Alphalive-Reference-Manual-English

Total Page:16

File Type:pdf, Size:1020Kb

Alphalive-Reference-Manual-English 1 contents. 3.8.4 Layouts 22 3.8.5 Sequences 22 1. Introduction 3 3.8.6 Effects 22 1.1 Overview 4 3.8.7 Mode Presets 22 1.2 Hardware-Software Communication 4 3.9 Global Clock 23 1.3 Using This Manual 4 3.10 Scene Component 23 1.4 Minimum System Requirements 4 3.11 Other 24 1.5 Licensing and Disclaimer 5 3.12 Elite Controls 24 2. Installation/Uninstallation/Updating 6 3.13 Pad Behaviour Modes 25 3. Using AlphaLive 8 3.14 MIDI Pressure Modes 25 3.1 Concept 9 3.15 Effects 26 3.2 Functionality Overview 9 3.15.1 Gain and Pan 26 3.3 Interface Overview 10 3.15.2 Filters 26 3.4 Common Controls 10 3.15.3 Distortion 26 3.5 Pad Layout 11 3.15.4 Bitcrusher 27 3.5.1 Selecting Pads 11 3.15.5 Delay 27 3.5.2 Visual Feedback 11 3.15.6 Reverb 27 3.5.3 Emulating Pad Presses 11 3.15.7 Flanger/Phaser 27 3.6 Pad Settings 12 3.15.8 Tremolo 27 3.6.1 MIDI Mode 13 3.16 Menu Bar 28 3.6.2 Sampler Mode 14 3.16.1 Preferences 29 3.6.3 Sequencer Mode 15 3.16.1.1 Audio Output Settings 29 3.6.3.1 MIDI Sequencer Mode 17 3.16.1.2 General Settings 30 3.6.3.2 Audio Sequencer Mode 18 3.16.2 Project Settings 30 3.6.3.3 Recording Sequences 18 4. FAQ/Troubleshooting 31 3.6.3.4 Importing/Exporting MIDI Files 19 5. Contact/Support 32 3.6.4 Controller Mode 20 6. Glossary 33 3.6.5 Global Pad Settings 21 6.1 MIDI 34 3.7 Piano 21 6.2 Open Sound Control 35 3.7.1 MIDI Mode 21 6.3 Other 35 3.7.2 Sequencer Mode 21 7. Credits 35 3.8 Toolbox 22 8. Appendix 36 3.8.1 Samples 22 8.1 Note Layout Arrangements 37 3.8.2 Banks 22 8.2 GM Drum Mapping 40 3.8.3 Scales 22 8.3 Open Sound Control Address Naming Scheme 40 2 introduction. 3 overview. AlphaLive, access to a third party DAW (Digital Audio requirements. minimum system Workstation), MIDI Sequencer, or MIDI instrument AlphaLive is the AlphaSphere’s official software software is recommended. application that allows you to program the device into an expressive musical instrument and controller. The On Mac OS X, when launching AlphaLive without software lets you apply a range of modes and settings the AlphaSphere connected it will create a virtual to pads individually or within groups, ultimately MIDI device called ‘AlphaLive’. This will allow you to Mac OSX allowing you to set up the instrument to a highly send MIDI messages directly from AlphaLive to your customised level. MIDI sequencing software without the need of the • Mac Intel machine running OS X 10.5 or later AlphaSphere device. • 2 GHz or faster An overview of its main features: • 1GB RAM or above On Windows, virtual MIDI devices are not supported • 50MB of free HD space (an extra 1GB for • Functions as a MIDI mapping editor, sampler, directly within the operation system. However sample library) sequencer, and Open Sound Control converter. when launching AlphaLive without the AlphaSphere • Map notes over the ‘sphere using notational scales connected it will provide you with the option to and arrangements. connect AlphaLive to a MIDI output device. You can • Infinitely programmable - Mix and match settings then use virtual MIDI port software (such as loopMIDI) to the pads either individually or within custom to route the output of AlphaLive to the input of your groups. MIDI sequencing software. • As a MIDI device the AlphaSphere can be programmed to be a polyphonic aftertouch- If the device is connected later on in the session, the enabled, multichannel instrument. virtual MIDI device or the MIDI output port will be removed and all MIDI communication will be done • Attractive and intuitive interface - Apply settings Windows easily using features such as drag-and-drop, though the AlphaSphere. presets, sample banks and premade sequence arrangements. • Windows XP SP3 or later • Perfect for live performance - Boasts features such using this manual. • 2 GHz or faster as playback quantization, easy scene-switching, • 1GB RAM or above and realtime visual feedback for each pad. This manual will tell you everything you need to • 50MB of free HD space (an extra 1GB for • Contains a set of filters and effects that can be know about using AlphaLive and interfacing the sample library) used to modulate individual samples in realtime. AlphaSphere with any MIDI or OSC compatible • Supports the ASIO (recommended), Direct software. The main section of this manual looks at Sound, and WASAPI audio drivers/platforms. each part of AlphaLive’s user interface and describes in If your sound card does not have native ASIO depth what its function is and what each of its controls support, you can try out ASIO4ALL – The hardware/software do. At the end of the manual there is a Glossary that Universal ASIO Driver For Windows Driver describes a number of terms and jargon that appear Model Audio. communication. throughout this document, as well as an Appendix that contains a number of diagrams and tables of Computers that do not satisfy these system When the AlphaSphere is plugged into a computer information that you may want to refer to often. it will be recognized as a standard USB MIDI device. requirements will not guarantee full functionality. Currently AlphaLive is used to generate the actual Higher system specifications will be required if you plan MIDI messages therefore AlphaLive will always to use a large amount of AlphaLive’s CPU-extensive features such as audio effects and sequences. To get need to be open for the AlphaSphere to send MIDI the most out of the AlphaSphere and AlphaLive, access data. To get the most out of the AlphaSphere and to a third party DAW (Digital Audio Workstation), MIDI Sequencer, or MIDI instrument software is recommended 4 licensing and disclaimer. AlphaLive is an open source application released under the GNU General Public License version 2.0. The AlphaSphere firmware is open source under the GNU General Public License version 3.0. The source code for both is available at https://github.com/nu- desine. The information in this document is subject to change without notice and does not represent a commitment on the part of nu desine. ASIO, VSTi, and Cubase are registered trademarks of Steinberg Media Technologies GmbH. RTAS and Pro Tools are registered trademarks of Avid Technology, Inc., or its subsidiaries or divisions. Mac, Mac OS X, Quartz Composer, Logic Pro and Audio Units are registered trademarks of Apple Inc. Windows, Windows XP, Windows 7, DirectSound and WASAPI are registered trademarks of Microsoft. Digital Performer is a registered trademark of Mark Of The Unicorn (MOTU). Reaktor is a registered trademark of Native Instruments GmbH. REAPER is a registered trademark of Cockos Incorporated. VirtualDJ is a registered trademark of Atomix Productions. Max/ MSP is a registered trademark of Cycling ’74. Ableton Live is a registered trademark of Ableton Inc. Reason is a registered trademark of Propellerhead Software. FL Studio is a registered trademark of Image-Line. Intel and Pentium are registered trademarks of Intel Corporation. All other product and company names are trademarks™ or registered® trademarks of their respective holders. 5 installation / uninstallation. 6 installation. uninstallation. You do not need to manually install any drivers before connecting the AlphaSphere to To uninstall AlphaLive, on Mac OS X delete the your computer for the first time. On Windows when you initially connect the device AlphaLive folder from your Applications directory, the operating system should automatically install any required drivers. This may or on Windows simply run the ‘uninstall AlphaLive. require an Internet connection and could take a couple of minutes. Also it may alert exe’ file that can be found in the AlphaLive Start you that you need to restart your computer before use. On Mac the AlphaSphere is a Menu folder. You will also need to remove the true plug-and-play device. following files/folders: AlphaLive is easy to install – on Mac OS X simply double click the ‘AlphaLive.dmg’ On Mac OS X: file and drag the containing AlphaLive directory to your Applications folder, or on Windows double click the ‘AlphaLive Installer.exe’ file and follow the onscreen • “[user]/Library/Application Support/AlphaLive” instructions. When the application is run for the first time it will create a folder in your • “[user]/Library/Preferences/com.nu_desine. Documents directory called ‘AlphaLive Projects’, which will be the default location to AlphaLive” save your projects. • “[user]/Library/Caches/AlphaLive”, if it exists. • “[user]/Documents/AlphaLive Projects”, or the Do not move the AlphaLive .app/.exe file out of its parent directory or away from the user chosen project directory. Do not delete other containing files and folders, or manually rename or rearrange any of the folders this directory if you do not want to loose your contents, as this could limit the software’s functionality. projects! There is also no authorization process to run – AlphaLive is free to use without any serial or registration. On Windows XP: On Mac OS X Lion and Mountain Lion there is a feature called Gatekeeper where your • “C:\Documents and Settings\[user]\Application security and privacy settings may alert you that you cannot open AlphaLive because it Data\AlphaLive” is from an “unidentified developer”. There are two ways to resolve this issue: • “C:\Documents and Settings\[user]\Local • Go to System Preferences -> Security & Privacy, and under the ‘General’ tab select Settings\Temp\AlphaLive”, if it exists.
Recommended publications
  • Line 6 POD Go Owner's Manual
    ® 16C Two–Plus Decades ACTION 1 VIEW Heir Stereo FX Cali Q Apparent Loop Graphic Twin Transistor Particle WAH EXP 1 PAGE PAGE Harmony Tape Verb VOL EXP 2 Time Feedback Wow/Fluttr Scale Spread C D MODE EDIT / EXIT TAP A B TUNER 1.10 OWNER'S MANUAL 40-00-0568 Rev B (For use with POD Go Firmware 1.10) ©2020 Yamaha Guitar Group, Inc. All rights reserved. 0•1 Contents Welcome to POD Go 3 The Blocks 13 Global EQ 31 Common Terminology 3 Input and Output 13 Resetting Global EQ 31 Updating POD Go to the Latest Firmware 3 Amp/Preamp 13 Global Settings 32 Top Panel 4 Cab/IR 15 Rear Panel 6 Effects 17 Restoring All Global Settings 32 Global Settings > Ins/Outs 32 Quick Start 7 Looper 22 Preset EQ 23 Global Settings > Preferences 33 Hooking It All Up 7 Wah/Volume 24 Global Settings > Switches/Pedals 33 Play View 8 FX Loop 24 Global Settings > MIDI/Tempo 34 Edit View 9 U.S. Registered Trademarks 25 USB Audio/MIDI 35 Selecting Blocks/Adjusting Parameters 9 Choosing a Block's Model 10 Snapshots 26 Hardware Monitoring vs. DAW Software Monitoring 35 Moving Blocks 10 Using Snapshots 26 DI Recording and Re-amping 35 Copying/Pasting a Block 10 Saving Snapshots 27 Core Audio Driver Settings (macOS only) 37 Preset List 11 Tips for Creative Snapshot Use 27 ASIO Driver Settings (Windows only) 37 Setlist and Preset Recall via MIDI 38 Saving/Naming a Preset 11 Bypass/Control 28 TAP Tempo 12 Snapshot Recall via MIDI 38 The Tuner 12 Quick Bypass Assign 28 MIDI CC 39 Quick Controller Assign 28 Additional Resources 40 Manual Bypass/Control Assignment 29 Clearing a Block's Assignments 29 Clearing All Assignments 30 Swapping Stomp Footswitches 30 ©2020 Yamaha Guitar Group, Inc.
    [Show full text]
  • About the RPT Exams
    About the RPT exams... Tuning Exam Registered Piano Technicians are This exam compares your tuning to a “master professionals who have committed themselves tuning” done by a team of examiners on the to the continual pursuit of excellence, both same piano you will tune. Electronic Tuning in technical service and ethical conduct. Aids are used to measure the master tuning Want to take The Piano Technicians Guild grants the and to measure your tuning for comparison. Registered Piano Technician (RPT) credential In Part 1 you aurally tune the middle two after a series of rigorous examinations that octaves, using a non-visual source for A440. the RPT test skill in piano tuning, regulation and In Part 2 you tune the remaining octaves by repair. Those capable of performing these any method you choose, including the use of tasks up to a recognized worldwide standard Electronic Tuning Aids. This exam takes about exams? receive the RPT credential. 4 hours. No organization has done more to upgrade the profession of the piano technician than Find an Examiner PTG. The work done by PTG members in Check with your local chapter president or developing the RPT Exams has been a major examination committee chair first to see if contribution to the advancement of higher there are local opportunities. Exam sites Prepare. include local chapters, Area Examination standards in the field. The written, tuning Boards, regional conferences and the Annual and technical exams are available exclusively PTG Convention & Technical Institute. You to PTG members in good standing. can also find contact information for chapter Practice.
    [Show full text]
  • Cathedral Chimestm
    32 Cathedral ChimesTM A fresh approach to organ chimes Patented striker design is quiet, efficient, and virtually maintenance free. Dampers lift off tubes for as long as a key is held. Solid state relay with fixed strike pulse timing is included. Very easy to install in most organs. Custom keying cables are available to further simplify installation. Beautiful brushed brass tubes or aluminum chime bars. Also available as an “action only” for use with older chime tubes. Some years ago, Peterson set out to see what could Beautiful satin-finished brass chime tubes or silver be done to modernize and improve the traditional colored anodized aluminum bars are precision tuned tubular chimes that have been part of fine organs for with Peterson stroboscopic tuning instruments and decades. It was quickly realized that chimes and chime engineered for optimal harmonic development. A actions were still being made the same way they had Peterson chime rail and relay may also be provided been made 40 years earlier. They still had the same as an “action only” to replace an old, defective action problems with imprecise tuning; uneven and difficult to while utilizing original tubes having diameters up to adjust actions; heavy and hard-to-install cables; sparking 1-1/2 inches. contacts; and a host of other pitfalls all too well known The Cathedral Chimes system’s easy connection to organbuilders and service technicians. A subsequent to almost any pipe organ requires only a small cable, two-year development program was begun to address making it practical to display chimes and to better and overcome these concerns, and ultimately the TM capitalize on their beautiful appearance.
    [Show full text]
  • A New History of the Carillon
    A New History of the Carillon TIFFANY K. NG Rombouts, Luc. Singing Bronze: A History of Carillon Music. Translated by Com- municationwise. Leuven: Leuven University Press, 2014, 368 pp. HE CARILLON IS HIDDEN IN plain sight: the instrument and its players cannot be found performing in concert halls, yet while carillonneurs and Tkeyboards are invisible, their towers provide a musical soundscape and focal point for over six hundred cities, neighborhoods, campuses, and parks in Europe, North America, and beyond. The carillon, a keyboard instrument of at least two octaves of precisely tuned bronze bells, played from a mechanical- action keyboard and pedalboard, and usually concealed in a tower, has not received a comprehensive historical treatment since André Lehr’s The Art of the Carillon in the Low Countries (1991). A Dutch bellfounder and campanologist, Lehr contributed a positivist history that was far-ranging and thorough. In 1998, Alain Corbin’s important study Village Bells: Sound and Meaning in the Nineteenth-Century French Countryside (translated from the 1994 French original) approached the broader field of campanology as a history of the senses.1 Belgian carillonneur and musicologist Luc Rombouts has now compiled his extensive knowledge of carillon history in the Netherlands, Belgium, and the United States, as well as of less visible carillon cultures from Curaçao to Japan, into Singing Bronze: A History of Carillon Music, the most valuable scholarly account of the instrument to date. Rombouts’s original Dutch book, Zingend Brons (Leuven: Davidsfonds, 2010), is the more comprehensive version of the two, directed at a general readership in the Low Countries familiar with carillon music, and at carillonneurs and music scholars.
    [Show full text]
  • The Grand Piano Action Functioning Demystified Thanks to the Multibody Approach
    The Grand Piano Action Functioning Demystified thanks to the Multibody Approach 1 1 1 Fisette Paul , Baudouin Bokiau and Sébastien Timmermans 1 Institute of Mechanics, Material and Civil Engineering, Université catholique de Louvain, Louvain-la-Neuve, Belgium Abstract. Piano actions are striking mechanisms whose functioning is based on dynamic principles. Producing a sound on a struck keyboard instrument by press- ing a key slowly is impossible because the hammer needs momentum to hit the strings. For this reason, many modern studies on the piano take advantage of en- gineering tools in order to measure the exact behaviour of their actions in terms of time response, involved forces and displacement values. A complementary approach to study piano actions consists in modeling them, giving us a virtual mechanism to work with. In this case, the above-mentioned motion and behav- iour are computed instead of being measured. The modeling approach used in this work, called multibody dynamics, consists in computing the motion and the forces acting upon each component of the action. Subsequently, the response of the mechanism to any key stroke can be computed and visualized. In this paper, the functioning of the most modern double escapement action found in grand pianos is demystified thanks to the multibody modeling features. The goal, which is mostly pedagogical, is achieved with three progressive mod- els; the first one is a simplified version of the action to which components of the complete action have been (virtually) removed. The stepwise progression leads to a single escapement action for the second model, and finally to the full double escapement action for the third.
    [Show full text]
  • Hiphop Aus Österreich
    Frederik Dörfler-Trummer HipHop aus Österreich Studien zur Popularmusik Frederik Dörfler-Trummer (Dr. phil.), geb. 1984, ist freier Musikwissenschaftler und forscht zu HipHop-Musik und artverwandten Popularmusikstilen. Er promovierte an der Universität für Musik und darstellende Kunst Wien. Seine Forschungen wurden durch zwei Stipendien der Österreichischen Akademie der Wissenschaften (ÖAW) so- wie durch den österreichischen Wissenschaftsfonds (FWF) gefördert. Neben seiner wissenschaftlichen Arbeit gibt er HipHop-Workshops an Schulen und ist als DJ und Produzent tätig. Frederik Dörfler-Trummer HipHop aus Österreich Lokale Aspekte einer globalen Kultur Gefördert im Rahmen des DOC- und des Post-DocTrack-Programms der ÖAW. Veröffentlicht mit Unterstützung des Austrian Science Fund (FWF): PUB 693-G Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Na- tionalbibliografie; detaillierte bibliografische Daten sind im Internet über http:// dnb.d-nb.de abrufbar. Dieses Werk ist lizenziert unter der Creative Commons Attribution 4.0 Lizenz (BY). Diese Li- zenz erlaubt unter Voraussetzung der Namensnennung des Urhebers die Bearbeitung, Verviel- fältigung und Verbreitung des Materials in jedem Format oder Medium für beliebige Zwecke, auch kommerziell. (Lizenztext: https://creativecommons.org/licenses/by/4.0/deed.de) Die Bedingungen der Creative-Commons-Lizenz gelten nur für Originalmaterial. Die Wieder- verwendung von Material aus anderen Quellen (gekennzeichnet
    [Show full text]
  • Chugens, Chubgraphs, Chugins: 3 Tiers for Extending Chuck
    CHUGENS, CHUBGRAPHS, CHUGINS: 3 TIERS FOR EXTENDING CHUCK Spencer Salazar Ge Wang Center for Computer Research in Music and Acoustics Stanford University {spencer, ge}@ccrma.stanford.edu ABSTRACT native compiled code, which is precisely the intent of ChuGins. The ChucK programming language lacks straightforward mechanisms for extension beyond its 2. RELATED WORK built-in programming and processing facilities. Chugens address this issue by allowing programmers to live-code Extensibility is a primary concern of music software of new unit generators in ChucK in real-time. Chubgraphs all varieties. The popular audio programming also allow new unit generators to be built in ChucK, by environments Max/MSP [15], Pure Data [10], defining specific arrangements of existing unit SuperCollider [8], and Csound [4] all provide generators. ChuGins allow a wide array of high- mechanisms for developing C/C++-based compiled performance unit generators and general functionality to sound processing functions. Max also allows control-rate be exposed in ChucK by providing a dynamic binding functionality to be encapsulated in-situ in the form of between ChucK and native C/C++-based compiled Javascript code snippets. Max’s Gen facility dynamically code. Performance and code analysis shows that the compiles audio-rate processors, implemented as either most suitable approach for extending ChucK is data-flows or textual code, to native machine code. situation-dependent. Csound allows the execution of Tcl, Lua, and Python code for control-rate and/or audio-rate manipulation and 1. INTRODUCTION synthesis. The Impromptu environment supports live- coding of audio-rate processors in a Scheme-like Since its introduction, the ChucK programming language [3], and LuaAV does the same for Lua [13].
    [Show full text]
  • Guide to the Dowd Harpsichord Collection
    Guide to the Dowd Harpsichord Collection NMAH.AC.0593 Alison Oswald January 2012 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical / Historical.................................................................................................... 2 Arrangement..................................................................................................................... 2 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: William Dowd (Boston Office), 1958-1993................................................ 4 Series 2 : General Files, 1949-1993........................................................................ 8 Series 3 : Drawings and Design Notes, 1952 - 1990............................................. 17 Series 4 : Suppliers/Services, 1958 - 1988...........................................................
    [Show full text]
  • A History of Audio Effects
    applied sciences Review A History of Audio Effects Thomas Wilmering 1,∗ , David Moffat 2 , Alessia Milo 1 and Mark B. Sandler 1 1 Centre for Digital Music, Queen Mary University of London, London E1 4NS, UK; [email protected] (A.M.); [email protected] (M.B.S.) 2 Interdisciplinary Centre for Computer Music Research, University of Plymouth, Plymouth PL4 8AA, UK; [email protected] * Correspondence: [email protected] Received: 16 December 2019; Accepted: 13 January 2020; Published: 22 January 2020 Abstract: Audio effects are an essential tool that the field of music production relies upon. The ability to intentionally manipulate and modify a piece of sound has opened up considerable opportunities for music making. The evolution of technology has often driven new audio tools and effects, from early architectural acoustics through electromechanical and electronic devices to the digitisation of music production studios. Throughout time, music has constantly borrowed ideas and technological advancements from all other fields and contributed back to the innovative technology. This is defined as transsectorial innovation and fundamentally underpins the technological developments of audio effects. The development and evolution of audio effect technology is discussed, highlighting major technical breakthroughs and the impact of available audio effects. Keywords: audio effects; history; transsectorial innovation; technology; audio processing; music production 1. Introduction In this article, we describe the history of audio effects with regards to musical composition (music performance and production). We define audio effects as the controlled transformation of a sound typically based on some control parameters. As such, the term sound transformation can be considered synonymous with audio effect.
    [Show full text]
  • Accordion Catalog
    ACCORDION “I NEVER FEEL AS TRULY ALIVE AS WHEN I PLAY MUSIC.” For generations, HOHNER has been dedicated to music for one simple reason: Music is a way of life. In fact, you could say it’s the best way of life. People who aren’t into music simply don’t know what they’re missing. Of course we would say that, wouldn’t we? But like countless musicians all over the world, from beginner to professional, we feel so strongly about music that we want to help open the door to this experience to everyone. With instruments designed to convey the joy and the passion that inspire everybody to improve their skills and develop further. We wouldn’t be where we are now, as world market leader for harmonicas and accordions, if it wasn’t for our passion and our shared commitment to our craft and the traditions that it has inspired. This is a defining element of the HOHNER sound, a key to unlock the world of music. Our mission is to pass this passion on to you, with perfectly crafted instruments that enable you to truly Enjoy music. Get the full experience at HOHNER.DE WHICH ACCORDION TO CHOOSE? There is a variety of accordions with different styles, keys, tunings, and more. It can be quite overwhelming if you’re new to this world. Which is why we have designed a product finder at HOHNER.DE to give you at least some guidance. And if you can’t get online right away, here are the biggest differences explained.
    [Show full text]
  • Virtual Instrument Software
    350 VIRTUAL INSTRUMENT SOFTWARE TOONTRACK EZ DRUMMER TOONTRACK EXPANSIONS • 7000 sounds at 16-bit/44.1kHz equiv. Expansions require EZdrummer to 5GB of uncompressed WAV files or Superior Drummer 2.0 • Instant access to more than 8000 ELECTRONIC-EZX ........Classic, circuit bent MIDI drum patterns with prelistening and resampled electronic drums ...................39.99 • Multiple microphone control CLAUSTROPHOBIC ......R&B, Hip Hop and Pop expansion ..................39.99 • Operates in General MIDI TWISTED-KIT ...............Junkyard sounds, unique/conventional ..........39.99 • Internal mixer allows stereo and NASHVILLE...................Traditional country and bluegrass .................39.99 multitrack routing into the host DRUMKIT-FROM-HELL..Heavy metal and rock drums .........................39.99 through one single plug-in VINTAGE-ROCK ............Ludwig Keystone drumset...............................39.99 JAZZ-EZX .....................Jazz expansion with samples performed • Recorded at Avatar Studios, New York by Roy “Futureman” Wooten ..........................39.99 by world-class drummers and producers FUNKMASTERS ............Clyde Stubblefield and John “Jabo” Starks funk 39.99 • Humanizer function combines METALHEADS ...............Extreme Metal - Tomas Haake/ drum hit randomizing and non-cycling SUPPORTS: Daniel Bergstrand (Meshuggah) ....................39.99 LATIN-PERCUSSION ....Lain percussion expansion .............................39.99 • Add your own MIDI files to the library THE-CLASSIC...............'70s rock-contemporary
    [Show full text]
  • A Brief History of Piano Action Mechanisms*
    Advances in Historical Studies, 2020, 9, 312-329 https://www.scirp.org/journal/ahs ISSN Online: 2327-0446 ISSN Print: 2327-0438 A Brief History of Piano Action Mechanisms* Matteo Russo, Jose A. Robles-Linares Faculty of Engineering, University of Nottingham, Nottingham, UK How to cite this paper: Russo, M., & Ro- Abstract bles-Linares, J. A. (2020). A Brief History of Piano Action Mechanisms. Advances in His- The action mechanism of keyboard musical instruments with strings, such as torical Studies, 9, 312-329. pianos, transforms the motion of a depressed key into hammer swing or jack https://doi.org/10.4236/ahs.2020.95024 lift, which generates sound by striking the string of the instrument. The me- Received: October 30, 2020 chanical design of the key action influences many characteristics of the musi- Accepted: December 5, 2020 cal instrument, such as keyboard responsiveness, heaviness, or lightness, which Published: December 8, 2020 are critical playability parameters that can “make or break” an instrument for a pianist. Furthermore, the color of the sound, as well as its volume, given by Copyright © 2020 by author(s) and Scientific Research Publishing Inc. the shape and amplitude of the sound wave respectively, are both influenced This work is licensed under the Creative by the key action. The importance of these mechanisms is highlighted by Commons Attribution International centuries of studies and efforts to improve them, from the simple rigid lever License (CC BY 4.0). mechanism of 14th-century clavichords to the modern key action that can be http://creativecommons.org/licenses/by/4.0/ found in concert grand pianos, with dozens of bodies and compliant elements.
    [Show full text]