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Frank Zappa and His Conception of Civilization Phaze Iii
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2018 FRANK ZAPPA AND HIS CONCEPTION OF CIVILIZATION PHAZE III Jeffrey Daniel Jones University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2018.031 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Jones, Jeffrey Daniel, "FRANK ZAPPA AND HIS CONCEPTION OF CIVILIZATION PHAZE III" (2018). Theses and Dissertations--Music. 108. https://uknowledge.uky.edu/music_etds/108 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. -
Ten Top Stories That Disparately Impacted African-Americans in 2011
University of South Florida Scholar Commons Newspaper collection The Weekly Challenger 2012-01-05 The Weekly Challenger : 2012 : 01 : 05 The Weekly Challenger, et al Follow this and additional works at: https://scholarcommons.usf.edu/challenger Recommended Citation The Weekly Challenger, et al, "The Weekly Challenger : 2012 : 01 : 05" (2012). Newspaper collection. 106. https://scholarcommons.usf.edu/challenger/106 This is brought to you for free and open access by the The Weekly Challenger at Scholar Commons. It has been accepted for inclusion in Newspaper collection by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Presort Std U.S. Postage PAID Permit #2271 St. Petersburg, FL OPINION COMMUNITY COMMUNITY SPORTS Dr. E. Faye William on Imagine A Year Like This! 2 The Spotlight is on Kiko, Tim And The Crew 3 Local Author Fair 4 Buccaneers Fire Morris, Rest Of Coaching Staff 8 50¢ We Value Diversity. We Value Education. We Value History. St. Petersburg • Clearwater • Largo • Tarpon Springs • Dunedin • Safety Harbor VOLUME 44 NUMBER 19 JANUARY 5 - JANUARY 11, 2012 ST. PETERSBURG, FLORIDA Father George Clements Keynotes Ten Top Stories That Dr. MLK Breakfast Disparately Impacted African-Americans In 2011 BY HAZEL TRICE EDNEY TRICEEDNEY WIRE.COM WASHINGTON, D.C. – At least 10 top stories that disparately impacted African-Americans in 2011 are carrying over into the New Year, forecasting continued struggles, but also new hope for 2012. Among the top stories Father George Clements Troy Davis headlined by the Black Press in BY ANGELA ROUSON only a few hundred black 2011 are the consistently high SPECIAL TO THE Catholic priests in the United unemployment rate; President CHALLENGER States. -
Dec. 22, 2015 Snd. Tech. Album Arch
SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) Affinity-Affinity S=Trident Studio SOHO, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R=1970 (Vertigo) E=Frank Owen, Robin Geoffrey Cable P=John Anthony SOURCE=Ken Scott, Discogs, Original Album Liner Notes Albion Country Band-Battle of The Field S=Sound Techniques Studio Chelsea, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) S=Island Studio, St. Peter’s Square, London (PARTIAL TRACKING) R=1973 (Carthage) E=John Wood P=John Wood SOURCE: Original Album liner notes/Discogs Albion Dance Band-The Prospect Before Us S=Sound Techniques Studio Chelsea, London. (PARTIALLY TRACKED. MIXED: SOUND TECHNIQUES A-RANGE) S=Olympic Studio #1 Studio, Barnes, London (PARTIAL TRACKING) R=Mar.1976 Rel. (Harvest) @ Sound Techniques, Olympic: Tracks 2,5,8,9 and 14 E= Victor Gamm !1 SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) P=Ashley Hutchings and Simon Nicol SOURCE: Original Album liner notes/Discogs Alice Cooper-Muscle of Love S=Sunset Sound Recorders Hollywood, CA. Studio #2. (TRACKED: SOUND TECHNIQUES A-RANGE) S=Record Plant, NYC, A&R Studio NY (OVERDUBS AND MIX) R=1973 (Warner Bros) E=Jack Douglas P=Jack Douglas and Jack Richardson SOURCE: Original Album liner notes, Discogs Alquin-The Mountain Queen S= De Lane Lea Studio Wembley, London (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R= 1973 (Polydor) E= Dick Plant P= Derek Lawrence SOURCE: Original Album Liner Notes, Discogs Al Stewart-Zero She Flies S=Sound Techniques Studio Chelsea, London. -
506 Operation Manual
Operation Manual Thank you for selecting the ZOOM 506 (hereafter simply called the "506"). Please take the time to read this manual carefully so as to get the most out of your 506 and to ensure optimum performance and reliability. Retain this manual for future reference. ZOOM CORPORATION NOAH Bldg., 2-10-2, Miyanishi-cho, Fuchu-shi, Tokyo 183, Japan PHONE: 0423-69-7111 FAX: 0423-69-7115 Printed in Japan 506-5000 1 Major Features • 24 individual built-in effects provide maximum flexibility. Up to 8 effects can be used simultaneously in any combination. • Memory capacity for up to 24 user-programmable patches. • Integrated auto-chromatic bass guitar tuner for simple and precise tuning anywhere. • Optional foot controller FP01 can be used for pedal wah or pedal pitch, and volume control is also possible. • Optional foot switch FS01 can be used for bank switching, resulting in enhanced playability. • Dual power supply principle allows the unit to be powered from an alkaline battery or an AC adapter. • New DSP (digital signal processor) ZFx-2 developed by Zoom produces high-quality effects from an amazingly compact package. 2 Safety Precautions USAGE AND SAFETY PRECAUTIONS Usage precautions In this manual, symbols are used to highlight warnings and cautions for you to read so that accidents can be prevented. The Electrical interference meanings of these symbols are as follows: This symbol indicates explanations about extremely For safety considerations, the 506 has been designed to provide dangerous matters. If users ignore this symbol and maximum protection against the emission of electromagnetic !� handle the device the wrong way, serious injury or radiation from inside the device, and from external death could result. -
LINE 6 HELIX AMP MODELS Amp Models That Helix Will Be Shipped With
LINE 6 HELIX AMP MODELS Amp models that helix will be shipped with T his list contains all amp models that helix will contain when it is shipped. The right column shows the real amps they are based on. Guitar Amps Model Based on WhoWattlOO Hiwatt® DR-103 Brill Soup Pro Supra® S6616 Stone Age 185 Gibson® EH-185 Tweed Blues Nm1 Fender® Bassman® (nonnal channel) Tweed Blues Brt Fender® Bassman® (bright channel) US Small Tweed Fender® Champ US Deluxe Nrm Fender® Deluxe Reverb® (normal channel) US Deluxe Vib Fender® Deluxe Reverb® (vibrato channel) US Double Nm1 Fender® Twin Reverb® (normal channel) US Double Vib Fender® Twin Reverb® (vibrato channel) Mail Order Twin Silvertone® 1484 Divided Duo +13 JRT 9/15 Interstate Zed Dr z® Route 66 Jazz Rivet 120 Roland® JC-120 Jazz Chorus EssexA-15 Vox®AC-15 EssexA-30 Vox® AC-30 with top boost A-30 Fawn Nrm Vox® AC-30 Fawn (normal channel) A-30 Fawn Brt Vox® AC-30 Fawn (bright channel) ™ Mandarin So Orange ORSO Brit J-45 Nrm Marshall® JTM-45 (normal channel) Brit J-45 Brt Marshall® JTM-45 (bright channel) Brit Plexi Nrm Marshall® Super Lead 100 (normal channel) Brit Plexi Brt Marshall® Super Lead 100 (bright channel) Brit Plexi Jump Marshall® Super Lead 100 (jumped) Brit P-75 Nrm Park® 75 (nonnal channel) Brit P-75 Brt Park® 75 (bright channel) Brit2204 Marshall® JCM-800 German Mahadeva Bogner® Shiva® German Ubersonic Bogner® Oberschall® Cali Rectifire MESA/Boogie® Dual Rectifier® ANGLMeteor ENGL® Fireball 100 Solo Lead Clean Soldano® SL0-100 (clean channel) Solo Lead Crunch Soldano® SL0-100 (crunch -
Univeristy of California Santa Cruz Cultural Memory And
UNIVERISTY OF CALIFORNIA SANTA CRUZ CULTURAL MEMORY AND COLLECTIVITY IN MUSIC FROM THE 1991 PERSIAN GULF WAR A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in MUSIC by Jessica Rose Loranger December 2015 The Dissertation of Jessica Rose Loranger is approved: ______________________________ Professor Leta E. Miller, chair ______________________________ Professor Amy C. Beal ______________________________ Professor Ben Leeds Carson ______________________________ Professor Dard Neuman ______________________________ Tyrus Miller Vice Provost and Dean of Graduate Studies Copyright © by Jessica Rose Loranger 2015 CONTENTS Illustrations vi Musical Examples vii Tables viii Abstract ix Acknowledgments xi CHAPTER 1: INTRODUCTION 1 Purpose Literature, Theoretical Framework, and Terminology Scope and Limitations CHAPTER 2: BACKGROUND AND BUILDUP TO THE PERSIAN GULF WAR 15 Historical Roots Desert Shield and Desert Storm The Rhetoric of Collective Memory Remembering Vietnam The Antiwar Movement Conclusion CHAPTER 3: POPULAR MUSIC, POPULAR MEMORY 56 PART I “The Desert Ain’t Vietnam” “From a Distance” iii George Michael and Styx Creating Camaraderie: Patriotism, Country Music, and Group Singing PART II Ice-T and Lollapalooza Michael Franti Ani DiFranco Bad Religion Fugazi Conclusion CHAPTER 4: PERSIAN GULF WAR SONG COLLECTION, LIBRARY OF CONGRESS 116 Yellow Ribbons: Symbols and Symptoms of Cultural Memory Parents and Children The American Way Hussein and Hitler Antiwar/Peace Songs Collective -
Boss GT-1000CORE Parameter Guide
Parameter Guide 01 Contents REVERB 25 Basic Operation 3 PEDAL FX 26 Basic Procedure for Effect Editing 3 FOOT VOLUME 27 Effect Placement 3 DIVIDER 1–3 27 Using STOMPBOX 4 MIXER 1–3 28 Editing the STOMPBOX 4 SEND/RETURN 1, 2 28 Reading STOMPBOX Settings into a Patch 4 Writing Patch Settings into a STOMPBOX 4 OUTPUT SP.SIMULATOR L, OUTPUT SP.SIMULATOR R, SUB OUT SP.SIMULATOR L, SUB OUT SP.SIMULATOR R 29 Basic MENU Operations 5 MASTER 30 Effect 6 MENU 32 COMPRESSOR 6 CONTROL MODE 32 DISTORTION 1, 2 6 CONTROL ASSIGN 32 AIRD PREAMP 1, 2 7 CONTROL FUNCTION 32 NOISE SUPPRESSOR 1, 2 8 ASSIGN SETTING 34 EQUALIZER 1–4 9 Virtual Expression Pedal (Internal Pedal / Wave Pedal) 42 DELAY 1–4 9 INPUT (Input Level) 42 MASTER DELAY 10 INPUT SENS (Input Sens) 42 12 CHORUS PATCH MIDI 43 FX1–FX3 13 LED COLOR 43 AC.G SIM (AC. GUITAR SIMULATOR) 13 TEMPO HOLD 43 AC RESO (AC RESONANCE) 13 IN/OUT SETTING 44 AUTO WAH 14 INPUT 44 CHORUS 14 OUTPUT, SUB OUT 44 CHO BASS (CHORUS BASS) 16 TOTAL 45 C-VIBE (CLASSIC VIBE) 16 USB-Related Settings 46 16 COMP (COMPRESSOR) PLAY OPTION 47 DEFRETR (DEFRETTER) 17 MIDI 47 DEFRET B (DEFRETTER BASS) 17 MIDI SETTING 47 DIST (DISTORTION) 17 PROGRAM MAP BANK1–BANK4 48 FEEDBAKR (FEEDBACKER) 18 BULK DUMP 48 FLANGER/FLANGR B (FLANGER B) 18 HARDWARE SETTING 49 HARMONST (HARMONIST) 19 KNOB 49 HUMANIZR (HUMANIZER) 20 AMP CONTROL 54 OCTAVE 20 EXP HOLD 54 OCT BASS (OCTAVE BASS) 20 GROUND LIFT 54 OVERTONE 20 OTHER 54 PAN 21 FACTORY RESET 55 PHASER 21 TUNER 55 PITCH SFT (PITCH SHIFTER) 22 METRONOME 55 RING MOD 22 ROTARY 23 Saving a Sound (WRITE) 56 SITAR SIM. -
User Manual M32 User Manual
User Manual M32 Digital Console for Live and Studio with 40 Input Channels, 32 MIDAS Microphone Preamplifiers and 25 Mix Buses 2 M32 User Manual Table of Contents Precautions ..................................................................... 4 Introduction.................................................................... 5 1. Control Surface .......................................................... 6 1.1 Channel Strip - Input Channels ...................................... 6 1.2 Channel Strip - Group/Bus Channels ........................... 7 1.3 Config/Preamp .................................................................... 8 1.4 Gate .......................................................................................... 8 1.5 Dynamics ............................................................................... 9 1.6 Equaliser ................................................................................. 9 1.7 Bus Sends ............................................................................. 10 1.8 Main Bus ............................................................................... 11 1.9 RECORDER ........................................................................... 11 1.10 Main Display (Summary) .............................................. 12 1.11 Monitor ............................................................................... 13 1.12 Talkback .............................................................................. 15 1.13 Show Control ................................................................... -
Roger Mayer RM456 Well with the Unit and It Sounded Good with a Variety of Source Material
/ Review nice and linear as one would expect and the unit provides a good front end for recording. Dynamic, condenser and ribbon mics behaved Roger Mayer RM456 well with the unit and it sounded good with a variety of source material. As we push up into RUSSELL COTTIER tries some 456HD Analogue Tape the distortion area of the pre-amplifier, the higher frequency harmonics start to creep in as Simulation from this 4-channel mic pre one would expect, and it is possible to create some controlled transients in the tracking oger Mayer was there at the bleeding allow accurate recall, and the knobs feel good process without any audible artefacts, on edge in the dawn of rock music. In to use. There are buttons for Phase, Line input sources such as snare drums and acoustic guitar. 1964 he started building effect pedals and engaging the 456 circuitry, with an LED Moving on to the 456HD processing, it’s Rfor Jimmy Page. Mayer also designed indicator adjacent to the switch.The ferrite noticeable this mode added some noise floor and built pedals used by Jimi Hendrix, Jeff transformers in this unit are all hand would in increase to the output, up to 3dB. However this Beck and session guitar legend Big Jim the UK and each channel has a separate Mic, was not too noticeable in use, and certainly Sullivan. After a year working for Olympic in Line and Output transformer all with linear added a little tape vibe. The aim of the 1968 Roger Mayer moved to the US and phase, and frequency response up to 80kHz processing is to create the colouration of started his own company building limiters, EQs apparently. -
UCLA LAW MAGAZINE PRESORTED UCLA School of Law, Office of the Dean FIRST CLASS MAIL Box 951476, Los Angeles, CA 90095-1476 U.S
Final Cover 3/26/01 10:13 AM Page 1 UCLA LAW MAGAZINE PRESORTED UCLA School of Law, Office of the Dean FIRST CLASS MAIL Box 951476, Los Angeles, CA 90095-1476 U.S. POSTAGE PAID www.law.ucla.edu UCLA [email protected] APRIL 2001 Return Service Requested Friday, April 20, 1 P.M. “The Changing Face of Practice: Perspectives from the Profession and the Law School” A Symposium to mark the 30th Anniversary of the UCLA School of Law Clinical Program with a dinner and tribute to Professor David Binder UCLA LAW MAGAZINE UC L A featuring Shirley M. Hufstedler LAW MAGAZINE The Magazine of the UCLA School of Law MCLE credit approved for 2.5 hours general credit and 1.75 ethics credit Vol. 24 L No. 1 L Fall.Winter.2000.2001 Please call (310) 825-7376 or e-mail [email protected] • Saturday, April 21, 9 A.M.- 6 P.M. AALS Colloquium: Equal Access to Justice Please call (310) 206-9155 or e-mail [email protected] 3030 YearsYears ofof Clinical Clinical LegalLegal EducationEducation • Tuesday, April 24, NOON UCLA Law Alumni of the Year Awards A Salute to The Honorable Elwood Lui [Ret.] ’69 Public/Community Service and N Skip Brittenham ’70 FALL.WINTER.2000–2001 Professional Achievement Century Plaza Hotel Please call (310) 206-1121 or e-mail [email protected] • Tuesday, April 24, 4:30 P.M. The Twelfth Annual Public Interest Awards UCLA School of Law, Room 1430 Please call (310) 206-9155 or e-mail [email protected] MAY 2001 Sunday, May 20, 2 P.M. -
Dunlop }Imillendrix Tuzz J
TEST effekter ~ Dunlop }imillendrix tuzz J;ace JII-);1 · Odavio JII-0(1 · Signalure WahJII-1R • • Av David Morin ••••••••••••••••••••••••••••••••••••• Urfaderns pedalpark Cslight return) id NAMM-mässan 2007 berättade Duntop att man i samarbete med kade mängder av störningar och brus vid höga fuzznivåer. Något som clerra exemplar är helt ~ pedalgurun]eorge Tripps var i stånd att lansera en rad pedaler med tung befriar från. Bravo. Der svårtyglade oscillerande Hendrix anknytning. Tripps var tidigare mest känd som mannen bakom missljud som hörs så fort du försöker använda V en wah-wah med vinrage krets före en kisel de kultfiirklarade pedalerna från Way Huge och Line 6 framgångsrika Stompbox rransisrorurrusrad Fuzz Face i signalkedjan finns Modeler serie. Produktionsproblem hos Duntop gjorde dock att detta projekt försenades däremot kvar. Precis som på originalen. Auren och inte fö'rrå'n mot slutet av förra året fanns pedalerna ute i handeln. Tre pedaler, riskr var ordec. alla "playable collectables" enligt fabrikanten, ingår i Dunlops Jimi Hendrix SLUTOMDÖME Authentic Analog Series - Fuzz Face, Octavio och Wah- Wah. I bruksanvisningen påstås der, förmodligen helt felakrigr, arr kretsen med BC108 kiselt im i Hendrix namn säljer än idag och man en fröjd arr vila ögonen på. Der enda som egenc- ransistorer användes av Hendrix på inspel kan hitta hans namn på all r ifrån golfbol- !igen s rör en enrusiasr som jag är Dunlops val ningen av der legendariska livealbumet Band !ar till damväskor. Sedan 80-raler har Dun- av färg . Den fejkade ruekosa hammarlacken har ofGypsys från 1970. Något som också förne 1lop val r arr associera honom rill en mängd aldrig använts i pedalens hisroria och jag rycker kas av en viss Roger Mayer. -
Guitar Effects Guide Book
Guitar & Bass Effects / Tuners / Metronomes GUITAR EFFECTS GUIDE BOOK Vol.19 CommitCommitmentment toto QualityQuality andand InnovationInnovation BOSS forges into 2005 with a rrock-solidock-solid family of effects and accessories. TTechnicalechnical innovation and tanktank-tough-tough construction make BOSS prproductsoducts the most respected and soughtsought-after-after tone totoolsols in the world. Players who want the best plug into BOSS. INDEX The Many Roles of Guitar Effects 4 Bass Effect Units 43 AB-2 2-Way Selector 51 DB-30 Dr. Beat 78 GE-7 Equalizer 34 OS-2 OverDrive/Distortion 13 AC-2 Acoustic Simulator 36 DB-60 Dr. Beat 78 GEB-7 Bass Equalizer 46 PH-3 Phase Shifter 31 History of BOSS 6 Reduce Noise 49 ACA-Series AC Adaptors 79 DB-90 Dr. Beat 78 GT-6B Bass Effects Processor 72 PS-5 SUPER Shifter 41 Add Distortion 8 Change Connections 50 AD-3 Acoustic Instrument Processor 65 DD-3 Digital Delay 24 GT-8 Guitar Effects Processor 72 PSA-Series AC Adaptors 79 AD-5 Acoustic Instrument Processor 65 DD-6 Digital Delay 23 LMB-3 Bass Limiter Enhancer 47 PW-10 V-Wah® 62 Boost Tips 18 Next-Generation Pedals 53 AD-8 Acoustic Guitar Processor 64 DD-20 Giga Delay 58 LS-2 Line Selector 50 RC-20XL Loop Station™ 61 Guitar Amp Settings 20 Acoustic Processors 64 AW-3 Dynamic Wah 35 DS-1 Distortion 14 MD-2 Mega Distortion 17 RV-5 Digital Reverb 25 BCB-60 Pedal Board 74 DS-2 TURBO Distortion 15 ME-50 Guitar Multiple Effects 73 SD-1 SUPER OverDrive 11 Add Acoustic Dimensions 22 Challenge Yourself 66 BD-2 Blues Driver® 12 EQ-20 Advanced EQ 60 ME-50B