for playing in a rosewood back and sides, an Alaskan Dreadnought guitars as spruce that's a popular guitar illustrates the harmonious surprised by the volume and tonally quality of group. Grand Auditoriums work well as Sitka spruce top, and an abalone rosette their “working” instrument. choice for flatpicking & relationship between premium Eastman Parlor guitars, despite their diminutive a hybrid guitar for fingerpicking and make these stunning instruments. Add in The tonal qualities make it a live vocal tonewoods and the time honored size. Most often used by fingerstyle and slide flatpicking. the cutaway body and Fishman Matrix great choice for vocal accompaniment. process of meticulous hand players, in a variety of tunings. pickup system and the result is an accompaniment as a craftsmanship resulting in excellent stage guitar that you can travel soloist, or backing up a beautiful sound, range and finish. with. soloist. Models / Info E20P E10P E10-OM E20-OM AC422 AC322 AC422CE AC322CE E10 E10SS AR371CE Features Surprisingly large voice Surprisingly large voice Popular choice for Popular choice for Ideal choice for Ideal choice for Ideal choice for Ideal choice for Built with the methods and Ideal choice for Bound plastic pickguard and warm, balanced and warm, balanced fingerstyle playing fingerstyle playing fingerstyle, fingerstyle, fingerstyle, fingerstyle, materials of the “Golden fingerstyle, flatpicking & tone tone. flatpicking & vocal flatpicking & vocal flatpicking & vocal flatpicking & vocal Era” of the 30′s & 40′s vocal backing backing backing backing backing Solid adirondack Solid adirondack Solid Sitka spruce Solid Sitka spruce Solid spruce top, Solid spruce top, Solid spruce top, Solid spruce top, Solid Adirondack spruce Solid Adirondack spruce Vintage-style tailpiece spruce top, solid spruce top, solid top, solid rosewood top, solid rosewood solid rosewood back solid Sapele back solid rosewood back hand-carved top, solid mahogany back & top, solid mahogany rosewood sides & back mahogany sides & back sides & back sides & back & sides & sides & sides scalloped X bracing sides back & sides Ebony fingerboard for a Ebony fingerboard for a Rosewood Rosewood Balanced voice Balanced voice Balanced voice Balanced voice Extremely dynamic Extremely dynamic dynamic response dynamic response fingerboard provides fingerboard provides throughout the throughout the throughout the entire throughout the response, from soft picking response: soft picking to a rich, warm tone a rich, warm tone entire range entire range range entire range to hard strumming hard strumming Popular choice for Popular choice for Extended volume Extended volume Robust volume for Robust volume for Fishman Matrix VT Fishman Matrix VT Glorious full-bodied tone Glorious full-bodied tone fingerstyle playing and fingerstyle playing and range ideal for range ideal for playing in playing in Pickup System Pickup System and room-filling volume and room-filling volume slide slide ensemble playing ensemble playing ensembles ensembles Body Dimensions 13 3/4″ X 4 1/8″ 13 3/4″ X 4 1/8″ 16" X 4 1/4" 15" X 4 1/4" 16″ X 4 23/32″ 16″ X 4 23/32″ 16″ X 4 23/32″ 16″ X 4 23/32″ 16″ X 4 23/32″ 16″ X 4 23/32″ 16″ X 3 9/32″ Cutaway Venetian-style Venetian-style Florentine Top Wood Solid Adirondack Solid Adirondack Solid Adirondack Solid Adirondack Solid Sitka Spruce Solid Sitka Spruce Solid Sitka Spruce Solid Sitka Spruce Solid Adirondack Spruce Solid Adirondack Maple, Parallel Braced Spruce Spruce Spruce Spruce Spruce Bracing Hand-carved Scalloped Hand-carved Scalloped Hand-carved Hand-carved Hand-carved Hand-carved Hand-carved Hand-carved Hand-carved Scalloped X Hand-carved Scalloped Parallel X X Scalloped X Scalloped X Scalloped X Scalloped X Scalloped X Scalloped X X Rosette Inlaid Abalone Inlaid Wood Inlaid Abalone Inlaid Wood Basic Back/Sides Wood Solid Rosewood Solid Mahogany Solid Mahogany Solid Rosewood Solid Rosewood Solid Sapele Solid Rosewood Solid Sapele Solid Mahogany Solid Mahogany Maple Body Binding Herringbone Black Black Herringbone Ivoroid 5-ply Ivoroid Ivoroid 5-ply Ivoroid Black White/Black/White Ivoroid 5-Ply Top 3 Ply Back Neck Woods Mahogany Mahogany Mahogany Mahogany Mahogany Mahogany Mahogany Mahogany Mahogany Mahogany 3 Piece Maple Fingerboard Ebony Ebony Ebony Ebony Ebony Ebony Ebony Ebony Ebony Indian Rosewood Rosewood Nut 1 13/16″-wide Bone 1 13/16″-wide Bone 1 3/4"-wide Bone 1 3/4"-wide Bone 1 3/4″-wide Bone 1 3/4″-wide Bone 1 3/4″-wide Bone 1 3/4″-wide Bone 1 3/4″-wide Bone 1 11/16″-wide Bone 1 3/4" Scale Length 24.9″ 24.9″ 25" 25" 25 1/2″ 25 1/2″ 25 1/2″ 25 1/2″ 25 1/2″ 24 3/4″ 24 3/4″ Frets 19 Nickel – Silver 19 Nickel – Silver 20 Nickel – Silver 20 Nickel – Silver 20 Nickel – Silver 20 Nickel – Silver 20 Nickel – Silver 20 Nickel – Silver 20 Nickel – Silver 20 Dunlop 6130 20 Dunlop 6130 Inlays Snowflake Mother-of-Pearl M.O.P. Microdot M.O.P. Microdot Pearl Dot Pearl Dot Pearl Dot Pearl Dot M.O.P. microdot Dots Split Block Microdot Pickup System Fishman Matrix VT Fishman Matrix VT Single Mounted Humbucking Controls Volume, Tone Volume, Tone Volume, Tone Bridge/Saddle Ebony/Bone, 2 11/32″ Ebony/Bone, 2 11/32″ Ebony/Bone, 2 5/32" Ebony/Bone, 2 5/32" Rosewood/Bone, 2 Rosewood/Bone, Rosewood/Bone, 2 Rosewood/Bone, 2 Ebony/Bone, 2 5/32″ Rosewood/Bone, 2 Rosewood compensated, 2 3/32" Spacing Spacing Spacing Spacing 5/32″ Spacing 2 5/32″ Spacing 5/32″ Spacing 5/32″ Spacing Spacing 5/32″ Spacing Spacing Tuners Chrome vintage open- Chrome vintage open- Chrome Vintage Chrome Vintage Chrome-plated Chrome-plated Chrome-plated Chrome-plated Chrome vintage open-gear Chrome-plated Gotoh Vintage gear Gotoh gear Gotoh Open-Gear Gotoh Open-Gear Gotoh Gotoh Ping Gotoh Ping Gotoh Strings D’Addario EXP Coated D’Addario EXP Coated D’Addario EXP D’Addario EXP D’Addario EXP D’Addario EXP D’Addario EXP D’Addario EXP D’Addario EXP Coated D’Addario EXP Coated D’Addario EXP Coated Phosphor Phosphor Bronze .012- Phosphor Bronze .012-. Coated Phosphor Coated Phosphor Coated Phosphor Coated Phosphor Coated Phosphor Coated Phosphor Phosphor Bronze .012-.053 Phosphor Bronze .012-. Bronze .012-.053 .053 053 Bronze .012-.053 Bronze .012-.053 Bronze .012-.053 Bronze .012-.053 Bronze .012-.053 Bronze .012-.053 053 Available Finish Natural or Sunburst Natural or Sunburst Natural Natural Natural Gloss Natural Gloss Natural Gloss Natural Gloss Natural Tobacco Sunburst Sunburst Case Hardshell Case Hardshell Case Hardshell Case Hardshell Case Hardshell Case Hardshell Case Hardshell Case Hardshell Case Hardshell Case Included Hardshell Case Hardshell Case Included Included Included Included Included Included Included Included Included Included.
Load more

Recommended publications
  • Patent Application Publication (10) Pub. No.: US 2017/0110097 A1 Sperr (43) Pub
    US 201701 10097A1 (19) United States (12) Patent Application Publication (10) Pub. No.: US 2017/0110097 A1 Sperr (43) Pub. Date: Apr. 20, 2017 (54) GUITAR CONVERSION SYSTEMAND (57) ABSTRACT METHOD Aguitar conversion system for the assembly of a guitar in an easy quick manner, from conventional guitar designs to (71) Applicant: Eric Sperr, South Plainfield, NJ (US) hybrid guitars. The guitar conversion system includes at least one main body portion and at least one side body (72) Inventor: Eric Sperr, South Plainfield, NJ (US) portion. Preferably a pair of side body portions is provided. The main body portion includes a headstock, machine heads (or pegheads, or tuners), a neck, and pickups in communi (21) Appl. No.: 13/844,781 cation with electronic controls located on the side body portion. The main body portion includes left and right edge walls having attachment means for releasably attaching at (22) Filed: Mar. 15, 2013 least one other main body portion or at least one side body portion to the main body. The side body portion includes at least one electrical control integrated therein for electronic Publication Classification communication with the main body portion. The side body portion comprising a top side wall and at least one side (51) Int. Cl. attachment portion that is adapted to mate with the attach GIOD L/08 (2006.01) ment means of the main body portion. The guitar conversion GIOH 3/8 (2006.01) system provides the ability to interchange the body portion (52) U.S. Cl. and/or each of the side body portions to change any resultant CPC ..............
    [Show full text]
  • Blank1 Page Intentionally Left Blank EDITORIAL
    Fellowship of European MAGAZINE Luthiers Published by the Fellowship of European Luthiers Magazine for luthiers, designers and lovers of stringed musical instruments Number 6 - 2014 / I blank1 Page intentionally left blank EDITORIAL Here we go again his adventure called SUSTAIN begins ades, and others just discovered this fascinat- its second year. Two things made it ing world. Many of you like working amidst T possible: the sawdust; others prefer the artistic side of 1) Our readers’ support. Your letters, com- lutherie. But all of you, dear lovers of all kinds ments, feedback and encouragement. of musical instruments, are the cause and the 2) Our authors’ contribution. Your articles are objective of this magazine. the heart and soul of the magazine. By shar- ing your experiences you have enriched us all. This past year we made new friends, we Some of you are professionals, some are am- learned things, and we welcomed a growing ateurs; some have been in the trade for dec- number of Fellows with the same interests. For all that, I thank you. And of course, here we go again, looking for- ward to another year talking about these won- derful chunks of wood we love to make music with. Leo Lospennato is luthier, author of books on lutherie and chief editor of SUSTAIN Magazine. He lives in Berlin, Germany. Visit www.lospennato.com 1 Imprint Letters Product news This issue’s cover Speed 2: The Making of a Winning Design By Leo Lospennato Research Laser Harps: Plucking Strings of Light By Cem Öcek Woodworking Measuring Moisture Content in Tonewood An interview with Flavia Santana Pohl Interview A Brief Guide to Copyright Law for Luthiers Advice from Dr.
    [Show full text]
  • The Electric Guitar 2.0
    The Electric Guitar 2.0 The Electric Guitar 2.0 redesign and finite element method analysis Content: Redesign & FEM analysis Student: Wilco Prinsen Course: s0066818 Evolutionary Product Development Teaching Staff: Date: Robert Wendrich Wednesday, April 23, 2008. Arthur Eger Summary 50 years ago, the electric guitar reached both the segmentation and individualization phase. Cur- rently, the next step should be the awareness phase. However, after closer study, it was concluded some “aware” products were not successful. Therefore, the electric guitar will remain in the segmentation and individualization phase in the near future. In the seg- mentation phase there are still lots of opportunities due to new technologies. Adding wireless technologies to the already existing digital (modeling) guitar is an opportunity. For the new concept it was concluded that the electric guitar should visualize its digital revolution with sophisti- cated product design to differentiate from the “fifties classic”-design of the electric guitar. 4 redesign & finite element method analysis Contents 1. Introduction 7 4.4.1 First styling directions 19 2. Product Phases 9 4.4.2 Styling Concept 1 20 2.1 Introduction 9 4.4.3 Styling Concept 2 21 2.2 Summary of the Product Phases 9 4.4.4 Styling Concept 3 22 2.3 The Awareness Phase 9 5. Concept Switch 23 2.3.1 The Bamboo Guitar 9 5.1 Introduction 23 2.3.2 The Live Earth Guitar 9 5.2 The Design 23 2.3.3 Cigar Box Guitar 10 5.3 Styling Direction 23 2.4 Everything is possible 10 5.4 Styling of the Concept 24 3 What is Now 11 5.5 The last changes 25 3.1 Introduction 11 5.6 The 3D Model 26 3.2 New Electric Guitars 11 6.
    [Show full text]
  • A Stylistic Analysis of Recess Performed by Charlie Hunter from the DVD Right Now Live
    Edith Cowan University Research Online Theses : Honours Theses 2015 A stylistic analysis of Recess performed by Charlie Hunter from the DVD Right Now Live Joshua De Silva Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses_hons Part of the Music Performance Commons, and the Music Practice Commons Recommended Citation De Silva, J. (2015). A stylistic analysis of Recess performed by Charlie Hunter from the DVD Right Now Live. https://ro.ecu.edu.au/theses_hons/1480 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses_hons/1480 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: • Copyright owners are entitled to take legal action against persons who infringe their copyright. • A reproduction of material that is protected by copyright may be a copyright infringement. • A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. A stylistic analysis of Recess performed by Charlie Hunter from the DVD Right Now Live Joshua De Silva Western Australian Academy of Performing Arts Edith Cowan University This dissertation is submitted for the degree of Bachelor of Music Honours 2015 i Use of Thesis Declaration I certify that this thesis does not, to the best of my knowledge and belief: (i) Incorporate without acknowledgement any material previously submitted for a degree or diploma in any institution of higher education; (ii) Contain any material previously published or written by another person, except where due reference is made in the text; or (iii) Contain any defamatory material.
    [Show full text]
  • Trabajo De Grado: Monografía
    UNIVERSIDAD DISTRITAL FRANCISCO JOSÉ DE CALDAS FACULTAD DE ARTES ASAB PROYECTO CURRICULAR DE ARTES MUSICALES SELECCIÓN, DESCRIPCIÓN Y CLASIFICACIÓN DE LICKS EXTRAIDOS DE CUATRO SOLOS DE GUITARRA ELÉCTRICA DE GUTHRIE GOVAN Y ALEX HUTCHINGS CARLOS HERNANDO CELIS RODRÍGUEZ (20142098048) FELIPE IANNINI GUZMÁN (20142098086) ÉNFASIS: GUITARRA ELÉCTRICA MODALIDAD DE TRABAJO DE GRADO: MONOGRAFÍA BOGOTA D.C. 21 DE OCTUBRE DE 2019 UNIVERSIDAD DISTRITAL FRANCISCO JOSÉ DE CALDAS FACULTAD DE ARTES ASAB PROYECTO CURRICULAR DE ARTES MUSICALES SELECCIÓN, DESCRIPCIÓN Y CLASIFICACIÓN DE LICKS EXTRAIDOS DE CUATRO SOLOS DE GUITARRA ELÉCTRICA DE GUTHRIE GOVAN Y ALEX HUTCHINGS CARLOS HERNANDO CELIS RODRÍGUEZ (20142098048) FELIPE IANNINI GUZMÁN (20142098086) ÉNFASIS: GUITARRA ELÉCTRICA MODALIDAD DE TRABAJO DE GRADO: MONOGRAFÍA DIRECTORA DE TRABAJO DE GRADO: MYRIAM ARROYAVE BOGOTA D.C. 21 DE OCTUBRE DE 2019 ii Agradezco enormemente a mis padres, María Cristina Guzmán y Santiago Iannini, por el empeño que han puesto en mí y por los valores que he adquirido de ellos, a la ASAB gracias por los retos que me impartió y que, pese a las dificultades, a día de hoy ya estoy a puertas de culminar esta etapa. Por último, quiero expresar mi admiración y gratitud a la maestra Myriam Arroyave, por su guía y sus consejos durante este proceso. Felipe Iannini Guzmán Esta tesis va dedicada a mi madre Olga Cristina y a mi padre Carlos Hernando, gracias a ustedes por todo el amor, por todo el apoyo y por toda su compañía en esta etapa que termina. Agradecimientos especiales a la maestra Myriam Arroyave por la entrega y dedicación puesta en pro de la realización de este documento.
    [Show full text]
  • Rod Sinclair: Submittedin Fulfillment of the Degreeof
    Title: Acoustic Guitar Practice and Acousticity: Establishing Modalities of Creative Practice. Volume 1: Thesis Rod Sinclair: submittedin fulfillment of the degreeof PhD. Newcastle University, December 2007 NEWCASTLE UNIVERSITY LIBRARY ---------------------------- 206 53423 0 ---------------------------- ABSTRACT The contemporaryacoustic guitar has developed from its origins in the 'Spanish' guitar to become a global instrument and the musical voice of a wide range of styles. The very 'acousticity' of the instrumentpositions it as a binary oppositeto the electricguitar ano as a signifier for the organicand the naturalworld, artistryand maturity,eclecticism and the esoteric.In this concept-rootedsubmission, the acousticand guitaristicnature of the instrumentis consideredin relationto a range of social, cultural and artistic concerns,and composition is used primarily to test a thesis, wherein a portfolio of original compositions, presentedas recordings and understoodas phonograms,comment upon and reflect uponmodes of performativity: instrument specific performance, introspection, virtuosity, mediation by technology and performance subjectivities. p.1 ACKNOWLEDGEMENTS I wish to acknowledgethe supportand inspirationoffered by Dr JamesBirkett, Dr Ian Biddle, Dr Will Edmondes,Tim Brookes,Mick Wright, MauriceSummerfield and particularly Maureen Scott and Gerry Richardson. I am indebtedto the following musiciansfor their musicalcontributions: Andy Champion: double bass,Freeze: vocals, Stuart Hardy: violin, Neil Harland: double bass,Dave Hignet:
    [Show full text]
  • Phd Thesis, and These Barriers Will Be Revisited Later in This Chapter
    INSTRUMENTSANDACCESS:THEROLEOF INSTRUMENTSINMUSICANDDISABILITY jacob harrison INSTRUMENTSANDACCESS:THEROLEOFINSTRUMENTS INMUSICANDDISABILITY jacob harrison Submitted in partial fulfilment of the requirements of the University of London Degree of Doctor of Philosophy School of Electronic Engineering and Computer Science Queen Mary University of London supervisors: Dr Andrew McPherson April 2020 Jacob Harrison: Instruments and Access: the Role of Instruments in Music and Disability © April 2020 ABSTRACT In the past several decades, society’s understanding of disability has progressed from an individualised model based on functional limitations, to the identification of disabling barriers in society which are imposed upon people living with phys- ical, cognitive and/or sensory impairments. Alongside this, there is increased in- terest in new creative technologies which are capable of addressing these barriers. In this thesis, I explore the development of Accessible Digital Musical Instruments (ADMIs) in terms of their ability to address the technical and social barriers that prevent access to music-making. I begin with a review of relevant literature from the fields of Disability Stud- ies and Digital Musical Instrument (DMI) design. This is followed by interviews with two disabled musicians, who discuss how their approach to music perfor- mance and instrumentation relates to their disability identity. I then report three performer studies with purpose built DMIs. The first study explores adapting the bass guitar for one-handed playing, using a prototype mechanical adaptation. The second study continues the theme of preserving the role of the guitar, but asks questions around the role of interaction modality and global form, and how they relate to an instrument’s identity. The final study is an ethnographic account of a long-term situated research project with a community of learning-disabled mu- sicians, in which we observe how bespoke guitar-like ADMIs are used alongside unadapted instruments.
    [Show full text]
  • MARCO PEREIRA: BRAZILIAN GUITAR VIRTUOSO by BRENT
    MARCO PEREIRA: BRAZILIAN GUITAR VIRTUOSO By BRENT LEE SWANSON A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC UNIVERSITY OF FLORIDA 2004 Copyright 2004 by Brent Lee Swanson To my parents, Craig and Charlene. ACKNOWLEDGMENTS I would first and foremost like to thank God for the spiritual guidance needed to complete this work. I thank the School of Music and Dr. Larry Crook for introducing me to Brazilian music, helping me get an assistantship, mentoring me for over 8 years. More importantly, for having the patience to deal with the various personal idiosyncrasies that I am sure caused him grief over the years. I thank Foreign Language and Area Studies (FLAS) and the Center for Latin American Studies for the opportunity to learn Portuguese in Rio de Janeiro (especially Amanda Wolfe). I thank Dr. Welson Tremura for introducing me to the Brazilian guitar, for mentoring me in all of my various studies, for yelling at me in rehearsals, for being a friend when I needed him, for letting me stay at his great house in São Jose do Rio Preto, and for all of the wonderful opportunities to play Brazilian music. I thank Dr. Charles Perrone for his love of Brazilian popular music (and well, for being Charles). I thank Jeffrey “Lightning” Ladenheim for introducing me to jazz, for calling me Sheehan, for yelling at me in rehearsals, and for being a friend through all my troubles; for all the opportunities he has given me.
    [Show full text]
  • KORG OASYS Voice Name List Ru.Pdf
    Voice Name List Combination INT-A # Name Category # Name Category A000 Particles & Waves Synth A064 Advanced VJS Groove Synth A001 WS Layer Keys Keyboard A065 Pensive EP Pad Keyboard A002 Orchestra & Timpani Orchestral A066 Small Orchestra Orchestral A003 Locale Five BassSplits A067 Bass & Wurly Split BassSplits A004 Always Watching You... MotionSynth A068 Galactic Journey MotionSynth A005 Hitsville Drums/Hits A069 Tangerine Skies LeadSplits A006 Delicato Strings Strings A070 Velvety Strings Strings A007 The Gates of Mordor Guitar/Plucked A071 Guitar Hold 4 the Angels Guitar/Plucked A008 Asian Mystery World A072 Tone Adjusted EP Keyboard A009 Butterfly Jam BPM Sync A073 Prisoner for Life BPM Sync A010 Drawbars for Upper Funk Organ A074 Piano for Ballads Keyboard A011 Silver Slumbers Pads/Vocal A075 Nimbus Bells Pads/Vocal A012 Orchestral Slow Brass 1 Brass/Reed A076 Super Sax Section Brass/Reed A013 Funk In The Year 2525 LeadSplits A077 Floating Ghosts LeadSplits A014 Siberian Bells Bell/Mallet/Perc A078 Bell Bell & Bell Bell/Mallet/Perc A015 Backwards World Complex&SFX A079 Under The Bed... Complex&SFX A016 "Club Fantasy SW1,2" Synth A080 Dancing Perky Vokal Pad Synth A017 Dreaming withoutSleeping Keyboard A081 Princess Hannah's Piano Keyboard A018 Strings&WoodwindsRbn/JSY Orchestral A082 Orchestral F.Horns&Bones Brass/Reed A019 E.Bass & Old EP BassSplits A083 Do Da Nod BassSplits A020 The Secret Adventure MotionSynth A084 Static Movement MotionSynth A021 Vocoder Remix Hits Drums/Hits A085 Plucking & Strumming Guitar/Plucked A022 Velvet
    [Show full text]
  • The Hybrid Mobile Instrument: Recoupling the Haptic, the Physical, and the Virtual
    THE HYBRID MOBILE INSTRUMENT: RECOUPLING THE HAPTIC, THE PHYSICAL, AND THE VIRTUAL A DISSERTATION SUBMITTED TO THE DEPARTMENT OF MUSIC AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Romain Pierre Denis Michon June 2018 © 2018 by Romain Pierre Denis Michon. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial 3.0 United States License. http://creativecommons.org/licenses/by-nc/3.0/us/ This dissertation is online at: http://purl.stanford.edu/rd318qn0219 ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Chris Chafe, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Julius Smith, III, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Ge Wang I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Matthew Wright, Approved for the Stanford University Committee on Graduate Studies. Patricia J. Gumport, Vice Provost for Graduate Education This signature page was generated electronically upon submission of this dissertation in electronic format.
    [Show full text]
  • M3 Xpanded Voice Name List
    E F G J 5 Voice Name List 29 (INT): BD-SD Catalog Kit. .76 Table of Contents 30 (INT): BD-SD Catalog Kit 2 . .78 Combination . .2 31 (INT): Cymbal Catalog Kit. .80 INT-A . .2 144(GM): STANDARD . .82 INT-B . .3 145 (GM): ROOM. .83 INT-C . .4 146 (GM): POWER. .84 USER-E: EX-USB-PCM01/02 . .5 147 (GM): ELECTRONIC. .85 148 (GM): ANALOG . .86 Program . .6 149 (GM): JAZZ . .87 Bank INT-A [EDS]. .6 150 (GM): BRUSH . .88 Bank INT-B [EDS] . .7 151 (GM): ORCHESTRA . .89 Bank INT-C [EDS]. .8 152 (GM): SFX . .90 Bank INT-D [EDS]. .9 Bank INT-E [EDS] . 10 Drum Track Patterns/Preset Patterns . 92 Bank USER-A [EDS] . 11 Template song. 94 Bank USER-B [EDS] . 12 Bank USER-C [EDS] . 13 Effect Preset . 96 Bank USER-D [EDS]. 14 Multisample . .100 Bank USER-E [EDS]: EX-USB-PCM01/02 . 15 ROM mono. .100 Bank G / g(1)…g(9) / g(d) [EDS]. 16 ROM stereo. .103 Bank INT-F [RADIAS (Option EXB-RADIAS)] . 18 EX1 mono . .104 Drum Kit . .20 EX1 stereo. .104 00 (INT): Studio Standard Kit. 20 EX2 mono . .104 01 (INT): Funk Kit. 22 EX3 mono . .104 02 (INT): Jazz/Brush Kit . 24 EX3 stereo. .104 03 (INT): B.Real Rap Kit . 26 Drumsample. .106 04 (INT): Acoustic Pop Kit. 28 ROM mono. .106 05 (INT): Wild Rock Kit . 30 ROM stereo. .111 06 (INT): New Processed Kit. 32 07 (INT): Electro Rock Kit . 34 Multisample for KARMA WS . 112 08 (INT): Insane FX Kit .
    [Show full text]
  • Harsh Armadillo Metro•Scene
    •Our 32nd Year Proudly Promoting The Music Scene• FREE August 2017 Bobbo Byrnes Chris Elliott Also In This Issue The Time Machine CD & Movie Reviews Club & Concert News Metronome Madness Musician’s Classifeds and more! Harsh Armadillo Metro•Scene ATWOOD’S TAVERN BLUE HILLS BANK PAVILION 8/17- Felix Cavaliere’s Rascals 8/5- Bucky Lewis Cambridge, MA. Boston, MA. 8/18- Gary Hoey 8/11- Monster Mike Welch and Michael Ledbetter (617) 864-2792 (617) 728-1600 8/24- Davina & the Vagabonds 8/12- Kim Marcoux 8/25- Jarekus Singleton 8/18- Honey Island Swamp Band 8/8- Duke Levine Band 8/2- Belle and Sebastian; Andrew Bird 8/31- Marcia Ball 8/10- Strangers By Accident; Mnemonist 8/4- Alabama Shakes 8/12- Vapors Of Morphine 8/5- Rebelution GREEN HARBOR ROOTS FESTIVAL 8/13- William Wild; Corey Kilgannon 8/6- The All-American Rejects CAPE COD MELODY TENT Marshfield Fairgrounds, MA. 8/17- The Reverend Shawn Amos 8/7- Die Antwoord Hyannis, MA. (781) 834-6629 8/19- The Silks 8/9- Everybody’s Tour (508) 775-5630 8/23- Elijah Ocean 8/11- Gov’t Mule 8/20- Aldous Collins Band; Mighty Mystic; JSN & The 8/25- Tim Gearan Band; Eternals 8/12- Joe Bonamassa 8/2- Chicago Naya Rockers; Milk & Bones; Steve Tobias Band; The 8/27- Sarah Swain & The Oh Boys; The Revelers 10pm 8/14- John Mellencamp 8/4- Comedian Jeff Ross Rampage Trio 8/30- Shannon McNally 8/15- Goo Goo Dolls; Phillip Phillips 8/5- Lee Brice 8/31- Buckley; Muddy Ruckus 8/6- Tower of Power; Average White Band 8/8- ABBA The Concert HOUSE OF BLUES BLUE OCEAN MUSIC HALL 8/9- Joe Bonamassa Boston, MA.
    [Show full text]