DOCSLIB.ORG

TRITON Le Voice Name List

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
TRITON Le Voice Name List J E F G 2 Table of contents Combinations (Preload)....................................................................................... 3 Bank A ...................................................................................................................................3 Bank B ....................................................................................................................................7 Bank C ................................................................................................................................. 11 Programs (Preload)........................................................................................... 15 Bank A .................................................................................................................................15 Bank B ..................................................................................................................................16 Bank C .................................................................................................................................17 Bank D .................................................................................................................................18 Bank G /g(d) ......................................................................................................................19 Drum kits (Preload) ........................................................................................... 20 00: Standard Kit 1...............................................................................................................20 01: Standard Kit 2...............................................................................................................20 02: Processed Kit ................................................................................................................20 03: Jazz/Brush Kit..............................................................................................................21 04: House Kit ......................................................................................................................21 05: Tricky Kit.......................................................................................................................21 06: Drum'n'Bass Kit ...........................................................................................................22 07: Hip Hop Kit ..................................................................................................................22 08: Psycho Kit .....................................................................................................................22 09: Percussion Kit...............................................................................................................23 10: Orchestra&Ethnic ........................................................................................................23 11: Cymbals Catalog ..........................................................................................................23 12: BD&SD Catalog 1.........................................................................................................24 13: BD&SD Catalog 2.........................................................................................................24 14: 01/W Total Kit..............................................................................................................24 15:Trance/GarageKit .........................................................................................................25 GM Drum kits................................................................................................... 26 00: STANDARD .................................................................................................................26 01: ROOM ...........................................................................................................................26 02: POWER .........................................................................................................................26 03: ELECTRONIC ..............................................................................................................26 04: ANALOG ......................................................................................................................26 05: JAZZ ..............................................................................................................................27 06: BRUSH ..........................................................................................................................27 07: ORCHESTRA ...............................................................................................................27 08: SFX .................................................................................................................................27 Multisamples .................................................................................................... 28 Drumsamples ................................................................................................... 29 Preset Arpeggio Patterns / User Arpeggio Patterns (Preload).............................. 30 Audition Riffs ................................................................................................... 31 Preset Patterns ................................................................................................. 32 Template Songs ................................................................................................ 32 Demo Songs ..................................................................................................... 32 2 Combinations (Preload) Bank A # Name Arp.SW A Pattern Run SW1 Knob 1-B Knob 3-B Category B Pattern Run SW2 Knob 2-B Knob 4-B A000 Ballad Layer EP Off P0:UP Off Octave Up F/A Attack (CC#73) Knob Mod.3 (CC#20) Keyboard U134:Dr-HipHop 1 On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21) A001 Dynamic Strings Off U199:Dr-Orch.Perc. On Octave Down F/A Attack (CC#73) Knob Mod.3 (CC#20) Strings U190:Dr-Percussion On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21) A002 Wave Sequencer On U121:Dr-LoungeBeatBox Off Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20) MotionSynth U006:Syn-Repeat On Mod.SW2 (CC#81) Filter Resonance (CC#71) Knob Mod.4 (CC#21) A003 Bass&WhirlySplit On U123:Dr-Syncro On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20) BassSplits U087:Bs-Stagger On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21) A004 Trancy Euphoria On U076:Bs/Rf-EpicTrance On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Expression (CC#11) BassSplits U158:Dr-Trance4Floor On Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21) A005 Pimps-N-Pitz On U139:Dr-NuHop Grv 1 On Octave Up F/A Attack (CC#73) Knob Mod.3 (CC#20) BassSplits U065:Bs/Rf-NuHopChrd1 On Lock JS(-Y) & Ribbon Knob Mod.2 (CC#19) Knob Mod.4 (CC#21) A006 Jazz Step DnB On U181:Dr-Jump Up DnB On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Filter Cutoff (CC#74) BassSplits P0:UP On Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21) A007 Real Steppers On U170:Dr-2Step Garage1 On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20) BassSplits U067:Bs/Rf-2Step On Mod.SW2 (CC#81) Expression (CC#11) Knob Mod.4 (CC#21) A008 Song Of Africa On P4:RANDOM On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20) World U190:Dr-Percussion On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21) A009 Studio Orchestra Off U057:Str-Classical 3 On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20) Orchestral U057:Str-Classical 3 On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21) A010 Analog 101 Off U022:Syn-StaccatoTech On Portamento SW (CC#65) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20) Synth U014:Syn-6tone Techno On Lock JS(-Y) F/A Attack (CC#73) Knob Mod.4 (CC#21) A011 Breath Monster Off P2:ALTERNATE1 On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20) Pads P2:ALTERNATE1 On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21) A012 Bell Animations On P4:RANDOM On Octave Down F/A Attack (CC#73) Knob Mod.3 (CC#20) Bell/Mallet/Perc P4:RANDOM On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21) A013 Big Jazz Band Off U067:Bs/Rf-2Step On Mod.SW1 (CC#80) Volume (CC#07) Knob Mod.3 (CC#20) BrassReed P0:UP On Lock JS(-Y) Expression (CC#11) Knob Mod.4 (CC#21) A014 All Was Lost Off P2:ALTERNATE1 On Mod.SW1 (CC#80) Volume (CC#07) Knob Mod.3 (CC#20) Complex & SE P0:UP Off Lock JS(-Y) Expression (CC#11) Knob Mod.4 (CC#21) A015 Heavy Organ Off U126:Dr-BigBeats 2 On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20) Organ U116:Dr-Cyber Metal On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21) A016 Hip Hop Clav On U135:Dr-HipHop 2 On Mod.SW1 (CC#80) F/A Decay (CC#75) Knob Mod.3 (CC#20) Keyboard U191:Dr-SmoothSamba 1 On Lock JS(-Y) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21) A017 Bowed Strings Off U061:Str-AcroArpeggio On Octave Down F/A Attack (CC#73) Knob Mod.3 (CC#20) Strings U057:Str-Classical 3 On Lock JS(-Y) F/A Sustain (CC#70) Knob Mod.4 (CC#21) A018 Sailing On U003:Syn-CrescDecresc On Mod.SW1 (CC#80) F/A Attack (CC#73) Knob Mod.3 (CC#20) MotionSynth P0:UP Off Lock JS(-Y) Portamento Time (CC#05) Knob Mod.4 (CC#21) A019 Back & 4th On U140:Dr-NuHop Grv 2 On Mod.SW1 (CC#80) Expression (CC#11) Portamento Time (CC#05) LeadSplits U067:Bs/Rf-2Step On Lock JS(-Y) CC#02 Knob Mod.4 (CC#21) A020 Fantasmagoria On U156:Dr-BuildUp4Floor On Mod.SW1 (CC#80) Knob Mod.1 (CC#17) Knob Mod.3 (CC#20) BassSplits P0:UP On Mod.SW2 (CC#81) Knob Mod.2 (CC#19) Knob Mod.4 (CC#21) A021 Urban Nature RnB On U145:Dr-Nature RnB On Octave Up Knob Mod.1 (CC#17) MFX Send1 (CC#93)
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Cooked in the Lab Dark, Techy D&B Trio Ivy Lab Break Bad on LP P.108
    MUSIC DECEMBER ON THE DANCEFLOOR This month’s tracks played out p. 92 GO LONG! The long-players listened to p. 108 WILD COMBINATION The most crucial compilations p. 113 Cooked In The Lab Dark, techy d&b trio Ivy Lab break bad on LP p.108 djmag.com 091 HOUSE REVIEWS BEN ARNOLD [email protected] melancholy pianos, ‘A Fading Glance’ is a lovely, swelling thing, QUICKIES gorgeously understated. ‘Mayflies’ is brimming with moody, building La Fleur Fred P atmospherics, minor chord pads Make A Move Modern Architect and Burial-esque snatches of vo- Watergate Energy Of Sound cal. ‘Whenever I Try To Leave’ winds 9.0 8.5 it up, a wash of echoing percus- The first lady of Berlin’s A most generous six sion, deep, unctuous vibrations Watergate unleashes tracks from the superb and gently soothing pianos chords. three tracks of Fred Peterkin. It’s all This could lead Sawyer somewhere unrivalled firmness. If great, but ‘Tokyo To special. ‘Make A Move’’s hoover Chiba’, ‘Don’t Be Afraid’, bass doesn’t get you, with Minako on vocals, Hexxy/Andy Butler ‘Result’’s emotive vibes and ‘Memory P’ stand Edging/Bewm Chawqk will. Lovely. out. Get involved. Mr. Intl 7. 5 Various Shift Work A statuesque release from Andy Hudd Traxx Now & Document II ‘Hercules & Love Affair’ Butler’s Mr. Then Houndstooth Intl label. Hexxy is his new project Hudd Traxx 7. 5 with DJ Nark, founder of the excel- 7. 5 Fine work in the lent ‘aural gallery’ site Bottom Part four of four in this hinterland between Forty and Nark magazine.
    [Show full text]
  • KROSS Voice Name List
    Voice Name List 1 Table of Contents Programs . .3 27(INT): Percussion Kit. 49 Category: PIANO . .3 28(INT): Orchestra&Ethno Kit . 50 Category: E.PIANO . .4 29(INT): BD&SD Catalog 1. 52 Category: ORGAN . .5 30(INT): BD&SD Catalog 2. 53 Category: BELL. .6 31(INT): Cymbal Catalog . 54 Category: STRINGS . .7 32(INT): Rock Kit 1 Mono. 55 Category: BRASS . .8 33(INT): Jazz Kit Mono . 56 Category: SYNTH LEAD . .9 34(INT): Wild Kit . 57 Category: SYNTH PAD . 10 35(INT): Breakin' Kit. 58 Category: GUITAR . 11 36(INT): R'n'B Kit. 59 Category: BASS . 12 37(INT): Trapper Kit. 60 Category: DRUM/SFX. 13 38(INT): Bigroom Kit . 61 39(INT): Tropical Kit . 62 Combinations. 15 40(INT): JazzyHop Kit . 63 Category: PIANO . 15 41(INT): Japanese Catalog . 64 Category: E.PIANO . 15 Category: ORGAN . 15 GM Drum Kits . 65 Category: BELL. 16 58(GM): STANDARD . 65 Category: STRINGS . 16 59(GM): ROOM . 66 Category: BRASS . 16 60(GM): POWER . 67 Category: SYNTH LEAD . 17 61(GM): ELECTRONIC . 68 Category: SYNTH PAD . 17 62(GM): ANALOG. 69 Category: GUITAR . 18 63(GM): JAZZ . 70 Category: BASS . 18 64(GM): BRUSH. 71 Category: DRUM/SFX. 19 65(GM): ORCHESTRA . 72 66(GM): SFX. 73 Favorites . 20 FAVORITES- A . 20 Preset Arpeggio Patterns/User Arpeggio Patterns 74 FAVORITES- B . 20 FAVORITES- C . 20 Drum Track Patterns/Pattern Presets. 79 FAVORITES- D. 20 Template songs . 82 Drum Kits. 21 P00: Pop . 82 P01: Rock . 82 00(INT): Basic Kit 1. 21 P02: Jazz . 82 01(INT): Basic Kit 2.
    [Show full text]
  • Leseprobe (PDF)
    2017-06-19 15-53-01 --- Projekt: transcript.anzeigen / Dokument: FAX ID 012c464244629032|(S. 1- 2) VOR3891.p 464244629040 Aus: Immanuel Brockhaus Kultsounds Die prägendsten Klänge der Popmusik 1960-2014 August 2017, 450 Seiten, kart., 44,99 €, ISBN 978-3-8376-3891-2 Einzelsounds prägen die Geschichte der Popmusik. Der Clap Sound, der Synthesizer-Bass, der Klang eines DX 7 E-Pianos oder Auto-Tune sind genuine Popsounds und stehen in hohem Maße für die Identifizierung von Stilen. Immanuel Brockhaus analysiert erstmals umfassend prägende Einzelsounds in ihrem Ent- stehungs- und Entwicklungskontext und liefert damit Einblicke in Technologie, Anwen- dungspraxis und Ästhetik von Kultsounds sowie den damit verbundenen Netzwerken. Interviews mit Roger Linn, Boris Blank, And.Ypsilon und vielen anderen bekannten Akteu- ren ergänzen die Studie und verdeutlichen die Popularität und Komplexität von Sounds und Soundeffekten. Immanuel Brockhaus (Dr. phil.), geb. 1960, lehrt Popkultur mit Schwerpunkt Musiktech- nologie an der Hochschule der Künste Bern, Schweiz. Der Pianist und Komponist forscht im Bereich Sound Studies und Kulturwissenschaften. Weitere Informationen und Bestellung unter: www.transcript-verlag.de/978-3-8376-3891-2 © 2017 transcript Verlag, Bielefeld 2017-06-19 15-53-01 --- Projekt: transcript.anzeigen / Dokument: FAX ID 012c464244629032|(S. 1- 2) VOR3891.p 464244629040 Inhalt Abstract | 11 Danksagung | 13 Einleitung | 15 TEIL 1: TERMINOLOGIE DES SOUNDBEGRIFFES UND DIE KATEGORISIERUNG VON SOUND 1 Vom Klang zum Sound | 33 1.1 Vom Begriff
    [Show full text]
  • Dub's Dark Legacy in Drum 'N' Bass Culture Christodoulou, C
    WestminsterResearch http://www.westminster.ac.uk/westminsterresearch Darkcore: Dub’s Dark Legacy in Drum ‘n’ Bass Culture Christodoulou, C. This is a copy of an article published in the Dancecult: Journal of Electronic Dance Music Culture, 7 (2), 2015. The final definitive version is available online at: https://dx.doi.org/10.12801/1947-5403.2015.07.02.12 © 2015 The Author(s). This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 License. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] Darkcore: dub’s dark legacy in drum ‘n’ bass culture Chris Christodoulou, London South Bank University, London The popular use of the terms “dark” and “darkness” in bass-oriented electronic dance music (EDM) styles, such as grime, dubstep and jungle/drum ‘n’ bass, points to the recontextualisation of the racial category of blackness on the one hand and the dark uncanniness of post-industrial urban space on the other. Acknowledging the influence of dub on a continuum of bass-oriented EDM styles in the UK, I focus on drum ‘n’ bass to show how “dark” discourses within the dub diaspora can be defined as a critical response, firstly, to the ethnocentric demonisation of blackness as the post-colonial Other of modernity, and secondly, to the destructive conditions created by the political economy of the contemporary city where rapidly changing relationships between class, gender and technology determine access to wealth and social prosperity1.
    [Show full text]
  • Sounding Dark ICA Panel, 9Th September 2016
    Sounding Dark ICA Panel, 9th September 2016 Darkcore: dub’s dark legacy in Drum ‘n’ Bass Culture Key Themes ü Drum ‘n’ Bass Darkness ü Dark Otherness ü Dark Futures Talk based on: Christodoulou, Chris (2015) ‘Darkcore: Dub’s Dark Legacy in Drum ‘n’ Bass Culture’, (Dancecult: Journal of Electronic Dance Music Culture, Echoes from the Dub Diaspora, (2015, 7(2)). Drum ‘n’ Bass Darkness Discourses of darkness within jungle/ drum ‘n’ bass culture provide an affirmative critical response to: • The demonisation of blackness as the post-colonial Other of modernity; • the difficult conditions created by the political economy of the contemporary city where rapidly changing relationships between class, gender and technology determine access to wealth and social prosperity. Drum ‘n’ Bass Darkness • Jungle, or ‘jungle-techno’, developed during 1992 as the main soundtrack to London’s inner city rave scene. • Jungle/drum ‘n’ bass: a mainly instrumental genre, based on a combination of powerful bass sounds and hip-hop-style break- beats (‘breaks’) that are either synthesised or digitally sampled from existing sources (funk records; sample packs, etc.); • Breaks looped (repeated) and accelerated to around 174 BPM – around twice the speed of dub tracks. Drum ‘n’ Bass Darkness Jungle’s mainstream popularity peaked in the mid-1990s; Maintains a continued presence as part of global EDM culture in the 2010s, and in the pop charts in radio-friendly form; Its formation can be considered a postcolonial response to the deleterious social effects of globalisation
    [Show full text]
  • Ambient Music the Complete Guide
    Ambient music The Complete Guide PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Mon, 05 Dec 2011 00:43:32 UTC Contents Articles Ambient music 1 Stylistic origins 9 20th-century classical music 9 Electronic music 17 Minimal music 39 Psychedelic rock 48 Krautrock 59 Space rock 64 New Age music 67 Typical instruments 71 Electronic musical instrument 71 Electroacoustic music 84 Folk instrument 90 Derivative forms 93 Ambient house 93 Lounge music 96 Chill-out music 99 Downtempo 101 Subgenres 103 Dark ambient 103 Drone music 105 Lowercase 115 Detroit techno 116 Fusion genres 122 Illbient 122 Psybient 124 Space music 128 Related topics and lists 138 List of ambient artists 138 List of electronic music genres 147 Furniture music 153 References Article Sources and Contributors 156 Image Sources, Licenses and Contributors 160 Article Licenses License 162 Ambient music 1 Ambient music Ambient music Stylistic origins Electronic art music Minimalist music [1] Drone music Psychedelic rock Krautrock Space rock Frippertronics Cultural origins Early 1970s, United Kingdom Typical instruments Electronic musical instruments, electroacoustic music instruments, and any other instruments or sounds (including world instruments) with electronic processing Mainstream Low popularity Derivative forms Ambient house – Ambient techno – Chillout – Downtempo – Trance – Intelligent dance Subgenres [1] Dark ambient – Drone music – Lowercase – Black ambient – Detroit techno – Shoegaze Fusion genres Ambient dub – Illbient – Psybient – Ambient industrial – Ambient house – Space music – Post-rock Other topics Ambient music artists – List of electronic music genres – Furniture music Ambient music is a musical genre that focuses largely on the timbral characteristics of sounds, often organized or performed to evoke an "atmospheric",[2] "visual"[3] or "unobtrusive" quality.
    [Show full text]
  • Hitchhiker's Guide 2018
    HITCHHIKER'S GUIDE 2018 Constellation Code of Conduct ............1 Rules & Policies ..................................3 Art Grants ...........................................8 Map ....................................................10 Theme Camps ...................................12 What Where When .............................15 1 CONSTELLATION CODE OF CONDUCT While we strive to keep the number of hard and fast rules that we have to a minimum, certain types Pegasus Farm Campground 480 Arnold Hill Road of behavior serve only to harm other participants or the event itself. Radical inclusion means that Elkins, WV 26241 strangers are welcome to participate in our community; it does not mean tolerance of harmful behaviors.This document identifies behaviors and actions that will not be tolerated at Playa del Fuego, Constellation or other events sponsored by FirePony Creative Society. A copy of the FPCS Code of Conduct will be on-site ing basic safety rules is not acceptable. An exam- for FirePony Creative Society sponsored events in ple would be spinning fire without a safety after the Ranger and First Aid notebooks or other relevant being reminded not to do so. locations. In addition, participants of any FirePony • Entering the event without invitation. All partic- Creative Society-sponsored events are expected to ipants, volunteers, Board Members, landowners, WHAT IS CONSTELLATION? comply with all federal, state, and local laws. (The etc. gain entry to our events by purchasing tick- terms herein are used in a commonsense manner ets, or as a vendor under contract with FirePony Constellation is a new regional Burning Man Event to be held early Fall at Pegasus Campground and not necessarily as legal terms of art.) Creative Society Any other entry will be considered in Elkins, West Virginia, run by FirePony Creative Society.
    [Show full text]
  • Data Specifications and Collection
    Ref. Ares(2018)2835897 - 31/05/2018 D2.1 – Data specifications and collection May 31st, 2018 Author/s: Manos Schinas (CERTH), Symeon Papadopoulos (CERTH) Contributor/s: Yiannis Kompatsiaris (CERTH), Frédéric Notet (MMAP), Quimi Luzón (BMAT), Geoffroy Peeters (IRCAM), Rebecka Sjöström (PGM), Daniel Johansson (SYB), Tommy Vaudecrane (BN) Deliverable Lead Beneficiary: CERTH This project has been co-funded by the HORIZON 2020 Programme of the European Union. This publication reflects the views only of the author, and the Commission cannot be held responsible for any use, which may be made of the information contained therein. Multimodal Predictive Analytics and Recommendation Services for the Music Industry 2 Deliverable number or D2.1 – Data specifications and collection supporting document title Type Report Dissemination level Public Publication date 31-05-2018 Author(s) Manos Schinas (CERTH), Symeon Papadopoulos (CERTH) Contributor(s) Yiannis Kompatsiaris (CERTH), Frédéric Notet (MMAP), Quimi Luzón (BMAT), Geoffroy Peeters (IRCAM), Rebecka Sjöström (PGM), Daniel Johansson (SYB), Tommy Vaudecrane (BN) Reviewer(s) Julien Perret (BN), Maria Stella Tavella (MMAP), Vasilis Papanikolaou (ATC), Daniel Molina (BMAT) Keywords music data, data collection, API, database, music platforms, broadcast data, social media, music content, music knowledge base, data management Website www.futurepulse.eu CHANGE LOG Version Date Description of change Responsible V0.1 05/04/2018 First deliverable draft version, table of contents Manos Schinas V0.5 27/04/2018
    [Show full text]
  • TRITON Extreme Voice Name List
    J E F G 1 Contents Combinations ........................... 3 Drum kits................................ 19 GM Drum kits ......................... 36 Bank A ...................................... 3 000: Standard Kit 1 ................. 19 144: STANDARD ..................... 36 Bank B ...................................... 3 001: Standard Kit 2 ................. 19 145: ROOM ............................. 36 Bank C ...................................... 3 002: Processed Kit ................. 19 146: POWER .......................... 36 Bank D ...................................... 4 003: Jazz/Brush Kit ................. 20 147: ELECTRONIC ................. 36 Bank H ...................................... 4 004: House Kit ........................ 20 148: ANALOG ......................... 36 Bank I ........................................ 5 005: Tricky Kit .......................... 20 149: JAZZ ............................... 37 Bank J ....................................... 5 006: Drum'n'Bass Kit .............. 21 150: BRUSH ........................... 37 Bank K ...................................... 5 007: Hip Hop Kit ..................... 21 151: ORCHESTRA ................. 37 Bank L ....................................... 6 008: Psycho Kit ....................... 21 152: SFX ................................. 37 Bank M ...................................... 6 009: Percussion Kit ................. 22 010: Orchestra&Ethnic ........... 22 Preset Arpeggio Patterns / Programs ................................. 7 011: Cymbals Catalog ...........
    [Show full text]