Owner's Manual
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Year 5 Music and HASS
Dance Dance ABORIGINAL AND TORRES STRAIT ISLANDER HISTORIES AND CULTURES LIVINGMotion CULTURES Transfer – Motion Transfer DANCE#702A48 #702A48 Remedial Practice Remedial Practice #94901F #94901F Creating Tradition Creating Tradition #0D588C #0D588C YEAR 5 Department of Education Dance Dance LIVING CULTURES – YEAR 5 Motion Transfer Motion Transfer DANCE#702A48 #702A48 Remedial Practice Remedial Practice #94901F #94901F CLAPSTICKSCreating Tradition Creating Tradition #0D588C #0D588C Learners undertake an inquiry into an Aboriginal instrument – the clapstick – before listening to a range of traditional and contemporary Aboriginal song and dance to explore the way clapsticks communicate meaning. Finally, students will make a set of their own clapsticks with an Aboriginal Sharer of Knowledge. CROSS CURRICULUM PRIORITY and practices of various cultural groups in relation to a specific time, event or custom Aboriginal and Torres Strait Islander Histories and Cultures Critical & Creative Thinking Organising idea 1 Inquiring – identifying, exploring and organising information Australia has two distinct Indigenous groups: Aboriginal and ideas Peoples and Torres Strait Islander Peoples, and within Organise and process information those groups there is significant diversity. Level 4 – analyse, condense and combine relevant Organising idea 4 information from multiple sources Aboriginal and Torres Strait Islander societies have Generating ideas, possibilities and actions many Language Groups. Imagine possibilities and connect ideas ACHIEVEMENT STANDARDS Level 4 – combine ideas in a variety of ways and from a Music range of sources to create new possibilities Students explain how the elements of music are used to communicate meaning in the music they listen to, compose and perform. They use rhythm, pitch and Learning Goals form symbols and terminology to compose and Learners will: perform music. -
Look What You Can Do with the TM-2
English Deutsch Français Italiano Español Português Nederlands Look what you can do with the TM-2 By using the TM-2 in conjunction with separately sold pads or acoustic drum triggers, you can easily play the internal sounds or your own audio files. • Use with acoustic drums to play electronic sounds or percussion • Enhance an acoustic kick, or layer claps onto a snare • Play songs or loops • Connect the TM-2 via MIDI with your V-Drums, and play your favorite drum sounds (WAV files) Owner’s Manual (this document) To obtain the PDF manual Read this first. It explains the basic things you need to know in order to use the TM-2. 1. Enter the following URL in your computer. http://www.roland.com/manuals/ PDF Manual (download from the Web) 2. Choose “TM-2” as the product name. • Sound List This lists the TM-2’s internal sounds and the effect parameters. Contents Main Features ...................................2 Others Quick Start ......................................3 Restoring the Factory Settings ..................14 Preparations Saving a Backup to the SD Card. 15 Installing Batteries ..............................4 Adjusting the Connected Pads. .16 Using the Mounting Plate .......................4 Formatting an SD Card .........................17 Panel Descriptions ..............................5 Troubleshooting ...............................18 Connecting Your Equipment .....................6 Error Messages .................................18 Turning the Power On/Off .......................6 Main Specifications ............................19 Connecting Pads ................................7 USING THE UNIT SAFELY ........................20 Basics IMPORTANT NOTES .............................20 Selecting a Kit ...................................8 Playing Sounds (Instruments). .9 Before using this unit, carefully read the sections entitled “USING THE UNIT SAFELY” and “IMPORTANT NOTES” (leaflet “USING THE Playing Audio Files .............................10 UNIT SAFELY” and Owner’s Manual p. -
Product Guide 2020
Product Guide 2020 ZILDJIAN 2020 PRODUCT GUIDE CYMBAL FAMILIES 3 K FAMILY 5 A FAMILY 13 FX FAMILY 17 S FAMILY 19 I FAMILY 21 PLANET Z 23 L80 LOW VOLUME 25 CYMBAL PACKS 27 GEN16 29 BAND & ORCHESTRAL CYMBALS 31 GEAR & ACCESSORIES 57 DRUMSTICKS 41 PRODUCT LISTINGS 59 1 Product Guide 2 THE CYMBAL FAMILY 3 Product Guide 4 THE FAMILY K ZILDJIAN CYMBALS K Zildjian cymbals are known for their dark, warm sounds that harkens back to the original K cymbals developed by Zildjian in 19th Century Turkey. Instantly recognizable by their ˝vented K˝ logo, K cymbals capture the aura of original Ks but with far greater consistency, making them the choice of drummers from genres as diverse as Jazz, Country and Rock. RIDES SIZES CRASHES SIZES HIHATS SIZES EFFECTS SIZES Crash Ride 18˝ 20˝ 21˝ Splash 8˝ 10˝ 12˝ HiHats 13˝ 14˝ Mini China 14˝ Ride 20˝ 22˝ Dark Crash Thin 15˝ 16˝ 17˝ 18˝ 19˝ 20˝ K/Z Special HiHats 13˝ 14˝ EFX 16˝ 18˝ Heavy Ride 20˝ Dark Crash Medium Thin 16˝ 17˝ 18˝ Mastersound HiHats 14˝ China 17˝ 19˝ Light Ride 22˝ 24˝ Cluster Crash 16˝ 18˝ 20˝ Light HiHats 14˝ 15˝ 16˝ Dark Medium Ride 22˝ Sweet Crash 16˝ 17˝ 18˝ 19˝ 20˝ Sweet HiHats 14˝ 15˝ 16˝ Light Flat Ride 20˝ Sweet Ride 21˝ 23˝ DETAILS: Exclusive K Zildjian random hammering, traditional wide groove lathing, all Traditional except 21” Crash Ride 6 SPECIAL DRY K CUSTOM CYMBALS K Custom cymbals are based on the darker, dryer sounds of the legendary K line but have been customized with unique finishes, K CUSTOM SPECIAL DRY CYMBALS tonal modifications, and manufacturing techniques. -
Drum Trigger Module Setup Manual for DT50S/DT50K
Drum Trigger Module Setup Manual for DT50S/DT50K EN This manual describes how to correctly connect drum triggers (DT50S/DT50K) to your drum trig- ger module and set parameters on your module to use the triggers. Refer to the Owner’s Manual that came with your DT50S/DT50K for details on how to use drum triggers and mount them on acoustic drums. Select your drum trigger module. DTX502 Page 2 DTX700 Page 12 DTX900M/DTX900/DTXTREME III Page 17 DTX-MULTI 12 Page 24 1 DTX502 Checking the Firmware Version Depending on the version of the firmware, you may need to update it. Before you connect the module to your DT50S/DT50K triggers, be sure to check the version of your module’s firmware. 1. While holding down the [SHIFT] button, turn on the drum trigger module. 2. Confirm the version displayed on-screen. Selecting a Setup Method After you confirm the version, select the appropriate setup method. Quick Setup (recommended) If Version 1.30 or later Advanced Setup Update before Using (recommended) If Version less than 1.30 Use without Updating 2 Quick Setup (recommended) DTX502 Quick Setup (recommended) This section describes the basic setup for connecting your DT50S/DT50K triggers to your module, and how to automatically set parameters by using Trigger Setup. With this method, you do not need to select voices individually. You can play snare, tom, or kick drum sounds simply by selecting a Pre- set kit. 1. Connecting to the Drum Trigger Module Connect your drum triggers to the jacks on your DTX502 indicated below by using the stereo audio cables that came with the triggers. -
Jay Weinberg Drum Specifications
JAY WEINBERG ACOUSTIC DRUMSET SPECIFICATIONS SJC CUSTOM DRUMS “M5” Maple Shells 14” x 22” 7-ply kick drum 14” x 22” 7-ply kick drum 6.5” x 14” 48-ply snare drum 8” x 10” 5-ply rack tom 8” x 12” 5-ply rack tom 9” x 13” 5-ply rack tom 16” x 16” 5-ply floor tom 18” x 18” 5-ply floor tom Custom wrap artwork by Thomas Hooper Chrome hardware with rust accents DW brackets Suspended mounts Diecast hoops Distressed kick hoops with black oyster inlays Vintage kick spurs and legs Kick drum T-rods SJC shield lugs ZILDJIAN CYMBALS 10” K Custom Hybrid Splash 14” A Custom Hi-Hats 18” Ultra Hammered China 20” A Custom Crash 8” K Custom Hybrid Splash 10” Oriental China 8” EFX Bell 20” A Custom Crash 18” Ultra Hammered China 21” S Rock Ride 13” A Custom Hi-Hats 22” Crash of Doom DRUM WORKSHOP PEDALS AND HARDWARE Rack System (5) DWCPRKTLEG Leg Assemblies (7) DWCPRKB36S 36” Straight Bars (2) DWCPRKB42C 42” Curved Bars DWSMRKTTCA 1.5” - .75” Tube Top Cymbal Adapters (13) DWSM934S - SM912S 9” x 1/2” Boom Cymbal Arms (9) DWSMRKC15T 1.5” - 1.5” Leg Clamps (5) DWSMTA12 1” - 1/2” Tom Arms with SM780, 1” Memory Lock (27) DWSMRKML15 1.5” Hinged Memory Locks DWSM9212 1/2” x 18” Boom Arm with Incrementally Adjustable Hi-Hat Clutch DWSM2141X Hi-Hat Stabilizing Clamp System DWSM776 7” Overall with Double Angle V-Clamps / SMMGM Memory Locks DWCPRKSBL Floating Snare Basket (8) GoPro Camera Mounts (2) DWCP9000 Single Pedals DW9500TB Hi-Hat stand (no legs) DWCP9300AL Snare Stand VATER DRUMSTICKS “Jay Weinberg” Universal Model VSHM Stick Holder VSHS Stick Holder (2) VDH Drink -
A Distinctive Voice in the Antipodes: Essays in Honour of Stephen A. Wild
ESSAYS IN HONOUR OF STEPHEN A. WILD Stephen A. Wild Source: Kim Woo, 2015 ESSAYS IN HONOUR OF STEPHEN A. WILD EDITED BY KIRSTY GILLESPIE, SALLY TRELOYN AND DON NILES Published by ANU Press The Australian National University Acton ACT 2601, Australia Email: [email protected] This title is also available online at press.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Title: A distinctive voice in the antipodes : essays in honour of Stephen A. Wild / editors: Kirsty Gillespie ; Sally Treloyn ; Don Niles. ISBN: 9781760461119 (paperback) 9781760461126 (ebook) Subjects: Wild, Stephen. Essays. Festschriften. Music--Oceania. Dance--Oceania. Aboriginal Australian--Songs and music. Other Creators/Contributors: Gillespie, Kirsty, editor. Treloyn, Sally, editor. Niles, Don, editor. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover design and layout by ANU Press. Cover photograph: ‘Stephen making a presentation to Anbarra people at a rom ceremony in Canberra, 1995’ (Australian Institute of Aboriginal and Torres Strait Islander Studies). This edition © 2017 ANU Press A publication of the International Council for Traditional Music Study Group on Music and Dance of Oceania. Aboriginal and Torres Strait Islander people are advised that this book contains images and names of deceased persons. Care should be taken while reading and viewing. Contents Acknowledgements . vii Foreword . xi Svanibor Pettan Preface . xv Brian Diettrich Stephen A . Wild: A Distinctive Voice in the Antipodes . 1 Kirsty Gillespie, Sally Treloyn, Kim Woo and Don Niles Festschrift Background and Contents . -
AYITI CHERIE, MY DARLING HAITI by Nimi Finnigan, B.S, M.F.A A
AYITI CHERIE, MY DARLING HAITI by Nimi Finnigan, B.S, M.F.A A Dissertation In ENGLISH Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Dennis Covington Chair of Committee Michael Borshuk Jackie Kolosov-Wenthe Peggy Gordon Miller Dean of the Graduate School May 2012 Copyright 2012, Nimi Finnigan Texas Tech University, Nimi Finnigan, May 2012 ACKNOWLEDGEMENTS I owe a debt of gratitude to a number of people without whom Ayiti Cherie, My Darling Haiti would never have been completed: Dennis Covington, who not only served as my supervisor but also introduced me to literary nonfiction, as well as Jackie Kolosov and Michael Borshuk for generously giving of their time and advice and for putting up with me. And as always, I still have not found the right words to thank and honor Mousson and Sean, who edited the manuscript for the facts, but more importantly who remind me to just be Nimi Finnigan through everything that I do because that’s enough. ii Texas Tech University, Nimi Finnigan, May 2012 TABLE OF CONTENTS ACKNOWLEDGEMENTS ......................................................................................... II ABSTRACT ................................................................................................................. IV 1. INTRODUCTION .................................................................................................... 1 Creative Nonfiction Overview: It’s All about the Latticework ................................ -
Groove Explorer: an Intelligent Visual Interface for Drum Loop Library Navigation
Groove Explorer: An Intelligent Visual Interface for Drum Loop Library Navigation Fred Bruford Mathieu Barthet Centre for Digital Music, Centre for Digital Music Queen Mary University of London Queen Mary University of London London, UK London, UK [email protected] [email protected] SKoT McDonald Mark Sandler ROLI Ltd. Centre for Digital Music London, UK Queen Mary University of London [email protected] London, UK [email protected] ABSTRACT 1 INTRODUCTION Music producers nowadays rely on increasingly large libraries of Since the early days of Music Information Retrieval (MIR) as a loops, samples and virtual instrument sounds as part of the compo- research field, one significant topic of research has been inthein- sition process. Intelligent interfaces are therefore useful in enabling telligent visual organization of music data as a means of managing navigation of these databases in a way that supports the production and understanding the increasingly large quantities of data arising workflow. Within virtual drumming software, producers typically from advances in music content digitization [1]. Within digital au- rely on large libraries of symbolic drum loops. Due to their large dio workstation (DAW)-based music production environments, the size, navigating and exploring these libraries can be a difficult pro- searching and mining of music databases for production content cess. To address this, preliminary work is presented into the Groove is a common task. Producers frequently make use of assembled Explorer. Using Self-Organizing Maps, a large library of symbolic libraries of various different types of data, such as samples, loops, drum loops is automatically mapped on a 2D space according to synthesizer presents and virtual instruments. -
The Theft of Culture and Inauthentic Art and Craft: Australian Consumer Law and Indigenous Intellectual Property
The Theft of Culture and Inauthentic Art and Craft: Australian Consumer Law and Indigenous Intellectual Property Stephanie Parkin LLB Submitted in fulfilment of the requirement for the degree of Master of Philosophy School of Law Faculty of Law Queensland University of Technology 2020 1 Abstract This thesis focuses on the 2017 House of Representatives Standing Committee (2017 Inquiry Committee) on Indigenous Affairs Parliamentary Inquiry into the ‘growing presence of inauthentic Aboriginal and Torres Strait Islander ‘style’ art and craft products and merchandise for sale across Australia’. In particular, this thesis explores and gives priority to the evidence submitted by Aboriginal and Torres Strait Islander participants to the Inquiry (2017 Inquiry). In doing so, this thesis investigates a number of relevant fields of intellectual property law including copyright law and trade mark law and gives particular focus to the Australian Consumer Law (ACL). Such analysis considers and answers the research question: ‘How can the law protect Aboriginal cultural expression from exploitation?’ The geographical focus of this thesis is limited to Australia and reference to ‘2017 Inquiry’ is a reference to the above titled inquiry. Inauthentic Art and Craft has existed in the Australian marketplace for decades. The elements of Inauthentic Art and Craft consists of souvenir products that have the visual appearance of being in Aboriginal ‘style’, however they are entirely manufactured and sold without the consent or involvement of an Aboriginal or Torres Strait Islander person. Over the years, Australian Courts have looked at the issue of the infringement of Aboriginal artworks and Inauthentic Art and Craft from an intellectual property law and consumer law perspective. -
Thank You, and Congratulations on Your Choice of the SRX-09
SRX-09_je 1 ページ ２００７年３月１７日 土曜日 午後２時４８分 201a Before using this unit, carefully read the sections entitled: “USING THE UNIT SAFELY” and “IMPORTANT NOTES” (p. 2; p. 4). These sections provide important information concerning the proper operation of the unit. Additionally, in order to feel assured that you have gained a good grasp of every feature provided by your new unit, Owner’s manual should be read in its entirety. The manual should be saved and kept on hand as a convenient reference. 201a この機器を正しくお使いいただくために、ご使用前に「安全上のご注意」（P.3）と「使用上のご注意」（P.4）をよく お読みください。また、この機器の優れた機能を十分ご理解いただくためにも、この取扱説明書をよくお読みくださ い。取扱説明書は必要なときにすぐに見ることができるよう、手元に置いてください。 Thank you, and congratulations on your choice of the SRX-09 このたびは、ウェーブ・エクスパンション・ボード SRX-09 “SR-JV80 Collection Vol.4 World Collection” Wave 「SR-JV80 Collection Vol.4 World Collection」をお買い上 Expansion Board. げいただき、まことにありがとうございます。 This expansion board contains all of the waveforms in the このエクスパンション・ボードは SR-JV80-05 World、14 World SR-JV80-05 World, SR-JV80-14 World Collection “Asia,” and Collection "Asia"、18 World Collection "LATIN" に搭載されていた SR-JV80-18 World Collection “LATIN,” along with specially ウェーブフォームを完全収録、17 Country Collection に搭載されて selected titles from waveforms contained in the 17 Country いたウェーブフォームから一部タイトルを厳選して収録しています。 Collection. This board contains new Patches and Rhythm これらのウェーブフォームを組み合わせた SRX 仕様の Sets which combine the waveforms in a manner that Effect、Matrix Control を生かした新規 パッチ、リズム・ highlights the benefits of SRX Effects and Matrix Control. セットを搭載しています。 This board contains all kinds of unique string, wind, and アフリカ、アジア、中近東、南米、北米、オーストラリア、 percussion instrument sounds, used in ethnic music from ヨーロッパ等、世界中のユニークで様々な弦楽器、管楽器、 Africa, Asia, the Middle East, South and North America, 打楽器などの各種民族楽器の音色を収録しています。 Australia, and Europe. -
V-Pro™ Series TD-20S-BK
V-Pro™ Series TD-20S-BK With the V-Pro™ Series TD-20S-BK, Roland improves upon the industry-standard V-Drums by starting from A New Chapter In V-Drums History. the ground up. At the heart of this flagship set is the TD-20 module with new sounds and functions, superb expressiveness and in-depth V-Editing. The patented mesh pads now feature great dynamic range and natural rim shot triggering, along with a new look and stunning black finish. The V-Pro Series TD-20S-BK also features Roland’s amazing new V-Hi-Hat and a new drum stand designed to hide the cabling. With this powerful new combination of pads and hardware, the V-Pro Series TD-20S-BK lets drummers express themselves more naturally and with more realism than ever before! TD-20 Percussion Sound Module .......................................................................... An Entirely New V-Drums Experience .......................................................................... Without a doubt, the new TD-20 is Roland’s best percussion sound module ever, offering the ultimate sonic quality, over 500 new sounds, plus superb expressiveness and dynamic range when used with the new PD-125BK/105BK V-Pads and VH-12 V-Hi-Hat. With the superior sensitivity, drummers can play more naturally and without having to adjust their playing technique. The TD-20 includes the ability to vary the rim shot and bass drum sounds depending on how you play, plus new interval control for better snare drum rolls and more realistic cymbal swells. Close your eyes. Listen to every articulation and sound being faithfully re-created until the moment your cymbal fades away, and you’ll swear this is a real acoustic set. -
SYMPHONY GRAND Digital Piano
SYMPHONY GRAND digital piano owner's manual IMPORTANT SAFETY INSTRUCTIONS • Do not use near water. • Clean only with a soft, dry cloth. • Do not block any ventilation openings. • Do not place near any heat sources such as radiators, heat registers, stoves, or any other apparatus (including amplifiers) that produces heat. • Do not remove the polarized or grounding-type plug. • Protect the power cord from being walked on or pinched. • Only use the included attachments/accessories. • Unplug this apparatus during lightning storms or when unused for a long period of time. • Refer all servicing to qualified service personnel. Servicing is equiredr when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped. FCC STATEMENTS 1. Caution: Changes or modifications to this unit not expressly approved by the party responsible for compliance could void the user’s authority to operate the equipment. 2. NOTE: This equipment has been tested and found to comply with a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guar- antee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures: • Reorient or relocate the receiving antenna.