DOCSLIB.ORG

Owner's Manual

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

OWNER’S MANUAL Mobile Audio System RE G y PLL Synthesizer Stereo Radio y Digital Compact Disc Player/MP3 Player/WMA Player y Automatic Memory Storing y Fold Down Detachable Panel y Preset Equalization y Electronic Shockproof (ESP) Function y USB Interface y CD Changer Control (FOR CD CHANGER VERSION ONLY) y Auxiliary Input Function (FOR AUX IN VERSION ONLY) y Remote Control (OPTIONAL) 88-C2177-00 1 CONTENTS Installation...........................................3 CD operation ........................................ 13 Take out screw before installation.........3 Switching to CD mode ...................... 13 DIN Front-Mount (Method A).................3 Selecting tracks................................. 13 Installing the unit ...............................3 Pausing playing................................. 13 Removing the unit .............................4 Previewing all tracks ......................... 13 DIN Rear-Mount (Method B) .................5 Repeating the same track ................. 13 Using the detachable front panel ......6 Playing all tracks in random .............. 13 Wiring Connection..............................7 Ejecting a disc................................... 13 For 4 x 25W or 4 x 40W system............7 CDC operation (For CDC For 4 x 7W or 2 x 25W system..............8 version only) ......................................... 13 ISO connection .....................................9 Switching to CDC mode.................... 13 Operation.............................................10 Selecting tracks................................. 13 Location of keys....................................10 Pausing playing................................. 13 Switching on/off the unit (For LCD Previewing all tracks ......................... 13 version only) .........................................11 Repeating individual tracks or Switching on/off the unit and whole CDs......................................... 14 illuminating (For VFD Version only) ......11 Playing all tracks in random .............. 14 Faceplate release .................................11 Selecting disc.................................... 14 Sound adjustment.................................11 MP3 operation ...................................... 14 Loudness ..............................................11 Switching to CD (MP3) mode............ 14 Set the clock .........................................11 Ejecting a disc................................... 14 Mute......................................................11 Selecting tracks in single step........... 14 Equalization ..........................................11 Selecting directory up/down.............. 14 Subwoofer (Optional)............................11 Pausing playing................................. 14 Liquid crystal display (For LCD Previewing all tracks ......................... 14 version only) .........................................11 Repeating the same track ................. 14 Vacuum fluorescent display (For VFD Playing all tracks in random .............. 14 version only) .........................................11 Selecting tracks by Flashing LED ........................................12 AMS/MP3 button............................... 14 Remote sensor (Optional).....................12 Display information ........................... 16 ESP function .......................................12 WMA operation..................................... 16 Reset function.......................................12 USB play operation............................... 16 Radio operation ....................................12 Record operation.................................. 16 Switching to radio mode....................12 Mixed-CD operation (For with mixed-CD Selecting the frequency band............12 operation version only) ......................... 17 Selecting station................................12 Supported MP3/WMA Local/distance ...................................12 decoding modes ................................... 17 Automatic memory storing& SD/MMC operation (optional) ............... 17 program scanning .............................12 Station storing ...................................12 Disc notes............................................. 18 Mono/stereo ......................................12 Specification ....................................... 19 Scan..................................................13 Trouble shooting ................................ 20 2 INSTALLATION Notes: TAKE OUT SCREW BEFORE INSTALLATION y Choose the mounting location where Before install the unit, please remove the the unit will not interfere with the two screws. normal driving function of the driver. Take out screw y Before finally installing the unit, before installation. connect the wiring temporarily and make sure it is all connected up properly and the unit and the system work properly. y Use only the parts included with the unit to ensure proper installation. The use of unauthorized parts can cause malfunctions. DIN FRONT-MOUNT (Method A) y Consult with your nearest dealer if Installation Opening installation requires the drilling of holes This unit can be installed in any dashboard or other modifications of the vehicle. having an opening as shown below: y Install the unit where it does not get in the driver’s way and cannot injure the 53mm passenger if there is a sudden stop, like an emergency stop. 182mm y If installation angel exceeds 30°from horizontal, the unit might not give its Installing the unit optimum performance. Be sure you test all connections first, and then follow these steps to install the unit. 30 1. Make sure the ignition is turned off, and y Avoid installing the unit where it would then disconnect the cable from the be subject to high temperature, such vehicle battery’s negative (-) terminal. as from direct sunlight, or from hot air, 2. Disconnect the wire harness and the from the heater, or where it would be antenna. subject to dust, dirt or excessive 3. Press the release button on the front vibration. panel and remove the control panel (see the steps of “to detach the front DIN FRONT/REAR-MOUNT panel”). This unit can be properly installed either 4. Lift the top of the outer trim ring then from “Front” (conventional DIN pull it out to remove it. Front-mount) or “Rear”(DIN Rear-mount 5. The two supplied keys release tabs installation, utilizing threaded screw holes inside the unit’s sleeve so you can at the sides of the unit chassis). For details, remove it. Insert the keys as far as refer to the following illustrated installation methods. 3 INSTALLATION back of the unit in place. Use the they will go (with the notches facing up) supplied hardware (Hex Nut (M5mm) into the appropriate slots at the middle and Spring Washer) to attach one end of left and right sides of the unit. Then slide the strap to the mounting bolt on the the sleeve off the back of the unit. back of the unit. If necessary, bend the Sleeve L Key metal strap to fit your vehicle’s mounting Outer Trim Ring area. Then use the supplied hardware Front Panel (Tapping Screw (5x25mm) and Plain Washer) to attach the other end of metal strap to a solid metal part of the vehicle under the dashboard. This strap also R Key helps ensure proper electrical grounding of the unit. Note to install the short threading 6. Mount the sleeve by inserting the terminal of the mounting bolt to the back sleeve into the opening of the of the unit and the other long threading dashboard and bend open the tabs terminal to the dashboard. located around the sleeve with a Spring Washer Hex Nut screwdriver. Not all tabs will be able to Metal Strap make contact, so examine which ones Mounting Bolt will be most effective. Bending open the Plain Washer Tapping Screw appropriate tabs behind the dashboard to secure the sleeve in place. Dashboard Tabs 10. Reconnect the cable to the vehicle Screwdriver battery’s negative (-) terminal. Then replace the outer trim ring and install the unit’s front panel (see the steps of Sleeve “to install the front panel”). 7. Reconnect the wire harness and the Removing the unit antenna and be careful not to pinch any 1. Make sure the ignition is turned off, then wires or cables. disconnect the cable from the vehicle 8. Slide the unit into the sleeve until it battery’s negative (-) terminal. locks into place. 2. Remove the metal strap attached the 9. To further secure the unit, use the back of the unit (if attached). supplied metal strap to secure the 3. Press the release button to remove the front panel. 4 INSTALLATION To fasten the unit to the factory radio 4. Lift the top of the outer trim ring then pull it out to remove it. mounting brackets. 5. Insert both of the supplied keys into the Align the screw holes on the bracket with slots at the middle left and right sides of the screw holes on the unit, and then the unit, then pull the unit out of the tighten the screws (5x5mm) on each side. dashboard. Note: the outer trim ring, sleeve and the metal strap are not used for method B installation. DIN REAR-MOUNT (Method B) If your vehicle is a Nissan, Toyota, follow these mounting instructions. Use the screw holes marked T (Toyota), N (Nissan) located on both sides of the unit to fasten the unit to the factory radio mounting brackets supplied with your vehicle. Side View showing Screw Holes marked T, N Screw Factory Radio Mounting Bracket Screw Dashboard or Console 5 USING THE DETACHABLE FRONT PANEL To Detach the Front Panel 2. When the two sides fixed into place, 1. Press the (open) button, then the push the front panel into main
Recommended publications
  • EDMTCC 2014 – the EDM Guide

    EDMTCC 2014 – the EDM Guide

    EDMTCC 2014 F# The EDM Guide: Technology, Culture, Curation Written by Robby Towns EDMTCC.COM [email protected] /EDMTCC NESTAMUSIC.COM [email protected] @NESTAMUSIC ROBBY TOWNS AUTHOR/FOUNDER/ENTHUSIAST HANNAH LOVELL DESIGNER LIV BULI EDITOR JUSTINE AVILA RESEARCH ASSISTANT ACKNOWLEDGEMENTS SIMON MORRISON GOOGLE VINCENT REINDERS 22TRACKS GILLES DE SMIT 22TRACKS LUKE HOOD UKF DANA SHAYEGAN THE COLLECTIVE BRIAN LONG KNITTING FACTORY RECORDS ERIC GARLAND LIVE NATION LABS BOB BARBIERE DUBSET MEDIA HOLDINGS GLENN PEOPLES BILLBOARD MEGAN BUERGER BILLBOARD THE RISE OF EDM 4 1.1 SURVIVAL OF THE FITTEST 6 1.2 DISCO TO THE DROP 10 1.3 A REAL LIFE VIDEO GAME 11 1.4 $6.2 BILLION GLOBAL INDUSTRY 11 1.5 GOING PUBLIC 13 1.6 USB 14 TECHNOLOGY: 303, 808, 909 15 2.1 ABLETON LIVE 18 2.2 SERATO 19 2.3 BEATPORT 21 2.4 SOUNDCLOUD 22 2.5 DUBSET MEDIA HOLDINGS 23 CULTURE: BIG BEAT TO MAIN STREET 24 3.1 DUTCH DOMINANCE 26 3.2 RINSE FM 28 3.3 ELECTRIC DAISY CARNIVAL 29 3.4 EDM FANS = HYPERSOCIAL 30 CURATION: DJ = CURATOR 31 4.1 BOOMRAT 33 4.2 UKF 34 4.3 22TRACKS 38 BONUS TRACK 41 THE RISE OF EDM “THE MUSIC HAS SOMETHING IN COMMON WITH THE CURRENT ENGLISH- SYNTHESIZER LED ELECTRONIC DANCE MUSIC...” –LIAM LACEY, CANADIAN GLOBE & MAIL 1982 EDMTCC.COM What is “EDM”? The answer from top brands, and virtually to this question is not the every segment of the entertain- purpose of this paper, but is ment industry is looking to cap- a relevant topic all the same.
  • Editorial Metadata in Electronic Music Distribution Systems: Between Universalism and Isolationism

    Editorial Metadata in Electronic Music Distribution Systems: Between Universalism and Isolationism

    Journal of New Music Research 2005, Vol. 34, No. 2, pp. 173 – 184 Editorial Metadata in Electronic Music Distribution Systems: Between Universalism and Isolationism Franc¸ ois Pachet, Amaury La Burthe, Jean-Julien Aucouturier and Anthony Beurive´ Sony CSL – Paris Abstract about the artist, the title, and so on. Although you enjoy the new tune, you do not know much about We address the problem of metadata management in the Bjork: you have only been able to classify the artist in context of future Electronic Music Distribution (EMD) your walkman’s local genre taxonomy as ‘‘Electronica / systems, and propose a classification of existing musical Icelandic’’. editorial systems in two categories: the isolationists and As you walk by a cafe´ in Reykjavik, you decide that the universalists. Universalists propose shared informa- you would like to see what information the local tion at the expense of consensuality, while isolationist community has to offer about Bjork (she’s Icelandic, approaches allow individual parameterization at the isn’t she?) You turn on your walkman, which immedi- expense of the lack of reusability. We propose an ately connects to the nearby metadata server at the cafe´ architecture and a system for managing editorial and download locally available information. Unfortu- metadata that lies in the middle of these two extremes: nately, access to the music files is copyrighted and we organize musical editorial information in such a way restricted. However, you have access to the correspond- that users can benefit from shared metadata when they ing metadata. Your walkman automatically browses the wish, while also allowing them to create and manage a local genre taxonomy and is able to trace down Bjork, private version of editorial information.
  • Text-Based Description of Music for Indexing, Retrieval, and Browsing

    Text-Based Description of Music for Indexing, Retrieval, and Browsing

    JOHANNES KEPLER UNIVERSITAT¨ LINZ JKU Technisch-Naturwissenschaftliche Fakult¨at Text-Based Description of Music for Indexing, Retrieval, and Browsing DISSERTATION zur Erlangung des akademischen Grades Doktor im Doktoratsstudium der Technischen Wissenschaften Eingereicht von: Dipl.-Ing. Peter Knees Angefertigt am: Institut f¨ur Computational Perception Beurteilung: Univ.Prof. Dipl.-Ing. Dr. Gerhard Widmer (Betreuung) Ao.Univ.Prof. Dipl.-Ing. Dr. Andreas Rauber Linz, November 2010 ii Eidesstattliche Erkl¨arung Ich erkl¨are an Eides statt, dass ich die vorliegende Dissertation selbstst¨andig und ohne fremde Hilfe verfasst, andere als die angegebenen Quellen und Hilfsmittel nicht benutzt bzw. die w¨ortlich oder sinngem¨aß entnommenen Stellen als solche kenntlich gemacht habe. iii iv Kurzfassung Ziel der vorliegenden Dissertation ist die Entwicklung automatischer Methoden zur Extraktion von Deskriptoren aus dem Web, die mit Musikst¨ucken assoziiert wer- den k¨onnen. Die so gewonnenen Musikdeskriptoren erlauben die Indizierung um- fassender Musiksammlungen mithilfe vielf¨altiger Bezeichnungen und erm¨oglichen es, Musikst¨ucke auffindbar zu machen und Sammlungen zu explorieren. Die vorgestell- ten Techniken bedienen sich g¨angiger Web-Suchmaschinen um Texte zu finden, die in Beziehung zu den St¨ucken stehen. Aus diesen Texten werden Deskriptoren gewon- nen, die zum Einsatz kommen k¨onnen zur Beschriftung, um die Orientierung innerhalb von Musikinterfaces zu ver- • einfachen (speziell in einem ebenfalls vorgestellten dreidimensionalen Musik- interface), als Indizierungsschlagworte, die in Folge als Features in Retrieval-Systemen f¨ur • Musik dienen, die Abfragen bestehend aus beliebigem, beschreibendem Text verarbeiten k¨onnen, oder als Features in adaptiven Retrieval-Systemen, die versuchen, zielgerichtete • Vorschl¨age basierend auf dem Suchverhalten des Benutzers zu machen.
  • 31295019800852.Pdf (1.481Mb)

    31295019800852.Pdf (1.481Mb)

    IMPACT OF PAY-FOR-PLAY DOWNLOADING ON THE MUSIC INDUSTRY by James Robert Law A SENIOR THESIS in GENERAL STUDIES Submitted to the General Studies Council in the College of Arts and Sciences at Texas Tech University in Partial fulfillment of the Requirements for the Degree of BACHELOR OF GENERAL STUDIES Approved BLOOD Choo~~~~s~~ unications of Thesis Committee ~- THOMAS HUGHES School o-f Visual and Performing Arts Accepted DR. ~MICHAEL SCHOENECKE Director of General Studies MAY 2005 -r3 ACKNOWLEDGMENTS ^ooS ,,-) < I would like to thank Dr. Youngblood and Dr. Hughes CxO.c^ for their incredible assistance and patience. Your help is much appreciated, and I could not have finished this without the incredible amount of time and energy you both put forth. I would like to consider you both not only valuable mentors in my life, but also friends. I would like to thank my girlfriend, Michele Stephens, for her incredible encouragement that motivated me when I was so near completion. Thank you for understanding my one-track mind. Thanks for letting me talk out my ideas with you to solidify them. Finally, thanks to my mother, whose support I will always appreciate. Her prayers and concerns were always felt and well received. Without the sacrifices she made, I would not have had the time or the wits to finish this. 11 TABLE OF CONTENTS ACKNOWLEDGMENTS ii CHAPTER I. INTRODUCTION 1 II. TECHNOLOGICAL BACKGROUND 3 What Is the MP3 File Format 3 What Is a Peer-to-Peer Network 5 What Makes a Download Legal/Illegal 7 What Is a Pay-for-Play Downloading Program...
  • Employing Subjective Tests and Deep Learning for Discovering the Relationship Between Personality Types and Preferred Music Genres

    Employing Subjective Tests and Deep Learning for Discovering the Relationship Between Personality Types and Preferred Music Genres

    electronics Article Employing Subjective Tests and Deep Learning for Discovering the Relationship between Personality Types and Preferred Music Genres Aleksandra Dorochowicz 1, Adam Kurowski 1,2 and Bo˙zenaKostek 1,2,* 1 Faculty of Electronics, Telecommunications and Informatics, Multimedia Systems Department, Gdansk University of Technology, Gabriela Narutowicza 11/12, 80-233 Gda´nsk,Poland; [email protected] (A.D.); [email protected] (A.K.) 2 Faculty of Electronics, Telecommunications and Informatics, Audio Acoustics Laboratory, Gdansk University of Technology, Gabriela Narutowicza 11/12, 80-233 Gda´nsk,Poland * Correspondence: [email protected]; Tel.: +48-58-3472717 Received: 13 October 2020; Accepted: 25 November 2020; Published: 28 November 2020 Abstract: The purpose of this research is two-fold: (a) to explore the relationship between the listeners’ personality trait, i.e., extraverts and introverts and their preferred music genres, and (b) to predict the personality trait of potential listeners on the basis of a musical excerpt by employing several classification algorithms. We assume that this may help match songs according to the listener’s personality in social music networks. First, an Internet survey was built, in which the respondents identify themselves as extraverts or introverts according to the given definitions. Their task was to listen to music excerpts that belong to several music genres and choose the ones they like. Next, music samples were parameterized. Two parametrization schemes were employed for that purpose, i.e., low-level MIRtoolbox parameters (MIRTbx) and variational autoencoder neural network-based, which automatically extract parameters of musical excerpts. The prediction of a personality type was performed employing four baseline algorithms, i.e., support vector machine (SVM), k-nearest neighbors (k-NN), random forest (RF), and naïve Bayes (NB).
  • Audio Based Genre Classification of Electronic Music

    Audio Based Genre Classification of Electronic Music

    Audio Based Genre Classification of Electronic Music Priit Kirss Master's Thesis Music, Mind and Technology University of Jyväskylä June 2007 JYVÄSKYLÄN YLIOPISTO Faculty of Humanities Department of Music Priit Kirss Audio Based Genre Classification of Electronic Music Music, Mind and Technology Master’s Thesis June 2007 Number of pages: 72 This thesis aims at developing the audio based genre classification techniques combining some of the existing computational methods with models that are capable of detecting rhythm patterns. The overviews of the features and machine learning algorithms used for current approach are presented. The total 250 musical excerpts from five different electronic music genres such as deep house, techno, uplifting trance, drum and bass and ambient were used for evaluation. The methodology consists of two main steps, first, the feature data is extracted from audio excerpts, and second, the feature data is used to train the machine learning algorithms for classification. The experiments carried out using feature set composed of Rhythm Patterns, Statistical Spectrum Descriptors from RPextract and features from Marsyas gave the highest results. Training that feature set on Support Vector Machine algorithm the classification accuracy of 96.4% was reached. Music Information Retrieval Contents 1 INTRODUCTION ..................................................................................................................................... 1 2 PREVIOUS WORK ON GENRE CLASSIFICATION ........................................................................
  • NCH Software Stamp ID3 Tag Editor

    NCH Software Stamp ID3 Tag Editor

    NCH Software Stamp ID3 Tag Editor This user guide has been created for use with Stamp ID3 Tag Editor Version 2.xx ©NCH Software Technical Support If you have difficulties using Stamp ID3 Tag Editor please read the applicable topic before requesting support. If your problem is not covered in this user guide please view the up-to-date Stamp ID3 Tag Editor Online Technical Support at www.nch.com.au/tageditor/support.html. If that does not solve your problem, you can contact us using the technical support contacts listed on that page. Software Suggestions If you have any suggestions for improvements to Stamp ID3 Tag Editor, or suggestions for other related software that you might need, please post it on our Suggestions page at www.nch.com.au/suggestions/index.html . Many of our software projects have been undertaken after suggestions from users like you. You get a free upgrade if we follow your suggestion. Stamp ID3 Tag Editor Contents Introduction..................................................................................................................................... 2 Stamping a file................................................................................................................................ 3 Renaming Multiple files.................................................................................................................. 4 Shortcut Key Reference................................................................................................................. 5 Troubleshoot Problems.................................................................................................................
  • Tonality Estimation in Electronic Dance Music a Computational and Musically Informed Examination

    Tonality Estimation in Electronic Dance Music a Computational and Musically Informed Examination

    Tonality Estimation in Electronic Dance Music A Computational and Musically Informed Examination Ángel Faraldo Pérez TESI DOCTORAL UPF / 2017 Thesis Directors: Dr. Sergi Jordà Puig Music Technology Group Department of Information and Communication Technologies Universitat Pompeu Fabra, Barcelona, Spain Dissertation submitted to the Department of Information and Communication Tech- nologies of Universitat Pompeu Fabra in partial fulfilment of the requirements for the degree of DOCTOR PER LA UNIVERSITAT POMPEU FABRA Copyright c 2017 by Ángel Faraldo Licensed under Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 Music Technology Group (http://mtg.upf.edu), Department of Information and Communication Tech- nologies (http://www.upf.edu/dtic), Universitat Pompeu Fabra (http://www.upf.edu), Barcelona, Spain. The doctoral defence was held on ......................... at the Universitat Pompeu Fabra and scored as ........................................................... Dr. Sergi Jordà Puig (Thesis Supervisor) Universitat Pompeu Fabra (UPF), Barcelona, Spain Dr. Agustín Martorell Domínguez (Thesis Committee Member) Universitat Pompeu Fabra (UPF), Barcelona, Spain Dr. Gianni Ginesi (Thesis Committee Member) Escola Superior de Musica de Catalunya (ESMUC), Barcelona, Spain Dr. Anja Volk (Thesis Committee Member) Universiteit Utrecht, The Netherlands This thesis has been carried out at the Music Technology Group (MTG) of Universitat Pompeu Fabra in Barcelona, Spain, from January 2014 to November 2017, supervised by Dr. Sergi Jordà Puig and Prof. Perfecto Herrera Boyer. My work has been supported by the Department of Information and Communication Technologies (DTIC) PhD fellowship (2015-17), Universitat Pompeu Fabra, and the European Research Council under the European Union’s 7th Framework Program, as part of the GiantSteps project (FP7-ICT-2013-10, grant agreement 610591).
  • Music Genre Recognition 4 2.1 Overview

    Music Genre Recognition 4 2.1 Overview

    MUSICGENRERECOGNITION Karin Kosina DIPLOMARBEIT eingereicht am Fachhochschul-Studiengang MEDIENTECHNIKUND-DESIGN in Hagenberg im Juni 2002 c Copyright 2002 Karin Kosina. All rights reserved. ii Erkl¨arung Hiermit erkl¨are ich an Eides statt, dass ich die vorliegende Arbeit selbst- st¨andig und ohne fremde Hilfe verfasst, andere als die angegebenen Quellen und Hilfsmittel nicht benutzt und die aus anderen Quellen entnommenen Stellen als solche gekennzeichnet habe. Hagenberg, am 19. Juni 2002 Karin Kosina iii Contents Erkl¨arung iii Preface vii Abstract viii Kurzfassung ix 1 Introduction 1 1.1 Motivation . 1 1.2 Scope of this work . 3 2 Music Genre Recognition 4 2.1 Overview . 4 2.1.1 Terminology . 4 2.1.2 Schematic Model . 5 2.1.3 Difficulties . 6 2.2 Human Sound Perception . 7 2.2.1 The Human Ear . 7 2.2.2 A Study of Human Music Genre Classification . 8 2.3 Related Fields . 8 2.3.1 Speech Recognition . 9 2.3.2 Speaker Recognition . 9 2.3.3 Music vs. Speech Classification . 9 2.3.4 Video Content Analysis . 9 2.3.5 Beat Tracking and Rhythm Detection . 10 2.3.6 Query By Example . 10 2.3.7 Automatic Music Transcription . 10 2.3.8 Auditory Scene Analysis . 11 2.3.9 Image Recognition . 11 3 Feature Extraction 12 3.1 Overview . 12 3.1.1 Introduction . 12 iv CONTENTS v 3.1.2 Formal Notation . 13 3.1.3 Choosing the Right Features . 13 3.2 Background: Fourier Analysis . 14 3.2.1 Sinusoid Superposition . 15 3.2.2 Fourier Transform .
  • User Guide: MPC Software

    User Guide: MPC Software

    User Guide English Manual Version 2.8 Table of Contents Introduction ............................................................ 7 Tutorial ................................................................... 13 MPC vs. MPC Beats .......................................... 7 Creating a Drum Kit ......................................... 13 System Requirements & Product Support ...... 7 Creating a Drum Sequence ............................. 14 About This User Guide ...................................... 8 Renaming & Saving .......................................... 15 Important Notes ................................................. 8 Editing Note Events .......................................... 17 Setup ................................................................... 9 Making Basic Sound Edits ............................... 19 1. Connection .................................................. 9 Creating a Bass Track ..................................... 20 2. Installation ................................................... 9 Recording an Audio Track ............................... 23 3. Getting Started .......................................... 10 Creating a Song ................................................ 24 MPC Software.................................................... 10 MPC Beats Software .......................................... 11 Exporting the Song ........................................... 25 Basic Concepts .................................................... 12 Other Features Explained ...............................
  • City Research Online

    City Research Online

    City Research Online City, University of London Institutional Repository Citation: Barthet, M., Plumbley, M. D., Kachkaev, A., Dykes, J., Wolff, D. and Weyde, T. (2014). Big Chord Data Extraction and Mining. Paper presented at the 9th Conference on Interdisciplinary Musicology – CIM14, 03-12-2014 - 06-12-2014, Staatliches Institut für Musikforschung, Berlin, Germany. This is the published version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/5803/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Proceedings of the 9th Conference on Interdisciplinary Musicology – CIM14. Berlin, Germany 2014 BIG CHORD DATA EXTRACTION AND MINING Mathieu Barthet1, Mark D. Plumbley1, Alexander Kachkaev2, Jason Dykes2, Daniel Wolff2, Tillman Weyde2 1 Centre for Digital Music, Queen Mary University of London 2 City University London Correspondence should be addressed to: [email protected] Abstract: Harmonic progression is one of the cornerstones of tonal has led to the emergence of different chord progressions.
  • Idest – ID3 Edit and Scripting Tool Version 2.1, 31 December 2016

    Idest – ID3 Edit and Scripting Tool Version 2.1, 31 December 2016

    IdEst – ID3 Edit and Scripting Tool version 2.1, 31 December 2016 Sergey Poznyakoff Copyright c 2009-2011, 2015, 2016 Sergey Poznyakoff Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.3 or any later version published by the Free Software Foundation; with no Invariant Sec- tions, and without restrictions as to the Front and Back-Cover texts. A copy of the license is included in the section entitled “GNU Free Documentation License”. i Short Contents 1 Introduction .......................................... 1 2 ID3 Tag Versions ...................................... 3 3 ID3 Frames .......................................... 5 4 Viewing Existing Tags.................................. 7 5 Modifying Existing Tags ................................ 9 6 Copying Tags Between Files ............................ 11 7 Deleting Tags and Frames.............................. 13 8 Storing Tags in Different ID3 Versions .................... 15 9 Examining File Structure .............................. 17 10 Scripting............................................ 19 11 Keeping Backup Copies................................ 35 12 Invocation Summary .................................. 37 13 How to Report a Bug ................................. 41 A ID3 Genre Codes ..................................... 43 B GNU Free Documentation License ....................... 47 Concept Index ........................................... 57 iii Table of Contents 1 Introduction ....................................