Xpand! Plug-In Guide
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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). -
Korg Triton Extreme Manual
E 2 Thank you for purchasing the Korg TRITON Extreme music workstation/sampler. To ensure trouble-free enjoyment, please read this manual carefully and use the instrument as directed. About this manual Conventions in this manual References to the TRITON Extreme The TRITON Extreme is available in 88-key, 76-key and The owner’s manuals and how to use 61-key models, but all three models are referred to them without distinction in this manual as “the TRITON Extreme.” Illustrations of the front and rear panels in The TRITON Extreme come with the following this manual show the 61-key model, but the illustra- owner’s manuals. tions apply equally to the 88-key and 76-key models. • Quick Start • Operation Guide Abbreviations for the manuals QS, OG, PG, VNL, EM • Parameter Guide The names of the manuals are abbreviated as follows. • Voice Name List QS: Quick Start OG: Operation Guide Quick Start PG: Parameter Guide Read this manual first. This is an introductory guide VNL: Voice Name List that will get you started using the TRITON Extreme. It EM: EXB-MOSS Owner’s Manual (included with the explains how to play back the demo songs, select EXB-MOSS option) sounds, use convenient performance functions, and Keys and knobs [ ] perform simple editing. It also gives examples of using sampling and the sequencer. References to the keys, dials, and knobs on the TRI- TON Extreme’s panel are enclosed in square brackets Operation Guide [ ]. References to buttons or tabs indicate objects in This manual describes each part of the TRITON the LCD display screen. -
Portable Digital Musical Instruments 2009 — 2010
PORTABLE DIGITAL MUSICAL INSTRUMENTS 2009 — 2010 music.yamaha.com/homekeyboard For details please contact: This document is printed with soy ink. Printed in Japan How far do you want What kind of music What are your Got rhythm? to go with your music? do you want to play? creative inclinations? Recommended Recommended Recommended Recommended Tyros3 PSR-OR700 NP-30 PSR-E323 EZ-200 DD-65 PSR-S910 PSR-S550B YPG series PSR-E223 PSR-S710 PSR-E413 Pages 4-7 Pages 8-11 Pages 12-13 Page 14 The sky's the limit. Our Digital Workstations are jam-packed If the piano is your thing, Yamaha has a range of compact We've got Digital Keyboards of all types to help players of every If drums and percussion are your strong forte, our Digital with advanced features, exceptionally realistic sounds and piano-oriented instruments that have amazingly realistic stripe achieve their full potential. Whether you're just starting Percussion unit gives you exceptionally dynamic and expressive performance functions that give you the power sound and wonderfully expressive playability–just like having out or are an experienced expert, our instrument lineup realistic sounds, letting you pound out your own beats–in to create, arrange and perform in any style or situation. a real piano in your house, with a fraction of the space. provides just what you need to get your creative juices flowing. live performance, in rehearsal or in recording. 2 3 Yamaha’s Premier Music Workstation – Unsurpassed Quality, Features and Performance Ultimate Realism Limitless Creative Potential Interactive -
The Menstrual Cramps / Kiss Me, Killer
[email protected] @NightshiftMag NightshiftMag nightshiftmag.co.uk Free every month NIGHTSHIFT Issue 279 October Oxford’s Music Magazine 2018 “What was it like getting Kate Bush’s approval? One of the best moments ever!” photo: Oli Williams CANDYCANDY SAYSSAYS Brexit, babies and Kate Bush with Oxford’s revitalised pop wonderkids Also in this issue: Introducing DOLLY MAVIES Wheatsheaf re-opens; Cellar fights on; Rock Barn closes plus All your Oxford music news, previews and reviews, and seven pages of local gigs for October NIGHTSHIFT: PO Box 312, Kidlington, OX5 1ZU. Phone: 01865 372255 NEWS Nightshift: PO Box 312, Kidlington, OX5 1ZU Phone: 01865 372255 email: [email protected] Online: nightshiftmag.co.uk host a free afternoon of music in the Wheatsheaf’s downstairs bar, starting at 3.30pm with sets from Adam & Elvis, Mark Atherton & Friends, Twizz Twangle, Zim Grady BEANIE TAPES and ALL WILL BE WELL are among the labels and Emma Hunter. releasing new tapes for Cassette Store Day this month. Both locally- The enduring monthly gig night, based labels will have special cassette-only releases available at Truck run by The Mighty Redox’s Sue Store on Saturday 13th October as a series of events takes place in record Smith and Phil Freizinger, along stores around the UK to celebrate the resurgence of the format. with Ainan Addison, began in Beanie Tapes release an EP by local teenage singer-songwriter Max October 1991 with the aim of Blansjaar, titled `Spit It Out’, as well as `Continuous Play’, a compilation recreating the spirit of free festivals of Oxford acts featuring 19 artists, including Candy Says; Gaz Coombes; in Oxford venues and has proudly Lucy Leave; Premium Leisure and Dolly Mavies (pictured). -
The Dark Side User Manual
USER MANUAL 1.0.2 EASTWEST | THE DARK SIDE IMPORTANT COMPATIBILITY NOTE! Our Revolutionary New Opus Software Engine Our brand new Opus software engine has been years in development, and replaces the Play engine. All EastWest Libraries (with the exception of the original Hollywood Orchestra, the original Hollywood Solo Instruments, and the MIDI Guitar Series) are supported in Opus, allowing them to take advantage of a faster, more powerful, more flexible, and better looking software engine. Opus comes with some incredible new features such as individual instrument down- loads, customized key-switches, new effects for the mixer page, scalable retina user interface upgrades for legacy products, a powerful new script language, and many more features that allow you to completely customize the sound of each instrument. It’s one of the most exciting developments in the history of our company and will be the launching pad for many exciting new products in the future. Using Opus and Play Together Opus and Play are two separate software products, anything you have saved in your projects will still load up inside the saved Play version of the plugins. You can update your current/existing projects to Opus if you so choose, or leave them saved within Play. After purchasing or upgrading to Opus you do not need to use Play, but it may be more convenient to make small adjustments to an older composition in your DAW loading the instruments saved in Play instead of replacing them with Opus. For any new composi- tion, just use Opus. A Note About User Manuals All EastWest Libraries have their own user manuals (like this one) that refer to instru- ments and controls that are specific to their respective libraries, as well as referencing the Play User Manual for controls that are common to all EastWest Libraries. -
An Arduino-Based MIDI Controller for Detecting Minimal Movements in Severely Disabled Children
IT 16054 Examensarbete 15 hp Juni 2016 An Arduino-based MIDI Controller for Detecting Minimal Movements in Severely Disabled Children Mattias Linder Institutionen för informationsteknologi Department of Information Technology Abstract An Arduino-based MIDI Controller for Detecting Minimal Movements in Severely Disabled Children Mattias Linder Teknisk- naturvetenskaplig fakultet UTH-enheten In therapy, music has played an important role for children with physical and cognitive impairments. Due to the nature of different impairments, many traditional Besöksadress: instruments can be very hard to play. This thesis describes the development of a Ångströmlaboratoriet Lägerhyddsvägen 1 product in which electrical sensors can be used as a way of creating sound. These Hus 4, Plan 0 sensors can be used to create specially crafted controllers and thus making it possible for children with different impairments to create music or sound. This Postadress: thesis examines if it is possible to create such a device with the help of an Arduino Box 536 751 21 Uppsala micro controller, a smart phone and a computer. The end result is a product that can use several sensors simultaneously to either generate notes, change the Telefon: volume of a note or controlling the pitch of a note. There are three inputs for 018 – 471 30 03 specially crafted sensors and three static potentiometers which can also be used as Telefax: specially crafted sensors. The sensor inputs for the device are mini tele (2.5mm) 018 – 471 30 00 and any sensor can be used as long as it can be equipped with this connector. The product is used together with a smartphone application to upload different settings Hemsida: and a computer with a music work station which interprets the device as a MIDI http://www.teknat.uu.se/student synthesizer. -
A Brief History of Electronic Music
A Brief History of Electronic Music 1: 1896-1945 The first twenty-five years of the life of the archetypal modern artist, Pablo Picasso - who was born in 1881 - witnessed the foundation of twentieth century technology for war and peace alike: the recoil operated machine gun (1882), the first synthetic fibre (1883), the Parsons steam turbine (1884), coated photographic paper (1885), the Tesla electric motor, the Kodak box camera and the Dunlop pneumatic tyre (1888), cordite (1889), the Diesel engine (1892), the Ford car (1893), the cinematograph and the gramophone disc (1894). In 1895, Roentgen discovered X-rays, Marconi invented radio telegraphy, the Lumiere brothers developed the movie camera, the Russian Konstantin Tsiolkovsky first enunciated the principle of rocket drive, and Freud published his fundamental studies on hysteria. And so it went: the discovery of radium, the magnetic recording of sound, the first voice radio transmissions, the Wright brothers first powered flight (1903), and the annus mirabilis of theoretical physics, 1905, in which Albert Einstein formulated the Special Theory of Relativity, the photon theory of light, and ushered in the nuclear age with the climactic formula of his law of mass-energy equivalence, E = mc2. One did not need to be a scientist to sense the magnitude of such changes. They amounted to the greatest alteration of man's view of the universe since Isaac Newton. - Robert Hughes (1981) In 1896 Thaddeus Cahill patented an electrically based sound generation system. It used the principle of additive tone synthesis, individual tones being built up from fundamentals and overtones generated by huge dynamos. -
Note About the Drumsets Almost All Drum Sets Use Layer 1 for the Bass Drums, Layer 2 for the Snares, Layer 3 for the Rest, Layer 4 for Only the Hi-Hats
Intro The Techno Synth Construction Yard 32 MB ROM is a stunning collection of great new sounds designed for the dance, ambient and techno producer or artist. European sound designer Rob Papen has assembled over 600 of his best samples and coupled them with the Proteus 2000’s ultra-powerful synth engine to create a sound set like you’ve never heard before! Proteus’ 12 knob controllers let you tweak sounds to your heart’s content. Presets can morph into completely new sounds and textures at the touch of your fingers. Explore the presets by pressing the Audition button! The Techno Synth Construction Yard includes 136 spankin’ new RIFFs which you can use as backing tracks in your music. Note about the Drumsets Almost all drum sets use Layer 1 for the Bass Drums, Layer 2 for the Snares, Layer 3 for the rest, Layer 4 for only the hi-hats. This means also that the open hi-hat and closed hi-hat work together like real drums! This layering is also useful when using separate outputs or adding FX In the basic setting of the presets the knob control- lers for FX-A and B work only on Layer 2 (snares) and Layer 3 (rest of percussion and drums). Layer 1 and Layer 4 will stay dry for the FX-A knob (K). The non-GM sets have extra Bass and Snare Drums in each kit. Also Note: Many presets have a drum kit located at C-2 to A#1. 2 E-MU Systems TEKNO-Snyth 2 10/28/99, 4:36 PM Note about the MIDI G and MIDI H Controllers Almost all presets use clocked LFOs (MIDI G and MIDI H) to make the sound sync with your song. -
Brian Baldauff Treatise 11.9
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2017 The Percussion Music of Michael W. Udow: Composer Portrait and Performance Analysis of Selected Works Brian C. (Brian Christopher) Baldauff Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE PERCUSSION MUSIC OF MICHAEL W. UDOW: COMPOSER PORTRAIT AND PERFORMANCE ANALYSIS OF SELECTED WORKS By BRIAN C. BALDAUFF A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music 2017 Brian C. Baldauff defended this treatise on November 2, 2017. The members of the supervisory committee were: John W. Parks IV Professor Directing Treatise Frank Gunderson University Representative Christopher Moore Committee Member Patrick Dunnigan Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii To Shirley. iii ACKNOWLEDGMENTS This document and degree would not have been possible without the support, guidance, and patience of numerous extraordinary individuals. My wife, Caitlin for her unwavering encouragement. Dr. John W. Parks IV, my major professor, Dr. Patrick Dunnigan, Dr. Christopher Moore, and Dr. Frank Gunderson for serving on my committee. All my friends and colleagues from The Florida State University, the University of Central Florida, the University of Michigan, West Liberty University, and the University of Wisconsin- Stevens Point for their advice and friendship. My parents Sharon and Joe, and all my family members for their love. -
Chorusing and Flanging Effects on The
. The Independent News Magazine for Ensoniq Users Inthis issue Chorusing and Flanging Effects on the SQs - The Plot Thickens Articles: Clark Salisbury Chorusing and Flanging on the SQs Clark Salisbury cover give the impression that the original signal is echoing. This simple approach yields the DP/4 Specifications original signal and a single echo. If one Ensoniq " 9 wishes to create the sound of multiple (More) "Hidden Waves" on the VFX echoes, one need only route the delayed sig- Walter Cooper ". 14 nal back into the delay itself. This delayed signal is then again delayed, yielding a Sample Variations second echo, and since the output of the William PonJ ".. 15 delay is routed back to its own input, this Pickin' on EPS Bass Sounds second echo is again delayed, and so on. TomShear " 17 The process of routing a delayed signal Welcome to this month's installment of back into the delay is referred to as Reviews: "Programming The SQ When You Should "regeneration" or "feedback." Le Cover Dust Covers Be Looking For A Real Job." So far we've Steve VincenJ 4 talked about how to route voices to the ef- If this regenerated signal is routed back into fects busses and how to work with the the delay at full intensity, however, the Basement Tapes: G2 Daniel Mandel 6 reverb parameters to customize reverb ef- echoes will continue to multiply at full fects. This time out, let's move on to some volume until the sound finally becomes a I Jazz Through MIDI of the other on-board effects. -
Hand Claps, Orchestra Hits, and the Production of Popular Music
Cult Sound Studies: Hand Claps, Orchestra Hits, and the Production of Popular Music Paul Harkins is a lecturer in music at Edinburgh Napier University. His research is about the history and use of digital technologies in popular music and his book, Digital Sampling, is due to be published by Routledge. Other research interests include copyright, mash-ups, and the music industries. His academic writing has been published in Popular Music, Popular Music & Society, IASPM@Journal, Journal on the Art of Record Production, and Reseaux. [email protected] Brockhaus, Immanuel. Cult Sounds. http://www.cult-sounds.com Writing about popular music has often caused problems for scholars attempting to make sense of its sounds. Sociologists have been accused of failing to take them seriously by focusing on the contexts of production, distribution, and consumption and ignoring the ‘text’. Treating music as a text, though, has created its own issues as musicologists use the tools of musical analysis to look at lyrics and notes, things that are easy to write down or notate. Since the turn of the century, there have been a number of developments that have impacted on how scholars approach the sounds of popular music: the Art of Record Production (ARP) conference, which started in 2005, brought together those researching music within the academy, sound engineers starting PhDs, and record producers with books to promote. Moreover, the growth of Sound Studies as an interdisciplinary field has led to an increased focus on the production of sound itself, often outwith the contexts of music making and popular music. -
Relationship with Percussion Instruments
Multimedia Figure X. Building a Relationship with Percussion Instruments Bill Matney, Kalani Das, & Michael Marcionetti Materials used with permission by Sarsen Publishing and Kalani Das, 2017 Building a relationship with percussion instruments Going somewhere new can be exciting; it might also be a little intimidating or cause some anxiety. If I go to a party where I don’t know anybody except the person who invited me, how do I get to know anyone else? My host will probably be gracious enough to introduce me to others at the party. I will get to know their name, where they are from, and what they commonly do for work and play. In turn, they will get to know the same about me. We may decide to continue our relationship by learning more about each other and doing things together. As music therapy students, we develop relationships with music instruments. We begin by learning instrument names, and by getting to know a little about the instrument. We continue our relationship by learning technique and by playing music with them! Through our experiences and growth, we will be able to help clients develop their own relationships with instruments and music, and therefore be able to 1 strengthen the therapeutic process. Building a relationship with percussion instruments Recognize the Know what the instrument is Know where the Learn about what the instrument by made out of (materials), and instrument instrument is or was common name. its shape. originated traditionally used for. We begin by learning instrument names, and by getting to know a little about the instrument.