Instructions for Midi Interface Roland Tr-808 Drum Machine
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The TR-808 Cymbal: a Physically-Informed, Circuit-Bendable, Digital Model
The TR-808 Cymbal: a Physically-Informed, Circuit-Bendable, Digital Model Werner, K. J., Abel, J., & Smith, J. (2014). The TR-808 Cymbal: a Physically-Informed, Circuit-Bendable, Digital Model. In A. Georgaki, & G. Kouroupetroglou (Eds.), Proceedings of the 40th International Computer Music Conference and the 11th Sound and Music Computing Conference (pp. 1453–1460). http://quod.lib.umich.edu/cgi/p/pod/dod-idx/tr-808-cymbal-a-physically-informed-circuit-bendable- digital.pdf?c=icmc;idno=bbp2372.2014.221 Published in: Proceedings of the 40th International Computer Music Conference and the 11th Sound and Music Computing Conference Document Version: Publisher's PDF, also known as Version of record Queen's University Belfast - Research Portal: Link to publication record in Queen's University Belfast Research Portal Publisher rights © 2014 The Author(s). This is an open access article published under a Creative Commons Attribution License (https://creativecommons.org/licenses/by/3.0/), which permits unrestricted use, distribution and reproduction in any medium, provided the author and source are cited. General rights Copyright for the publications made accessible via the Queen's University Belfast Research Portal is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The Research Portal is Queen's institutional repository that provides access to Queen's research output. Every effort has been made to ensure that content in the Research Portal does not infringe any person's rights, or applicable UK laws. -
880 User Manual
880 Operation Manual START TAP STOP system80.net rev. 01/19 SYSTEM80 Introduction 1 The System80 880 is an analog drum machine for the The 880's sequencer features a familiar interface that Eurorack modular synthesizer format. Its drum voice allows for Rhythm Pattern creation using programmed circuits are based on the TR-808, the classic drum or real-time step entry. Manual Mode can be used for machine made by Roland Corporation between 1980 arrangement and improvisation during live and 1983. Wherever possible, the 880 uses the exact performance. There is also a Rhythm Compose mode same semiconductors specified in the original circuits. that allows patterns to be chained together into longer The sound very closely matches the sound and char- compositions. acter of the two vintage TR-808s that were used as references during the 880's design. Variation in The sequencer has been updated with 12 banks of 16 component tolerances as well as component aging Rhythm Patterns, shuffle, mutes, performance rolls, a may contribute to some perceptable differences in pair of fully assignable trigger outputs, and multiple sound between the 880 and a vintage TR-808. options for syncing to external devices. However, the same holds true for sound comparisons between original TR-808s and other 808 clones. The Eurorack modular synthesizer format invites experimentation and improvisation. The 880 features The 880 features all 16 of the original TR-808's analog 11 indivdual instrument outputs for separate mixing drum voices with one important difference: the five and processing of the sounds, either within a Eurorack switchable voices are controlled with electronic rather system or through other devices, such as filters, than mechanical switches. -
The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap
Open Cultural Studies 2018; 2: 122–135 Research Article Adam de Paor-Evans* The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap https://doi.org/10.1515/culture-2018-0012 Received January 27, 2018; accepted June 2, 2018 Abstract: In the early 1980s, an important facet of hip hop culture developed a style of music known as electro-rap, much of which carries narratives linked to science fiction, fantasy and references to arcade games and comic books. The aim of this article is to build a critical inquiry into the cultural and socio- political presence of these ideas as drivers for the productions of electro-rap, and subsequently through artists from Newcleus to Strange U seeks to interrogate the value of science fiction from the 1980s to the 2000s, evaluating the validity of science fiction’s place in the future of hip hop. Theoretically underpinned by the emerging theories associated with Afrofuturism and Paul Virilio’s dromosphere and picnolepsy concepts, the article reconsiders time and spatial context as a palimpsest whereby the saturation of digitalisation becomes both accelerator and obstacle and proposes a thirdspace-dromology. In conclusion, the article repositions contemporary hip hop and unearths the realities of science fiction and closes by offering specific directions for both the future within and the future of hip hop culture and its potential impact on future society. Keywords: dromosphere, dromology, Afrofuturism, electro-rap, thirdspace, fantasy, Newcleus, Strange U Introduction During the mid-1970s, the language of New York City’s pioneering hip hop practitioners brought them fame amongst their peers, yet the methods of its musical production brought heavy criticism from established musicians. -
Instructions for Midi Interface Roland Tr-808 Drum Machine
INSTRUCTIONS FOR MIDI INTERFACE ROLAND TR-808 DRUM MACHINE USING THE MIDI INTERFACE Your TR808 drum is now equipped to send and receive MIDI information. When turned on the machine will function normally, sending out and receiving MIDI note & velocity information on the channels set in memory. The factory channel settings are: receive chan 10 omni off transmit chan 10 and Stop/start TX/RX enabled Clock information is always sent and Start/stop information is sent and received if enabled. (Not channel sensitive) YOU CAN RETURN TO THE FACTORY MIDI SETTINGS BY SWITCHING THE MACHINE ON WHILST HOLDING THE RED BUTTON PRESSED (hold for a couple of seconds) With the rear panel switch set to normal (up) the TR808 drum will run from its own internal clock and will send out MIDI timing information at a rate determined by the tempo control. With the rear panel switch in the down position however, it will run from MIDI sync at the rate set by the MIDI device connected. If no MIDI timing information ispresent then the TR808 drum will not run. Some drum machines/sequencers may not send start/stop codes, in this case pressing the start switch on the TR808, will make it wait until MIDI clock/sync is present. You can make the TR808 ignore start/stop codes by selecting it from the programming mode described in the next paragraph, when set to disable the TR808 will neither respond to, nor send start/stop codes - when enabled (the default condition) start/stop codes will be both sent and received. -
An Intelligent Drum Machine for Electronic Dance Music Production and Performance
An Intelligent Drum Machine for Electronic Dance Music Production and Performance Richard Vogl,1;2 Peter Knees1 1 Institute of Software Technology & Interactive Systems, Vienna University of Technology, Austria 2 Department of Computational Perception, Johannes Kepler University, Linz, Austria richard.vogl@{tuwien.ac.at, jku.at}, [email protected] ABSTRACT the so-called beat. For shaping and defining the beat, the An important part of electronic dance music (EDM) is the drum track of the piece and its rhythmic interaction with so-called beat. It is defined by the drum track of the piece other instruments are essential. Creating the drum track and is a style defining element. While producing EDM, cre- of an EDM arrangement is, therefore, of high importance ating the drum track tends to be delicate, yet labor intensive and can be time consuming. In this paper we present an work. In this work we present a touch-interface-based pro- intelligent software prototype | implemented as touch in- totype with the goal to simplify this task. The prototype terface on a tablet computer | aiming at helping musicians aims at supporting musicians to create rhythmic patterns to accomplish this task. More precisely, the developed pro- in the context of EDM production and live performances. totype supports the musician or producer of an EDM track Starting with a seed pattern which is provided by the user, in adding variation to a drum track by intelligently provid- a list of variations with varying degree of deviation from ing creative input for drum pattern creation. the seed pattern is generated. -
BUILD a STEP SEQUENCER USING PYTHON WHO AM I? Yann Gravrand (@Ygravrand) Techie Musician
BUILD A STEP SEQUENCER USING PYTHON WHO AM I? Yann Gravrand (@ygravrand) Techie Musician PART 1: BACKGROUND Musical instruments Synthetizers and samplers Sequencers Step sequencers MUSICAL INSTRUMENTS Can be played by humans uk.funzing.com Some can be "played" by computers: Synthetizers Samplers ... SYNTHETIZERS Sound generators Lots of parameters can be tweaked FAMOUS SYNTHETIZERS Minimoog (analog) DX7 (digital) FAMOUS SYNTHETIZERS Nord Lead (analog modeling) Mininova (analog modeling) VST VST Plugins SAMPLERS Do not generate sounds themselves Play samples (little chunks of sound) SAMPLES / NOTES: One sample for the whole keyboard (pitch adjusted or not) One sample for each note One sample for a group of notes, pitch is ajusted DRUM MACHINES? Sound generator (drum oriented) + step sequencer TR 909 Tempest SEQUENCERS Play a sequence of notes Several tracks, instruments... STEP SEQUENCER A 4/4 measure is divided into: 4 quarter notes Each quarter note is divided into 4 steps --> A sequence like this is 16 steps long STEP SEQUENCER For each step, we define: the note / pitch other attributes: length... ... and activate it or not EXAMPLES Daft punk - Aerodynamic @ 1:03 4 * 16-step patterns EXAMPLES Daft punk - Aerodynamic @ 2:28 4 * 16-step patterns, some notes off USING A STEP SEQUENCER "Step by step" mode: for each step, define the note attributes. No timing, no rush "Live" mode: turn steps on and off in real time, adjust pitch, length... PART 2: THE PROJECT Project goals MIDI Using mido The Dirty Part: blocking, threads, asyncio... I HAD A cool synth Colorful (and empty) pads AND A snake PROJECT GOALS Make the synthetizer play notes using Python Modify and turn notes on / off to create a sequence Implement "step by step" and "live" modes Change tempo in real time Make interactions possible with any controller.. -
Novation Drumstation Rack Drum Synthesizer
Owners Manual BASS DRUM SNARE DRUM TOM TOMSR'SHOT H'CLAP C'BELL HI HAT CYMBALS C'NGAS M'CAS CLAVES 808 1 2 3 DRUM SELECT FRONT CUT CONT / VELOCITY PROGRAM MIDI RX CH 909 4 5 6 010 MIDI TX CH 55010550105 5 01055010550105501055010 NOTE-OFF REC GEN MIDI SET OUTPUT SET VOLUME DRUM KIT UTILITY TUNELEVEL TUNE LEVEL TUNE LEVEL TUNE LEVEL TUNELEVEL TUNE / TONE LEVEL TUNE LEVEL 7 8 9 EDIT WRITE SAVE ASSIGN BANK DISTORTION DEMO 0 SELECT PROTECT ENABLE SAVE TYPE TRIGGER SAVE AUDITION LOW MID HIGH R'SHTH'CLP C'BLL CLOSED OPEN CRASH RIDE LOW MID HIGH C'NGAS M'CAS CL'VES COMPARE START STOP WRITE 0 10 0 10 0 10 0 10 0 10123 0 10 0 10 123 HEADPHONES WRITE DATA ENTRYAUTO TRIGGER MODE ATTACK / TONE DECAYTONE SNAPPY DECAYSELECT SELECT DECAYSELECT DECAY SELECT CONGA SELECT SELECT Table of Tom Toms Section 22 Rimshot / Handclap / Cowbell Section 24 Contents Hi Hat Section 25 Cymbals Section 26 Introduction Section 1 Congas / Maracas / Claves Section 28 Front Panel Controls 2 Utility Mode 30 Rear Panel Connections 3 Operation 30 Connections & Setting up 4 Drum Select 31 Applications - Basic 5 Front Cut 32 Applications - Advanced 6 Controller / Velocity 33 Master Volume Section 7 Note Off Recognition 35 Data Entry / Program Section 8 General MIDI Setup 36 Keypad 8 Output Set 37 Audition - Auto Trigger Button 9 Assign Bank 39 Mode Button - Program Change 10 Distortion 40 Midi TX & RX Channels 11 Factory Demo 40 Selecting Utility Mode 11 Din Sync Output 41 Saving System Exclusive Data Dumps 11 Controller Map 42 Loading System Exclusive Data Dumps 12 Factory Program List 44 Editing & Writing Programs 13 Factory Demo Guide 45 Compare Function 14 MIDI Implementation 46 Voice Architecture / ASM 15 MIDI Precussion Map 47 TR808 & TR909 Notes 16 Troubleshooting Guide 48 Bass Drum Section 18 Specification 49 Snare Drum Section 20 * TR808 & TR909 are trademarks of Roland Corporation, Japan Thank you for buying the Novation DrumStation Rack drum synthesizer. -
CB808 Cowbell
CB808 TIPTOP AUDIO CB808 Introduction. The CB808 is Roland's TR-808 cowbell sound generator adapted for modular synthesizer use. The front panel contains all of the controls found on the original TR-808 drum machine, allowing you full control over the sound’s volume levels to mix with other drums, and accent levels. In addition to that, the CB808 includes a pitch-modulating LFO with control over the LFO rate and modulation depth. About the Making of the CB808. The CB808 is a one-to-one clone of the original circuit found in Roland's TR-808 drum machine. During the design phase, we created additional features only when implementation would not compromise the original signature sound, add excessive costs, or sacrifice panel space. Cloning a circuit that was designed and produced in the early 80's was not an easy task. A variety of obstacles including availability of the original parts, the modern SMT manufacturing process, the dierences in +/-12V Eurorack power versus the +/-15V of the original 808, and far many more were addressed in the creation of this module. To learn more about the process of remaking the sound generator in this series please refer to the BD808 user guide. Let’s get started. CB808 To start using the CB808, just plug a gate signal into the GATE IN and plug the CB OUT to your sound system and set the LEVEL half way. Dynamics and Gain. Level Explained: The CB808 oers an enhanced output gain stage over the original 808 design. This addition allows the output signals to get very hot so that anything flowing from the module will be overdriven, generating additional harmonics through distortion and clipping of the sound. -
Rhythm Designer Rd-8
Product Information Document Electronic Drum Sets RHYTHM DESIGNER RD-8 Classic Analog Drum Machine with 16 Drum Sounds, 64 Step Sequencer, Wave Designer and Dual-Mode Filter ## Amazing drum machine with authentic analog sound engine to create the classic sound performance ## 16 original drum sounds with A Brief History of Drum Machines additional parameters and global From its humble beginnings as rhythmic support to organists, to later Accent capability setting dance floors ablaze with unrelenting and hypnotic beats, the drum ## Modern and versatile workflow provides enhanced playability, machine has been one of the most unappreciated of all musical inventions. enabling you to create captivating Uncompromising in its metronomic precision, the drum machine provides live performances a flawless rhythm section that never tires of playing the same four-bar ## Powerful 64-step drum sequencer loop. However, when put into the right hands and proper musical context, supports poly-meter, step-repeat, note-repeat, real-time triggering, they can be finessed to create awe-inspiring rhythmic artistry. track-mute and track-solo ## Integrated FX bus features Wave Designer and dual-mode Analog First Drum Machine – Filter with per voice assignment The Rhythmicon ## Live recording, editing and The ground-breaking Rhythmicon was created playback of Analog Filter cutoff by Russian inventor Léon Theremin in 1931. via automation The machine was a collaboration with American ## Storage of up to 16 songs and composer Henry Cowell and can produce 256 patterns, -
BR-600 Digital Recorder
Workshop BR-600 Digital Recorder Using the Built-in Rhythm © 2007 BOSS Corporation U.S. All rights reserved. No part of this publication may be reproduced in any form without the written permission of BOSS Corporation U.S. BR600WS02 1 About the Workshop Booklets Hot Links Each Workshop booklet is meant to be read in order from beginning The BOSS BR-600 Digital Recorder packs an incredible amount of recording to end. However, if we mention an upcoming section—and you see power into an amazingly small, portable package. With its eight playback this arrow—you can click the arrow to jump there immediately. tracks—and 64 V-Tracks—built-in effects, and onboard drum machine, the BR-600 is truly a studio-to-go. It even has a built-in stereo microphone and can be battery-operated so you can capture new music wherever and Getting Started whenever. The BR-600’s rhythm acts as an onboard “drummer” that’s always playing Each BR-600 Workshop Series booklet focuses on one BR-600 topic, and is along with your song. It’s integrally connected to the eight audio tracks, so intended as a companion to the BR-600 Owner’s Manual. you never have to worry about synchronization—whenever you press the PLAY button, the rhythm always starts with the audio; when you press STOP, About This Booklet both the rhythm and audio stop together. (Of course, if you don’t want to use the rhythm in a particular song, you can always turn it off.) The BR-600’s rhythm function is a full-featured drum machine with 12 velocity-sensitive pads and 14 different drum kits. -
Aarvol1 Book.Pdf
This machine came out of a Conn Rhapsody console organ. Manufactured around 1975. It was turned into a stand alone drum machine by marc at: www.ultraelectronicactive.com The Conn has a lovely warm and full vintage organ sound... characterised by the famous noise generated cymbals, analog generated wood block, bass drum and conga sounds. Some crazy presets as well... Hawaiian, circus waltz and Dixieland to name a few. A very rare find... and an interesting and useful analog Preset beat box. Details: country - USA Year - 1975 Company - Conn Model - Rhapsody Organ Rhythm unit Presets - 22 sounds - 10 Bass Drum, Snare, Hi Hat, open high hat, Tambourine, Cymbal ,Woodblock, Castanets, High Conga, Low Conga also has six buttons to trigger some of the sounds manually. The Korg Rhythm 55B was Released in 1982... Three years after releasing the Rhythm 55. pretty fancy in it's day... and was used by Depeche Mode, Jean-Michel Jarre and trio... Has metallic sounding hats and cymbals. the sounds also have a clicky attack... This gave the Rhythm 55B quite a unique sound... Certainly gave roland a run for their money! Details: country - Japan Year - 1982 Company - Korg Model - KR-55B Presets - 96 sounds - 10 Bass Drum, Snare, HH, Open HH, Cymbal, Tom Toms, Congas, Cow Bell , clave, Rim shot The DRM16 was first produced in 1978. It was followed by the DRM15 and then the DRM32. They were made in New York in the good old US of a. They all shared the same sounds and patterns.... but have a different number of patterns. -
Dance Music Simon Halstead
After Techno and Rave: Status and Validity in Post- Dance Music by Simon Halstead Submitted for the degree of Doctor of Philosophy Department of Music and Sound Recording University of Surrey July 2009 © Simon Halstead 2009 ProQuest Number: 27558661 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 27558661 Published by ProQuest LLO (2019). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLO. ProQuest LLO. 789 East Eisenhower Parkway P.Q. Box 1346 Ann Arbor, Ml 48106- 1346 Abstract This dissertation explores the idea of electronica as a descendent of electronic dance music, which, although embodying many related aesthetic qualities, operates within a different set of musical values. This needs to be understood in the context of how dance music's character, form and modes of performance relate to its specific cultural function. Repetitive beats (as espoused by house and techno in particular) comprise part of the cultural experience of rave. In combination with drug technologies and an ethos of collectivity, rave encapsulates a set of political phenomena that are entrenched within the formal and textural priorities of dance music. I discuss how modes of reception are affected by changes in these priorities, and to what extent post-dance music neglects the physicality that defines the political dimension of dance music's relationship to the body.