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The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification
The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below). -
Metaflanger Table of Contents
MetaFlanger Table of Contents Chapter 1 Introduction 2 Chapter 2 Quick Start 3 Flanger effects 5 Chorus effects 5 Producing a phaser effect 5 Chapter 3 More About Flanging 7 Chapter 4 Controls & Displa ys 11 Section 1: Mix, Feedback and Filter controls 11 Section 2: Delay, Rate and Depth controls 14 Section 3: Waveform, Modulation Display and Stereo controls 16 Section 4: Output level 18 Chapter 5 Frequently Asked Questions 19 Chapter 6 Block Diagram 20 Chapter 7.........................................................Tempo Sync in V5.0.............22 MetaFlanger Manual 1 Chapter 1 - Introduction Thanks for buying Waves processors. MetaFlanger is an audio plug-in that can be used to produce a variety of classic tape flanging, vintage phas- er emulation, chorusing, and some unexpected effects. It can emulate traditional analog flangers,fill out a simple sound, create intricate harmonic textures and even generate small rough reverbs and effects. The following pages explain how to use MetaFlanger. MetaFlanger’s Graphic Interface 2 MetaFlanger Manual Chapter 2 - Quick Start For mixing, you can use MetaFlanger as a direct insert and control the amount of flanging with the Mix control. Some applications also offer sends and returns; either way works quite well. 1 When you insert MetaFlanger, it will open with the default settings (click on the Reset button to reload these!). These settings produce a basic classic flanging effect that’s easily tweaked. 2 Preview your audio signal by clicking the Preview button. If you are using a real-time system (such as TDM, VST, or MAS), press ‘play’. You’ll hear the flanged signal. -
Neural Modelling of Periodically Modulated Time-Varying Effects
Proceedings of the 23rd International Conference on Digital Audio Effects (DAFx2020),(DAFx-20), Vienna, Vienna, Austria, Austria, September September 8–12, 2020-21 2020 NEURAL MODELLING OF PERIODICALLY MODULATED TIME-VARYING EFFECTS Alec Wright and Vesa Välimäki ∗ Acoustics Lab, Dept. of Signal Processing and Acoustics Aalto University Espoo, Finland [email protected] ABSTRACT In recent years, numerous studies on virtual analog modelling of guitar amplifiers [11, 12, 13, 14, 4, 15] and other nonlinear sys- This paper proposes a grey-box neural network based approach tems [16, 17] using neural networks have been published. Neural to modelling LFO modulated time-varying effects. The neural network modelling of time-varying audio effects has received less network model receives both the unprocessed audio, as well as attention, with the first publications being published over the past the LFO signal, as input. This allows complete control over the year [18, 3]. Whilst Martínez et al. report that accurate emulations model’s LFO frequency and shape. The neural networks are trained of several time-varying effects were achieved, the model utilises using guitar audio, which has to be processed by the target effect bi-directional Long Short Term Memory (LSTM) and is therefore and also annotated with the predicted LFO signal before training. non-causal and unsuitable for real-time applications. A measurement signal based on regularly spaced chirps was used In this paper we present a general approach for real-time mod- to accurately predict the LFO signal. The model architecture has elling of audio effects with parameters that are modulated by a been previously shown to be capable of running in real-time on a Low Frequency Oscillator (LFO) signal. -
Santas Headed South Tambourine, Trumpet and Big Bass Drum
BOOKLETS, FORMS A T IR OFFICE FOR FIRESTONE PARTIES Start Early On Applications ^ ^ Santas Headed South ELLESMERE ISLAND (Spe news received at this most cial)—Word received here from northerly island of the Arctic For Company Scholarships the North Pole headquarters of Archipelago said that the Fire Santa Claus confirms his annual stone Yule parties would go ac Explanatory booklets and pany by January 1, 1961; and in schedule for a Southland stop cording to traditional schedule application forms for the the upper half of his or her over in Gastonia, and a pre- — this year, on Saturday, 1961 Firestone scholarship class, scholastically. Christmas Eve visit with chil December 17. program for employees’ chil Only children of those em dren of Firestone Textiles It will be St. Nick’s 21st dren are available at the In ployees whose average income households. December pilgrimage Southward dustrial Relations office. does not exceed $800 per month, Further confirmation of the for the children’s parties, stag To employees who have sons without overtime, will be eli ed through the years at the gible. Webb and Palace theatres in or daughters ready for college ☆ ☆ ☆ next fall, and who are interest FIRESTONE scholarships pay Gastonia. ed in applying: the cost of full tuition, fees, and CHILDREN through 13 years Deadline for application for books and a substantial part of North Country Visitor; of age who are members of living expenses at college. scholarships is March L 1961. It He's Making A List Firestone employee households is most important that high Scholarships are always al will be honored guests at the school seniors start early to pre located to the various sections traditional company parties. -
Metaflanger User Manual
MetaFlanger Table of Contents Chapter 1 Introduction 2 Chapter 2 Quick Start 3 Flanger effects 5 Chorus effects 5 Producing a phaser effect 5 Chapter 3 More About Flanging 7 Chapter 4 Controls & Displa ys 11 Section 1: Mix, Feedback and Filter controls 11 Section 2: Delay, Rate and Depth controls 14 Section 3: Waveform, Modulation Display and Stereo controls 16 Section 4: Output level 18 Section 5: WaveSystem Toolbar 18 Chapter 5 Frequently Asked Questions 19 Chapter 6 Block Diagram 20 Chapter 7.........................................................Tempo Sync in V5.0.............22 MetaFlanger Manual 1 Chapter 1 - Introduction Thanks for buying Waves processors. Thank you for choosing Waves! In order to get the most out of your new Waves plugin, please take a moment to read this user guide. To install software and manage your licenses, you need to have a free Waves account. Sign up at www.waves.com. With a Waves account you can keep track of your products, renew your Waves Update Plan, participate in bonus programs, and keep up to date with important information. We suggest that you become familiar with the Waves Support pages: www.waves.com/support. There are technical articles about installation, troubleshooting, specifications, and more. Plus, you’ll find company contact information and Waves Support news. The following pages explain how to use MetaFlanger. MetaFlanger’s Graphic Interface 2 MetaFlanger Manual Chapter 2 - Quick Start For mixing, you can use MetaFlanger as a direct insert and control the amount of flanging with the Mix control. Some applications also offer sends and returns; either way works quite well. -
Nitro Drum Kit Assembly Guide
Assembly Guide Guía de armado Guide de montage alesis.com Guida di montaggio Montageanleitung Manual Version 1.0 Note: Use the drum key (V) to loosen or 1 tighten the bolts of clamps when assembling 23 the kit or making adjustments. E F Nota: Use la llave (V) para aflojar o apretar F F los pernos de las abrazaderas cuando arme el kit o haga ajustes. Remarque : Utilisez la clé de batterie (V) E pour dévisser ou resserrer les boulons des bagues de fixation lors de l’assemblage de A B l'ensemble pour batterie ou pour faire des A B ajustements. CD G Nota bene: servirsi della chiave della batteria (V) per allentare o stringere i bulloni A/B dei morsetti al momento di montare il kit o di C/D apportare regolazioni. A Hinweis: Verwenden Sie den E/F Stimmschlüssel (V), um die Klemmen bei der Montage des Kits oder bei Anpassungen zu lockern oder festzuziehen. 4 5 H 6 8 I I H H I I I H H H 6 789 L M L/M M J J K Q ON Q J/K P O+N alesis.com Manual Version 1.0 Box Contents Connection Diagram Schema dei collegamenti A (1) B (1) C (1) Contenido de la caja Diagrama de conexión Anschlussübersicht Contenu de la boîte Schéma d’installation Contenuti della confezione Important: Use the cable snake (R) to connect the drum pads and cymbal pads to the module (Q) (as Lieferumfang shown in the Connection Diagram). Importante: Use el grupo de cables (R) para conectar D (1) E (1) F (2) G (1) los módulos de tambores y platillos al módulo (Q) (como se muestra en el diagrama de conexión). -
PASIC 2010 Program
201 PASIC November 10–13 • Indianapolis, IN PROGRAM PAS President’s Welcome 4 Special Thanks 6 Area Map and Restaurant Guide 8 Convention Center Map 10 Exhibitors by Name 12 Exhibit Hall Map 13 Exhibitors by Category 14 Exhibitor Company Descriptions 18 Artist Sponsors 34 Wednesday, November 10 Schedule of Events 42 Thursday, November 11 Schedule of Events 44 Friday, November 12 Schedule of Events 48 Saturday, November 13 Schedule of Events 52 Artists and Clinicians Bios 56 History of the Percussive Arts Society 90 PAS 2010 Awards 94 PASIC 2010 Advertisers 96 PAS President’s Welcome elcome 2010). On Friday (November 12, 2010) at Ten Drum Art Percussion Group from Wback to 1 P.M., Richard Cooke will lead a presen- Taiwan. This short presentation cer- Indianapolis tation on the acquisition and restora- emony provides us with an opportu- and our 35th tion of “Old Granddad,” Lou Harrison’s nity to honor and appreciate the hard Percussive unique gamelan that will include a short working people in our Society. Arts Society performance of this remarkable instru- This year’s PAS Hall of Fame recipi- International ment now on display in the plaza. Then, ents, Stanley Leonard, Walter Rosen- Convention! on Saturday (November 13, 2010) at berger and Jack DeJohnette will be We can now 1 P.M., PAS Historian James Strain will inducted on Friday evening at our Hall call Indy our home as we have dig into the PAS instrument collection of Fame Celebration. How exciting to settled nicely into our museum, office and showcase several rare and special add these great musicians to our very and convention space. -
TD-30 Data List
Data List Preset Drum Kit List No. Name Pad pattern No. Name Pad pattern 1 Studio 41 RockGig 2 LA Metal 42 Hard BeBop 3 Swingin’ 43 Rock Solid 4 Burnin’ 44 2nd Line 5 Birch 45 ROBO TAP 6 Nashville 46 SATURATED 7 LoudRock 47 piccolo 8 JJ’s DnB 48 FAT 9 Djembe 49 BigHall 10 Stage 50 CoolGig LOOP 11 RockMaster 51 JazzSes LOOP 12 LoudJazz 52 7/4 Beat LOOP 13 Overhead 53 :neotype: 1SHOT, TAP 14 Looooose 54 FLA>n<GER 1SHOT, TAP 15 Fusion 55 CustomWood 16 Room 56 50s King 17 [RadioMIX] 57 BluesRock 18 R&B 58 2HH House 19 Brushes 59 TechFusion 20 Vision LOOP, TAP 60 BeBop 21 AstroNote 1SHOT 61 Crossover 22 acidfunk 62 Skanky 23 PunkRock 63 RoundBdge 24 OpenMaple 64 Metal\Core 25 70s Rock 65 JazzCombo 26 DrySound 66 Spark! 27 Flat&Shallow 67 80sMachine 28 Rvs!Trashy 68 =cosmic= 29 melodious TAP 69 1985 30 HARD n’BASS TAP 70 TR-808 31 BazzKicker 71 TR-909 32 FatPressed 72 LatinDrums 33 DrumnDubStep 73 Latin 34 ReMix-ulator 74 Brazil 35 Acoutronic 75 Cajon 36 HipHop 76 African 37 90sHouse 77 Ka-Rimba 38 D-N-B LOOP 78 Tabla TAP 39 SuperLoop TAP 79 Asian 40 >>process>>> 80 Orchestra TAP Copyright © 2012 ROLAND CORPORATION All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION. Roland and V-Drums are either registered trademarks or trademarks of Roland Corporation in the United States and/or other countries. -
Jamey Haddad's Under One Sun and Cyro Baptista's Vira Loucos Under
Jamey Haddad’s Under One Sun and Cyro Baptista’s Vira Loucos Friday, October 26, 2018 at 8:00pm This is the 871st concert in Koerner Hall Jamey Haddad, drum & percussion Billy Drewes, tenor & soprano saxophone, bass clarinet & flute Salar Nader, tabla Ali Paris, qanun & vocals Leo Blanco, piano Michael Ward-Bergman, hyper accordion Roberto Occhipinti, bass Luisito Quintaro, congas, timbales & percussion Cyro Baptista, percussion & vocals Romero Lubambo, guitar Kevin Breit, guitar & banjo Michael Ward-Bergeman, hyper accordion Shanir Blumenkranz, bass Tim Keiper, drums Vanessa Falabella, vocals John Zorn, saxophone Under One Sun For my part, I have been a jazz musician all my life and I have been lucky enough to play and record with so many of my heroes! A time came where I jumped the fence 20 years ago to perform and tour with Paul Simon and I am still with him. That experience along with a lifetime of interest and devotion to our planet’s diversity led me to Under One Sun. Ever since my earliest days back in Cleveland and long before I actually understood the importance of it, the idea for a group like Under One Sun had been in my mind. So, as my musical journey led me from one continent to another, and I experienced a planet crying out for understanding of “the other,” over time this team of players cosmically came forward. It was my way of saying “we can celebrate because we want to find common ground and celebrate our differences.” It took a minute, but I eventually assembled opportunities so we could all meet and share our respective music. -
Brasilian Rhythms and Drumming Techniques
BRASILIAN RHYTHMS AND DRUMMING TECHNIQUES Dr. Jason Koontz Director of Percussion Studies Eastern Kentucky University GENERAL CHARACTERISTICS OF AFRO-BRASILIAN MUSIC *Call and response *Rhythmic complexity (syncopation & polyrhythm) *Structure based on melodic/rhythmic ostinato patterns *Use of timeline/clave *Music as means of communal participation SAMBA - AFRO-BRASILIAN URBAN POPULAR SONG/DANCE FORM Carnival samba (e.g. Samba Batucada and Samba Enredo (Rio,São Paulo), Axé (Bahia) §Characterized by heavy percussion, songs about themes presented in Carnival Pagode (Year-round) samba §Characterized by light percussion and plucked string accompaniment (guitar, cavaquinho) §Songs often satiric, witty, improvised Partido Alto Rhythm Variations A ™2 ≈ ¿™ ¿ ¿ ¿ ¿ ≈ ¿ ¿ ™ / 4 J 3 B ™ ¿ ¿ ≈ ¿ ¿ ≈ ¿™ ¿ ¿ ™ / J 5 C ™ ≈ ¿ ¿ ‰ ¿ ¿ ¿ ¿™ ¿ ™ / J 7 D ™ ≈ ¿ ¿ ‰ ¿ ¿ ¿ ≈ ¿ ¿ ™ / J 9 E *"palma da mão" rhythm ™ ¿™ ¿ ‰ ¿ ¿™ ¿ ‰ ¿ / J J PAGODE INSTRUMENTS: Surdo de Mão – Bass drum instrument played with the hand (a.k.a. Tan Tan, Rebolo) Tamborim (tom-boo-reem), a small single-headed frame drum Pandeiro, (pahn-dey-roo) a tambourine Reco-Reco (hecko-hecko) – scraped metal spring instrument (like a metal Guiro) Cuica (Kwee-Ka) friction drum Cavaquinho – Brasilian counterpart to the Portuguese Cavaquinho, and Ukulele (steel strings G-D-B-G) Pagode (pah-go-jee) rhythms A pattern 1 B pattern 2 > > > > > > > > ° ™2 œ œ œ ™ ™ œ œ œ œ œ œ œ œ ™ Cuíca / ™4 ≈ œ œ œ ≈ œ œ ™ ™ œ œ œ œ œ œ œ œ ™ ™2 ≈ ≈ ™ ™ ≈ ≈ ™ Tamborim / ™4 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ™ ™ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ™ *"Teleco-teco" rhythm (based on Partido Alto) >. >. >o >. >. >. >o >. ™ o o ™ ™ ™ 2 >¿ >¿ o >¿ ≈ o o ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ Pandeiro / ™4 ≈ œ œ œ œ œ ™ ™ œ œ œ œ œ œ œ œ ™ t f h f t f h f t f h f t f h f . -
Contents About the Author
2 THE SERIOUS GUITARIST | EsseNtiaL BOOK OF Gear CONTENTS About the Author ..................................................... 3 2000 and Beyond ............................................38 Part 3: The Technical Stuff ..................................82 Introduction .............................................................. 4 Amp Modeling ...............................................39 The Science of Sound .....................................82 Guitar Apps ...................................................39 Vibrations........................................................82 Part 1: The History of Guitar Gear ...................... 5 8- and 9-String Guitars ...............................39 Amplitude and Types of Waves .................82 The1930s ............................................................. 5 Guitar-Based Video Games ......................40 Overtones (Harmonics) ..............................82 The First Electric Guitars .............................. 5 Look, Ma, No Amp! ......................................40 Modulation .....................................................83 The First Amplifiers ........................................ 6 Fractal Audio Systems Axe-FX II ..............40 The Order of Effects ....................................83 Early 7-String Guitar ...................................... 8 Looking Ahead ..............................................41 Understanding Guitar Amps ..........................84 Early Talk Box .................................................. 8 Tube Amps .....................................................84 -
Strike Performance Drum Module User Guide
User Guide English Table of Contents Introduction ................................................. 3 Trigger Mode ........................................ 19 Box Contents .......................................... 3 About Crosstalk (XTalk) .................. 20 Support ................................................... 3 Hi-Hat Pedal Setup ........................ 21 Setup ...................................................... 3 Metronome ........................................... 22 Features ....................................................... 4 Sample Mode ....................................... 23 Top Panel ................................................ 4 Recording Samples ........................ 23 Rear Panel .............................................. 6 Editing Samples ............................. 24 Saving Samples .............................. 25 Operation ..................................................... 7 Assigning Samples ......................... 26 Navigation ............................................... 7 Playing Loops ................................. 26 Controls ............................................ 7 Utility Menu .......................................... 27 Overview ........................................... 8 Kit Menu ...................................... 8 Metronome (Metro) ......................... 27 Kit FX Mode ................................. 9 Voice Mode .................................. 9 MIDI ................................................ 28 Trigger Mode ..............................