KROSS Voice Name List

Total Page:16

File Type:pdf, Size:1020Kb

KROSS Voice Name List Voice Name List 2 Table of Contents Programs . .3 27(INT): Percussion Kit. 49 Category: PIANO . .3 28(INT): Orchestra&Ethno Kit . 50 Category: E.PIANO . .4 29(INT): BD&SD Catalog 1. 52 Category: ORGAN . .5 30(INT): BD&SD Catalog 2. 53 Category: BELL. .6 31(INT): Cymbal Catalog . 54 Category: STRINGS . .7 32(INT): Rock Kit 1 Mono. 55 Category: BRASS . .8 33(INT): Jazz Kit Mono . 56 Category: SYNTH LEAD . .9 34(INT): Wild Kit . 57 Category: SYNTH PAD . 10 35(INT): Breakin' Kit. 58 Category: GUITAR . 11 36(INT): R'n'B Kit. 59 Category: BASS . 12 37(INT): Trapper Kit. 60 Category: DRUM/SFX. 13 38(INT): Bigroom Kit . 61 39(INT): Tropical Kit . 62 Combinations. 15 40(INT): JazzyHop Kit . 63 Category: PIANO . 15 41(INT): Japanese Catalog . 64 Category: E.PIANO . 15 Category: ORGAN . 15 GM Drum Kits . 65 Category: BELL. 16 58(GM): STANDARD . 65 Category: STRINGS . 16 59(GM): ROOM . 66 Category: BRASS . 16 60(GM): POWER . 67 Category: SYNTH LEAD . 17 61(GM): ELECTRONIC . 68 Category: SYNTH PAD . 17 62(GM): ANALOG. 69 Category: GUITAR . 18 63(GM): JAZZ . 70 Category: BASS . 18 64(GM): BRUSH. 71 Category: DRUM/SFX. 19 65(GM): ORCHESTRA . 72 66(GM): SFX. 73 Favorites . 20 FAVORITES- A . 20 Preset Arpeggio Patterns/User Arpeggio Patterns 74 FAVORITES- B . 20 FAVORITES- C . 20 Drum Track Patterns/Pattern Presets. 79 FAVORITES- D. 20 Template songs . 82 Drum Kits. 21 P00: Pop . 82 P01: Rock . 82 00(INT): Basic Kit 1. 21 P02: Jazz . 82 01(INT): Basic Kit 2. 22 P03: Latin . 83 02(INT): Rock Kit 1. 23 P04: Reggae. 83 03(INT): Rock Kit 2. 24 P05: Country . 83 04(INT): Power Kit 1 . 25 P06: Unplugged. 84 05(INT): Power Kit 2 . 26 P07: Euro Trad. ..
Recommended publications
  • Festival Lunario Tierra Adentro, Segundo Lanzamiento De Independientes
    Ciudad de México, martes 16 de mayo de 2017 FESTIVAL LUNARIO TIERRA ADENTRO, SEGUNDO LANZAMIENTO DE INDEPENDIENTES Reunirá ocho propuestas de la nueva generación de músicos de la escena mexicana A ellas se sumarán dos DJ sets, a cargo de artistas con una larga trayectoria El encuentro se realizará el 9 y 10 de junio en el foro alterno del Auditorio Nacional Debido al éxito de su primera edición el año pasado, al convertirse en la plataforma de lanzamiento de la nueva generación de músicos de la escena independiente nacional, el Festival Lunario Tierra Adentro se llevará a cabo por segunda ocasión los próximos 9 y 10 de junio en el foro alterno del Auditorio Nacional. Esta vez serán ocho proyectos musicales provenientes de seis entidades del país, los que demostrarán sobre el escenario que están listos para ser un relevo generacional que refresque la escena de la música independiente actual. Se sumarán dos DJ sets, uno cada noche, a cargo de músicos con una larga trayectoria en el panorama de nuestro país. El 9 de junio podrán escucharse las propuestas de la rapera zapoteca Mare Advertencia Lirika (Oaxaca), el hip hop de Serko Fu (Durango), la mezcla de synthpop, ritmos tropicales y electrónica de Capullo (Aguascalientes), los sonidos urbanos y latinos con influencias de global bass, trap, tribal, moombahton y dembow de Ghetto Kids (CDMX). El DJ set de la noche será de Paco Ayala (Molotov). El 10 de junio llegarán la música electrónica tropical de Borchi y su doble redoble (CDMX), exponente del freestyle-world music-global bass; también el folk pop de Dromedarios mágicos (Chihuahua), el rock alternativo de Dolphant (Guadalajara) y el rock con matices de folk y pop de Kill Aniston (CDMX).
    [Show full text]
  • Unmatched: Buffy the Vampire Slayer Rulebook
    RULES THE UNMATCHED SYSTEM Unmatched is a miniatures dueling game featuring fighters of all kinds — from the page to the screen to the stuff of legends. Each hero has a unique deck of cards that fits their fighting style. You can mix and match fighters from 03 any Unmatched set. But remember, in the end, there can only be one winner. All of your characters in the battle are HEROES& called your fighters, but your primary CONTENTS fighter is called your hero. Heroes are represented by miniatures that move SIDEKICKS around on the battlefield. 3 BUFFY Your other fighters are called sidekicks. All of the heroes RAPID RECOVERY in this set have a single sidekick. (Some heroes in other sets 3 AFTER COMBAT: ACTION CARDS ACTION 1 health. Buffy recovers have multiple sidekicks, and still other heroes have no sidekick HERO MINIATURES HEALTH DIALS HEALTH BUFFY 25 | x3 4 1 8 at all.) Sidekicks are represented by tokens that move around on the battlefield. HERO BUFFY MELEE ATTACK Each hero has a special ability noted on their character card. START 14 HEALTH Buffy may move through spaces containing opposing This card also lists your fighters’ stats, including the starting fighters (including when 3 she is moved by effects). health of your hero and their sidekick. Fighters’ health is SPECIAL ABILITY ™ & © 20th Century Fox BATTLEFIELDS MOVE 2 SIDEKICK GILES OR XANDER tracked on separate health dials. Fighters cannot gain health CHARACTER CARDS CHARACTER MELEE SIDEKICK TOKENS ATTACK START 6 HEALTH DOUBLE-SIDED BOARD DOUBLE-SIDED 4 4 1 WITH higher than the highest number on their health dial.
    [Show full text]
  • “My” Hero Or Epic Fail? Torchwood As Transnational Telefantasy
    “My” Hero or Epic Fail? Torchwood as Transnational Telefantasy Melissa Beattie1 Recibido: 2016-09-19 Aprobado por pares: 2017-02-17 Enviado a pares: 2016-09-19 Aceptado: 2017-03-23 DOI: 10.5294/pacla.2017.20.3.7 Para citar este artículo / to reference this article / para citar este artigo Beattie, M. (2017). “My” hero or epic fail? Torchwood as transnational telefantasy. Palabra Clave, 20(3), 722-762. DOI: 10.5294/pacla.2017.20.3.7 Abstract Telefantasy series Torchwood (2006–2011, multiple production partners) was industrially and paratextually positioned as being Welsh, despite its frequent status as an international co-production. When, for series 4 (sub- titled Miracle Day, much as the miniseries produced as series 3 was subti- tled Children of Earth), the production (and diegesis) moved primarily to the United States as a co-production between BBC Worldwide and Amer- ican premium cable broadcaster Starz, fan response was negative from the announcement, with the series being termed Americanised in popular and academic discourse. This study, drawn from my doctoral research, which interrogates all of these assumptions via textual, industrial/contextual and audience analysis focusing upon ideological, aesthetic and interpretations of national identity representation, focuses upon the interactions between fan cultural capital and national cultural capital and how those interactions impact others of the myriad of reasons why the (re)glocalisation failed. It finds that, in part due to the competing public service and commercial ide- ologies of the BBC, Torchwood was a glocalised text from the beginning, de- spite its positioning as Welsh, which then became glocalised again in series 4.
    [Show full text]
  • Design Project: Big Beat DJ Project Overview
    Rensselaer Polytechnic Institute Department of Electrical, Computer, and Systems Engineering ECSE 4560: Signal Processing Design, Spring 2003 Professor: Richard Radke, JEC 7006, 276-6483 Design Project: Big Beat DJ “I never worked a day in my life; I just laid back and let the big beat lead me.” - The Jungle Brothers Project Overview A good techno DJ spins a continuous stream of music by seamlessly mixing one song into the next. This involves not only synchronizing the beats of the songs to be mixed, but also incrementally adjusting the pitches of the songs so that during the transition, neither song sounds unnatural. Your goal in this project is to use signal processing to produce a computerized DJ that can automatically produce a non-stop mix of music given a library of non-synchronized tracks as input. On top of this basic specification, additional points will be given for implementing advanced techniques like sampling, beat juggling and airbeats that make the mix more exciting. At the end of the term, the computer DJs will face off in a Battle for World Supremacy with a library of entirely novel songs. Basic Deliverables To meet the basic design requirement, your group should deliver • An m-file named bpm.m with syntax b = bpm(song) where song is the name of a music .wav file (or the vector of music samples themselves), and b is the estimated number of beats per minute in the specified song. • An m-file named songmix.m with syntax mix = = songmix(song1,song2), where mix is the resultant continuous mix between song1 and song2.
    [Show full text]
  • City Officials from Across the State Named “Home Rule Heroes”
    301 S. Bronough Street, Suite 300 ● Post Office Box 1757 ● Tallahassee, FL 32302-1757 (850) 222-9684 ● Fax: (850) 222-3806 ● Website: flcities.com City Officials from Across the State Named “Home Rule Heroes” The Florida League of Cities recognizes local officials for their advocacy efforts during legislative session FOR IMMEDIATE RELEASE: May 9, 2019 CONTACT: Brittni Johnsen [email protected] / (850) 701-3652 The Florida League of Cities is recognizing more than 100 municipal officials with Home Rule Hero Awards for their work during the 2019 legislative session. These local leaders earned this award for their tireless efforts to protect the Home Rule powers of Florida’s municipalities and advance the League’s legislative agenda. “The dedication and effort of these local officials during the 2019 legislative session was extraordinary,” said FLC Legislative Director Scott Dudley. “These are some of our biggest advocates for municipal issues, and they’re shining examples of local advocacy in action. On behalf of the League and its legislative team, we’re proud to recognize each and every one of them and thank them for their service.” Home Rule is the ability for a city to address local problems with local solutions with minimal state interference. Home Rule Hero Award recipients are local government officials, both elected and nonelected, who consistently responded to the League’s request to reach out to members of the legislature and help give a local perspective to an issue. The 2019 Home Rule Hero Award recipients are: City Title Name City of Altamonte Springs Mayor Pat Bates City of Arcadia Councilmember Judy Wertz-Strickland City of Atlantic Beach Mayor Ellen Glasser City of Bartow Commissioner Leo E.
    [Show full text]
  • Smash Hits Volume 60
    35p USA $1 75 March I9-April 1 1981 W I including MIND OFATOY RESPECTABLE STREE CAR TROUBLE TOYAH _ TALKING HEADS in colour FREEEZ/LINX BEGGAR &CO , <0$& Of A Toy Mar 19-Apr 1 1981 Vol. 3 No. 6 By Visage on Polydor Records My painted face is chipped and cracked My mind seems to fade too fast ^Pg?TF^U=iS Clutching straws, sinking slow Nothing less, nothing less A puppet's motion 's controlled by a string By a stranger I've never met A nod ofthe head and a pull of the thread on. Play it I Go again. Don't mind me. just work here. I don't know. Soon as a free I can't say no, can't say no flexi-disc comes along, does anyone want to know the poor old intro column? Oh, no. Know what they call me round here? Do you know? The flannel panel! The When a child throws down a toy (when child) humiliation, my dears, would be the finish of a more sensitive column. When I was new you wanted me (down me) Well, I can see you're busy so I won't waste your time. I don't suppose I can drag Now I'm old you no longer see you away from that blessed record long enough to interest you in the Ritchie (now see) me Blackmore Story or part one of our close up on the individual members of The Jam When a child throws down a toy (when toy) (and Mark Ellen worked so hard), never mind our survey of the British funk scene.
    [Show full text]
  • A Hip-Hop Copying Paradigm for All of Us
    Pace University DigitalCommons@Pace Pace Law Faculty Publications School of Law 2011 No Bitin’ Allowed: A Hip-Hop Copying Paradigm for All of Us Horace E. Anderson Jr. Elisabeth Haub School of Law at Pace University Follow this and additional works at: https://digitalcommons.pace.edu/lawfaculty Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Horace E. Anderson, Jr., No Bitin’ Allowed: A Hip-Hop Copying Paradigm for All of Us, 20 Tex. Intell. Prop. L.J. 115 (2011), http://digitalcommons.pace.edu/lawfaculty/818/. This Article is brought to you for free and open access by the School of Law at DigitalCommons@Pace. It has been accepted for inclusion in Pace Law Faculty Publications by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. No Bitin' Allowed: A Hip-Hop Copying Paradigm for All of Us Horace E. Anderson, Jr: I. History and Purpose of Copyright Act's Regulation of Copying ..................................................................................... 119 II. Impact of Technology ................................................................... 126 A. The Act of Copying and Attitudes Toward Copying ........... 126 B. Suggestions from the Literature for Bridging the Gap ......... 127 III. Potential Influence of Norms-Based Approaches to Regulation of Copying ................................................................. 129 IV. The Hip-Hop Imitation Paradigm ...............................................
    [Show full text]
  • Spectator 1956-10-18 Editors of the Ps Ectator
    Seattle nivU ersity ScholarWorks @ SeattleU The peS ctator 10-18-1956 Spectator 1956-10-18 Editors of The pS ectator Follow this and additional works at: http://scholarworks.seattleu.edu/spectator Recommended Citation Editors of The peS ctator, "Spectator 1956-10-18" (1956). The Spectator. 564. http://scholarworks.seattleu.edu/spectator/564 This Newspaper is brought to you for free and open access by ScholarWorks @ SeattleU. It has been accepted for inclusion in The peS ctator by an authorized administrator of ScholarWorks @ SeattleU. Spectator 18, No. 4 Vol. XXIV SEATTLE, WASHINGTON, THURSDAY, OCTOBER 1956 SEATTLEChairmen Report UNIVERSITY New Assembly Board UGN Goal Topped Takes Office Thursday As Drive Finishes The newly elected Assembly Ray Weber: Insurance major in The climax of the United Good Board, legislative body of the the^ School of Commerce and Fi- Neighbors campaign this week was ASSU, will take office Thursday, nance, whose home is Seattle, 128; the announcement by student Oct. 18, at 7:30 p.m. in the Chief- Leo Roppo: Educationmajor also chairman Jim Plastino that the stu- tain Conference Room. of Seattle, 147; had of their dents reached 105% Tabulation of the votes cast in Mary Ann Onorato: Language goal. running of Soph- major from San expressedthe feelings of the this second the Arts in Education Jim omore and Junior races revealed Rafael, Calif., who was last year's UGN staff with the followingstate- big a close contest between the candi- Marycrest chairmanof the United ment: "It has naturally been a 162; goal for dates. Neighbors campaign, thrill for us to top our the Dennehy: Language Arts year.
    [Show full text]
  • IN SEARCH of WARMER CLIMES Following a Move to LA, Bonobo Returns to Ninja Tune with New LP, ‘Migration’
    MUSIC ONE STOP SHOP February’s tunes reviewed p.106 THE LONG GAME Albums arriving this month p.128 MIX ‘N’ MATCH Compilations not to miss p.132 IN SEARCH OF WARMER CLIMES Following a move to LA, Bonobo returns to Ninja Tune with new LP, ‘Migration’... p.129 djmag.com 105 HOUSE BEN ARNOLD QUICKIES Roberto Clementi Avesys EP [email protected] Pets Recordings 8.0 Sheer class from Roberto Clementi on Pets. The title track is brooding and brilliant, thick with drama, while 'Landing A Man'’s relentless thump betrays a soft and gentle side. Lovely. Jagwar Ma Give Me A Reason (Michael Mayer Does The Amoeba Remix) Marathon MONEY 8.0 SHOT! Showing that he remains the master (and managing Baba Stiltz to do so in under seven minutes too), Michael Mayer Is Everything smashes this remix of baggy dance-pop dudes Studio Barnhus Jagwar Ma out of the park. 9.5 The unnecessarily young Baba Satori Stiltz (he's 22) is producing Imani's Dress intricate, brilliantly odd house Crosstown Rebels music that bearded weirdos 8.0 twice his age would give their all chopped hardcore loops, and a brilliance from Tact Recordings Crosstown is throwing weight behind the rather mid-life crises for. Think the bouncing bassline. Sublime work. comes courtesy of roadman (the unique sound of Satori this year — there's an album dizzying brilliance of Robag small 'r' is intentional), aka coming — but ignore the understatedly epic Ewan Whrume for a reference point, Dorsia Richard Fletcher. He's also Tact's Pearson mixes of 'Imani's Dress' at your peril.
    [Show full text]
  • 'Bite Me': Buffy and the Penetration of the Gendered Warrior-Hero
    Continuum: Journal of Media & Cultural Studies, Vol. 16, No. 2, 2002 ‘Bite Me’: Buffy and the penetration of the gendered warrior-hero SARA BUTTSWORTH, University of Western Australia Introduction Can the ultimate girl be the ultimate warrior? If warrior identity is simultaneously a quintessentially masculine identi er, and one of the core expressions of ‘innate’ masculinity, then the biggest transgression of warrior iconography posed by Buffy the Vampire Slayer is Buffy’s gender. Buffy is both like and not like ‘other girls’. The social conventions of mainstream femininity, which have so often been used to argue that women cannot be warriors, are often precisely what make Buffy such an effective soldier in her speculative world. The blurred boundaries that are possible in speculative texts open up space necessary to examine the arguments and gendered ideologies which govern what is, and what is not, possible in the ‘real’ world. Such texts can often make explicit what is implied in more ‘realistic’ representations, and can either destabilize or reinforce gendered cultural conventions.1 Established as the ‘chosen one’ in the 1992 lm, and then in the television series which debuted mid-season in 1997, Buffy has slashed her way not only through the ctional constraints placed upon her predecessors in vampire carnage, but through the conventions governing gendered constructions of the warrior.2 Warrior tradition con- structs a coherent masculinity, including impenetrable male bodies, as the key to warrior identity, and renders ‘slay-gal’3 not only paradoxical but, arguably, impossible. It is this (im)possibility, and the ways in which Buffy the Vampire Slayer fractures and reinvents the gendered identity of the warrior-hero, which are explored in this article.
    [Show full text]
  • M50 Voice Name List
    Voice Name List Table of Contents Combination . .2 GM Drum Kit . 76 Bank A. .2 48 (GM): STANDARD . 76 Bank B. .3 49 (GM): ROOM . 77 Bank C. .4 50 (GM): POWER. 78 51 (GM): ELECTRONIC . 79 Program . .6 52 (GM): ANALOG . 80 Bank A. .6 53 (GM): JAZZ . 81 Bank B. .7 54 (GM): BRUSH . 82 Bank C. .8 55 (GM): ORCHESTRA. 83 Bank D . .9 56 (GM): SFX . 84 Bank E . 10 Bank G / g(1)…g(9) / g(d). 11 Drum Track Patterns/Preset Patterns. 86 Drum Kit . .14 Template song . 88 00 (INT): Studio Standard Kit. 14 Preset Arpeggio Patterns/User Arpeggio Patterns . 90 01 (INT): Funk Kit. 16 02 (INT): Jazz/Brush Kit . 18 Multisample. 94 03 (INT): B.Real Rap Kit . 20 ROM mono . 94 04 (INT): Acoustic Pop Kit. 22 ROM stereo . 97 05 (INT): Wild Rock Kit . 24 Drumsample . 98 06 (INT): New Processed Kit. 26 07 (INT): Electro Rock Kit . 28 ROM mono . 98 08 (INT): Insane FX Kit . 30 ROM stereo . 103 09 (INT): Nu Style Kit . 32 Demo Song. 104 10 (INT): Hip Hop Kit . 34 S000 . 104 11 (INT): Tricki kit. 36 S001 . 104 12 (INT): Mashed Kit. 38 S002 . 104 13 (INT): Drum'n'Bass Kit . 40 S003 . 104 14 (INT): House Kit . 42 Cue List . 104 15 (INT): Trance Kit . 44 16 (INT): Hard House Kit . 46 17 (INT): Psycho-Chill Kit . 48 18 (INT): Down Low Rap Kit. 50 19 (INT): Orch.-Ethnic Kit . 52 20 (INT): Original Perc . 54 21 (INT): Brazilian Perc. 56 22 (INT): Cuban Perc .
    [Show full text]
  • The A-Z of Brent's Black Music History
    THE A-Z OF BRENT’S BLACK MUSIC HISTORY BASED ON KWAKU’S ‘BRENT BLACK MUSIC HISTORY PROJECT’ 2007 (BTWSC) CONTENTS 4 # is for... 6 A is for... 10 B is for... 14 C is for... 22 D is for... 29 E is for... 31 F is for... 34 G is for... 37 H is for... 39 I is for... 41 J is for... 45 K is for... 48 L is for... 53 M is for... 59 N is for... 61 O is for... 64 P is for... 68 R is for... 72 S is for... 78 T is for... 83 U is for... 85 V is for... 87 W is for... 89 Z is for... BRENT2020.CO.UK 2 THE A-Z OF BRENT’S BLACK MUSIC HISTORY This A-Z is largely a republishing of Kwaku’s research for the ‘Brent Black Music History Project’ published by BTWSC in 2007. Kwaku’s work is a testament to Brent’s contribution to the evolution of British black music and the commercial infrastructure to support it. His research contained separate sections on labels, shops, artists, radio stations and sound systems. In this version we have amalgamated these into a single ‘encyclopedia’ and added entries that cover the period between 2007-2020. The process of gathering Brent’s musical heritage is an ongoing task - there are many incomplete entries and gaps. If you would like to add to, or alter, an entry please send an email to [email protected] 3 4 4 HERO An influential group made up of Dego and Mark Mac, who act as the creative force; Gus Lawrence and Ian Bardouille take care of business.
    [Show full text]